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Home , Ava Mendoza, Charenee Wade, David Fiuczynski, Dianne Reeves, Diego Barber, Donald Garrett

FEBRUARY 2015—ISSUE 154 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

Dianne Reeves beautiful life

VOCALS ISSUE

CATHERINE ANDREAS LINDA HELEN RUSSELL SCHAERER SHARROCK HUMES Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The Jazz Record 116 Pinehurst Avenue, Ste. J41 FEBRUARY 2015—ISSUE 154 New York, NY 10033 New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Catherine Russell by katie bull Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Andreas Schaerer 7 by alex henderson [email protected] Advertising: On The Cover : Dianne Reeves 8 by suzanne lorge [email protected] Editorial: [email protected] Encore : 10 by clifford allen Calendar: [email protected] Lest We Forget : helen humes 10 by george kanzler VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Red Piano 11 by ken waxman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] CD Reviews Staff Writers 14 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Miscellany 37 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Event Calendar 38 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Everyone sings. But not everyone is a singer. And fewer few are real jazz singers. But that Contributing Writers term is as inclusive as jazz itself. There are, of course, the totems of jazz singing, the Ellas and Duck Baker, Brian Charette, Sarahs and Billies to go with the Birds, Tranes and Monks, but the range of music created Brad Cohan, Phil Freeman, under the vocal jazz banner is vast and varied. Dianne Reeves (On The Cover) may be the jazz George Kanzler, Mark Keresman, Ken Micallef diva of her generation; find out for yourself over Valentine’s Day weekend at Jazz at Lincoln Center’s Rose Theater. Catherine Russell (Interview) was literally born into jazz via her Contributing Photographers musical parents but has an impressive resumé of her own; she performs this month at Zankel Reto Andreoli, Jacob Blickenstaff, Hall, Tribeca Performing Arts Center and The Rainbow Room. And while Swiss experimental Marv Goldschmitt, Erika Kapin, vocalist Andreas Schaerer (Artist Feature) won’t be on this side of the pond, we hope that his Jerris Madison, Alan Nahigian, Jack Vartoogian fans increase, fueled by his already-prolific discography, and that he’ll hit The Big Apple soon. Two sides of the jazz vocal coin are represented by avant garde songstress Linda Sharrock (Encore) and the late singer Helen Humes (Lest We Forget). And while it is only a part of its output, local record label Red Piano is making its own mark on vocal jazz. And our CD Reviews are front-loaded with a wide swath of new vocal releases (pg. 14-19). nycjazzrecord.com The voice was the first instrument but, like the bodies in which it resides, continues to evolve.

On The Cover: Dianne Reeves (photo by Jerris Madison) All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD FEBRUARY 20l5

VALENTINE’S WEEK WITH KIRK WHALUM NICOLE HENRY RACHELLE FERRELL KERMIT RUFFINS & THE BBQ SWINGERS- FEB 3-8 FEB 10 & 11 FEB 12-15 FAT TUESDAY/MARDI GRAS WEEK CELEBRATION First NYC Appearance as Leader in 10 Years! FEB 17-22

GATO BARBIERI FEB 24 • MS. LAURYN HILL - SMALL AXE: Acoustic Performance Series FEB 25 • TBA FEB 26 - MARCH 1

GORDON CHAMBERS FEB 2 • VINX RHYTHM NOMADS (8PM) / S.W.I.S.S. PRESENTS “POETRY OF RIDDIM” (10:30PM) FEB 9 EVA CORTES - CD RELEASE (8PM) / JOHN ELLIS QUARTET (10:30PM) FEB 16 • JJ SANSAVERINO & FRIENDS FEB 23 SUNDAY BRUNCH MARLENE VERPLANCK TRIO FEB 1 • OSCAR PEÑAS QUARTET FEB 8 NEW ORLEANS MARDI GRAS BRUNCH FEAT. “HOT LIPS” JOEY MORANT & CATFISH STEW FEB 15 ($35.00) • BRAD SHEPIK AND HIS NYU JAZZ ENSEMBLE FEB 22 LATE NIGHT GROOVE SERIES MARK SHINE - BOB MARLEY BIRTHDAY TRIBUTE FEB 6 • SPANGLISH FLY FEB 7 • S.A. - CD RELEASE SHOW FEB 13 NICKEL & DIME OPS FEB 14 • MATT DICKEY & TRY THIS AT HOME FEB 20 • UNDERGROUND HORNS FEB 21 • TBA FEB 27 • FEB 28

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2/6, 2/7 & 2/8 “COLLECTIVE PORTRAIT” CD RELEASE M 2/2 THE CAPTAIN BLACK F PATIENCE HIGGINS’ SUGAR HILL QUARTET EDDIE HENDERSON QUINTET Tu 2/3 MIKE LEDONNE’S GROOVER QUARTET Sa JOHNNY O’NEAL & FRIENDS Eddie Henderson [tp] Gary Bartz [as] W 2/4 GEORGE COLEMAN, JR. QUARTET George Cables [p] Doug Weiss [b] Billy Drummond [d] Th 2/5 JAM SESSION 2/13, 2/14 & 2/15 M JAM SESSION HOSTED BY THE BAYLOR PROJECT M 2/9 THE CAPTAIN BLACK BIG BAND THE CAPTAIN BLACK BIG BAND FEATURING JEAN & MARCUS BAYLOR Tu 2/10 MIKE LEDONNE’S GROOVER QUARTET PLUS SPECIAL GUEST CYRUS CHESTNUT W 2/11 ADAM BIRNBAUM TRIO - CD RELEASE Jean Baylor [vox] Keyon Harrold [tp] Keith Loftis [sax] SUNDAY JAZZ BRUNCH Cyrus Chestnut [p, Fri & Sun ONLY] FEATURING AL FOSTER Sullivan Fortner [p, Sat ONLY] Su ANNETTE ST. JOHN & HER TRIO Dezron Douglas [b] Marcus Baylor [d] Th 2/12 SARON CRENSHAW BAND 2/20, 2/21 & 2/22 M 2/16 THE CAPTAIN BLACK BIG BAND Sets at 7, 9 & 10:30pm THE NEW DRUM BATTLE Tu 2/17 MIKE LEDONNE’S GROOVER QUARTET JOE FARNSWORTH VS. KENNY WASHINGTON FRI & SAT ’ROUND MIDNIGHT SETS Joe Farnsworth [d] & Kenny Washington [d] W 2/18 BRUCE HARRIS SEXTET also at 11:45PM [sax] Jeremy Pelt [tp] [p] John Webber [b] Th 2/19 BRANDON BAIN SEXTET 2/27, 2/28 & 3/1 MON at 7 & 9pm only M 2/23 THE CAPTAIN BLACK BIG BAND MON Jam Session starts at 10:30pm THE NEW YORK STANDARDS QUARTET Tu 2/24 MIKE LEDONNE’S GROOVER QUARTET + SPECIAL GUESTS ROBIN EUBANKS & STEVE WILSON Tim Armacost [ts] David Berkman [p] W 2/25 BILL CANTRALL & SUN Brunch sets at 11:30am, [b] Gene Jackson [d] 1:00pm & 2:30pm Robin Eubanks [tb, Fri & Sat] & Steve Wilson [sax, Sun] Th 2/26 CAROLYN LEONHART QUINTET NEW YORK @ NIGHT

The late John Carter’s quartet Clarinet Summit was a When the Village Vanguard’s Lorraine Gordon first remarkable, if now largely forgotten, reimagining of hired The Bad Plus, she was chastised by purists who the jazz formula. Without rhythm section or heavy- wondered why a group that covered ABBA and Blondie hitting solo instrument, it demonstrated that clarinets was allowed to play in her hallowed club. But for most can swing on their own and pack a punch when needed. of a decade now the trio has been a top draw there on Carter’s group reached across generations, uniting his New Year’s Eve. They opened their first set of 2015 protégé David Murray (who was already active with (Jan. 1st) with three new pieces: a plodding “Gold his World Saxophone Quartet) and Ellington sideman Prisms, Inc.”, followed by “Self Serve” and “Reveille”, Jimmy Hamilton. Murray paid tribute to his mentor at the latter two moving between swing and rock feels BMC CD 207 BMC CD 192 Michael Schiefel Michael Schiefel the Minetta Theater with a summit of his own (Jan. with accelerating tempos and uncanny accent patterns. Platypus Trio The Cool Running Orchestra Tribute To Marley 9th), borrowing Carter’s band name and adding bass Although many such trios are led by the pianist and and drums. Murray assembled an impressive line of certainly Ethan Iverson is a maestro’s maestro, The reedplayers for the set (one of his three Winter Jazz Bad Plus is a true collective, cushioned by Reid Festival appearances): his WSQ bandmate Hamiet Anderson’s incisive but never repetitive basslines (he Bluiett along with Don Byron and David Krakauer. is also a skilled raconteur, emceeing with impromptu With strong charts and proper rehearsal they wouldn’t witticisms) and fired by drummer Dave King’s restless have needed bassist Jaribu Shahid and drummer but empathetic style. All originally from the Upper Nasheet Waits but whether or not the charts and Midwest, they seem to have an intuitive understanding rehearsal were there, the short set didn’t do justice to its of each other’s playing, which allows them to flow in forebear. They remembered a couple other losses by and out of dense, polyrhythmic sections with relaxed dedicating Murray’s own “The Long March to Freedom” precision, astounding audiences with their pinpoint to poet Amiri Baraka on the one-year anniversary of his landings after turbulent, seemingly chaotic, improvised death and playing two compositions by Butch Morris, flights. By the time they performed “Rhinoceros Is My BMC CD 173 BMC CD 216 Michael Schiefel Andreas Schaerer meets Murray’s longtime collaborator. In a sense it was a Profession” and “I Hear You”, they were deep into the Gondellied In The Sahara ARTE Quartett & Wolfgang Zwiauer summit in that they seemed to be still sorting the zone, moving through musical mood swings with a Perpetual Delirium material out. With Bluiett’s soulfulness, Byron’s quirky single mind, laughing at inside jokes, finishing each logicisms, Krakauer’s precision and power and other’s phrases, to close with three more originals. Murray’s own ebullience it wasn’t going to be bad, but Thank Gordon for trusting her ears. the name promised so much more. —Kurt Gottschalk —Tom Greenland o s

BMC CD 209 BMC CD 199 Grzegorz Karnas Trio Grzegorz Karnas Trio feat. Miklós Lukács feat. Miklós Lukács Vanga Audio Beads o g i a n / F r t R w P h t a r © E r i k a K p n © 2 0 1 5 J a c k V David Murray Clarinet Summit @ Winter Jazzfest The Bad Plus @ Village Vanguard

Connie Crothers (piano) and Tom Hamilton You might expect a group like Duchess, featuring (electronics) had never played together, not so much as three female vocalists inspired by the ‘30s Boswell BMC CD 091 BMC CD 057 Gabor Winand Gabor Winand a rehearsal, before their duo (Jan. 8th) in the Musical Sisters, to sound a bit like ‘museum jazz’, but you’d be Agent Spiritual Corners Of My Mind Ecologies series in ’s Old Stone House, a 1699 wrong. When Amy Cervini, Hilary Gardner and farmhouse in Park Slope. And they arguably had never Melissa Stylianou joined their voices in close harmony played together even once the set was over. During a at Birdland (Jan. 4th), a pre-CD release of their pre-show interview with composer and series curator eponymous debut on Anzic, the music was very much Dan Joseph, Hamilton said, “I generally think of alive and au courant. The repertoire included covers of playing in my own direction and the listener puts it , The Andrews Sisters, Blossom Dearie and together with what the other person is playing. The novelties like the Gershwins’ “Blah, Blah, Blah”, “A The Hungarian listener finds the relationships.” They began with an Little Jive Is Good for You” (from a Soundies film with array of hums and blips from Hamilton over which Martha Tilton), Betty Hutton’s “It’s a Man” and Jazz Label presents Crothers laid a melancholic, nonrepeating melody. “Brooklyn Love Song” (popularized by Hutton’s older They grew toward dissonance, unrushed and sister Marion). Surprise guest Janice Siegel even came European vocal jazz independent, and then apart again, giving up worries on for a four-part rendition of “Que Sera, Sera”. Strong of matching tempo or volume. After a half-hour they soloists in their own right, Duchess sang spot-on at its best broke and in a shorter second piece Crothers seemed to harmonies, phrasing seamlessly together like a big- be looking for connection, not just reacting to the band section, adjusting their vibratos to sound sounds Hamilton produced but watching him closely like one instrument. All but one of the charts were by Distribution: allegromediagroup.com as well. It was a bit more cohesive, or perhaps more of Oded Lev-Ari (Cervini’s spouse), whose arranging a nature that allowed the listener to find connections. updates, even as it preserves, elements of early jazz Indeed it was a challenge, not out of anything harsh or vocal styles. Supporting the ladies, pianist Michael extreme but just because it was so difficult (and so Cabe proved the consummate accompanist, a model of enjoyable) to try to prevent the ears from focusing on decorum and delicacy, but tenor saxophonist Jeff one or the other. There wasn’t a singular logic to be Lederer wasn’t holding back, belting out swaggering found. But when one disabused oneself of such rude-boy solos, especially on The Andrew Sisters’ concerns, it was at least sometimes possible, as “O Johnny, Oh Johnny, Oh!” where, prodded by Hamilton had suggested, to hear connections to which grimacing drummer Jared Schonig’s swinging shuffle, the players were, perhaps, oblivious. (KG) he hit one of the evening’s high notes. (TG)

4 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD It is said that a man may be judged by his friends. If Making its world premiere at the Blue Note, the 2015 so, then the crowd assembled at Town Hall (Jan. 13th) edition of The On Tour for a memorial to the late bassist Charlie Haden said it brought together trumpeter , tenor WHAT’S NEWS all. There were the scads of musicians and droves of and soprano saxophonist Ravi Coltrane and pianist industry folk, plus an entire mezzanine’s worth of fans , along with the latter’s longstanding George Wein, founder/producer of the Newport (including Portlandia’s Fred Armisen) who waited for trio of bassist Joe Sanders and drummer Justin Brown. Jazz and Folk Festivals and the New Orleans hours in the cold to gain entry to this remarkable free The allstar quintet opened its final set of the weeklong Jazz & Heritage Festival, will receive The event. As is often the case with such gatherings, the engagement (Jan. 11th) with Blanchard’s “Magnetic”, Recording Academy Trustees Award during a musical portions were requisite but of less interest an uptempo romp that began with the two horns ceremony Feb. 7th and be acknowledged during than the testimonials given by the departed’s blowing a staccato motif in mechanistic unison. Soloing colleagues; that said, it was a treat to hear pianist Brad first, Coltrane let loose a series of fiery, dark-toned the broadcast of the 57th annual Grammy Awards Mehldau and alto saxophonist (who worked exhortations as Brown stoked the flames with explosive Feb. 8th. Other jazz related winners of the prize with Haden in a 1996 trio for Blue Note), the latter accents. Blanchard followed, his long legato phrases have included , , Cole scat-singing, as well as the trio of pianist Geri Allen, buoyed by Clayton’s opulent chordal progressions, Porter, , George and Ira Gershwin, saxophonist Ravi Coltrane (one of Haden’s former which resolved in his own Eastern-tinged Rudy Van Gelder and . For more students at CalArts) and harpist Brandee Younger on improvisation, the concluding phrase of which invited information, visit grammy.com. Haden’s tribute to/for Alice Coltrane, “For Turiya”. the horns back to close with a slow repetition of the Pat Metheny, who had an early appearance playing a melody. Clayton opened his own “A Light” with an The Alternative Guitar Summit takes place solo acoustic guitar medley of Haden pieces and was impressionistic unaccompanied introduction before Feb. 4th at ShapeShifter Lab and Feb. 6th-8th at best man at Haden’s wedding, spoke of their shared bass and drums entered, providing a taut rhythmic Rockwood Music Hall. In addition to the Missourian heritage. Fellow bassist Putter Smith talked underpinning on top of which Blanchard blew the performances, the festival, founded and curated about their early days in LA and said that Haden gave Spanish-tinged theme as Coltrane played a counter jazz musicians the “permission to play with intimacy.” melody. Clayton’s solo revealed an absorbing harmonic by guitarist Joel Harrison, will feature three Dr. Maurice Jackson of Georgetown University acuity further evident on his “Envisionings”. The trio master classes/workshops, which will take place discussed Haden’s concern for the world at length. But paid tribute to one-time Monterey regular Dizzy at Spectrum (121 Ludlow Street, #2). The it was Haden’s widow Ruth, quoting her late husband, Gillespie with a mesmerizing rendition of his “Con schedule is as follows: Feb. 5th at 7:30 pm: who summed him up best: “The hard part is becoming Alma”, after which Blanchard and Coltrane (now on Composing for the electric guitar with Steve the level of person you are when playing when you soprano) returned to end the set with the former’s Mackey, Scott Johnson, Ben Monder; Feb. 7th at don’t have your instrument.” —Andrey Henkin hardbopping “Central Focus”. —Russ Musto 1 pm: Incorporating techniques from India and Middle East into jazz guitar playing with Dave Fiuczynski, Prasanna and Joel Harrison; Feb. 8th at 12 pm: Accompanying singers, and incorporating , country, and into your jazz playing with Doug Wamble, Adam Levy and Joel Harrison. For more information, visit joelharrison.com/alternative-guitar-summit. a f jazz club The Back Room closed its doors as of Dec. 31st after 48 years of operation. A bit further from home, a fire last month in the Ethiopian capital of Addis Ababa destroyed the landmark Taitu Hotel and its resident jazz club, A L N H I G j a c o b l i k e n s t Jazz Amba. o b y O B Y The Creative Music Studio, founded by Ornette p h o t P H O T Brad Mehldau & Lee Konitz @ Town Hall Monterey Jazz Festival On Tour @ Blue Note Coleman, Ingrid Sertso and Karl Berger, has announced the dates of its 2015 workshops. They may have been playing the same instruments as In a career spanning five decades, jazz songstress They will take place at Full Moon Resort in Big Charlie Haden but there was nothing soothing or Dee Dee Bridgewater has repeatedly reinvented Indian, NY Jun. 8th-12th and Oct. 5th-9th . Artists pastoral about the duet between Ingebrigt Håker herself, performing an ever-changing, wide-ranging confirmed to participate in the summer program Flaten and Pascal Niggenkemper at JACK (Jan. 12th). repertoire. At Iridium (Jan. 1st) she brought in the New include Amir ElSaffar, Steven Bernstein, Warren The former, an Austin resident via his native Oslo, was Year with innovative ‘rearrangements’ of some of her Smith and others to be named. Registration is literally meeting the latter, a French-German classic fare by trumpeter Theo Croker, who fronted a now open at creativemusicfoundation.org. transplanted to Brooklyn, for the first time. The young ensemble of saxophonist Irwin Hall, keyboard 35-minute set recalled another international bass player Michael King, bassist Eric Wheeler and The Canadian city of Victoriaville has announced pairing: German Peter Kowald and Brit Barry Guy; drummer Kassa Overall. They opened the set with there was the same mix of power (Håker Flaten) and Croker’s “The Fifth Dimensions” before introducing a renewal for five years of its financial support preparations (Niggenkemper) and lack of hesitation. Bridgewater, who greeted the sold-out house cheering agreement with Festival International de Håker Flaten knows how to make himself heard in a “Happy New Year! Let’s hope it’s better than the last Musique Actuelle de Victoriaville (FIMAV), noisy room, experience gained from membership in one”, then launched into an animated reading of Oscar which will take place this year May 14th-17th. The The Thing and Atomic, and he brutalized his instrument Brown’s words to Mongo Santamaria’s “Afro Blue”, City has committed $75,000 for 2015, increasing with ape-like pizzicato for most of the set, occasionally reworking the title track of her 1974 debut album into by 3% annually for the term of the agreement. For changing pace with murderous arco. Niggenkemper, a 21st Century tour de force. “By the way, we being more information, visit fimav.qc.ca. on the other hand, found pretty much everything you funky tonight,” she informed the crowd before rapping can stick under the strings and bridge of a bass, an intro to a soulfully rendered “Love For Sale” and an Jazz at Lincoln Center has acquired the jazz.org including a piece of foil taken directly from the walls old school R&B rendition of “Save Your Love For Me”, URL, which will replace its current jalc.org web of the venue. They played two pieces. The first lasted featuring thumping electric bass and swirling B3 address. In related news, a petition has been 20 minutes and featured Håker Flaten doing his best organ. Conjuring the spirit of Abbey Lincoln, the singer Slam Stewart impression, doubled pizzicato like delivered a spellbinding “The Music Is Magic”, started on change.org asking that the arts boiling water and Niggenkemper adding a percussive followed by a powerful version of Lincoln’s lyric to organization use the jazz.org address for a texture via a hand drum under his bridge at one point “Blue Monk”, which had the band wailing in a wild community-wide music website. and melody via bowing his strings with a metal lid New Orleans-style group improvisation. Telling the beneath them at another. The second piece, 15 minutes band, “I feel like a little Rodgers and Hammerstein”, long, featured tribal percussive tapping and mallets on Bridgewater and the band leaped into “My Favorite Submit news to [email protected] strings, ominous bowing and detuning and more foil Things”, the singer scatting like a with the from Niggenkemper, literally and figuratively. (AH) horns for an exciting finish. (RM)

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 5 INTERVIEW

copying them—but why is it that you might like Carmen McRae, , , ? What about those vocalists do you like? Billy Eckstine, Big Joe Turner, Frank Sinatra—I’m picking the men as well. And what do you want to CATHERINE incorporate into your style? I’m also very particular about the different vocabularies of singing. Blues singing is slightly different than jazz singing. It’s a little bit different than popular music singing and it’s different than Broadway show singing. The techniques and the choices are slightly different, so what are the vocabularies of each of those things? And it all goes into how you interpret one song or another. RUSSELL (CONTINUED ON PAGE 46) v G o l d s c h m i t Donna Singer © M a r by katie bull Featured Performer: bethany jazz Grammy winner Catherine Russell is an authentic jazz/ music. There was American Popular Song in my house, festival, kansas blues vocalist with ‘royal’ roots in tradition. Her father, what we now call the Great American Songbook. There nebraska international Luis Russell, was ’s musical director and were all the people of the day in the late ‘50s, early ‘60s jazz festival her mother, Carline Ray, was a pioneer vocalist, guitarist that were appearing on television, variety shows and saratoga arts festival, and bass player with the International Sweethearts of being played on the radio. So you know—Ella new york Rhythm. Russell’s fifth album Bring It Back (Jazz Village) Fitzgerald, Sammy Davis, Jr., Tony Bennett, Peggy Lee. features songs from the ‘20s-50s, arranged by her longtime Amazon Review: musical director, guitarist/banjoist Matt Munisteri. She TNYCJR: Was there one instrument or a group of 5 out of 5 stars has toured the world extensively, igniting stages, topping instruments that you found yourself particularly radio charts and moving listeners to dance. drawn to either as a vocalist or just as a listener? JazzTimes: ‘Singer has the control and conviction… As the saying goes: if it The New York City Jazz Record: Do you feel you’re CR: Growing up, music was part of education in public ain’t broke, don’t fix it.’ embracing a style or is there a style evolving in you schools. So I started on piano but my first instrument @Critical Jazz: through your lineage? in orchestra was violin. I tried in junior high, “Donna Singer is which was very difficult so I went to , which my a first-call vocalist” Catherine Russell: I grew up listening to this music; grandfather [mother’s father] played. Then I tried some of the first music I ever heard was my father Luis saxophone; that didn’t really work so I went to drums. donna-singer.com Russell’s music. For some reason that music sounded And piano, in theory and harmony; I studied that so I like fun. It swung and it was also before I knew what to could analyze songs and write out chord charts... I call anything. It felt like a mixture of all the things I have to say I love the sound of trumpet and the sound liked, which was the first incarnations of jazz, blues of trombone. Those are the horns that I’m drawn to. and swing, all mixed in together, a combination that I My mother was a bass player, so I love bass. I’ve played really like because for some reason it just agrees with percussion in a couple of bands and I love that; not me physically, personally, spiritually. It makes me drumkit, but percussion—congas and bongos and happy. I like the sound of the recordings between the percussion toys and instruments. I also love the ‘20s and ‘40s and into the ‘50s. I just go with what I mandolin; my grandfather played mandolin [and] I’ve naturally like, which is music that swings, that people been playing mandolin a long time. I’m drawn to string can actually dance to if they want to and music that’s bands, traditional string band instruments as well. happy. It’s music for everybody. I’m happy that I’ve found other individuals who also embrace that period TNYCJR: How was it growing up in a musical family? of music… we really, in truth, enjoy the music and that’s what we listen to. I listen to a lot of different CR: The first thing that comes to my mind is that we kinds of music as well. But in the category of what we always had a radio in the kitchen, which I still do now. call “jazz”, which is such a big category, that’s the And the station break music—we used to listen to period of jazz that I like the most. WQXR, a classical station, and WLIB, which was the jazz station at that time. So these were the things that TNYCJR: You speak of “category”. What are some of were on in my home and as my mother would be your thoughts about where blues and jazz traditions making breakfast, we would listen to Arthur Godfrey’s meet? hour and Ted Mack’s amateur hour and things like that. Radio is very important and it still is. Radio still CR: I don’t really feel a separation when I sing. I supports artists in many places; the program directors recognize the vocabulary of singing and playing are still really care about getting the music to the people slightly different because blues is also a very big word, and they care about community. a huge category. But in jazz tradition, jazz and blues are pretty inseparable. It’s made up of all of those TNYCJR: What would you want to say to the young components all together at the same time. vocalist about getting education as a singer? was bluesy and jazzy, as was Billie Holiday, Clarence Williams, all of the blues women from the period— CR: The way I’ve educated myself and also taught is , Virginia Liston, Margaret Johnson, by exposing. I’ve been exposed to many different types Ma Rainey, you can go on and on. At that point in time of music and I’ve tried to just gather from everything it was all together. People were playing music as one. to inform myself. I grew up in choirs so I was classically trained. Then I took all my theory and harmony classes TNYCJR: These are singers that you grew up listening so that I could stand on my own two feet when it came to in addition to your mom? to the keys I’d choose for a song. As vocalists we need to at least have knowledge of the piano, to have CR: No, actually not. I listened to men more so when I knowledge of chords and chord changes, so that we was growing up. I didn’t listen to women as much. I can communicate to musicians. And we also need to listened more to Fats Waller, to my father, to early Duke just explore… If you explore artists that you like, the Ellington. I listened to a lot of different types of style of what they do—now you’re not going to end up

6 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Recommended Listening: • Andreas Schaerer & Bänz Oester— Schibboleth (Unit, 2008) • Hildegard Lernt Fliegen— Cinéma Hildegard (Unit, 2010) • Peter Rom, Andreas Schaerer, Martin Eberle— A K T R E C O D S ANDREAS At The Age Of Six I Wanted To Be A Cook (Unit/Jazzwerkstatt Wien, 2013) O F I N T • Andreas Schaerer & Lucas Niggli—

T E S Y Arcanum (Intakt, 2013) • Hildegard Lernt Fliegen—The Fundamental Rhythm Of Unpolished Brains (Enja/Yellowbird, 2014) • Andreas Schaerer meets ARTE Quartett & Wolfgang SCHAERER Zwiauer—Perpetual Delirium (BMC Records, 2014) A n d r e o l i / C O U R o

R e t by alex henderson From musicians to record companies to clubs and Hildegard Lernt Fliegen—which means “Hildegard festivals, Europe has been an important contributor to Learns to Fly” in German and features trombone/tuba; avant garde jazz. Instrumentalists continue to dominate baritone and alto saxophone and bass clarinet; alto and yet Europe has its risk-taking avant garde vocalists as soprano saxophone; upright bass; drums, percussion well. One of them is 38-year-old Andreas Schaerer, and marimba alongside Schaerer’s vocals—including a who has been attracting attention with both his lyrics self-titled album in 2007, Vom Fernen Kern der Sache in and his wordless scat-singing. The Swiss improviser 2009 and Cinéma Hildegard in 2010, as well as 2008’s has favored an inside/outside approach, incorporating Schibboleth with bassist Bänz Oester. Schaerer has also influences ranging from Bobby McFerrin and Frank co-led the trio Rom/Schaerer/Eberle with guitarist Zappa to experimental classical music. Hearing how Peter Rom and trumpeter Martin Eberle on 2009’s natural and comfortable Schaerer sounds performing Please Don’t Feed the Model and 2013’s At the Age of Six avant garde jazz, one might assume that he was raised I Wanted to Be a Cook (both released by Unit). on a steady diet of Jeanne Lee, Linda Sharrock, Ornette Although most of Schaerer’s releases have been on Coleman and . But Schaerer, who Unit, some Schaerer recordings were released on other grew up in the Valais region of the Swiss Alps and now European labels in 2014, including The Fundamental lives in Bern, Switzerland, comes from a rock Rhythm Of Unpolished Brains (a Hildegard Lernt Fliegen JSnycjr0215 1/14/15 11:53 AM Page 1 background and didn’t discover jazz until early date for Enja/Yellowbird), Arcanum (a vocals/drums adulthood. outing with Swiss drummer Lucas Niggli on Intakt) “I grew up, like a lot of other kids in Switzerland, and Perpetual Delirium (a collaboration with the ARTE with a record collection that was mainly : Quartett, a German/Swiss saxophone quartet, and , , Neil Young, psychedelic rock, Swiss bassist Wolfgang Zwiauer for Hungary’s BMC Pink Floyd,” explains Schaerer, who hopes to perform Records). in New York City in the near future. “I did not hear any One of Schaerer’s strongest supporters has been “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH SUN FEB 1HCLOSED jazz when I was a kid. My parents were not into jazz, Unit Records’ Harald Haerter, himself a skillful jazz TUE-SUN FEB 3-8 nor into classical music. My parents were into rock. guitarist. “Andreas is an absolutely unique artist,” And as a teenager, I had one leg into and Haerter comments. “He is very flexible and hugely RAVI COLTRANE Led Zeppelin and the other leg into electronic music— original and I think that every project he has done is which was pretty strong in Europe in the ‘90s. I didn’t special. Andreas reminds me a little bit of [saxophonist] QUINTET play any jazz until I was about 21 or 22.” , who I had the privilege of working RALPH ALESSI - AARON PARKS - BOB HURST - JEFF “TAIN” WATTS Schaerer began to make a name for himself when, with. He has a similar personality. Andreas is very TUE FEB 10 as a teenager, he played guitar in the punk band Hektor uninhibited.” JUSTIN KAUFLIN Lebt. But the more he listened to jazz as a young adult, Awareness of Schaerer’s work has been growing MATTHEW STEVENS - CHRIS SMITH - BILLY WILLIAMS THE WED-THU FEB 11-12 the more attracted he was to improvisation. “In the stateside and one of his goals for the near future is to ‘90s, electronic music was starting to be influenced by organize a North American tour that will include GEORGE COLEMAN jazz,” Schaerer recalls. “My first experience with jazz performances in New York City and elsewhere. was when I discovered , Schaerer points out that many of the artists he has QUARTET HAROLD MABERN - JOHN WEBBER - GEORGE COLEMAN JR. and The Headhunters. In my early 20s, I realized that admired over the years—from Holiday and Davis to FRI-SUN FEB 13-15 with the way I wanted to use my voice, jazz had Dylan—worked and recorded in NYC and he believes possibilities for me. I had the freedom to use my voice that some NYC performances are long overdue. MINGUS the way I wanted to use it. I wanted the freedom to “I have never played in the United States,” improvise and jazz gave me that freedom.” Schaerer notes. “I have played all over Europe. I have BIG BAND As comfortable as Schaerer obviously is with avant played in South Africa and South America. I have TUE-WED FEB 17-18 garde improvisation, many of the vocalists he admires played in Asia. I have played in China and , but I RUSSELL MALONE QUARTET are outside the avant garde realm—including McFerrin. haven’t made a tour of the States yet. Many musicians RICK GERMANSON - GERALD CANNON - WILLIE JONES III THU-SUN FEB 19-22H7:30PM & 10PM ONLY “The biggest influence for me was Bobby McFerrin, for have told me that it’s very difficult to get permission to sure,” Schaerer asserts. “Bobby was my hero for many perform there, but now, people are starting to observe TIERNEY SUTTON BAND years. Bobby was really important for me. Of course, I my work—which makes me really happy and gives me CHRISTIAN JACOB - RAY BRINKER - KEVIN AXT have listened to all the great jazz singers. I still am very a lot of inspiration to make a U.S. tour. I have started to TUE-WED FEB 24-25 touched by Billie Holiday. I really like Shirley Horn think I really need to make an effort to find the time CHRISELLIS HOOKS - STEVEN BERGSON BERNSTEIN - JAY COLLINS -IAN HENDRICKSON-SMITH BAND and Cassandra Wilson. And a few years ago, I and tour the United States. At the moment, things are CRAIG DREYER - MATT CLOHESY (2/24) - ANDY HESS (2/25) - ETHAN EUBANKS discovered Gretchen Parlato. I really love Gretchen’s going so well in Europe. I have so many invitations to THE THU-SUN FEB 26-MAR 1 phrasing.” perform in Europe that I cannot accept all of them.” BIG BAND Schaerer has, in fact, performed with McFerrin Schaerer continues: “There is a huge respect for SOUND OFRUFUS REID several times in Europe; in 2009, McFerrin invited him the American jazz language in Europe. And when you HHHMINGUS MONDAYSHMINGUS MONDAYSHHH to participate in his wordless opera Bobble. And, in get positive feedback from people who understand MON FEB 2, 9, 16 & 23 MON FEB 16 what you are doing, it fills your vacuum with energy to MINGUS BIG BAND MINGUS ORCHESTRA addition to making his mark with his live performances, JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM - DIRECTED BY DAVID O’ROURKE Schaerer has been building a catalogue that includes be productive.” v an abundance of albums for the Bern-based Unit Records. This has included some albums by his sextet For more information, visit andreasschaerer.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 7 ON THE COVER J e r i s M a d o n dianne reeves beautiful life by suzanne lorge

What comes through when vocalist Dianne Reeves was that here was this R&B soul music steeped in a “Waiting in Vain”. Hathaway “has this ability to stack speaks about Beautiful Life, her 2014 release for Concord very strong jazz consciousness,” Reeves explains. “You vocals and harmonies in a way that’s really special,” Records, is her love of singing and generosity toward can really hear it on an album like What’s Going On. she continues. “I love her—she’s my favorite singer other singers and musicians. “More than anything else, And he had all these jazz musicians from who’s out there right now.” the record is about collaboration,” she said in a phone playing on his records.” In the same way then that Reeves’ pre-eminence as a jazz artist and her interview from her home in Colorado. During a recent Gaye’s music referenced Detroit jazz, Reeves’ album ability to collaborate with singers and musicians of all five-year hiatus from solo recording, Reeves says that “harkens back to Motown,” she says. ages and stripes has kept her in demand not only as a she “noticed that a lot of young jazz musicians were Beyond the updated renditions of popular songs performer but as an educator. Last month she appeared really into the music I grew up in, that I listened to, from earlier decades, the album includes some originals as a featured performer on the PBS special American and I thought this would be a really wonderful way to (Reeves’ “Tango” not only shows off her stunning Voices, a 90-minute documentary about the American come together and work with them.” Using the music facility as a Latin singer but ’s skills as a song tradition hosted by opera superstar Renee from Reeves’ youth (R&B, pop/rock, jazz) as the vocal trumpeter) and one standard—an expansive, Fleming. The program reviewed highlights from the starting point, Reeves and drummer/producer Terri modal version of the Harold Arlen-Ted Koehler classic Kennedy Center’s American Voices festival, a week of Lyne Carrington co-created an exquisitely crafted “Stormy Weather”. Pianist Peter Martin first arranged master classes and performances that “brought all album that moves vocal jazz forward more than a few the song for a performance with Reeves and kinds of different vocalists together—opera, pop, steps. Beautiful Life, which showcases 10 next- saxophonist at the gospel,” Reeves reports, adding that the main takeaway generation jazz performers alongside Reeves, received Institute. “You know how Wayne plays—the more of the program is that “singing is…self-expression. a Grammy nomination for Best Vocal Jazz Album this space that’s open, the more that voice rings out,” Your brush stroke, your power, your color on the year. If Reeves wins on Feb. 8th, it will be the fifth Reeves says. “I loved [the arrangement] so much that I canvas. That was the beauty of it….We just looked at Grammy of her almost 40-year career. just kept it.” each other and said ‘This is just what we do.’ We were Reeves has known Carrington for most of that “Stormy Weather” stands out as the only tune on all together. We do our thing.” career. They first met in the mid ‘70s, when a 10-year- the album written before Reeves was born. She doesn’t Reeves tours and performs extensively, actively old Carrington worked as a drummer for trumpeter hesitate to offer an explanation for the anomaly: “Phil embodying the principles she teaches. After the . Carrington’s musical precocity led to Moore, my former agent, had a workshop…for singers American Voices broadcast aired, she was in New York several high-profile gigs as a player and eventually as and in it he told stories about Ethel Waters and Lena to perform in a concert at Jazz at Lincoln Center a composer and producer and in these capacities she Horne doing ‘Stormy Weather’ and how old the song (JALC), a benefit in honor of Michael Brecker, the much worked with Reeves on several recordings before was, but at the same time how the lyric was always beloved late saxophonist who had worked with Reeves Beautiful Life—among them The Mosaic Project relevant.” And relevant lyrics, Reeves adds, “make a since the early years of her career. The purpose of the (Concord), which garnered the Grammy for Best Vocal big difference” in deciding what song to sing and how concert, Reeves said, was “to bring light” to leukemia, Jazz Album in 2011. While out on the road with to sing it. the disease from which Brecker died. (According to the Carrington in the days following this Grammy win, “I “The thing that makes you want to sing a song Associate Press, the concert raised $1.2 million for talked a lot about what I was feeling for the record and more than anything is the lyrics,” Reeves asserts. When cancer research.) This month she will fly out to Los she was feeling it, too,” Reeves recalls of her initial selecting tunes for a performance or an album she Angeles for the Grammy Awards and return almost discussions with Carrington about Beautiful Life. “So looks for “something that addresses me and that I immediately to New York for two nights at JALC with she started showing me ideas and those ideas turned relate to in a certain way. Usually I’ll have a backstory her own band. In and around these high-profile gigs, into ‘why don’t you produce this record?’” about it, not necessarily for the audience to know. But she’s performing in 10 other U.S. cities. The two decided to make a “groove-oriented” it is why I would do the song.” The next step of her Reeves doesn’t reveal in advance what she’ll be album, Reeves says, that not only pays homage to the process is to arrange the song “so that the ideas—the singing in any given performance; it depends on the work of musicians influenced by jazz but celebrates colors—are there in the harmonies of the song or the song that she is feeling—the personal story that she the fresh ideas of emerging jazz artists such as bassist/ placement of the time.” wants to share—on that day, at that time. She dismisses singer Esperanza Spalding and pianist Robert Glasper. Reeves also selects her personnel carefully. For any question of genre when it comes to tune selection. In this Reeves gives credit to Carrington for acting as Beautiful Life she invited two fellow Grammy-winning “I grew up at a time when you listened to everything. the bridge between different musical traditions. singers to share tracks with her—Gregory Porter, It was just music...expressed different ways. When I go Carrington has “one foot firmly planted in the tradition whose 2010 album Water first captured Reeves’ to listen to someone…I’m just right there to listen to of jazz and [one] in a lot of the new music that’s going attention, and Lalah Hathaway, the daughter of R&B them for where they are and who they are. I don’t try on now,” Reeves points out. “She’s right there at icon Donny Hathaway. to say ‘this is a jazz singer, this is a pop singer.’ This is Berklee [College of Music] as a professor, teaching Porter’s rich, gospel sound reminds Reeves of just a great singer.” [a new generation of] students.” (Carrington received “those great singers of the ‘60s and ‘70s”—indeed, like Yes—this is a great singer indeed. v an honorary doctorate from Berklee in 2003 and has Donny Hathaway, she says—“Very soulful.” Their been teaching there since 2007.) duet, the Carrington tune “Satiated (Been Waiting)”, For more information, visit diannereeves.com. Reeves is at The most striking tracks on the disc are covers of evokes the passionate ballads of that era, in large Rose Theater Feb. 13th-14th. See Calendar. tunes by Marvin Gaye, Fleetwood Mac, Bob Marley measure because of Porter’s deeply stirring vocals. and Ani DeFranco, reimagined so as to emphasize the “The thing I love about Gregory is that his voice goes Recommended Listening: jazz feel in the originals. For instance, on the album’s with everybody…it’s like a river,” Reeves says. “It’s • Dianne Reeves—Eponymous (Blue Note, 1987) opener, Marvin Gaye’s “I Want You”, Reeves just right there and you want to sit by it and hear the • Dianne Reeves—I Remember (Blue Note, 1988) incorporates some elements from the original—the sound of it and respect the power of it. So I call him • Dianne Reeves—The Grand Encounter percussion, the synth, the funk. But her version is ‘my mighty river’.” (Blue Note, 1996) cooler and smoother, with R&B backing vocals (by And “Lalah Hathaway is, of course, R&B royalty,” • Dianne Reeves—The Calling: Celebrating singer/guitarist Nadia Washington) and a Miles- Reeves says. “She’s a fantastic musician and singer—a Sarah Vaughan (Blue Note, 2000) inflected horn solo (by trumpeter Sean Jones). bright star.” Reeves uses Hathaway’s gorgeously • Dianne Reeves—A Little Moonlight (Blue Note, 2002) “The thing I loved about [Marvin Gaye’s] music interwoven vocals to open the Bob Marley tune, • Dianne Reeves—Beautiful Life (Concord, 2013)

8 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD Absolutely Live Entertainment & Stephen Cloud Presentations present

ONLY NORTH AMERICAN SOLO CONCERT KEITH JARRETT SOLO PIANO March 3 @ 8pm

CARNEGIE HALL STERN AUDITORIUM / PERELMAN STAGE

Tickets On Sale Now Box Office (57th Street & 7th Avenue) CarnegieCharge 212-247-7800 Online at carnegiehall.org

a non-profit national landmark 123 W 43rd St, NYC founded by suffragists, 1921 thetownhall.org Fri, February 27 @ 8pm DR. JOHN:SPIRIT OF SATCH DR. JOHN INTERPRETS LOUIS ARMSTRONG WITH SPECIAL GUEST NICHOLAS PAYTON Six-time Grammy-award winner Dr. John brings the songbook of his hometown hero Louis Armstrong to life, as he did in the critically acclaimed album, Ske-Dat-De-Dat: The Spirit of Satch. This special tribute show features Dr. John and special guests performing hits from the album under the musical direction of album co-producer and arranger Sarah Morrow, accompanied by The Nite Trippers and special guest trumpeter Nicholas Payton. Thu, April 23 @ 8pm GILBERTO GIL:GILBERTOS SAMBA Music legend Gil returns to NY for the first time in five years with his latest show Gilbertos Samba. The evening features reinterpretations of classics by João Gilberto and more, featured on Gil’s latest album. A musical innovator, Gil's style incorporates an eclectic range of influences, from samba to rock to reggae to bossa nova. Gil’s illustrious career spans four decades with over 30 albums and multiple Grammy Awards.

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even a paintbrush, making breaths in fat or cutting vocal range is now much narrower and deeper, but lines… her lyrics also carry forward through the music carries with it an immense weight supplanted by this LINDA SHARROCK like a poetic drawing.” top-flight free music ensemble on two 50-minute The first record to feature the Sharrocks’ music was improvisations. Sharrock has performed in Paris, by clifford allen Black Woman. The Sharrocks were joined on a program Vienna and Amsterdam recently and is planning a tour of folk-like tunes (à la Albert Ayler), often spiraling out of England, where her music will continue its growth In all its forms, improvised music is able to tell stories into dense free color fields, by drummer Milford “through constant (ex)change, constant mobility and and convey experiences that the written word can’t Graves, pianist , bassists Richard Pierce extension—surprise, surprise!” Nearly 46 years after always do yet the voice can explore non-verbal, abstract and and trumpeter . The music was first recording, Sharrock is still creating music that is reality just as any other tool in the pantheon—it is, assembled in what Sharrock calls “a direct-composing both unsettling and incredibly vital. v after all, the “original instrument”. In free music, few process, reached through collective and verbal artists are as synonymous with the expressive force of interaction” and resulted in one of the most original Recommended Listening: the human voice as Linda Sharrock, whose swoops, free music recordings of the late ‘60s. A brief sojourn in • Sonny Sharrock—Black Woman (Vortex-Water Music, 1969) anguished cries and gurgling screams are stitched into Paris resulted in the aforementioned BYG date, though • Sonny/Linda Sharrock—Paradise a dusky, forthright belting that could have fronted an it was a few years before they recorded again, convening (Atco-Rhino/Water Music, 1975) R&B vocal group. Amid eviscerating howls and the an avant garde mélange of R&B, improvisation, folk • AM4 (Wolfgang Puschnig/Linda Sharrock/ thin, spiky and seasick impasto of her then-husband, and off-kilter rock called The Savages whose lone Uli Scherer)—And She Answered (ECM, 1989) guitarist Sonny Sharrock (1940-94), her childlike coos proper LP, Paradise (Atco, 1975, credited to Linda and • Linda Sharrock—& The Three Man Band on Monkey-Pockie-Boo (BYG, 1970) are a harmonic Sonny Sharrock), is an underrated gem. (Moers Music, 1991) lament, becoming violent, needling and explosive After the end of their marriage and with difficulty • Linda Sharrock—Confessions (SMD, 2005) when the ensemble’s direction calls for it—an orgasmic, finding work, Linda Sharrock left the States • Linda Sharrock/Itaru Oki/Mario Rechtern/ directed whorl of emotion as chilling as it is uninhibited. permanently, “first trying Turkey for music, then Eric Zinman/Makoto Sato/Yoram Rosilio— Sharrock was born Linda Chambers on Aug. 2nd, and Thailand, settling in Austria where I No Is No (Improvising Beings, 2014) 1947. She was interested in music from a young age, married again [reedplayer Wolfgang Puschnig] and we “by nature—and [I] explored it first through Baptist traveled to South Korea and through Africa.” As part gospel music… I was brought up by my grandmother, of her Austrian experience she worked in open Swing Era whom I took care of at an early age also and she improvisation settings with the venerated Reform Art Molly Ryan Songbird encouraged my creative interests.” Sharrock attended Unit and with brass multi-instrumentalist Franz “...worldly wise beyond her years, an arts high school in Philadelphia, learning painting Koglmann in the mid ’80s, as well as performing on wonderfully gentle and lyrical…” and drawing before moving to New York in 1964 and several poetry-centered, atmospheric dates with - Will Friedwald, Wall Street Journal quickly became aware of people like saxophonists Puschnig through the early 2000s. UPCOMING Schedule 2/5 - 2/8 North Carolina Jazz Festival Albert Ayler, (with whom she worked Sharrock has been challenged in recent years by ncjazzfestival.com briefly) and . It wasn’t long before she mobility problems due to a 2009 stroke and is unable to 2/16 Rainbow Room met and married Sonny Sharrock, “who was most speak (this interview was conducted by email). It’s a rainbowroom.com supportive of my all around creative interests, as well triumph, then, that she has found a way to perform 2/18 The Rum House as being of the same mind in discussing societal again, the results of which are on a two-disc set titled edisonrumhouse.com 2/22 Sarah’s Wine Bar challenges and politics, pushing forward to new, No Is No: Don’t Fuck Around with Your Women bernardsridgefield.com deliberate forms and unconditioned expression.” As (Improvising Beings, 2014). She characterizes this her partner, saxophonist Mario Rechtern, puts it: reemergence more simply than it may be, but says “I “Sonny actually wanted to play the saxophone but was invited to play with Mario, [trumpeter] Itaru Oki could not due to his asthma, so he played guitar and and [drummer] Makoto Sato by [pianist] Eric Zinman put all the saxophone he heard and felt into it. This and [Improvising Beings founder] Julien Palomo in related to [Linda’s] own interests, fed by painting, to 2013 and in 2014 we added [bassist Yoram] Rosilio—the for Performances, Bookings express herself and use her voice like an instrument, or group finalized, we recorded the next day.” Sharrock’s & Recordings, visit mollyryan.com LEST WE FORGET

when we mostly remember the men: well as ballads and swingers, usually accompanied by and Joe Williams. Humes replaced Billie Holiday with pianists, including a boogie-woogie trio or the great HELEN HUMES Basie in 1938, staying with the band for over three . In 1944 she moved to and years because, as Basie says in his autobiography: recorded her first R&B hit, “Be-Baba-Leba”, a jump by george kanzler “...we replaced Billie with Helen as fast as we could. blues with the Octet. She also appeared And we hung on to Helen for as long as we could.” frequently with Jazz at the Philharmonic from 1946-51 Back in the ‘70s, ’s The Cookery in “I was born Jun. 23rd, 1909,” Humes said in a jazz and in 1950 had another big R&B hit with “Million Greenwich Village on 8th Street and University Place oral history, “but I put it Jun. 23rd, 1913. And everybody Dollar Secret”. The renewed interest in Swing Era stars became a springboard for reviving the careers of that’s been writing books and things, they got 1913.” in the ‘50s saw Humes appearing at festivals in veteran jazz and blues singers like Alberta Hunter and She was born and grew up in Louisville, Kentucky and Newport and Monterey, as well as touring with Red Joe Turner. Helen Humes, who had receded from the actually recorded some blues for OKeh Records in 1926 Norvo, filling the vocal role once taken by Mildred music scene in the mid ‘60s (to care for ailing family), and 1928, a decade earlier than her first popular records. Bailey. In the later ‘60s she returned to Lexington to became a regular at the club after reemerging at the By the mid ‘30s Humes was working with saxophonist care for aged family members, reemerging in the early Newport (NY) Jazz Festival in 1973-74, continuing to and violinist Stuff Smith. Basie heard her with ‘70s for the last, triumphant arc of her career, her voice be a favorite there throughout the rest of a decade that Sears at the Cotton Club in Cincinnati in 1937 and John still as strong, high and vibrant as ever, her phrasing also found her touring the festival circuit and Europe. Hammond, Basie’s manager, caught her in New York and interpretations a paradigm of classic swing and Seeing Humes at The Cookery was always a and recommended her to him too. Hammond also blues style. Humes died Sep. 9th, 1981 at 72. v memorable experience. Her vivacious personality was arranged for her first Swing Era recording session, with as bright, fresh and smiling as her voice, a clarion an allstar unit under , before she joined Recommended Listening: soprano that could be sweet or brassy, romantic or Basie. With Basie, Humes was cast as ballad and swing • —The Golden Years, Vol.2 surprisingly raunchy, yet always imbued with a coy, singer, as Rushing was primarily the band’s blues (featuring Helen Humes & Jimmy Rushing - 1938) youthful ebullience. Her repertoire was as singular as singer. One of her big hits with Basie was “If I Could Be (Jazz Archives/EPM, 1938) her personality, for she was as convincing delivering With You One Hour Tonight” and Basie remembers that • Helen Humes—The Chronological: 1945-1947 tender ballads as she was swinging, as believable the flipside of the first recording was “Don’t Worry (Philo/Alladin/Black&White/Mercury - Classics, 1945-47) professing earnest love as doling out cynical blues About Me”, “which she also took care of very nicely • Helen Humes—‘Tain’t Nobody’s Biz-ness If I Do advice on the virtues of getting an older man, as in her and old Prez [] was right there giving her (Contemporary, 1959) hit “Million Dollar Secret”. She’s a bit of a million the same kind of support he used to give Billie.” • Helen Humes—Swingin’ with Humes (Contemporary, 1961) dollar secret herself, often an afterthought in histories Humes left Basie in 1941 and soon was singing at • Helen Humes—Talk of the Town (Columbia, 1975) of the Swing Era, as Count Basie’s best female singer Josephson’s first club, Café Society, free to do blues as • Helen Humes—Helen (Muse, 1980)

10 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

poems. After meeting Christine Correa I had in her a able to offer fewer benefits, such as paying the beautiful and powerful voice willing and able to sing musicians, covering the costs of production, RED PIANO the lines that I wrote. By now the work with poets has manufacturing, advertising and publicity. You also continued for about 20 years and I’ve written almost sometimes have to wait a long time to have projects by ken waxman 200 settings to mostly 20th and 21st century American released,” he recalls. “Being actively involved in a poets. Combining poetry and music is an old tradition label such as RPR though, you can release recordings “When I was a kid and got interested in jazz, my first that for some reason, until fairly recently, was whenever you want.” RPR’s other partners are deep passion was with vocalists. This interest has somewhat underutilized in jazz. Plus the work of [late composer Nicholas Urie and trumpeter John Carlson. continued to this day,” explains Brooklyn-based pianist soprano saxophonist] has been a major Although the label’s name came from a poem by Frank Carlberg. “Singing also doesn’t go through a inspiration. Steve’s body of work incorporating poetry Finnish-American poet Anselm Hollo, not every CD ‘middle-man’ such as an instrument, which exists to is staggering and masterful. Other influences are the includes a piano or a voice, plus other musicians translate your imagination/interior into sound. So collaborations between Abbey Lincoln and Max Roach besides the partners record for it. Artists whose projects often in instrumental studies we talk about trying to that yielded powerful music that was socially relevant.” are compatible with RPR’s aims contribute to the make our instrument sing.” Correa expands on this: “The importance of production costs, but retain rights to their works. “We That statement goes a long way towards explaining delivering the words of a poem requires a certain would love to release many more CDs,” declares why Red Piano Records (RPR), the label Carlberg helps sound and clear diction. Poems evoke certain feelings, Carlberg. “I believe that artists such as [pianist] Vardan direct as partner in an artist-run cooperative, has ideas, moods, so I think it’s important to portray that Ovsepian and [saxophonist] John O’Gallagher, for released so many vocal-oriented CDs since its founding musically. One expresses those things in speech and to instance, are remarkable talents that are largely in 2008. The majority of these discs are quite different me singing is an extension of one’s speaking voice. unknown by the public/press or under-represented in than those involved with the expected songbook One articulates words and phrases or changes the this age ruled by image, catch-phrases, agents and repertoire. Pianist and singer Christine timbre of one’s voice depending on how one wants it publicists.” Correa, for instance, have recorded two CDs saluting to come across.” Working in a song-based duo with Blake, who has been on disc since he and singer the work of singer Abbey Lincoln while Correa is often Blake, on the other hand, calls for different strategies: Jeanne Lee cut The Newest Sound Around for RCA in called upon to interpret Carlberg’s musical settings of “The music has many harmonic and rhythmic surprises, 1962, says he’s recorded three discs for RPR because modern American poetry. so it’s best to be open and sing whatever feels natural “there’s a comradeship and sharing back and forth. “When I first arrived in the U.S. I thought that the at that time. It’s impossible to plan ahead. You just go Some companies try to put you in a box and make only American culture of any interest consisted of jazz more by instinct.” demands, others just let you do what you want. Frank and film,” explains the pianist, who was born and Such obtuse goals may appear esoteric for many has faith in the artists, he’s hands-on, but you’re part raised in Helsinki. “Soon enough I discovered many imprints, yet Carlberg, who also teaches in the Jazz of the production team. other aspects of American culture, not least of them Studies department of the New England Conservatory, “A vocalist is my favorite type of person to record 20th century American poets. These writers, starting adds that RPR’s birth was as much for economic as with,” he continues. The salute(s) to Abbey Lincoln with [Ezra] Pound, [Louis] Zukofsky, [William Carlos] artistic concerns. The pianist, who recorded for about a came about after he had spent “50 years watching her, Williams etc., wrote in a distinctly American way. dozen years pre-RPR, began noticing that “as CDs worshipping her and listening to her music.” Since Eventually I started to create settings for some of these became less of a viable business, existing labels were (CONTINUED ON PAGE 46)

Tivoli Trio My Garden Nocturnal Prophecy Down Here Below La Sombra de su Sombra Frank Carlberg Nicholas Urie John O’Gallagher/Vardan Ovsepian Ran Blake/Christine Correa Roxana Amed/Frank Carlberg VOXNEWS

the birth of his All Stars sextet. new jazz venue. Andrea Wolper’s “WhyNot Location, Location, Vocation Moving north, don’t miss one of the very best Experiment?” series will celebrate its one-year straightahead jazz blues vocalists of our time in two of anniversary at the cozy WhyNot Jazz Room (Feb. 22nd). by katie bull the very finest jazz supper clubs in history. Gospel- Wolper has curated over 80 concerts (full disclosure; rooted Brianna Thomas (also featured at WJF) will this writer sang at the inaugural event). Wolper books a Generations of jazz players have cultivated their grace Smoke (Feb. 5th) and Minton’s (Feb. 1st, 8th, diverse selection of vocal and instrumental bands. Why vocation in venues with recurring series and at festivals 15th, 22nd). Thomas’ You Must Believe In Love (Sound not enjoy a candle-lit latte or wine and good food at a that curate with integrity and consistency. To that end, On Purpose) knocked it out of the park last year. Wolper mini-festival? This joint is jumping. last month the fantastic Winter Jazz Festival (WJF), in Ella, Billie, Sassy and many more vocalists played Jumping to the past, an impeccable unearthed gem its 11th year, continued giving voice to a wide range of Minton’s, which was established in 1938 and is captures the historic 1970 Montreal Jazz Festival sounds in multiple venues under one reliable banner. considered a mecca for the birth of bebop and modern performance of as if it were yesterday. For vocal jazz fans this is good news: many singers jazz. Hear Grammy-nominated Andy Bey (Feb. 27th, Dive through a time portal on Nucleus - With Leon appeared under cool eclectic roofs, including the 28th); Queen Esther, Charles Turner, 19-year-old Thomas (Gearbox), which features his exquisitely stunning guttural performance artist Jen Shyu at The singer/guitarist prodigy King Solomon Hicks (Feb. merged half-yodeling (African Pygmy technique) and Players Theater; Theo Bleckmann melding his 6th-7th, 11th, 18th and 25th) and icon and Grammy half blues-crooning in tandem with the legendary signature clean tones with Ambrose Akinmusire’s winner Jon Hendricks (Feb. 6th-7th), all featured English jazz/rock fusion band. The sound engineering trumpet at Judson Church; and blues diva Catherine singers with the JC Hopkins Biggish Band; and the one quality and beautifully designed physical LP brings Russell, who reigned at Greenwich House Music and only piano-playing blues great Johnny O’Neal you to the Montreal festival grounds. School. Russell will rule again at Tribeca Performing (Feb. 18th). The legacy lives on. Also back in time, to a Seattle club in 1962, take the Arts Center (Feb. 19th) to honor the 42nd anniversary Due south, the enduring Pomegranate Gallery in elevator up for Grammy-nominated jazz blues singer of Jack Kleinsinger’s Highlights in Jazz series. SoHo (established by Iraqi sculptor Oded Halahmy Ernestine Anderson’s Swings (HighNote). As if Russell’s connection to Louis Armstrong isn’t nine years ago as a bridge to the Iraqi art world) The sound quality on this unearthed gem is almost not enough (read this month’s Interview on pg. 6), six-time welcomes Ayelet Rose Gottlieb (Feb. 7th) in a CD to be believed. Hear Anderson’s then-34-year-old Grammy winner, downright wild Dr. John will release celebration of Roadsides (Arogole Music). deeply rich voice stretch and bend in the pocket and perform “Spirit of Satch”, an Armstrong tribute, at Gottlieb’s breathtaking original compositions are rejoice. Town Hall (Feb. 27th) featuring music from the Dr.’s ruminations on Israeli-Palestinian relations drawn Jazz remains vital due to the talent and persistence album Ske-Dat-De-Dat (Concord). Town Hall is a from Israeli and Palestinian poetry. of performing artists and supportive presenters, midtown home to many historical jazz events, Another versatile vocalist (who hails from festivals, venues and fine labels that give the singing including the Armstrong concert in 1947, considered California) has established a fresh hang at a relatively soul a coordinate to call home. v

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 11 IN MEMORIAM

RONNIE BEDFORD (Jun. 2nd, 1931— Dec. 20th, 2014) The drummer got his BUDDY DEFRANCO start with Louis Prima, toured with and , by andrey henkin recorded with , Pee Wee Russell, Chuck Wayne and Bill Watrous and taught for a quarter-century at Northwest College in Wyoming. Bedford died Dec. 20th at 83. o s AL BELLETTO (Jan. 3rd, 1928— Dec. 26th, 2014) The saxophonist was a mainstay in his hometown of New Orleans, recorded for Capitol with his sextet in the ‘50s, worked with Woody Herman and was instrumental in founding the original New Orleans Jazz Fest. Belletto died Dec. 26th at 85. o g i a n / F r t R w P h t

a r PAUL FERRARA (Feb. 4th, 1938— Dec. 3rd, 2014) The drummer and 2009 inductee into the Louisiana Music Hall © J a c k V of Fame recorded with Al Hirt, Louis photo courtesy of the artist Buddy DeFranco, a clarinetist who got his start in Prima and Nelson Riddle and was a swing big bands but then moved into bebop and television mainstay in the bands of The beyond, working with Charlie Parker, , Ed Sullivan Show, The Dinah Shore Show Art Blakey, , and Ella Fitzgerald, died Dec. and The Tonight Show with Johnny Carson. Ferrara died 24th at age 91 after a period of ill health. Dec. 3rd at 76. dianne DeFranco was born Boniface Ferdinand Leonard reeves DeFranco Feb. 17th, 1923 in Camden, NJ. He began JIM GALLOWAY (Jul. 28th, 1936— playing the clarinet professionally at age 12 to help Dec. 30th, 2014) The Scottish dianne reeves support his family. His early inspirations were Johnny saxophonist moved to in 1965 Mince, who played with Tommy Dorsey, and Benny and became one of that Canadian city’s feb 13–14 • 8pm Goodman, who solidified DeFranco’s choice to play most beloved jazz players, touring his Vocalist Dianne Reeves returns for jazz. At 14, he won a nationally radio-broadcast Tommy Wee Big Band for decades, recording as Valentine’s Day. Join us for a special pre- Dorsey Swing Contest and, seven years later, after a leader for local label Sackville and concert Valentine’s Day dinner (2/14 only). stints with the bands of drummer Gene Krupa and being a part of the bands of pianist Jay McShann. saxophonist Charlie Barnet, joined the Dorsey band as Galloway died Dec. 30th at 78. a featured soloist. In an interview given to Andy Vélez sherman irby’s journey in 2006 for this gazette, DeFranco recalled that, “Dorsey BERND KÖPPEN (Sep. 4th, 1951— was very stormy, frightening at times... Having said Dec. 9th, 2014) The German pianist was through swing that, he was also a very generous and caring person. a part of the European free scene based feb 20 • 7pm | feb 21 • 9:30pm He paid the highest salaries in the business.” Dorsey in Wuppertal around Peters Brötzmann was dismissive when DeFranco, on the recommendation and Kowald, recorded alongside Theo Sherman Irby and friends explore the of Charlie Shavers, got into the nascent bebop of Jörgensmann and Kent Carter and had a music of , Charlie Parker, Charlie Parker. “My head was spinning and I couldn’t series of solo albums on his own SENTI Chet Baker, , and more sleep for two nights,” DeFranco recalled. “I was trying Records. Köppen died Dec. 9th at 63. to figure out in my mind what in the world this guy was doing...So I started to study Charlie Parker and MIMI LORENZINI (Sep. 24th, 1949— elio villafranca’s music then I finally got to play with him a lot.” Dec. 12th, 2014) The French guitarist After the end of the Big Band era, DeFranco went was part of his country’s fusion and of the caribbean on to work with Count Basie, Billie Holiday, led his progressive rock scenes, releasing feb 20 • 9:30pm | feb 21 • 7pm own band that included drummer Art Blakey and several albums under his own name Elio Villafranca, Jon Faddis, Leyla McCalla, co-led a quartet from 1960-64 with accordion player and recording in the bands of Barney Tommy Gumina. But DeFranco had already been Wilen, François Tusques and Didier and the Jass Syncopators tour the music of recording as a leader for two decades, releasing what Malherbe. Lorenzini died Dec. 12th at 65. the Caribbean would eventually be well over 50 albums as a leader or co-leader on labels like Capitol, MGM, Norgran, Verve, PAT MATSHIKIZA (Nov. 20th, 1938— Clef, Dot, Mercury, Pablo and Concord. His last Dec. 29th, 2014) The South African new orleans songbook albums, 2003’s Cookin’ The Books and 2006’s Charlie Cat pianist never achieved the level of feb 20–21 • 8pm 2, were both released by Arbors. Some of his partners international acclaim as his countrymen Cyrille Aimée, Milton Suggs, Aaron Diehl, were pianists and Art Tatum (“like and women who left during Apartheid and The New Orleans Jazz Orchestra with chasing a train and never catching it”) and, in the ‘80s, but he did have a long career, including DeFranco began a long collaboration with vibraphonist the classic 1975 album Tshona featuring Irvin Mayfield Terry Gibbs, his old friend from their days as part of saxophonist Kippie Moeketsi. Matshikiza died Dec. Les Brown And His Band Of Renown. They released 29th at 76. albums like Jazz Party - First Time Together (Palo Alto, jazz across the americas 1981), Now’s The Time (Tall Tree, 1984) and Chicago Fire CHRIS WHITE (Jul. 6th, 1936— feb 27–28 • 8pm (Contemporary, 1987). Dec. 2nd, 2014) The bassist got his first Jazz at Lincoln Center Orchestra with In 2002, Parkside Publications released A Life in the major gig while still a teenager with Golden Age of Jazz: A Biography of Buddy DeFranco, Cecil Taylor, then moved on to Nina written by Fabrice Zammarchi and Sylvie Mas. Simone, followed by four years with jazz at lincoln center DeFranco was named a National Endowment for the Dizzy Gillespie and then membership Venue Frederick P. Rose Hall Arts Jazz Master in 2006 and has inspired generations in Billy Taylor’s trio, concurrent with a Box Office Broadway at 60th of clarinetists. Said veteran clarinetist Eddie Daniels to long career as an educator at in CenterCharge 212-721-6500 Andy Vélez, “He crossed the line from swing to a more New Jersey and Jazzmobile in New York, most recently Lead Corporate Supporter of Jazz Across the Americas jazz.org linear approach to the clarinet that nobody else was recording with bandleader Lou Caputo. White died doing. And not too many since.” Dec. 2nd at 78.

12 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD NEW RELEASES INCLUDE

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notes so semantics are available as a companion to Harris contributes some fine, nicely varied Gottlieb’s sentiments. originals as well, like the Ahmad Jamal-influenced The band is a good one and greatly benefits from “Miami” and Nat Cole-esque “A Little Bit Scared”. He the presence of pianist Anat Fort, whose mastery of also sounds remarkably like Cole on a hip reading of time and precise touch equal Gottlieb’s, making for a Kenny Rankin’s “Haven’t We Met”. Harris is perhaps perfect give and take. They combine with bassist Ora on his firmest ground on an irresistibly swinging Boazson-Horev’s dark arco lines on the poignant version of Eddie Jefferson’s “I Got the Blues”, his “Clarity” (from Israeli poet Shimon Adaf) to produce vocalese rendition of “Lester Leaps In”. All together, it an elegant musical statement. The set easily transcends makes for a diverse, warmhearted, deeply reflective

Introducing the language barrier for non-Hebrew speaking listeners musical journey with one of the most dynamic singers Katie Thiroux (BassKat) across the large spectrum of emotions Gottlieb portrays in jazz today. by Donald Elfman so well. Of course, Gottlieb’s eroticism is still present and she chronicles love-making during watermelon For more information, visit allanharris.com. Harris is at Katie Thiroux already has an impressive resumé, selection “At the Supermarket” and sensuously, with Dizzy’s Club Feb. 9th. See Calendar. learning her instrument, the bass, by age eight, winning Israeli pop star Alon Oleartchik, croons “A Love Song awards and studying and playing with such giants as with a Ceiling Fan”—“the screw remembers the tongue John Clayton, Greg Osby and Branford Marsalis. In her of the screwdriver twirling its lips”. DARYL SHERMAN DYNAMIC DUOS debut as a leader, Thiroux is an assured and relaxed Drummer Dani Benedict, guitarist Udi Horev, February 11 - Midday Jazz at St Peter’s vocalist, excellent bassist and talented composer. And percussionist Gilad Dobrecky and violinist/oud player with ART BARON, trombone www.saintpeters.org she had the good sense and fortune to have Jeff Ihab Nimer provide a Middle Eastern essence and make Hamilton as producer and a working band that both for a jamming band when given the opportunity. Such February 27 & 28 - Knickerbocker bar & grill complements her and shines on its own. is the case on portions of “An hour of Grace” and the with warren vache, Immediately impressive is Thiroux’ take on exciting finale to the aching sorrow of “Slowly, www.knickerbockerbarandgrill.com standards. “Wives and Lovers” becomes a smart and Distance”. These moments are too few in number, Daryl’s light different tune, with its clever pop syncopation replaced however, and the session would have benefited from expressive by a more confident and sassy swing. Thiroux more time for the band to stretch out. Closer “From One voice along with rhythmic demonstrates her beautifully propulsive ease as a Sky to Another, Dreamers Pass”, from Palestinian poet swinging piano bassist and her vocal highlights the intelligence of the Mahmoud Darwish, features the entire band plus a make a perfect lyrics and draws just enough attention to itself. Her chorus and best captures the message of the album. It foil for these solo take on “Oh, What a Beautiful Morning” is a uses a butterfly’s freedom as an anthemic appeal for distinguished Ellington brilliant illustration of her instrumental prowess in a peace. alumni. playful yet sincere take on the classic tune. Every version of a chestnut from jazz and pop gives us a new For more information, visit ayeletrose.com. Gottlieb is at way of hearing music we thought we knew. Dig the Pomegranate Gallery Feb. 7th. See Calendar. lyrics and groove on “Shiny Stockings”; Roger

Neumann (tenor saxophone) and Graham Dechter darylsherman.com (guitar) wail pointed and happy solos, buoyed by the pulse of the leader and tasty drums of Matt Witek. The originals are tributes to mentors and influences: “Ray’s Kicks” is a loving nod to late bassist Ray Brown The Story of a with Dechter, Witek and Thiroux in complete, bluesy collaboration; “Rosebird” manages to frame the Vocal Jazz Legend contributions of (“Rosetta”) and Charlie Parker (“Yardbird Suite”) in bebop and like the best of “It’s about time that somebody wrote a book about Sheila Jordan... people need to hear something real that music, gives us something new over old changes; Black Bar Jukebox that’s going to make a difference in their life. and, most beautifully, the band quietly smokes “Why Allan Harris (Love Prod./Must Have Jazz) This is a message that the world needs.” Can’t We Pretend” in an Ellington mode. by Joel Roberts , NEA Jazz Master Thiroux has introduced listeners to her world, one of superlative music-making. Brooklyn-born, Harlem-based vocalist Allan Harris, a fixture on the New York scene for many years, is blessed For more information, visit katiethiroux.com. Thiroux is at with a warm, husky bari-tenor reminiscent of such Jazz at Kitano Feb. 5th. See Calendar. mid-20th century greats as Billy Eckstine and . But he’s never been content simply to revisit and

mimic the Golden Era of jazz singing those legends represent. His past projects have included an R&B- infused collection of original compositions and a concept album about African-American cowboys, along with tributes to Cole, Tony Bennett and Ellington scribe Billy Strayhorn. His latest release looks a little closer to home for its inspiration, drawing on the eclectic mix of rock, soul, Latin, country and jazz that Harris heard emanating from African-American bars, barber shops, restaurants Roadsides and nightclubs during his formative years in New York Ayelet Rose Gottlieb-Levavi (Arogole Music) by Elliott Simon in the ‘70s. Harris, who also plays acoustic guitar, is joined on the 13 selections by his first-rate working trio Vocalist Ayelet Rose Gottlieb’s Mayim Rabim (Tzadik, of Pascal Le Boeuf (piano and keyboards), Leon Boykins 2006) showcased the singer’s passionate and frankly (bass) and Jake Goldbas (drums), with guests Yotam erotic jazz style. She possesses a rich earthy voice that Silberstein (guitar) and Samuel Torres (percussion). would turn the recitation of a grocery list into a sexy While some overly familiar numbers like “My experience. With Roadsides, Gottlieb goes beyond her Funny Valentine” and “You Make Me Feel So Young” previous efforts in addressing Palestinian/Israeli are included—and given solid, if unsurprising relations. She calls for a realization by both parties that treatments—this is by no means a set of reheated Jazz Child: A Portrait of Sheila Jordan their respective poetry, music and musicians are more standards. Harris tackles some notably unexpected fare By Ellen Johnson alike than dissimilar. Gottlieb is herself from Israel and too, like Elton John’s “Take Me to the Pilot”, which gets Rowman & Littlefield Publishing Roadsides is sung entirely in Hebrew; the lyrics for each a rousing, organ-fueled funk-jazz treatment, and pop Available at Amazon and more track, however, are poems by both Israelis and singer John Mayer’s affectionate “Daughters”, spiced JazzChildTheBook.com Palestinians. Portions are translated into English in the up with a hearty dash of countrified soul.

14 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

Ewald Oberleitner (bass) and Dusan Novakov (drums). stirring reading of Bill Withers’ “Grandma’s Hands”, These musicians show themselves to be quite flexible, passionately voiced over vamping bass and rhythmic helping Murphy provide a far-reaching album with its earth drum. Payne and Brown (on piano) are heard in share of surprises, and two of them, Miklin and Pauer, Coltrane/Tyner-like tandem on the beautiful “Inner assist with the writing. Heart”, then pair horns, harmonizing obbligati to Murphy has often used standards to demonstrate Trible’s vocalizing on “Body And Soul” and conversing formidable skills as an interpreter of both melodies boldly over hand drums on “Our Journey”. A live and lyrics. But the only songs here Murphy didn’t recording of El’Zabar and Trible’s “Up Your Mind”, the write or co-write are James Shelton’s “Lilac Wine” and latter preaching raucously, ring shout style, over the

Into Your Own the Ralph Raigner- standard “If I Should former’s earth drum and band hand claps prior to the Bria Skonberg (Random Act) Lose You”, which is typically performed as a slow, solemn chant “Why don’cha check out your mind/Bin by George Kanzler introspective ballad but becomes a funky, midtempo wi’cha all the time”, closes the multifaceted date. postbop workout in Murphy’s hands. Murphy has First emerging on the trad jazz circuit a decade ago as a been thriving in this format since the ‘60s, when he For more information, visit delmark.com ‘hot’ trumpeter in the Louis Armstrong orbit, Bria moved away from the crooner-ish leanings of his ‘50s Skonberg has been venturing beyond that atavistic recordings, and this approach is on offer for the scene to embrace a more eclectic jazz and, in her singing, contemplative “Dawn” and energetic “Next Page (both UNEARTHED GEM even pop persona. Since moving to the Big Apple from written with Miklin) as well as the dusky “Empty her native Canada she’s been a member of Nicholas Song” (written with Pauer). Murphy’s bluesy Payton’s Big Band and last spring enlisted Tia Fuller, a interpretation of “Lilac Wine” has strong soul-jazz soul-jazz saxophonist, for gigs with her band. She steps leanings and a touch of R&B and he makes a surprising into her own on this presciently titled album, where her move into avant garde territory on the abstract trumpet often takes a backseat to her singing and 9 of “Hodnik” (credited to Murphy, Miklin and Pauer) and the 12 tracks are wholly or partly her own compositions. his 10-minute “Humanity, Ltd”; on the latter, the singer Overdubbed voices intone the title phrase of the combines free-form abstraction with spoken word, opening track, “Come Into Your Own”, before Skonberg recalling his earlier Beat poetry forays. emerges over a bouncy tropical groove to sing the While Shadows falls short of essential, Murphy’s refrain, punctuated by the intoned voices, with tenor hardcore followers will appreciate the disc’s saxophone (Adrian Cunningham) and trumpet solos adventurous, unpredictable nature. Don’t Blame Me Inge Brandenburg (Sonorama) before a calypso jam fadeout. She employs a similar by Clifford Allen strategy—world music rhythms, vocals with For more information, visit tcb.ch overdubbed choruses, brief jazz solos—on four more German vocalist Inge Brandenburg (1929-99) may of her originals, each one with a distinctive, winning not be a household name, either in the States or in pop-jazz melody. Her singing conjures shades of fellow her native Germany, but her obscurity belies a figure Canadian , as well as Norah Jones and early whose dynamic, swinging delivery was well Carole King. But on another original, “Let’s Go All In”, regarded in Europe at the start of the heady ‘60s. her sultry delivery suggests Peggy Lee, as does the After performing at the Antibes Jazz Festival in 1960, “Fever”-like arrangement with its sexy tenor saxophone she was named the top European singer and recorded obbligati, all topped off with a muted trumpet solo a series of orchestral pop-jazz singles for Decca. with wah-wah accents. There’s also wah-wah on Jelly Brandenburg only recorded one full-length LP in her Roll Morton’s “Winin’ Boy Blues”, this time from a lifetime (she retired from music at the outset of the fuzz box connected to her horn. ‘70s), a progressive set for CBS that featured the first Follow the Sun Skonberg revels in mashing up trad with other appearance of vibraphonist/reedplayer Gunter Kahil El’Zabar Ritual Trio (Delmark) styles, kicking up the New Orleans Second Line with a by Russ Musto Hampel’s multinational quartet. It’s Alright with Me Bo Diddley beat on “Go Tell It” and mixing Crescent featured creative ensemble interpretations of a range City with New York pop on “Six More Weeks”. Her Now in its 30th year, Kahil El’Zabar’s Ritual Trio has of standards; recently reissued by Sonorama, it sank most exhilarating mashup is a mixed-up medley of gone through numerous incarnations, with the passing upon original release in 1965. Stevie Wonder’s “Sir Duke” and the old standard of two of its founding members (trumpeter Lester Don’t Blame Me features only two previously “Three Little Words”, bringing her trumpet and voice Bowie and bassist Malachi Favors) and an ongoing cast released tracks, one from Brandenburg’s clutch of to bear on the latter and some scat singing to the of guest artists augmenting the ensemble. Here the EPs, “There’ll Never Be Another You”, and a take of former. “Break My Fall”, a song co-written with pianist drummer’s group features 20-plus-year constituent “Pennies from Heaven” with vibraphonist Adie Michael Wolff, is most reminiscent of Carole King and saxophonist/pianist Ari Brown and newcomer bassist Feuerstein that first appeared on a 1991 Bear Family catchy enough to be a pop hit à la Norah Jones. Junius Paul, along with guests: veteran Chicago tenor compilation, Why Don’t You Take All of Me. The rest of saxophonist Duke Payne and vocalist Dwight Trible. the 12 selections are otherwise unreleased and either For more information, visit randomactrecords.com. The disc begins with the leader’s title composition, feature Brandenburg with a large radio orchestra or a Skonberg is at Tribeca Performing Arts Center Feb. 19th as featuring Trible’s commanding baritone and Payne’s series of excellent small groups. From the opening part of Highlights in Jazz. See Calendar. gritty tenor out front, recalling the sounds of ‘60s cut, a 1958 recording with pianist Rolf Lüttgens’ trio, and Pharoah Sanders with Joe Lee Wilson flying along at a Bud Powell-like pace, Brandenburg’s

and Leon Thomas. Paul’s opening ostinato shows him chops are well in evidence on a technical level—her to be a worthy successor to Favors while Brown’s timing is impeccable. But timing isn’t the only thing melodious comping reveals as accomplished a pianist that catapults a vocalist into the realm of an artist; (his first instrument) as a saxophonist, Brandenburg vaults and elides through “Lover Come propulsive trap drums directing the trio through time Back To Me”, knotty cadences shifting into comely and tempo changes. Brown joins Payne on the frontline coos as the RIAS Tanzorchester brashly clips for a tour de force “Softly As In A Morning’s Sunrise”, alongside. She’s a natural scat singer who could be the swinging two-tenor arrangement reminiscent of compared to , albeit with a huskier, drier the Art Ensemble’s “Dreaming Of The Master”. alto. Brandenburg is equally adept fronting an

El’Zabar’s “Great Black Music” opens ethereally orchestra and working her way into a small-group Shadows Mark Murphy (TCB) with the composer’s kalimba and Brown’s piano context, neither getting lost nor overpowering—of by Alex Henderson evoking a Middle Eastern mood prior to the collective course, it doesn’t hurt that she’s working with top- chanting of the AACM mantra from which the piece notch studio bands and her joyous flights on a tune There have been many worthwhile jazz recordings takes its title. Payne’s bagpipes, reflecting the like “That Old Black Magic” are imbued with after- that, for whatever reason, went unreleased for a long instrument’s African origin, further enhances the hours experimentation. While Brandenburg may time. Mark Murphy’s Shadows is one such recording. Eastern-tinged sound, over which Trible deeply intones have seen few of the fruits of her work, it’s not too Waxed in June 1996 (when the veteran singer, now 82, dictums to open up your mind and soul. The singer’s late to celebrate her astounding voice. was 64) during a visit to Maribor, Slovenia, Murphy authoritative voice is further featured on his original joins forces with a talented European cast of Karlheinz lyrics to Wayne Shorter’s “Footprints” (with Payne’s For more information, visit sonorama.de Miklin (saxophones and flute), (piano), brooding tenor and Brown’s lyrical piano) and a

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 15

and places. Swiss-born Kaestli has become a fixture in GLOBE UNITY:HUNGARY the jazz world and has recorded his share of jazz and standard tunes, but he’s really something more. The leader and arranger Ben Stivers mix what might best be called popular folk, dance and ballad songs, often on the same tune. The opening track, “En Bord de Mer/Lugar Comum”, finds the leader applying a French lyric to a rearranged samba from Brazil (by João Donato). Over a repeated sing-song like riff and Vanga Grzegorz Karnas Trio (feat. Miklós Lukács) (BMC Records) : backed by graceful and soft accordion (Will JÜ Meets Møster Live at Carnegie Hall (July 5, 1973) Holshouser), drums (Fred Kennedy), bass (Matt JÜ (RareNoise) Ella Fitzgerald (Columbia-Legacy) Wigton) and guitar (Jesse Lewis), Kaestli enters and Você e Eu by Andrew Vélez takes the listener to a quiet place by the sea. He sings Rozina Pátkai (s/r) in Portuguese and French and his simple voice is so by Tom Greenland This collection is an ultra-high quality jazz cornucopia. flexible that he can take acrobatic vocal leaps and make Hungary has produced notable classical musicians By recreating drummer Chick Webb’s band for these them seem organic and natural. and composers such as Béla Bartók and Franz Liszt, 1973 Newport Jazz Festival at Carnegie Hall sets, jazz The version of the old Charles Trenet hit “La Mer” but also boasts a lively jazz scene, chiefly in Budapest, history came back to life. Shortly after she won first is so gentle it’s as if the sea is rocking us to sleep. where there are a dozen active clubs. Three recent place in the Harlem Opera House’s amateur contest in Accordion, guitar and bowed bass provide an releases give a taste of the country’s talented artists. 1935, Ella Fitzgerald came to the attention of Webb and unobtrusive but perfect aural blanket. It’s from Trenet’s On Vanga, Polish vocalist Gregorz Karnas is soon became his orchestra’s centerpiece. The band’s treasure trove that we also get “I Wish You Love” with joined by his countrymen, bassist Michal Jaros and residence at Harlem’s Savoy Ballroom and their radio its 1942 French lyrics. A delightful surprise comes in drummer Sebastian Frankiewicz, along with transmissions soon took her fame far beyond New the form of a children’s song; this syncopated version Hungarian cimbalom (a hammered dulcimer York. A Decca recording contract followed and of “Frère Jacques” swings to a tempo that seems to indigenous to both countries) phenomenon Miklós “A-Tisket A Tasket”, a 1938 novelty hit, one she relished reinvite the family singing in which Kaestli and many Lukács, for a live date at Budapest’s Opus Jazz Club. playing with again more than once on this set. of us used to engage. Light, tasteful scatting introduces “Heal Me Out” sets the tone for the concert. Singing Although she is unquestionably the “first lady of a French language version of “‘Round Midnight” in English with a thick Polish accent, Karnas song” on these sets, there are standout contributions (“Autour de Minuit”), Kaestli and Wigton finding employs a double echo effect that bounces each sung from the band under the direction of Eddie Barefield, renewed ballad emotion. phrase right and left, like a delayed chorus, punched an original Webb player. The take on “Stompin’ At The There’s much more—the most famous Edith Piaf up by the rock-punk energy of the rhythm section. Savoy”, driven by the searing heat of George Matthews’ song, a Swiss folk song, a beautiful original by the Karnas’ scat chops come to the fore on the seven- trumpet, is an instantaneous and totally hot leader and “Besame Mucho” in Spanish and French! beat “Sinusoid”, where his amazing solo recalls a bit encapsulation of Swing Era joy. Collage is a thoroughly engaging experience. of Bobby McFerrin, a bit of Milton Nascimento. “Fin It is a must to acknowledge the presence of “the d’Été”, a habanera, mixes a South American vibe Jazz Carnegie All Stars”, whose amazing roster For more information, visit unitrecords.com. Kaestli is at with Eastern European Roma style when Lukács included Roy Eldridge, , Eddie “Lockjaw” Zinc Bar Feb. 23rd. See Calendar. solos in an idiomatic minor scale with raised fourth Davis, Joe Pass, Keeter Betts, Freddie Waits and Tommy and seventh degrees. Elsewhere, the combination of Flanagan—talk about when musical giants walked the AfroCuban, swing-blues, Hungarian folksong and earth. A brief intro by Flanagan’s ever elegant and free-scat makes this music difficult to pigeonhole. swinging piano on “Somebody Loves Me” quickly JÜ, a Budapest-based trio made up of guitarist leads into a pairing with Davis’ tenor saxophone and Ádám Mészarós, bassist Ernő Hock and drummer the fun is on. Grey takes a trombone solo with Flanagan András Halmos, collaborates with Norwegian solidly backing him up. All join in and, as attested to reedplayer Kjetil Møster in a collision of free improv by the audience’s cheers, you wish it could go on with Hendrix-sonian psychedelia. “Dear Johann” forever. starts with a plodding prog-rock pulse and noodling Fitzgerald returns for a trio of gems with pianist tenor saxophone, but builds to a no-holds-barred , celebrating their superb 1954 set of group riff. “Bhajan”, like the Hindi performance Gershwin duets. Her still-creamy vocalizing and the tradition it references, contains a slowly accelerating knowing simplicity of his accompaniment make their cyclic melody, climaxing with a three-way ten-beat “I’ve Got a Crush on You” simply sublime. Disc 2 is riff. “Morze (For Agoston Béla)” opens in a free almost exclusively Fitzgerald with the Tommy modal space, with whammied guitar harmonics and Flanagan Quartet and pretty much a capsule of her echoing tenor lines and features a fine solo by repertoire at the time. There are Cole Porter gems and Møster. The final track, “One”, is a pastiche of low- her peerless, wordless, breakneck delivery of “Lemon range electronic washes and funereal riffs that bogs Drop”. She even manages to make something down midway, only to erupt in a flame of distortion. worthwhile out of “People”, a sappy hit of the time. Like Vanga, JÜ Meets Møster is a multicultural Her rendition of “These Foolish Things Remind collaboration that (thankfully) defies categorization. Me of You” is something else. Accentuated by Herb Italian-Hungarian vocalist Rozina Pátkai has Ellis’ sympathetic guitar, it’s yet another supreme developed an empathetic and inspired approach to moment in the extreme. Viva Ella! Viva these greats! the classic Brazilian bossa nova sound. Você e Eu is her retrospective offering of compositions by For more information, visit legacyrecordings.com Brazilian composers Antonio Carlos Jobim (half of

the ten tracks), Carlos Lyra, Ary Barroso and Roberto Menescal, along with covers of the Gershwins’ “The Man I Love” (with Portuguese lyrics) and Charlie Chaplin’s “Smile”. Backed by a quartet with trumpet/flugelhornist Balázs Pecze, guitarist Mátyás Tóth, bassist Márton Soós and drummer/ percussionist Balázs Cseh, Pátkai instills this repertoire with a sense of immediacy rendered through sensitive, no-frills readings of the melodies, colored by her scratchy and/or breathy (but never Collage histrionic) vocal inflections. Beat Kaestli (Unit) by Donald Elfman For more information, visit bmcrecords.hu, .com and rozinapatkai.com Beat Kaestli effortlessly and with minimum accompaniment blends songs from a number of styles

16 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

“Softly As In A Morning Sunrise”. Armstrong, Fats Waller and to the Her interpretive brio doesn’t end there, as she also satirical . Orphéon Célesta have their brings a reharmonized melody, muted trumpet (Corey Francophile influences as well, including cabaret Wilkes) and extended vocalese-like coda to “Nature singer Maurice Chevalier. When they aren’t offering Boy”, practically reinventing it. She also gives cabaret wordless scat vocals, Orphéon Célesta sing in French divas a run for their money with a nuanced “Guess (or occasionally English). Who I Saw Today”, barely sublimating rage with a The quartet consists of leader Emmanuel Hussenot sophisticated voice and piano delivery. Pulsing bass (alto saxophone, flute, trumpet, kazoo and vocals), and staccato guitar frame an intimate paring down of Christian Ponard (banjo, acoustic guitar, cornet, kazoo

Songs My Mother Loves ’s hit “What A Difference A Day and vocals), Patrick Perrin (tuba, kazoo and vocals) Dee Alexander (Blujazz) Makes” while “Soul Serenade” becomes a paean to ‘70s and Romain Ponard (drums, washboard, percussion by George Kanzler soul. But what secures Alexander’s credentials as a and vocals). The combinations of instruments vary, classic jazz singer are two versions of “Perdido”. helping to make the CD delightfully unpredictable. The inspirational lyrics of the late Oscar Brown, Jr. Midway through the album she essays it in a tropical Some of Orphéon Célesta’s groove-oriented songs often took a backseat to his more risqué material, like version arranged by pianist Miguel de la Cerna and draw on post ‘40s influences. “Chat Bada”, for example, “Ladies’ Man”, but Dee Alexander brings a hip closing is the “bonus alternate take”, a straightahead, incorporates the vocal group harmonies of ‘50s doo- awareness to his “(As) Long As You’re Living”— highly swinging version worthy of an Ella or Sarah. wop while “L’Asile” combines French lyrics with a sample lyric: “the truth will make you free/and that’s Brazilian bossa nova beat. But most of Cuisine au Jazz’ the way it ought to be/because brother, this is your For more information, visit blujazz.com inspiration comes from the ‘30s-40s. “Flic Flac Faut life”—the winning opening track of this album by a d’l’Eau” is mindful of Slim & Slam’s 1938 hit “Flat Foot singer who deserves wider recognition. Alexander is Floogie” and “Flic Stompers” recalls Calloway’s easily on par with our best jazz vocalists, both Depression-era hits. “Pocket Basie” is a quirky, small- newcomers and veterans. group tribute to big band leader Count Basie. Alexander features her skills as an interpreter of Orphéon Célesta parody France’s chanson genre the jazz/standards repertoire on Songs My Mother on “Les Fleurs Sont Moches” and “Sleepy Crooner”, Loves, although she seems to have introduced her which sounds like an oddball combination of Spike parent to some recorded by a personal favorite, Abbey Jones, French pop and the Peter DeRose-Mitchell Lincoln: “Lonesome Lover”, as well as that Oscar Parish standard “Deep Purple”. “La Chorale des Brown track. Alexander shares certain attributes with Oiseaux” gives Jones’ ‘40s recordings a run for their another jazz “Dee”, Dee Dee Bridgewater, including a money in the goofiness department, with the band Cuisine au Jazz bright, limpid tone, admirably wide range and Orphéon Célesta (Fremeaux & Associes) emulating the sounds of various fowl. And they aren’t malleable timbre, as well as an adventurous spirit by Alex Henderson any less eccentric on “Marche Turque” or “Une willing to try anything. This includes an ethereal, Chanson Douce”. But for all its madcappery, Cuisine au vowel-cooing coda on “Lonesome Lover”; bongos- Orphéon Célesta is a French quartet with a consistently Jazz is quite accessible. driven recasting of Billie Holiday’s “Now Or Never” as humorous take on swing, drawing on direct or indirect cool erotica; and funky Latin deconstruction of influences ranging from Slim & Slam, Louis For more information, visit fremeaux.com

DUCHESS CD Release MY DANCE is a collection of Judi Silvano’s original songs March 3, 2015 with veteran pianist Michael Abene. These are collaborative The Jazz Standard - 116 E. 27th Street arrangements between two creative improvisers at the top of Call 212.576.2232 for reservations their game. Some tunes have lyrics while others leave the DUCHESS is: Amy Cervini, Hilary Gardner and Melissa Stylianou story to the listener’s imagination. “They understand that swinging music goes hand in hand with an audacious sense of humor.” - Will Friedwald, The Wall Street Journal Available at: Anzicstore.com, Amazon, iTunes

CD Release Show Thursday, February 26th Jazz At Kitano - New York 66 Park Ave. at East 38th Street For reservations call: (212) 885-7119 Shows at 8 pm and 10 pm kitano.com $15 cover, $15 minimum drink and food per person, per set www.duchesstrio.com judisilvano.com

18 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD IN PRINT

Is that All There Is: The Strange Life of Peggy Lee James Gavin (Atria) by Kurt Gottschalk

Peggy Lee didn’t write the song “Is That All There Is?” and she wasn’t the first to record it. But she did possess it more than anyone else had and—as with Lee’s idol Billie Holiday and her signature song “Strange Fruit”—claimed to have written, or substantially rewritten, it at points in her life. Having watched her home burn down as a child, much like the first subject of Jerry Leiber-Mike Stoller’s dark classic, no doubt made it easier for her to believe the songs was hers and hers alone. Lee wasn’t the first choice to record the song; it had been offered to another of Lee’s heroines, Marlene Dietrich, who turned it down before others picked it up. But the team most famous for the hits they wrote for Elvis Presley wasn’t keen to sit down again with the legendarily difficult Miss Peggy Lee. Lee was 49 when she recorded the song and was plagued by fears that she was over the hill, compounded by a lifetime of health complications both real and imagined. The song was slow to catch on but eventually revived a career that never quite seemed to die—as long as she had her iron lung nearby. It came about midpoint in her long performing career, making it a sort of apex for her and a fitting title for James Gavin’s extensive biography of the troubled, passionate singer. Lee was born Norma Deloris Egstrom in Jamestown, North Dakota, on May 26th, 1920. She would carry her childhood—a distant and alcoholic father; a mother who died when she was four; a (by her account) cruel and demanding stepmother; and a desire to get out of her little railroad town and live the life she saw in the movies—throughout her life. Lee made her first stab at L.A. nightclubs when she was 17 and started to find her style, commanding attention by singing softly and moving only slightly, as a result of severe stage fright. Once she learned to harness that power, bolstered by a succession of broken dreams and broken marriages, she could captivate a room. Gavin tells the story of a woman so in need of adoration that, even as she dreamed of the perfect man and the perfect marriage, her heart could only be filled by an adoring audience and then only for an hour or two. At 500+ pages, he provides an exhaustive account, one perhaps a bit more concerned with financial and romantic affairs than the making of the music. And if he comes off as rather cruel in judging her appearance in her later years (she died Jan. 21, 2002 at 81), no doubt audiences were as well. Still, it’s a welcome reminder of what a powerhouse Lee was: a champion of black singers, from Holiday to Ray Charles; a songwriter, poet and painter; a singer with strong musical ideas despite a lack of formal education; and a fiercely independent woman who didn’t need a man to survive—as much as she longed her whole life for the right one to come along.

For more information, visit imprints.simonandschuster. biz/atria

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 19 interlocking lines over Lillinger’s lightly etched Tal Farlow/ suppleness than head- percussion. banging rocker strategies. One of the session’s Another current concern, the Lisbon Trio, highlights occurs on “Scratch Ankle”, where a thrilling however, finds Lillinger in uncompromising form. On exchange between Kulik’s drooling, gutbucket smears their sophomore album The Line, the threesome and Irabagon’s slippery nasality is framed by controlled gravitate towards the power trio default setting for melodic lines. Grünen: Pith & Twig much of the 39-minute live program. Lillinger lays Big Five Chord’s music allows you to think while Achim Kaufmann/Robert Landfermann/ down a churning barrage in the company of Portuguese having a raucous good time. One further clue to the Christian Lillinger (Clean Feed) guitarist Luis Lopes’ slashing distortions and bassist complexity of this guitarist-led septet is its name: two E & U Mann Robert Landfermann’s subterranean growl. “Vertigo” more chords than the apocryphal rock guitarist is Daniel Erdmann/Gebhard Ullmann/Johannes Fink/ gives a flavor—Lopes lays down a twisted metal riff supposed to be capable of playing. Christian Lillinger (Wismart) over busy bass and drums, spinning out variations that The Line merge into a barely differentiated wall of noise. But the For more information, visit hotcuprecords.com. This band is Luis Lopes Lisbon Berlin Trio (Clean Feed) by John Sharpe band does have something to say when they eschew at Cornelia Street Café Feb. 4th. See Calendar. the heavy industry. The most captivating sections come You know just from looking that youthful Berlin either in the build-up or wind-down. On the drummer Christian Lillinger, who defiantly sports a introductory “Dark Suite (Prologue)” Landfermann rockabilly quaff, will not be towing the line. One of conjures a menacing arco drone in tandem with Germany’s most energetic and in-demand players, he Lillinger’s mysterious rustling and Lopes’ chiming revels in non-stop interaction. It’s not a surprise to guitar, which nonetheless creates a lovely mood. discover that one of his most productive outlets is the Similarly, on the loose-limbed “Dark Suite (Epilogue)”, collective trio Hyperactive Kid. Ironic or not, the Landfermann’s keening high register takes on an moniker suggests something of the impact that attractive vocalized expressiveness while Lillinger Lillinger can bring to bear. But of course that stereotype explores timbre and color with a litany of crackles and doesn’t render a fully rounded portrait and on the rattles. Such episodes suggest there may be lots more discs here, Lillinger rarely conforms to expectations. fertile ground for the trio to probe in the future once Pith & Twig is the second disc by cooperative piano they get the catharsis out of the way. trio Grünen. Alongside Lillinger the outfit comprises compatriots pianist Achim Kaufmann and frequent For more information, visit cleanfeed-records.com and collaborator bassist Robert Landfermann, who operate wismart.de. Lillinger is at Downtown Music Gallery Dec. firmly in the tradition of fully participative egalitarian 1st. See Calendar. piano combos. The program mixes compositions by

Kaufmann with group improvisations, though the separation between them can be slight; the same nervy feel permeates both. In large part that’s down to Lillinger’s fractured sense of time and pulses of sound, in which he is abetted by Landfermann’s offkilter counterpoint. Even the written elements of Kaufmann’s • Ernestine Anderson—Swings the Penthouse charts are not straightforward. “Toquesenh” and R (HighNote) “Mazeem” both present a melodic line underpinned by • /Jordan McLean/Amir Ziv/ edgy start-stop rhythm, almost immediately subsumed e Adam Holzmann—New Vocabulary into gloriously skewed group interplay. “Mobiliar I - (System Dialing) Jeremiah Mooswerdung” provides the best example, as an intro c • Duchess—Eponymous (Anzic) Jon Lundbom and Big Five Chord (Hot Cup) • Bobby Kapp—Themes 4 Transmutation of swinging Morse code gradually deconstructs into by Ken Waxman first atmospheric then percussive improv. Kaufmann’s o (s/r) accumulating patterns assert architecture not always Fortunately Jon Lundbom is a guitarist. For if the leader m • —Bird Calls otherwise evident amid the clanking piano preparations, of Big Five Chord played a horn he might have trouble (ACT Music) • Joe McPhee—As Serious As Your Life rubbed strings and gamelan sonorities. Lillinger improvising with his tongue stuck firmly in check. The m (hatOLOGY) proceeds in irrepressible bursts of rhythm, tight rolls, now-Austin-based Lundbom, like his Hot Cup labelmate e • Andreas Schaerer Hildegard Lernt Fliegen— tappy eruptions and precise bish bash bong. He slips and Big Five Chord bassist Moppa Elliott, creates hard- Live in Goettingen (Enja/Yellowbird) easily into partnership with Landfermann, who wields swinging tunes with a sardonic edge. n • Günter Baby Sommer/Michel Godard/ his bow with abrasive physicality. Their oddly accented Chief sidekick in providing these sly sonic winks Patrick Bebelaar—Three Seasons (HGBS) phrases and stabbed interjections conspire to keep is saxophonist Bryan Murray, leader of the country/ d • Gebhard Ullmann Basement Research— listeners on the edge of their seats. jazz unit Bryan & the Haggards, of which the guitarist Hat And Shoes (Between The Lines) By contrast, the structures on E & U Mann are is also a member. Murray emphasizes the disruptive e • Nate Wooley/Ken Vandermark— more delineated, holding Lillinger on a tighter leash. qualities of his horns, with the timbres from tenor d East by Northwest (Pleasure of the Text/ It’s the first outing by a cross-generational German saxophone and balto! saxophone—an alto with a Audiographic) group uniting the titular saxophonists Daniel Erdmann baritone and plastic reed—snarling and Laurence Donohue-Greene, Managing Editor (Das Kapital) and Gebhard Ullmann (Basement stretching sandpaper-like tones as if he’s bar-walking n Research and his quartet with trombonist Steve Swell), in the funkiest roadhouse imaginable. Also in on the with bassist Johannes Fink. Writing duties are shared mordant japes for the Five Chord’s seventh CD are e • Lotte Anker/—Edge of the Light across the band, with the exception of Lillinger. But soprano saxophonist , trombonist Sam (Intakt) here his precision comes into its own, as he still plays a Kulik and Justin Wood (alto saxophone and flute). w • Ted Daniel’s Energy Module— key role in their realization, demarcating sections with Drummer Dan Monaghan and Elliott keep the beat Innerconnection (NoBusiness) cymbal trills and snare and rim rat-a-tat and weaving constantly shifting between shuffle and swing. • Jack DeJohnette—Made in Chicago (ECM) neat embellishments into the ongoing flow. On “New There’s style besides snark on show here, r • Andrew Drury—Content Provider York 5:50”, Lillinger’s jaunty beat keeps aloft a Lundbom’s arrangements providing the sophisticated (Soup and Sound) lugubrious woozy line for Ullmann’s bass clarinet and fillip to themes, which, on the surface, would appear to e • Abdullah Ibrahim—The Song Is My Story (Sunnyside) Erdmann’s tenor, before opening out for an arresting be little more than exercises in rock and raunch. The l • Jemeel Moondoc—The Zookeeper’s House sequence of humanized cries from Ullmann, recalling bluesy “Frog Eye”, for instance, at points resembles a (Relative Pitch) . Lillinger’s most exposed moments come Lounge Lizards out-take. But the tune’s construction is e • Møster!—Inner Earth (Hubro) on “U und L” in extemporized duet with Ullmann’s such that Lundbom’s supple fingering adds a sense of a • Evan Parker/Paul Dunmall/Tony Bianco— tenor, where his busy conversational style doesn’t architectural space to an edifice previously built from Extremes (Red Toucan) attempt to dominate, but only becomes increasingly cushioning textures of the vamping horn choir. Or take s • Paul Rogers/Robin Fincker/ garrulous as Ullmann too becomes more animated. Of the finale, recorded live “Screamer”; in spite of the Fabien Duscombs—Whahay (Babel) interest elsewhere the horns indulge in playful sparring free-for-all suggested by its title, most of the thematic e • Zanussi 5—Live in Coimbra (Clean Feed) on the two “Kleine Figuren” while Fink’s “Sterbende overlay is surprisingly melodic. Wood’s alto solo is Andrey Henkin, Editorial Director Nacht” posits a theme assembled from three lyrically moderate and the guitar fills relate more to s

20 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD NEW

The Stone / (M.O.D. Technologies) RELEASES The Dream Membrane David Chaim Smith/Bill Laswell/ (Tzadik) The Process Jon Batiste/Chad Smith/Bill Laswell (M.O.D. Technologies) by Mark Keresman & RAY RUSSELL Is there an American musician with his proverbial fingers in as many pies as Bill Laswell? The bassist has The Celestial Squid produced and collaborated with a dizzyingly diverse cast of performers, including Herbie Hancock, Sonny Sharrock, Bootsy Collins, Motörhead, and Fred Frith. M.O.D. Technologies is Laswell’s label and these three new releases cut across—and effectively HENRY KAISER obliterate—lines of genre and style. FEBRUARY 3—8 RESIDENCY AT THE STONE The Stone is a live recording from Apr. 22nd, 2014 (at the corner of avenue C and 2nd street) from the duo of Laswell and pioneer of THE KANDINSKY EFFECT The run at The Stone includes collaboration with such NYC drumming Milford Graves, one of the first to liberate Somanbulist luminaries as Samuel R. Delany, Bill Laswell, John Zorn, Lukas Ligeti, the drummer’s role from timekeeping. The manner in and Brandon Ross. It is very rare for Kaiser to play in NYC and this which these two collaborate is organic, of-the-moment Stone run also celebrates 4 new albums, all released that week. and sympathetic. Laswell’s electric bass has a sinuous, rippling, at times even guitar-like approach. His lines are alternately dreamy and melodramatic (in a wide- 2/3 TUESDAY 8 pm / INVITE THE SPIRIT screen cinematic sense and occasionally rock-like) Henry Kaiser (guitar), Charles K. Noyes (percussion, drums), while Graves crackles, roils and storms. Often the two Sang-Won Park (kayagum, ajaeng, changgo, voice) will establish a groove, only to build on and then MIKE OSBORNE abandon it, as each leads the other into new tangents. Dawn 10 pm / KAISER-NOYES GUITAR DUO What makes the set such a riveting listen, however, is Henry Kaiser (guitar), Charles K. Noyes (guitar) the restraint, attention to dynamics and sometime wry 2/4 WEDNESDAY humor of the duo (note Graves’ occasional verbal 8 pm / KAISER-LASWELL-LIGETI TRIO interjections and exhortations). Henry Kaiser (guitar), Bill Laswell (bass), Lukas Ligeti (drums) The Dream Membrane is Laswell and frequent collaborator saxophonist John Zorn sharing credit with 10 pm / KAISER-LASWELL DUO author David Chaim Smith, who explores the world(s) Henry Kaiser (guitar), Bill Laswell (bass) of the Kabbalah (ancient Jewish mysticism). Laswell is SCHNELLERTOLLERMEIER credited with bass and drones and Zorn with alto 2/5 THURSDAY X 8 pm / MG-HK-WW TRIO saxophone and (an ancient wind instrument (bass), Henry Kaiser (guitar), (drums) made from a ram’s horn), Smith narrating his texts with calm, even tones. The Dream Membrane—one 10 pm / TOPOGRAPHY OF THE SPLEEN 48-minute track—is deliberate and somewhat static. It Henry Kaiser (guitar), Chris Pitsiokos (sax), Weasel Walter (drums) is music of dense, echoing, mesmerizing textures, of cloudbanks of billowing soundscapes, engendering a 2/6 FRIDAY 8 pm / CHIP DELANY & HENRY KAISER dark ambience of stillness, broken by the clarion-calls Samuel R. Delany (reading aloud), and haunted house/banshee wails and moaning bass. SOFT MACHINE Henry Kaiser (guitar accompaniment) The Dream Membrane is music to get lost within, recommended for rainy-day ruminating. Switzerland 1974 10 pm / BRANDY GALE - HENRY KAISER - The Process is the core trio of Laswell, drummer Brandy Gale (live synesthetic painting), Henry Kaiser, Chad Smith and keyboardist Jon Batiste with a small Ava Mendoza (guitars) cast of additional players, including saxophonist Peter 2/7 SATURDAY Apfelbaum, trumpeter Toshinori Kondo and rapper 8 pm / KAISER-MUSSO QUINTET Killah Priest. This set somewhat stylistically evokes , Henry Kaiser, Bob Musso (guitars), Laswell-led eclectic ventures under the banner Material Jesse Krakow (bass), Weasel Walter (drums) CUNEIFORM ARTISTS IN NYC THIS MONTH as well as Medeski, Martin & Wood. There’s the sleek, punchy, percolating Meters-like funk of “Timeline”, 10 pm / KAISER-LICHT DUO IDEAL BREAD Henry Kaiser, (guitars) followed by “Haunted”, with its overtones of Miles February 12 - Greenwich House Music School Davis’ electric period, lent special savor by the lyrically 2/8 SUNDAY bittersweet playing of Kondo and Batiste’s shimmering- THE MICROSCOPIC SEPTET 8 pm / DUNKELMAN-KAISER-MORI-ZORN QUARTET like-a-mirage electric keys. There’s “Turn On the March 5 - The Stone Nava Dunkelman (percussion), Henry Kaiser (bass), Light/Ascent”, which mixes hip-hop with a bit of (electronics), John Zorn (sax) dancehall-style rapping, before seamlessly segueing cuneiformrecords.com into some sleek funk-laced fusion. If it sounds all over 10 pm / KAISER-ROSS GUITAR DUO cuneiformrecords.bandcamp.com Henry Kaiser (guitar), Brandon Ross (guitar) the map, to a degree it is: the elements of funk, rock, post-Miles-ian fusion, hip-hop and a touch of modern Buy these and thousands of other African music are all here, but mixed so deftly that no interesting releases at our online store: FEBRUARY’S FOUR NEW HENRY KAISER RELEASES: one aspect dominates. There are some tasty solos waysidemusic.com within but this is primarily ensemble music. Those THE CELESTIAL SQUID Henry Kaiser & Ray Russell (Cuneiform) craving a richly varied and unpredictable listen are GARDEN OF MEMORY Henry Kaiser solo guitar (Fractal) directed to investigate. RELATIONS Henry Kaiser & (Balance Point) LEAPS Scott Amendola & Henry Kaiser (Fractal) For more information, visit mod-technologies.com and tzadik.com. Laswell is at The Stone Feb. 4th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 21

Martin, drummer Ted Poor and guitarist Ben Monder for The Turn, a diverse, richly textured album. Wayne Escoffery The title track exemplifies Sabbagh’s talent for building creative tension. It begins at an intermittent, Celebrating 40 foot-dragging tempo; think of Sisyphus struggling to push the stone up the side of the mountain. Soon it at blooms into a crisp uptempo tune where Sabbagh weaves his smooth tenor around Monder’s relentless and gritty rock-inflected solo. The way their styles The Village Vanguard The Thought Of You simultaneously contrast and blend is a study in Otis Brown III (Blue Note) cohesion. Similarly, “Banshee” is a blistering amalgam February 3rd - 8th by Joel Roberts of jazz, funk and rock where Monder sounds like he’s 8:30pm and 10:30 pm sets about to splinter his fretboard. New Jersey-born drummer Otis Brown III is likely Monder dials it down to a deep shade of blue on best known for his work with heavy hitters like Joe the ruminative “Ascent”, written so that, in evocative, Lovano, Esperanza Spalding and Terence Blanchard. not thematic terms, it sounds like it’s trying to find its The Thought Of You, Brown’s first release as a leader, is way; Martin, Monder and Sabbagh solo beautifully on a long time in coming, but well worth the wait. “Long Gone”. Sabbagh uses more conventional methods The album is a bold and ambitious effort, which of balance on these ballads but they are just as effective. incorporates elements of jazz, gospel and hip-hop into Paul Motian’s “Once Around the Park”, the only song a searching, somewhat abstract, yet mostly cohesive not written by Sabbagh, has an andante kind of hipness whole. It’s both an unabashedly romantic album, while “Electric Sun” has an indie rock pedigree at its featuring love songs dedicated to his wife (“The Two core. Confident sax, crisp cymbals, steady bass pulse Become One”), and a resolutely devotional one, with a and guitar notes spiked with Hammond B-3 echoes medley of songs of religious praise featuring vocalist make “The Rodeo” as cool as the other side of the pillow. Nikki Ross. The album’s standout, “Cult”, is a brooding tune Brown is joined by a coterie of longstanding and that operates as a kind of alternate universe version of like-minded friends and colleagues, many of whom the title track. The tune starts with a similar foreboding, he’s worked with since his college days at The New dirge-like theme, with Martin’s creeping pizzicato, but School, including pianist Robert Glasper, trumpeter there is no eventual turn towards the light, Monder’s Keyon Harrold, saxophonist John Ellis and bassist Ben distorted, unyielding guitar darkening the soundscape Williams. like a skulking, sensual nightmare. Brown and company are part of the generation for whom hip-hop is woven into their DNA and it pervades For more information, visit sunnysiderecords.com. This this album in a natural, unforced way, from the leader’s project is at Neighborhood Church of Greenwich Village powerhouse drum beats on the two-part “Interlude” to Feb. 6th. See Calendar. the samples spliced into several tracks. Even some of the more straightahead jazz tunes resonate with hip- Photo by Andrea Mateo hop undertones, like the moody “Stages of Thought”, with its hard-edged, syncopated back-and-forth between Glasper and Brown. with The exhilarating, jam-session title track is divided into three sections, interspersed throughout the album David Kikoski and features energetic, edgy solos by all the members of Brown’s core group, as well as a stirring turn by the tune’s composer, the versatile vocalist Bilal. Ugonna Okegwo The most surprising selection is a totally reimagined version of pop-country star Shania Twain’s Ralph Peterson ‘90s hit, “Still the One”, highlighted by the gorgeous, sultry vocals of Gretchen Parlato. Like many artists making a debut album, Brown packs a lot of ideas—maybe a few too many—into The New release Thought Of You. But it’s not hard to understand such enthusiasm when you have as much to say as this promising and inventive young drummer. It will be with this quartet exciting to see what he has to say next.

available For more information, visit bluenote.com. This project is at Dizzy’s Club Feb. 4th-5th. See Calendar. on the SmallsLive label www.smallsjazzclub.com

The Village Vanguard is located at The Turn 178 7th Avenue South, NYC Jerome Sabbagh (Sunnyside) (212) 255-4037 for reservations by Terrell Holmes Although tenor saxophonist Jerome Sabbagh plays with a tonality whose lightness recalls Lester Young or Paul Quinichette, his overall musical approach has an escofferymusic.com edginess that leaves more defined footprints in the sand. Sabbagh gathers longtime bandmates bassist Joe

22 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

so there’s an element of loose familiarity giving them extra life. Other tracks serve as tributes to great RED PIANO RECORDS trumpeters Henderson counts as influences: Freddie Hubbard’s “First Light”, “Ginger Bread Boy” (most AVAILABLE MARCH 2015! famously recorded on Miles Davis’ Miles Smiles) and RAN BLAKE/CHRISTINE CORREA Woody Shaw’s “Zoltan”, all performed in stellar The Road Keeps Winding fashion. (Tribute to Abbey Lincoln Volume Two) The entire band is in top form throughout Collective Portrait. Bartz is a subtle partner; the contrast between

Collective Portrait his more hardbop-derived voice and Henderson’s Eddie Henderson (Smoke Sessions) fusion-based approach makes for some fascinating by Phil Freeman exchanges. Cables, whether on piano or Fender Rhodes, extrapolates the groove-based melodies until Trumpeter Eddie Henderson is one of jazz’ great they blossom into lushness and Weiss and Allen are a unsung figures. Since the early ‘70s, he’s been a unique deft and confident rhythm team, swinging with voice on the horn, adapting ideas drawn from fusion to restrained but never hidden power. Smoke Sessions is more traditional settings and vice versa. His work with an impressively focused label, with a genuine vision Herbie Hancock’s Mwandishi septet (including two evident in its signings and productions. They’re the albums, Realization and Inside Out, recorded under his perfect home for a veteran, underrated creative spirit own name in 1973), in which the horns were surrounded like Eddie Henderson. AVAILABLE NOW! by humming, crackling electronics, is every bit as FRANK CARLBERG-BIG ENIGMAS featuring Correa, Udden, Carlson, Moran, compelling as what he’s doing now as a member of For more information, visit smokesessionsrecords.com. This Hébert, Sarin and Ken Mikolowski David Weiss’ allstar band The Cookers. And this project is at Smoke Feb. 6th-8th. See Calendar. album, on which he’s joined by longtime collaborators— saxophonist Gary Bartz, keyboardist George Cables (also in The Cookers), bassist Doug Weiss and drummer Carl Allen—nods to his past while proving that he’s very much a present-day creative spirit. The album begins with “Sunburst”, the title track from Henderson’s 1975 Blue Note release. Less funky and slathered in electronics than the original, it nevertheless retains a hooky melody and visceral groove. Two other tracks, “Morning Song” and “Beyond Forever”, come from his 1977 album Coming Valentine’s Day Through. Both are Cables compositions and the John Zorn (Tzadik) WILDMAN CONSPIRACY-KNOTS keyboardist played on them the first time around, too, by Brad Cohan Featuring Guillermo Celano, Gerard Kleijn and Joost Kesselaar The avant garde-conquering alliance of John Zorn, and Trevor Dunn has produced a mountain of stellar recordings, which have helped shape the landscape while influencing countless disciples across the experimental spectrum. One such record was Zorn’s Enigmata, released in 2011, and featuring the formidable Ribot/Dunn partnership on a spastic collection of feedback-encrusted pieces where guitar met electric five-string bass in coiled ecstasy. Four years later, Zorn is revisiting Enigmata’s explosive abstractions under the moniker Valentine’s Day. Yet this iteration is even more imposing considering its new acquisition: forward-thinking drummer Tyshawn Sorey. With Zorn perched in the composing and conducting chair, the trio embark on a ROXANA AMED/FRANK CARLBERG with guest Christine Correa, sonic mission with devastating results. poetry by Alejandra Pizarnik Zorn’s Enigma Trio creates a rhythmically complex, progressive rock-inspired dystopia thick with scratch-guitar-fueled improvisational insanity reminiscent of the No Wave movement. Yes, the vibe is nihilistic—Ribot is on fire here, dishing out caterwauling solos like a madman, while Dunn’s rumble is unrelenting—but it’s Sorey’s meticulous pummel keeping things from dissolving into chaos. For a player informed by classical composition and improvisation, the drummer’s punk rock and technical metal leanings are crystallized on Valentine’s Day. After the skronk thrash of “Potions and Poisons”, Ribot, Dunn and Sorey combine to pack the damaged funk punch of another trio—crucial ‘80s punk outfit More releases coming soon on RPR: Minutemen—on both “Fireworks” and “Blind Owl and FRANK CARLBERG/LEO GENOVESE DUO-Monk Dreams, Buckwheats” while “Abremalin” conjures nightmarish Hallucinations and Nightmares images of “brutal-prog” pioneers The Flying JOE MORRIS/FRANK CARLBERG/PASCAL Luttenbachers. NIGGENKEMPER/LUTHER GRAY-Cosmopolitan Greetings There’s nothing romantic about this Valentine’s FRANK CARLBERG QUINTET-Word Circus featuring Day; instead the Ribot/Dunn/Sorey triumvirate sound Correa, O’Gallagher, Niggenkemper and Sarin truly possessed, attacking their instruments with abandon on 12 punk-jazz scorchers.

For more information, visit tzadik.com. This project is at www.redpianorecords.com Village Vanguard Feb. 13th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 23

time, Medeski is always changing the tonal possibilities Contemporary Music with Honors at The New School. of the instrument. The tune finally arrives at a stock Sivan has been very active in the local jazz scene, organ shuffle, which sets up a virtuosic solo bass playing with Ari Hoenig, Peter Bernstein, Paul feature to end the track. Bollenback, Colin Stranahan, Yasushi Nakamura and Traditional Hawaiian piece “No Ke Ano Ahiahi” others. celebrates the group’s many trips there. With unusual Sivan made his recording debut as a leader in shaker shell percussion and underwater organ, it 2013; his second CD features a trio with bassist Haggai sounds like a twisted Lawrence Welk funeral dirge. Cohen Milo and drummer Mark McLean. Recorded The beautiful melody is accented with an unusual with an audience of friends and fans (though they were

Combustication synth, which vibrates quickly for a fast plucked ukulele evidently outside the booth, since there is no audible Medeski Martin & Wood (Blue Note) vibe. This iconic album is a must have for vinyl reaction to the music), Sivan omitted headphones and by Brian Charette collectors who need a little more funk in their set. separation between the musicians to achieve a natural sound, as if on a gig. Sivan’s melodic gifts are Performing originally as a piano trio at The Village For more information, visit bluenote.com. Medeski and considerable with traces of while his intricate Gate, [keyboard player John] Medeski [drummer Billy] Martin are at Village Vanguard Feb. 12th. See Calendar. improvisations reflect contemporary artists like Pat Martin & [bassist Chris] Wood met through drummer Metheny. This trio session is a musical conversation,

Bob Moses. The band was signed to Blue Note in 1997 not just a leader accompanied by sidemen. and released , just reissued on vinyl, the Sivan reveals his unconventional side by having first of a handful of discs made for the imprint through Milo open with a bass solo (“Intro to Spirals”) to lead 2004. The album signalled a stylistic change to groove into the mysterious “Spirals”, a piece that constantly from previously more avant garde improvisations. shifts direction with lively solos all around. The On opener “Sugar Craft”, screamy samples standard “A Dream is a Wish Your Heart Makes” has courtesy of DJ Logic mix with a slinky distorted organ long been a favorite of jazz artists, but Sivan makes it melody, Martin’s organic funk beats percolating his own, gradually transforming it from an intimate underneath. Medeski uses quick breakdowns to great ballad into inventive bop, with Milo’s understated, effect and some strange old synth arpeggiator to thoughtful solo and McLean’s nimble brushwork For Emotional Use Only separate punchy statements of the melody. Afro 12/8 Rotem Sivan Trio (Fresh Sound-New Talent) adding their color to this masterpiece. The magical rhythms are explored on “Latin Shuffle”. Martin by Ken Dryden interplay within Sivan’s dream-like title lullaby reveals switches between straight- and triplet-based Afro feels a chemistry that all musicians strive to achieve while as Wood enters with uncluttered sound on a swinging Rotem Sivan has been immersed in music since an the guitarist’s whimsy is apparent in his darting “Sefi’s ostinato, providing foundation on top of which early age. The guitarist, a native of Israel, has a diverse Blues”. Sivan’s diverse treatment of Antonio Carlos Medeski places light jazz pentatonic side-stepping, group of influences, ranging from Bach and Mozart to Jobim’s “Useless Landscape” ranges from spacious to ending in dissonant piano smashing. Martin’s solo Erik Satie, Bill Evans, Ahmad Jamal, Brad Mehldau edgy, though he never loses the essence of the song. pops and splashes into free time before reentering with and Jimi Hendrix, to name a few. Relocating to New the groove, accompanied by washy B3. By constantly York City after his graduation from Tel-Aviv University For more information, visit freshsoundrecords.com. This pushing and pulling the drawbars of his organ in real Music Academy, he earned a B.F.A. in Jazz and project is at The Jazz Gallery Feb. 12th. See Calendar.

24 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD SPEND VALENTINE’S DAY WEEKEND WITH LOVE FROM DEEDS AND DIVA! TWO-TIME GRAMMY WINNER DIANE SCHUUR AND THE DIVA JAZZ ORCHESTRA THE IRIDIUM FEBRUARY 13 – 15

Showtimes 8 and 10 PM each night / Tickets are $35 – $45 1650 Broadway, New York, NY 10019 Telephone 212-582-2121, www.theiridium.com

The Drum Andrew Drury (Soup and Sound) Content Provider Sylphid Vitalizers Andrew Drury Quartet (Soup and Sound) Brandon Seabrook (New Atlantis) by Clifford Allen by Kurt Gottschalk In following the arc(s) of improvised music since the The bifurcation of rock and heavy metal dates back at ‘60s, one thing that consistently arises is the idea that least some 20 years and to the emergence of , Sun, Feb 1 SPERRAZZA/SACKS/KAMAGUCHI 8:30PM Jacob Sacks, Masa Kamaguchi, Vinnie Sperrazza the embrace of the free music/jazz tradition by most the masked speedster who played solo concerts of people will help to push the world in a positive metal trills with a KFC bucket on his head. Mick Barr Mon, Feb 2 AMRAM & CO 8:30PM David Amram, Kevin Twigg, Rene Hart, Elliot Peper direction. Certainly, the values of self-determination/ has furthered the application of exacting metal metrics self-reliance, community and non-denominational into experimental and improv forms with his more Tue, Feb 3 TRAVIS REUTER QUINTET 8:30PM Adam O’Farrill, John O’Gallagher, spirituality are objectively important, but a seismic thoughtful and challenging solo electric guitar Rajna Swaminathan shift in consciousness is perhaps a narrowly sighted performances. Wed, Feb 4 BOB GINGERY GROUP order. That said musicians like percussionist Andrew Also in that lineage is Brandon Seabrook, whose CD RELEASE: TRAVELER 8:30PM Jon Irabagon, Mike Baggetta, Mark Ferber Drury are not exactly a dime a dozen in any field and quick precision can be heard in bands led by Paul JON LUNDBOM & BIG FIVE CHORD 10PM his work has gone beyond simply creating music Brody, Peter Evans and Tomas Fujiwara but perhaps Jon Irabagon, Bryan Murray, Justin Wood, Sam Kulik, Moppa Elliott, Dan Monaghan towards an embrace of artistic community at a best on the two records by his trio Seabrook Power microcosmic level. His Soup and Sound series of Plant. What sets Seabrook apart from those others is Fri, Feb 6 GEORGE GARZONE & THE FRINGE 9PM & 10:30PM John Lockwood, Bob Gullotti concerts brings people into his Brooklyn home to his arrangements, in particular his use of meter. While

Sat, Feb 7 JOHN HEBERT’S BRIDGE AND TUNNEL 9PM & 10:30PM participate in cooking, eating and performance. He’s his playing is generally a reliable allegro agitato, his Peter Bernstein, Dayna Stephens, Eric McPherson taught art and music classes to elementary- and compositions traipse through sometimes blurry or

Sun, Feb 8 JANE IRA BLOOM TRIO SINGING THE TRIANGLE 8:30PM middle-school-aged children, which emphasize seemingly incongruous grounds. , individuality and group participation, with a bent that Sylphid Vitalizers is a logical extension, or perhaps Tue, Feb 10 MARIA MANOUSAKI QUARTET 8:30PM is both vanguard and utterly basic. He has also reduction, of the Seabrook Power Plant records. Shai Maestro, Petros Klampanis, John Hadfield performed outdoor percussion installations involving Standing in for bassist Tom Blancarte is Seabrook Wed, Feb 11 LL4 8:30PM a level of communion with the landscape and its multi-tracking his banjo and guitar and in brother Lage Lund, Glenn Zaleski, Matt Brewer, Tyshawn Sorey inhabitants, as well as working in numerous ensembles. Jared Seabrook’s stead are drum tracks programmed Thu, Feb 12 QUARTET 8:30PM The Drum is Drury’s latest solo disc and features by the mysterious Mr. Vitalizer. On the phantasmagoric Cat Toren, Ben Allison, Rudy Royston eight compositions for floor tom, sheet metal, bell, opener “Ballad of Newfangled Vicissitudes”, Seabrook Fri, Feb 13 JIM BLACK SMASH AND GRAB 9PM & 10:30PM breath and faucet plate. This isn’t a solo percussion builds a foundation with rapid-fire, percussive banjo Jonathan Goldberger, Keisuke Matsuno, Simon Jermyn record in the sense of Andrew Cyrille’s The Loop or lines, which nearly sounds electronic, then employs Sat, Feb 14 NEW AIRES TANGO: VALENTINE 8:30PM Pierre Favre’s Abanaba, instead utilizing a narrow bits of processing that makes it actually electronic and Malena Dayen, David Rosenmeyer, Or Bareket SOFIA ROBEIRO 10PM percussion setup to explore sound resources not finally lays his guitar tracks over it at length, adding Juan Andrés Ospina, Andres Rotmistrovsky normally associated with “the drum(s)”. It’s easy to the pre-programmed percussion. Other tracks give the Sun, Feb 15 BOB GLUCK & ARUAN ORTIZ: imagine Drury engaging young kids with the exuberant banjo more of a focus, his attack remaining much the TEXTURES AND PULSATIONS 6PM NEW BRAZILIAN PERSPECTIVES: wails and guttural drones that he teases out of the same, drawing a bridge between metal and bluegrass LEANDRO FORTES SEXTET 8:30PM drum, scraping and creating unearthly vibrations techniques. Anibal Rojas, Laura Metcalf, Leco Reis, Alex Kautz, Michel Gentile Billy Newman, host through blown metal and skin. After all, why should That said, the album doesn’t sound much at all the way an instrument is traditionally played be the like metal—or bluegrass, for that matter. It’s dense at Mon, Feb 16 MATT PARKER TRIO 8:30PM Alan Hampton, Reggie Quinerly end-all of one’s creative direction? Why not use the times, although not quite harsh and, even with the Tue, Feb 17 NICK SANDERS TRIO resonance of the drum and tonal possibilities of basic layered intensity, quite listenable. It’s probably not for CD RELEASE: YOU ARE A CREATURE 8:30PM friction to create a metallic string orchestra? These everyone though, which is just those other ones’ loss. Henry Fraser, Connor Baker approaches aren’t necessarily lessons, but springboards. Seabrook shreds in a way all his own. Wed, Feb 18 LE BOEUF BROTHERS 8:30PM Drury’s solo music, while certainly explosive, is Remy and Pascal Le Boeuf, Ben Wendel, Linda Oh, Peter Kronreif equally concentrated and deliberate, with each sonic For more information, visit newatlantisrecords.com. Thu, Feb 19 MATT BREWER QUINTET 8:30PM area being mulled over and worked with over a period Seabrook is at Roulette Feb. 17th with Andrew Drury and Steve Lehman, Kyle Wilson, Lage Lund, Tyshawn Sorey of moments or minutes before evolving. ShapeShifter Lab Feb. 19th with Mostly Other People Do Fri, Feb 20 PETROS KLAMPANIS, CONTEXTUAL 9PM & 10:30PM Gilad Hekselman, Jean-Michel Pilc, Gokce Erem, Content Provider sheds light on Drury the the Killing. See Calendar. Maria Manousaki, Peter Kiral, Colin Stokes bandleader and composer, finding him joined by Sat, Feb 21 JON IRABAGON TRIO 9PM & 10:30PM guitarist Brandon Seabrook and saxophonists Ingrid Bob Stewart, Barry Altschul Laubrock and Briggan Krauss (on tenor and alto, MATURE SCHUUR: BETTER THAN EVER! Sun, Feb 22 RAFAL SARNECKI SEXTET 8:30PM respectively) for a program of seven knotty tunes. The Lucas Pino, Bogna Kicinska, Adam Birnbaum, way in which Krauss and Laubrock follow a unison Desmond White, Jimmy Macbride tone row on “Keep the Fool” before breaking off into Tue, Feb 24 FLIP CITY 8:30PM David Aaron, Will McEvoy, David Gould charged flutters, as Drury and Seabrook create a fuzzy, slippery beat, is reminiscent of both the Lennie Tristano Wed, Feb 25 DAVE AMBROSIO TRIO 8:30PM Loren Stillman, Russ Meissner school and John Zorn’s crime-jazz infatuation, yet borne out in tough, filamented interplay. Without the Thu, Feb 26 PRIMAVERA 8:30PM Sara Serpa, André Matos, Pete Rende, Thomas Morgan chordal anchor of a bassist or pianist, one would think the group top heavy, but Drury’s orchestration balances Fri, Feb 27 ’S BIGMOUTH, Sat, Feb 28 CD RELEASE: EPICENTER 9PM & 10:30PM micro-bursts and broad swaths with a centered Andrew Bishop, Tony Malaby, , Gerald Cleaver approach. After hearing a record like The Drum, or Drury’s work with a band like Totem, one might assume that the ‘jazz’ label is inappropriate. Yet in this context, his playing nods at masters like former teacher , Steve McCall and Max Roach—clearly A New Dimension to the Enduring and the work of a consummate improvising composer. Brilliant Vocal Legacy of “The Deeds”

For more information, visit andrewdrury.com. These projects are at Roulette Feb. 17th. See Calendar. www.jazzheads.com

26 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

“Aunt Hagar’s Blues” and vintage pop numbers by Welf Dorr’s alto saxophone includes Patriq Moody’s “Thanks a Million” and “I’ve Gotta Right to Sing the cornet, Kevin Moehringer’s trombone and Andrew Blues”. There are tips of the hat as well to early Frank McGovern’s trumpet. Drummer Kevin Raczka, djembe Sinatra (“I’m Sorry I Made You Cry”), Jelly Roll Morton player Okai and tuba player Chanell Crichlow remind (“Good Old New York”) and others. On the Sophie how exciting and integral a live rhythm section can be; Tucker vehicle “Some of These Days”, Robinson picks they are up in the mix with a crisscross rhythmic up a cornet for an improvised duet with Kellso up sound, which interacts with the frontline, providing all front. the broad organic support that these horns need. Also brilliant is Robinson’s frequent use of the Almost Blue’s AfroBalkan-Creole musical core also

Eponymous tárogató, a Romanian/Hungarian woodwind incorporates Latin and funk with a healthy appreciation The EarRegulars (gen-ERIK) instrument, perhaps never before heard in the context of Monk, Mingus and Miles. A revved-up “Goodbye by David R. Adler of ’20s-30s jazz. It sounds like a warmer soprano Pork Pie Hat” leads off over a pulsating African rhythm saxophone, especially beautiful in combination with while the band also injects trumpeter ’s There’s irony in the fact that The EarRegulars recorded guitar on the intro to “Baby, Won’t You Please Come “Mopti” with additional exotic cultural influences, their debut CD not at The Ear Inn, their longtime Home”. It’s just one of the ways in which The serving as an apt closer. In between the band goes on a homebase in lower Manhattan, but rather in a Berlin EarRegulars make this old music new and wholly sonic world tour that begins with “Ethio”, a catchy studio. , because the live energy and unpredictable. melody whose hypnotic beat serves as a platform for unshakably strong swing-feel captured does the band individual soloing and Moehringer’s funky trombone. proud. Guitarist Matt Munisteri and bassist Greg For more information, visit KellsoJazz.com. This band is at New Orleans is visited during “Mardi Gras” with Cohen generate enough rhythmic juice to erase any The Ear Inn Sundays. See Regular Engagements. a superb Second Line soundtrack followed by “Creole”, longing for a drummer. Trumpeter Jon-Erik Kellso and a trip to Haiti written and sung by Okai in local Haitian saxophonist Scott Robinson are on fire as a frontline patois. AfroLatin jazz is given its due with a sweet pair, displaying high skill and refinement in the ensemble send-up of the great Ethiopian jazz musician polyphonic style of early jazz, the band’s specialty. Mulatu Astatke’s “Cha Cha”. Four originals from Dorr Cohen’s two-beat and walking feels are infectious round out this release and stretch its boundaries: “Full and his bowed accompaniment on “Baby, Won’t You Moon” is an almost breezy piece of funk; “House Please Come Home” deserves special mention—it’s as Song” has the band straying into an organically old-school as this music can get. Munisteri’s snappy, repetitive take on techno; “Rag A Tone” cleverly works airtight rhythm guitar is full of subtle voice leading, a off of a dembow reggaeton beat; and the title cut is a sign of his deep immersion in and love for the surprisingly elegant statement with Dorr adding bass repertoire. His solos are rhythmically gutsy, clarinet to the sonic palate. Almost Blue, while true to Almost Blue appealingly bone-dry in tone; when the horns drop out Underground Horns (s/r) the band’s formula of brassy danceable music, stretches and he takes the lead with only Cohen behind him, the by Elliott Simon out stylistically with excellent results. effect is always intense. It’s fitting that the spirit of Louis Armstrong Literally NYC’s Underground Horns, these musicians For more information, visit undergroundhorns.com. This would hover over the session, notably on W.C. Handy’s began as subway performers. A potent led band is at Blue Note Feb. 21st. See Calendar.

SPRING WORKSHOP INTENSIVE AMIR EL SAFFAR WARREN SMITH STEVEN BERNSTEIN KARL BERGER JUNE 8—12, 2015 FULL MOON RESORT IN BIG INDIAN, NY Composer/multi-intrumentalist/vocalist and educator Amir El Saffar, composer/trumpeter/band- leader and CMS veteran Steven Bernstein, and percussion master Warren Smith join Creative Music Studio Artistic Directors/Co-founders Karl Berger and Ingrid Sertso as Guiding Artists for the CMS Spring 2015 Workshop Intensive, June 8–12, at the ear-inspiring Full Moon Resort. Workshops run 10am–7pm, followed by evening concert performances and open jam sessions. Daily CMS 'Basic Practice' includes body awareness, breath work, rhythm and vocal training, as well as 90 minutes each day with Karl Berger leading an improvisers orchestra. Other Guiding Artists (to be announced) will be on hand to work with participants on a more personal level, informally coaching, playing and tutoring daily. All in a spectacular Catskill mountain setting with amazing local, organic food and comfortable accommodations. E-mail: [email protected] Telephone: 845-254-8009 REGISTER NOW! Monday-Friday, 9am-5pm (EST)

www.creativemusicfoundation.org/cms-spring-2015-workshop.html

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 27

variation, with propulsive brass/reed exchanges and stellar solos by tenor saxophonist Stephen Riley, trombonist Ron Westray and the pianist. The spirit of New Orleans comes to the fore in the Alphonso Horne- Jason Marsalis martial trumpet-drum duet that opens “A Festive Day”. The beautiful ballad “Evening Caress” and Latin-tinged jazz waltz “It’s a Beautiful Night to Celebrate” are tonally rich efforts laden with Ducal opulence, the former featuring tenor and Joe Goldberg’s

Beautiful Life clarinet, the latter bopping trombone, delicately Jimmy Greene (Mack Avenue) swinging piano and Marcus Printup’s bluesy trumpet. by Tom Greenland “Oh, No! How Could You?” is an uptempo outing built around a contentious dialogue between Tissa Khosla’s Saxophonist Jimmy Greene has been grappling with baritone and Ricardo Pascal’s soprano saxophones. The an unimaginable personal tragedy ever since his six- episodic “The Intensity of Change” closes disc one with year-old daughter Ana was murdered in the Sandy a series of solo statements by various bandmembers Hook shootings in Newtown, Connecticut. But thanks depicting a variety of moods. to staunch support from his community and an abiding The blues, both romantic and swinging, dominates faith, he has emerged with Beautiful Life, a celebration disc two. Rodney Jordan opens the proceedings with a of Ana’s spirit and the music that sustains him. pulsating solo bass recital on “Being Attacked by the The opening track begins with a home-recording Blues” with the trio stepping into the spotlight prior to ABDULLAH of Ana singing a Puerto Rican folk song at a family the full band’s entrance and solos by most of the horns. IBRAHIM Christmas celebration, segueing to an intimate duet by “Reminisce” is a mournful memorial to a departed Greene and Pat Metheny (on acoustic guitar) playing Roberts colleague. “Period of Denial” is a virtuosic THE SONG IS MY “Come Thou Almighty King”, segueing again to Ana unaccompanied piano exposition traversing the singing the hymn accompanied on piano by her older instrument’s history. Walking bass introduces the STORY brother. Most of the album is built around the rhythm thoroughly swinging “In Transition” while Goldberg’s CD + bonus DVD team of pianist Renee Rosnes, bassist Christian soulful alto is out front on the lyrical ballad ”Reaching McBride and drummer Lewis Nash, who show both for the Stars”. The suite concludes with “Tomorrow’s SSC 1404 - IN STORES 2/17/2015 their muscle and restraint on tracks like the postbop Promises (Recapitulation)”, Marsalis’ expansive waltz “Seventh Candle” and “Ana’s Way”, a drumming in the spotlight. bdullah Ibrahim visited Italy in the summer contemporary Christian-flavored piece featuring At Dizzy’s Club last month, Roberts demonstrated vocalist Kurt Elling in fine form and backed by Ana’s the group’s wide-ranging talents in a set that included Aof 2014, played on the legendary "Fazioli" former Winnipeg children’s choir. The courage it took both his original music and arrangements of a variety grand piano and visited the workshop where to record a track like this is a testament to Greene’s of standards and jazz classics. Opening with the trio of these exquisite pianos are crafted. There is a inner strength. Jordan and Marsalis performing Coltrane’s “Bessie’s Beautiful Life also contains two minimalist duets Blues” and the Gershwins’ “They Can’t Take That concert hall there with fantastic instruments, by Greene and pianist Kenny Barron; the tender but Away From Me”, the expanded ensemble from the CD which sound as if they were created especial- unsentimental “Where Is Love?”, one of the album’s (Randall Haywood and Etienne Charles replacing ly for Ibrahim. Abdullah Ibrahim recorded The emotional highpoints, is enhanced by Greene’s subtle Printup in the trumpet section) then took the stage, there as a free improvisa- and variable vibrato. Other guest appearances include launching into Alphonso Horne’s hip orchestration of Song Is My Story vocalist Javier Colon on the R&B ballad “When I Come ’s funky “Filthy McNasty”. An tion, for the most part. Fortunately, profession- Home”, Latanya Farrell on a jazz-gospel version of intriguingly dissonant introduction kicked off a New al films were shot during these performances, “(The Lord’s) Prayer” (both backed by Hartford Orleans-tinged arrangement of Monk’s “” while which helped to provide a DVD with concert Symphony Orchestra string players) and a spoken- Horne’s arrangement of Jelly Roll Morton’s “New excerpts as well as impressive comments by, word sermon by Anika Noni Rose closing the program. Orleans Bump” was alternately exotic and earthy. It’s hard to hear this music without being reminded of Roberts reached into his songbook to perform a new and conversations with, Abdullah Ibrahim. the tragedy behind it, but Greene seems to be moving band arrangement of his sophomore album’s forward in a life-affirming way. “Nebuchadnezzar” and two pieces from the new disc: "I have always sought for a specific sound my “Reminiscence” and “Oh, No! How Could You”, the For more information, visit mackavenue.com. This project is former featuring trombonist Corey Wilcox and the whole life. At the end of the 60s—I lived in at Dizzy’s Club Feb. 23rd. See Calendar. latter reprising the album’s dueling horns. The set New York at that time—this search became ended with a AfroCaribbean rendition of Chick Corea’s

worse and worse. I walked the streets day and “The Game Maker” arranged by Jason Marsalis. night, a restless African in America, who did not understand what was driving him. It was- For more information, visit marcusroberts.com

n't the sound, but the silence, the silent moments in music." Phil Minton // AnnA Klett // CD & DOWNLOAD GArth Knox // out now! JesPer eGelund //

Romance, Swing and the Blues Fred Frith // Marcus Roberts Nonet (J-Master) iKue Mori // by Russ Musto Chris Cutler

Following a series of predominantly solo and trio ‘This music refuses to let dates paying tribute to various historically important reality decide – or does it pianists and songwriters, pianist Marcus Roberts shape its own reality?’ – thomas Millroth (linernotes) shows off his own considerable talents as a composer. Fronting a 12-piece ensemble—dubbed The Modern What RiveR is this Jazz Generation—of predominantly younger musicians Lotte Anker + WhAt RiveR eNsembLe built around his working trio, Roberts presents a Live: ‘In this beautifully integrated, superbly listening collective there is no association of 100-plus-minute suite comprised of a dozen pieces. ego…..A quite magical and intense late-evening performance’ – Andy hamilton, the wire The suite, which musically endeavors to portray ‘…..the music bristles the hairs on your neck. Fantastically performed, Anker’s music challenged the senses, and rewarded them.’ – Ken Micallef, the various stages of romantic engagement, opens iTunes.com/AbdullahIbrahim www.sunnysiderecords.com dramatically with “The Mystery of Romance”, a piece StateSide diStributorS possessed of Ellington-ian elegance and narrative [email protected]

28 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

Call Michael Naura Quartett (MPS-Edel) Double Moon Records, DMCHR 71141 The Texas Tenor Invitation (Storyville) The Singers Unlimited & Art van Damme (MPS-Edel) DIEGO PIÑERA Texas Tenor Intercontinental Buddy Tate Quartet (Sackville-Delmark) Joe Pass (MPS-Edel) ‘Strange Ways’ by George Kanzler by Ken Micallef Diego Piñera (drums, percussion) Tino Derado (piano) The febrile passion and searing upper register The music of German bassist Eberhard Weber (who Phil Donkin (double bass) harmonics of saxophones today is usually associated just celebrated his 75th birthday last month and has Peter Ehwald (soprano saxophone) with avant garde and free jazz players, as well to some been unable to perform since a 2007 stroke) exemplifies extent with rockers, but the wailing tenor saxophone what could be called the classic ECM sound, from his goes back to early jazz and especially to the Texas expressive tone and articulate phrasing to his Tenor tradition. Buddy Tate was one of its founders. atmospheric records as a leader, which includes 1982’s Tate even toured with a group titled The Texas Tenors Later That Evening to his most recent ECM release led by in the ‘80s. Tate (born 102 years Résumé. Weber is also a prolific sideman, his work with and died 14 years ago this month) came out of Texas in Jan Garbarek, Gary Burton and Kate Bush (!) only the the ‘20s, making a name in Kansas City and eventually tip of the iceberg. Further down the slope of that replacing in the Count Basie Band in massive iceberg are these three exceptional reissues

Double Moon Records, DMCHR 71140) 1939, staying for a decade. From the ‘50s through 1971 from resurrected German label, MPS (Musik Tate led the house band at one of Harlem’s last jazz Produktion Schwarzwald), where Weber was the house swing rooms, The Celebrity Club, and enjoyed a varied bassist in the ‘70s. These beautifully remastered CDs KARL LATHAM, career as a bandleader and featured player in New feature (brief) new liner notes and pristine sound. RYAN CARNIAUX, MARK EGAN York and on the international jazz circuit through the They’re unusual choices from which to focus on Weber, millennium. These albums document sessions in but reveal his deep musicality, immaculate technique ‘Constellations’ France and Copenhagen (1975) and Canada (1978). and a certain stoicism that only enriches his sound. Karl Latham (drums) The Texas Tenor Disc One was recorded live at a Recorded in 1970, electric pianist Michael Naura Ryan Carniaux (trumpet) Copenhagen club with a Scandinavian rhythm section Quartett’s Call draws on the jazz-rock of the era, but Mark Egan (bass) and late great Catalan pianist , who Weber’s opulent low end and vibraphonist Wolfgang Nick Rolfe (keyboards) assimilated influences as diverse as Tatum and Monk. Schlüter’s ethereal style balances the insistent Tate and Montoliu find the common ground between drumming of to create something entirely swing and bop in scintillating performances of jazz different than cookie-cutter fusion. Though not and pop standards and their largely duo “I Surrender Weber’s date, his bass is front and center throughout in Dear” recalls Ben Webster with Tatum. Violinist Finn material that recalls the work of Gary Burton and other Ziegler joins the quartet on two tracks, including a ECM standard bearers, but without the gossamer sheen blues where Tate sings as well as preaches on tenor of the typical ECM recording. Weber’s bass sounds saxophone, and an extended “In A Mellotone” with extremely detailed, as if mic’ed through an amplifier one of Tate’s best wailing, stomping solos of the set. or pickup, giving his sound even more drive. He gets Double Moon Records, DMCHR 71142 The Texas Tenor’s second CD features a Tate All funky and consistently plays cut time figures against Stars group recorded in a French studio, American rambunctious drumming on “M.O.C.” and “Don’t MICHEL REIS QUARTET swing musicians Tate often worked with in New York Stop”, drives a Latin pulse with upper register notes in and on the festival circuit. Tate shares solo space in the “Why Is Mary So Nervous?” and plays superior solos ‘Capturing This Moment’ frontline with trumpeter Doc Cheatham and trombonist throughout, even pulling out the occasional arco move. Michel Reis (piano) Vic Dickenson, two other stalwarts and distinctive One place you certainly wouldn’t expect to find Stefan Karl Schmid (soprano and voices of the veteran swing fraternity, along with Eberhard Weber is in accordionist Art Van Damme’s tenor saxophone, clarinet) pianist Johnny Guarnieri, bassist George Duvivier and quintet as support for clean-as-polished glass ensemble Robert Landfermann (double bass) drummer Oliver Jackson. The set leans toward blues The Singers Unlimited. Invitation, a magical 1973 Jonas Burgwinkel (drums) and standards, with ballad features for the horns. Tate’s recording, plies Van Damme’s breezy accordion with big sound brings wailing blues solidity to “Jive at Five” The Singers Unlimited’s inspiring vocal versions of and his romantic side comes out on an insinuatingly “But Beautiful”, “My One and Only Love”, Gordon breathy, sensuous “There Goes My Heart”. But the Jenkins’ “Goodbye” and others. Even amid the session is more a celebration of this swing ensemble’s overflowing melody and harmony, Weber’s bass stands multiple, unique personalities than any one musician. out for its graceful accompaniment and wonderfully Tate was in a mellower mood in a Toronto studio fluent lines. A truly lovely recording. three years later with a Canadian trio, in a Sackville Talk about a lineup! Guitarist Joe Pass, Weber and Texas Tenor album featuring ballads and heartbeat British drummer Kenny Clare performing standards is

Between The Lines, BTLCHR 71238 midtempos, as well as Tate’s only two forays on clarinet like stepping into a warm club on a snowy night. Their on these CDs. He affirms his place as one of jazz’ great collective sound is so intimate, their performances so GEBHARD ULLMANN tenor balladeers on Tadd Dameron’s “If You Could See revealing and pleasing, Intercontinental is trio jazz at its Me Now” and “Alone Together”, proving that playing finest. This 1970 release includes “Meditation”, “I BASEMENT RESEARCH the melody can be as much of a personal statement as Cover the Waterfront”, “Stompin’ at the Savoy” and ‘Hat And Shoes’ an extended improvisation. Other tenor highlights “Ode to Billy Joe”. Intercontinental is rare in that it include “June Night”, a Latin-to-swing-and-back gives us a glimpse of Weber the upright standards Street date: 02/10/15 alternation of “I’ll Remember April”, and Ellington- player, a role in which he had not often been found Gebhard Ullmann (tenor saxophone, bass clarinet) Strayhorn’s “Isfahan”. His brash, bluesy clarinet—a since his early days with Wolfgang Dauner. Weber’s Steve Swell (trombone) kind of anti-Benny Goodman approach—is displayed octave work in “Meditation” is stellar; in general, his Julian Argüelles (baritone saxophone) on distinctive versions of “Georgia On My Mind” and ability both to support and solo at times is remarkable Pascal Niggenkemper (double bass) “Lullaby of the Leaves”. It’s an album that proves Tate (though he only has one true solo on Intercontinental). Gerald Cleaver (drums) was still finding new ways and new repertoire, well Uptempo swinger “I Love You” finds Weber gracefully into his sixth decade as a jazzman. walking the bass with a silken touch, his solo an assault Deutsche Media Productions of notes and ideas he can barely fit into the bar. contact: [email protected] For more information, visit delmark.com and storyvillerecords.com For more information, visit mps-music.com

30 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD best known as mainstays of the Instabile Orchestra. store-like collection of instruments, and replete with Parker’s multidirectional propulsion, abetted by the warning: “Caution: Contains tonal initiatives for Tiziano’s widescreen drumming, allows Cavallanti to the venturesome listener”, the program is presented as take off in whatever direction he wishes, most usually being the sonic equivalent of observing nuclear energetic Ayler-inspired overblowing. The trio also scientists working with the most advanced technology. quotes liberally from Ayler’s songbook, notably at the Several of the tracks exist in Beta form: an idea is Book of Sound conclusion of “Shadows Of The Night”. Each set briefly exposed, then quickly abandoned without Ivo Perelman/Matthew Shipp/William Parker (Leo) follows a similar trajectory, from an atmospheric start making a statement. More notable are those tracks Medicine Buddha featuring Cavallanti’s tandem with Parker’s where the interface adds unique timbres to the reed Billy Bang/William Parker (NoBusiness) insistent bowing through to spirited, even ecstatic, duet: the meeting of bass flute and bass recorder on The Vancouver Tapes (feat. William Parker) interaction. Audience conversation intrudes towards “Tone Venture #6”, for example, doesn’t wallow in UDU CALLS (Long Song) the end to betray the origin as a bootleg tape, but the subterranean weightiness but instead advances the by John Sharpe slightly murky sound doesn’t disguise the chemistry theme with such elephantine grace that the final sonic Long a fixture of the Lower East Side scene and the between the threesome. image is relaxed and pastoral. “Tone Venture #10A” annual Vision Festival, by now bassist William Parker also avoids cavernous heaviness; Robinson’s sluggish should need no introduction. His presence on a date For more information, visit leorecords.com, contrabass sarrusophone snorts may be hefty enough guarantees restless momentum, which nonetheless nobusinessrecords.com and longsongrecords.com. Parker is to shake a skyscraper, but the looping echoes from adheres to the traditional values of swing and time, at Greenwich House Music School Feb. 21st with Rob Brown Mitchell’s wind machine and sounds from little albeit in constantly changing permutations. For Parker, and The Stone Feb. 25th with Warren Smith. See Calendar. instruments add airy counterpoint. Balancing alto, free music means that you are free to do whatever you tenor and mezzo-soprano sax plus jazzophone between want with no limitations. The only criterion is that it them, Mitchell and Robinson emphasize the brassiness has to work. Three new discs present Parker in a range of their horns on “Tone Venture #12B” and the resulting of settings, all meeting that standard. line is moderato and almost playful. Comparable Parker has been part of a revolving cast of trusted exultant textures characterize “Tone Venture #14” as collaborators flanking tenor saxophonist Ivo Perelman soprano and tenor saxophone plus baritone rothophone on a stream of releases over the last few years. On Book tremolos blend into an interface that suggests a bagpipe of Sound, pianist Matthew Shipp completes the lineup dueting with a songbird. Even “Tone Venture #11B”’s for an invigorating program of six improvisations from minnow versus whale face-off from sopranino and an October 2013 studio session. Both Shipp and Snakeheads & Ladybugs contrabass saxes reveals more than contrasts. Perelman are distinctive stylists, who, nonetheless, Jack Mouse/Scott Robinson (Tall Grass) Propelling an underlying rhythm, the duo pushes both operate within the syntax of jazz, if not the overt Tone Ventures horns to their highest and lowest limits. structures. Their collective experience liberates them Roscoe Mitchell/Scott Robinson (ScienSonic) by Ken Waxman to explore whatever path they choose, secure in the For more information, visit cdbaby.com/cd/ knowledge that the response will be simultaneously Scott Robinson has spent more than 30 years proving jackmousescottrobinson and sciensonic.net. Robinson is at supportive but unpredictable. Shipp and Parker don’t that one can be a jack of all trades and a master of all. Brooklyn Conservatory of Music Feb. 7th with Rob Garcia and miss a drummer at all, combining in a rhythmic quilt Having gigged with associates as different as Buck Jazz Standard Feb. 26th-Mar. 1st with Rufus Reid. See Calendar. that both prompts and responds to Perelman in a push- Clayton, Joe Lovano, Marshall Allen and Lionel pull tension. That’s well illustrated in “Adsummum”, Hampton, he’s more than adaptable. A crusader for where Shipp’s nagging motif pulls Perelman into its obscure instruments, Robinson is proficient on such orbit while Parker runs interference with a twisting sound makers as the C-melody and bass saxophones, contrapuntal line. This is some of Perelman’s most contrabass sarrusophone and baritone rothophone as relaxed and powerful playing, often eschewing his well as cornet, clarinet and tenor saxophone. Like a trademark falsetto for gruff reiteration and breathy tailor’s showroom mirrors, these duo CDs illuminate lyricism. Parker shines especially when his upper various facets of Robinson’s sonic versatility. register sawing intertwines in sweet consonance with Having played with Stan Kenton, Clark Terry, Gary Perelman’s outpourings, nowhere more so than in the Bartz and Peanuts Hucko—to pick random names— closing of finale “Veritas Vos Liberabit”. drummer Jack Mouse’s resourcefulness is never in Medicine Buddha captures a 2009 recital from the question. However, his dozen short duets with Robinson Rubin Museum of Art, reuniting Parker with on Snakeheads & Ladybugs are freely improvised, without effervescent violinist Billy Bang. Notwithstanding being free jazz. Imagine what would have resulted had Bang’s essential joie de vivre, the beginning of their prebop stylists been given absolute freedom to record concert is low-key but starkly beautiful as Bang soars what they wished. This unique world view is most achingly over Parker’s portentous scraped drone. It’s transparent on “Backwards Glance”, which honors an arresting opening, all the more compelling for being Gene Krupa and Benny Goodman’s duet on “Sing Sing completely extemporized. The most effective moments Sing”. Mouse’s bass drum accents may emulate Krupa’s come when both men are wielding their bows. Parker but his skillful cymbal work is undoubtedly post-swing is a past master at imaginative yet propulsive while Robinson’s repeated tongue flurries come from underpinning and he partakes in abstract interplay John Coltrane not Bud Freeman. “Free Bop” is actually with Bang throughout this set. Like his early mentor more free swing, especially when Robinson caresses the Don Cherry, he also absorbs influences from outside theme, although the drummer’s pinpointed rolls put a jazz and varies the pace on Japanese flute, inspiring harder edge on the performance. With a couple of Bang to pluck oriental-tinged pentatonic patterns on exceptions that’s how most of the CD evolves. Mouse’s “Sky Song”, and dousn’gouni on “Bronx Aborigines” comfort in outputting nearly every sort of beat reaches in hypnotic consort with Bang’s thumb piano. Parker’s an apogee on tracks such as “Orcan”, as he duplicates final “Buddha’s Joy” finds Bang dancing around the tabla in tandem with Robinson’s breathy reed line, and author’s infectious groove and rightly elicits rapturous “Dual Duel”, one of the few instances where his rhythm applause. This set forms a fitting tribute to Bang, who is as firmly in the bop mode as Robinson’s staccato reed died in 2011. bites reference The New Thing. Unconventional The Vancouver Tapes documents Parker’s experimentation takes over twice: the title track and appearance at the 1999 edition of that city’s Jazz “Shapeshifter”. On the former, the two demonstrate Festival, his first-ever encounter with the Italian how understated percussion pacing can crystallize tenor pairing of drummer Tiziano Tononi and reedplayer saxophone yelps and warbles into agreeable chromatic Daniele Cavallanti. A generous 76-minute program swing while on the latter Robinson shifts back and forth encompasses two sets, revealing a threesome who from cornet to C-melody saxophone in a mellow line as punch above their weight in a rousing free jazz bout. old-timey modern as it is contemporarily antique. Milanese Cavallanti and Tononi are longtime Tone Ventures is far different. Recorded at colleagues, waxing homages to , Robinson’s own ScienSonic Laboratories studio with Don Cherry and Ornette Coleman, though perhaps Roscoe Mitchell, who has likewise mastered a music

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 31

improviser and on his latest pair of sonic explorations, he showcases both strengths, accompanied by worthy companions in of-one-mind operations. No stranger to working with guitar virtuosos, Ligeti can add the Israeli-born fusioneer —a member of John Zorn’s Cobra and Abraxas ensembles— to his list of collaborators. Together with bassist James Ilgenfritz, the trio comprise Hypercolor, a fierce unit specializing in a noise-bathed jazz/rock hybrid.

Tales Hypercolor hammer out, literally, a cerebral and Diego Barber + Craig Taborn (Sunnyside) methodical assault on the senses, the ten searing by Mark Keresman compositions on its eponymously-titled debut swarming with grooves and melodies rising from the Spanish guitarist Diego Barber’s career straddles the ecstatic racket. Hypercolor, an apt moniker considering worlds of jazz and classical music. Craig Taborn is an its mettle and stylistic shifts, is electrifying and American jazz pianist whose style is grounded not perpetually locked-in while sprinkling in manic only in jazz but also rock, classical and electronic music improvisational flourishes. With a rhythm section of and who has amassed experience as a leader as well as elastic and rollicking precision, Maoz goes off the rock- in the ensembles of Roscoe Mitchell, Chris Potter and centric rails à la Marc Ribot while channeling Sonny Tim Berne. Together, they weave some lovely acoustic Sharrock’s free jazz wail. Exploding from his gnarly panoramas. and nimble fretwork comes Jewish-flavored musicality There are but four tracks herein, all fairly lengthy. (“Transist”), punk-galvanized fury (“Palace”) and “Killian’s Mountains” is driven by rolling, insistent slow-building psychedelia (“Little Brother”). chords from both piano and guitar, the effect somewhat Ligeti’s union with the dauntless pianist/ evoking the pattern-based repetition of classical keyboardist Thollem McDonas proves a live wire of composers Philip Glass and Steve Reich. But then each pure improvisation. McDonas, a genuine drifter whose player evolves solo statements within that engaging sanctuary has been the road (he’s been on a Dylan- structure. But this is not bliss-out or trance music— esque neverending tour for the last eight-odd years; while Barber has superb technique and lyricism, his only recently did he take up actual residence) continues playing is bright and forceful throughout. Taborn his superb duo run; recent endeavors include Dub works with deceptive simplicity, never cluttering the Narcotic Session with drummer Brian Chase (of art- proceedings with too many notes. Both play with a rock band The Yeah Yeah Yeahs) and Conformity driving impetus and their statements are to the point, Contortion by Impulsive Machinations (his partnership no treading water here. “Cipres” continues the Glass/ with hard-hitting drummer Sara Lund of influential Reich vibe, but the melodic motifs are more folk-like ‘90s indie rock outfit Unwound). Add Imaginary Images than suggestive of classical styles; each gradually to his stable of fearless experimentation, where he and builds in volume and intensity before the piece gets Ligeti form an undying bond in their effortless spiky, slippery and pointed, all the while maintaining weaving, pirouetting and clashing of sinuous classical a sense of (dramatic, in this case) lyricism. music-meets-firebreathing jazz. Throughout its seven The styles of Barber and Taborn are similar and “spontaneous compositions”, Ligeti and McDonas face complementary as each lets the music breathe—the off on minimalist and angular, yet swinging, doom former plucks and strums deliberately, the latter lets (ominous “Dark Correspondence”), ghostly and each note hang in space until decay. Taborn is rhapsodic dizzying clang and clatter (Ligeti-propelled “Whisper and ruminative while being visceral. Barber’s style Stream”) and, conversely, darting salvos of the carries Iberian influences without being blatant, McDonas-piloted “Advance in Standstill”. Ligeti’s bending his strings, lovingly coaxing the notes out and percussive blitz is positively punch-drunk in his leaving space in between. There are no displays of shellacking of the drum kit and McDonas matches his technique for its own sake. Tales is a captivating listen: canon of beats with super-human handwork. abounding with wistfulness, understated exhilaration, Hypercolor and Imaginary Images are two distinct stellar musicianship, poise, melodic invention and the beasts but both have this much in common: relentless intimacy only possible with a duet. exercises in rapport, conversation, abstraction and lyricism. For more information, visit sunnysiderecords.com. Taborn is at ShapeShifter Lab Feb. 18th, Roulette Feb. 24th with Aaron For more information, visit tzadik.com and leorecords.com. Burnett, Ibeam Brooklyn Feb. 25th and Cornelia Street Café Ligeti is at The Stone Feb. 4th and JACK Feb. 9th with Feb. 27th-28th with Chris Lightcap. See Calendar. Hypercolor. See Calendar.

Hypercolor Lukas Ligeti/Eyal Maoz/James Ilgenfritz (Tzadik) Imaginary Images Lukas Ligeti/Thollem McDonas (Leo) by Brad Cohan For loose-limbed Brooklyn-via-Austria percussionist/ composer Lukas Ligeti, the host of seeds he’s planted in his musical journey has yielded a wealth of fruit, from forays into West African-influenced mediations and laptop-manipulated electronica to compositions written for percussion and string troupes. Ligeti, scion of avant garde classical pioneer György Ligeti, has paved his own road as both a protean composer and

32 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD NYC CD-RELEASE SHOW! Tuesday, February 17th (Mardi Gras) • 8:30 PM The Cornelia Street Cafe 29 Cornelia St, NYC 11014

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In hindsight it’s surprising that Gordon was out of that signature two-tenor sound. Chris Cheek and Tony the limelight at the time of his first Blue Note recording Malaby unite to dramatic effect when playing in 1961, Doin’ Allright. Apart from a one-off Jazzland Lightcap’s soaring melodic statements, which they date, The Resurgence of , he hadn’t voice in wide harmony, unison or octaves depending recorded in several years owing to the plague of on the moment. As soloists, their personalities diverge: “personal problems” that beset many artists of the Cheek has a certain grace and restraint in his swing; period. From 1962, Go is one of a pair of Blue Note Malaby is edgier in his tone and his harmonic and albums featuring the impeccable ensemble of pianist rhythmic choices. Sonny Clark, bassist Butch Warren and drummer Billy Aside from The Velvet Underground cover “All

A Beautiful Friendship Higgins and is widely considered one of Gordon’s Tomorrow’s Parties”, a deliberately chaotic sendoff, Bill Watrous/Pete Christlieb/Carl Saunders/ finest studio dates, with a mixture of finely-rendered the seven remaining tracks all stem from a recent Gary Urwin Jazz Orchestra (Summit) standards and the leader’s “Cheese Cake”. His sound Chamber Music America commission Lightcap by Ken Dryden is absolutely forceful, laconic cadences matched with a originally titled “Lost and Found: New York”. The steely conviction that shows reciprocity with the inspiration is the city, hence the “epicenter” of the Gary Urwin formed his Los Angeles-based big band slightly younger Coltrane and Sonny Rollins. Whether album title and the freebop vibe of the title track, in 2000 and has recorded and performed with it on a drawing velvety drips or kicking through the gates, which brings Lightcap’s fellow bassist and forebear regular basis, utilizing a potent cast of West Coast Gordon isn’t the only voice; as with his most rewarding Charlie Haden to mind. allstars in his core group, augmenting it with guests. work, the quartet here feels like an actual unit, with the The rhythmic character of the music is accessible For his latest CD, the arranger and composer draws supple power of Higgins supporting and needling the though offbeat, driven as much by big-toned and agile from a mix of standards, jazz classics, Brazilian leader into some of his most intriguing improvisations. bass as swinging, multi-textured drums. Stop to savor favorites and originals, extensively featuring a trio of Clark and Warren similarly have an elegant drive as the unaccompanied bass intros on “Arthur Avenue” septuagenarians in trombonist Bill Watrous, trumpeter well as a supple approach that adds a particulate caress and “Stillwell” and the calmly profound bass solo on Carl Saunders and tenor saxophonist Pete Christlieb to the ballads. Go is unimpeachable music, which has “Stone By Stone”. (who turns 70 this month). thankfully remained in print for decades and should On “White Horse” and “Down East”, packed with One could easily imagine Urwin’s scoring of the be a cornerstone of any jazz collection. sonic and conceptual detail despite their pointed brevity, title track being played by the -Mel Lewis Soy Califa captures Gordon at the height of his Lightcap seems to make a genre leap, perhaps closer to Orchestra, the chart buoyed by richly textured expatriate career, in a working quartet featuring the world of The Velvet Underground than to jazz as interplay and strong solos. Watrous’ sublime muted longtime confrere, pianist Kenny Drew, alongside such. The former is a lovely, fast-moving thing with horn, Christlieb’s mellow tenor and Saunders’ bassist Niels-Henning Ørsted Pedersen (NHØP) and Lightcap on multi-tracked acoustic guitars. The latter is sparkling trumpet blend beautifully with Urwin’s drummer Albert “Tootie” Heath. Recorded in 1967 at a a nervous rock anthem, Taborn pounding steady piano arrangement of Bill Evans’ “Waltz For Debby”, though Copenhagen high school where the quartet led master eighth-note chords, tenors entering at full blast. Here the ensemble adds a twist, featuring flutist Bethany classes, this is the Gordon of such famed live dates as Lightcap’s deft, imaginative use of the musical canvas Pflueger prominently. Saunders contributed the the Montmartre recordings (issued on Black Lion) and hints at still more intriguing things to come. easygoing bossa nova “Autumn Sojourn”, showcasing the Zurich Jazz Festival (issued on SteepleChase). himself, Christlieb and the talented pianist Christian Released on the British archival imprint Gearbox, this For more information, visit cleanfeed-records.com. This Jacob (known for his work with vocalist Tierney brief set tears through the Gordon original title track band is at Cornelia Street Café Feb. 27th-28th. See Calendar. Sutton). The orchestra also delivers inspired and the / vehicle “Blues Up performances of Brazilian standards “Gentle Rain” and Down”, as well as a biting rendition of “The and “Look to the Sky”. A chestnut like “Guess I’ll Hang Shadow of Your Smile”. At a shade under 30 minutes My Tears Out to Dry” may seem old-fashioned to many some might be left wanting for more (especially arrangers, but Urwin’s magical setting provides a lush, considering that Gearbox LPs aren’t exactly cheap) and inventive backdrop for Watrous’ emotional solo. the recording is a little lo-fi, but it’s a small price to pay Saunders penned “Dear Mr. Florence” in tribute to the for a prime chase. “Blues Up and Down” is, late arranger Bob Florence, featuring Christlieb as its unsurprisingly, the meat and Heath’s overdriven ride only soloist. Trumpet battles have always been a crowd cymbal stokes Gordon’s wry, liquid phrases into pleaser and though this is a studio date, the exchanges buoyantly hot, rough energy. NHØP is a warm-toned between Saunders and Wayne Bergeron on “Shaw bulwark as Drew’s insistent, bright funk maintains a Nuff” and Bobby Shew on “Joy Spring” still provide harmonic anchor and the performance gives ample plenty of excitement. The poignant closing selection weight to the phrase “free within the tradition”. adds another surprise, a brief but heartfelt piano solo by Jacob of “We’ll Be Together Again”. Let’s hope so! For more information, visit bluenote.com and gearboxrecords.com. A Gordon tribute is at Dizzy’s Club For more information, visit summitrecords.com Feb. 26th-Mar. 1st. See Calendar. February 3 Nick Moran Group February 10 Ray Blue Ensemble

Go Dexter Gordon (Blue Note) Soy Califa (Live from Magleaas Højskole 1967) Epicenter February 17th Dexter Gordon (Gearbox) Chris Lightcap’s Bigmouth (Clean Feed) by Clifford Allen by David R. Adler Eyal Vilner Big Band Certain architects of bop and hardbop went on to Bassist Chris Lightcap has arrived at something become progressive forces in the advancement of distinctive as a composer, leading a band with two improvised music. This would not invalidate the course tenor saxophones to summon big legato melodies full New York Baha’i Center of standards and blues, for such idioms certainly have a of tension and yearning. He committed to this sound 53 E. 11th Street wealth of possibilities to mine and it is this tack that early on with his 1999 quartet debut Lay-Up and (between University Place and Broadway) other pioneers explored until their departure— developed it on two subsequent albums, Bigmouth saxophonists Jackie McLean and Dexter Gordon, for (2002) and Deluxe (2008), ultimately expanding to a Shows: 8:00 & 9:30 PM example. That’s not to say that mainstream players quintet with piano. On his fourth release, Epicenter, Gen Adm: $15 Students $10 weren’t influenced by all that swirled around them, but Lightcap stays with quintet, relying on Craig Taborn’s 212-222-5159 that they preferred to solve musical problems with an mind-melting Wurlitzer and piano and drummer bahainyc.org/nyc-bahai-center/jazz-night eye toward known lineage. Gerald Cleaver’s expansive tonal palette to underline

34 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

immediately on Iturralde’s original opener, “Veleta de responds with discordant fragments, mirroring, Tu Viento”, with a dazzling picado (finger-picked) run, matching or opposing timbres, usually in short self- then setting up a slow three-beat bolero, which quickly contained bursts, which avoid prolonged statements. morphs into a jazz waltz over a Phrygian modal vamp, Her husky soprano spews gobbets of vibrato-heavy with effective solos all around, especially the leader’s split tones and alien whistles and squeaks. On sequenced lines and Piana’s dramatic eruptions. The “Hallucinating Angels”, the longest piece, the pair horn calls (with Iturralde now on soprano) at the settle on a common language in which both steer closer beginning of “Cancion de las Penas de Amor” dialogue to the tradition. Frith recognizably plays guitar, with de Lucía, but here, as elsewhere, the track switches incorporating juddering lines and rapid-fire tremolos,

A Song From There between an (excellent) jazz quintet blowing with while Anker keens and squalls to purposeful effect. Daniel Szabo/Peter Erskine/Edwin Livingston flamenco flavor and a lone guitarist playing extended (Dszabomusic) falsetas (solo passages) in traditional flamenco style. For more information, visit ilkmusic.com and intaktrec.ch. by Elliott Simon “El Vito” contains fine playing by Iturralde, who Anker is at ShapeShifter Lab Feb. 18th and Ibeam Brooklyn contrasts laid-back, slightly slurred statements with Feb. 25th. See Calendar. A Song From There is pianist Daniel Szabo in a trio peppery staccato punches and ends with de Lucía with drummer Peter Erskine and bassist Edwin joining the short outro as a co-soloist. “Cancion del Robin Jones’ Latin Livingston, using these intimate environs to weave his Fuego Fatuo”, the final track, has no guitar at all, but Underground and familiarity with classical and Hungarian folk music contains strong rounds from Piana, playing fast triplet Slam Productions into his otherwise decidedly modern jazz compositions. figures, and Grassi, skipping lightly over the keys. would like to thank Erskine brings his extensive experience to these six Szabo originals and his exquisitely even-handed touch For more information, visit mps-music.com all those at The enhances the mood while occasionally ratcheting up New York City the risk factor. He combines well with Livingston’s Jazz Record for meaty bass to keep these extended pieces focused and choosing “Seven occasionally steer them in challenging directions. Stops To Heaven” Szabo is Hungarian and his cultural signifiers run in their Best of 2014 from homage to pianist Béla Bartók, with the Latin Jazz Albums. occasionally discordant attitude of “Barbaro con Brio”, to the beautifully Eastern European-informed folk of “Eastynato”. The title track is a somewhat over- extended exercise in pathos, in which each player is What River Is This given their turn at expressing their take on sorrow. In Lotte Anker (ILK Music) www.latinunderground.co.uk www.slamproductions.net contrast, “I Crooned it Before” has its own longing but Edge of the Light Robin Jones – Congas / Nick Walker – Baritone, Flute / Szabo uses the lovely melody to thread swirls of hope. Lotte Anker/Fred Frith (Intakt) by John Sharpe Gavin Broom - Trumpet / Chris Kibble – Piano / “Kids’ Dance” is less an exercise in subtlety than most Marc Cecil – Drums / Jonny Gee – Bass of these tracks and its pure positivity is maintained Danish saxophonist Lotte Anker refuses to accept hard through the trio’s closely-knit expression of innocence. boundaries between composition and improvisation. The session begins and ends with two different That is evident from her discography, which saw her versions of the “Hun-Fro Blues”, though neither sound emerge from the genre-stretching Copenhagen Art particularly bluesy in a traditional sense. The opener Ensemble performing new music and inviting guests features Erskine making a straightforward statement like Tim Berne, and Bates to of the rhythm and Szabo doing likewise with the participate in joint projects. At the same time she also is melody while the closer flips rhythmic lead to in two different but equally unfettered trios: with Livingston. The latter is the more powerful pianist Craig Taborn/drummer Gerald Cleaver and proclamation and ends the session with authority. with pianist Sylvie Courvoisier/laptop whiz Ikue Mori. Amorphous borders pervade What River Is This, For more information, visit szabodaniel.com. Erskine is at written for the 2010 Huddersfield Contemporary Music Birdland Feb. 24th-28th with Steps Ahead. See Calendar. Festival. Her eight-strong ensemble contains guitarist Fred Frith and drummer Chris Cutler, reunited from art rock band Henry Cow, alongside the likes of classical and new music specialists like violist Garth Knox and clarinetist Anna Klett. Anker’s score takes its inspiration from texts by Jorge Luis Borges and especially Danish poet Ursula Andkjær Olsen, intoned in English by vocalist Phil Minton, which deal with the uncertain juncture between sleep and wakefulness. Certainly the music invokes a dream-like state too, as sudden acerbic interjections pierce strange otherworldly textures in which instruments seem to morph and merge. Mori’s Flamenco-Jazz electronics and Minton’s vocal gymnastics add to the Pedro Iturralde Quintet (with Paco de Lucía) (MPS-Edel) sense of indeterminacy. Of the few solo passages that by Tom Greenland arise from the swirling soundscapes, Knox prefaces Spanish tenor saxophonist Pedro Iturralde was one of “Waterpalace” with a display of austere drama while the first jazz artists—following the example set by Anker herself explodes into jazzy tenor saxophone on pablo held Miles Davis and ’ landmark collaboration “Nightmares Exist”, accompanied by Cutler’s drum robert landfermann jonas burgwinkel Sketches of —to fuse jazz and flamenco music. machine-like pulsations and Minton’s choked wailing. Flamenco-Jazz documents his quintet in performance at As Minton sounds increasingly sleep-deprived, this featuring the Berlin Jazz Festival in 1967, an international group intriguing work ends with a low-key rustling evoking a made up of Italian trombonist Dino Piana, two softly exhaled breath. Germans in pianist Paul Grassi and drummer Peer An earlier 2010 encounter between Anker and Wyboris, Swiss bassist Erich Peter and another Frith resulted in Edge of the Light, a series of intimate Spaniard, 19-year-old wunderkind guitarist Paco de exchanges, in which the close relationship is enhanced Lucía, who passed away a year ago this month at 66. by the contrast between the vocalized expressiveness of The lineup holds much promise, but de Lucía, saxophones and unearthly backdrops generated by added at the behest of the festival promoter Joachim- guitar effects. Frith challenges Anker with a litany of www.pirouet.com Ernst Berendt, is never fully integrated, serving mostly unconventional settings, ranging from gentle harmonics as a featured soloist on several highly compelling via scrabbling percussive chatter to repeating loops, interludes. He makes his presence felt almost which also change dramatically between cuts. Anker

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 35 all the fire and imagination we should expect. It is The vocal records include a quintet date (Troubles), BOXED SET interesting to contrast this masterwork with the other sextet outing (The Condor), unusual septet two-CD set quartet date here, Revenue (1993), which features (The Cry) and Vespers, an octet. Lacy’s vocalist was musicians who worked with Lacy throughout his Irene Aebi, who was his life-partner for over 40 years later years: alto (and sometimes soprano) saxophonist and played violin and cello in his groups. It’s likely Steve Potts; late bassist Jean-Jacques Avenel; and that listeners who are lukewarm about Aebi actually drummer John Betsch. All three were terrific players have problems with the songs themselves; she is who deserve far greater recognition. may be actually a very capable vocalist whose voice suits this more energetic but the writing on Revenue material well. But Lacy did not usually compose demonstrates greater range, especially the lyrical “I strongly melodic material; his austere, often-repetitive Do Not Believe”. lines make good vehicles for improvisations but The other three instrumental dates were sound nothing like pop standards, having instead The Complete Remastered Recordings organized by pianist Misha Mengelberg in the ‘80s. something of an art song quality to them. The vocal on Black Saint & Soul Note For Regeneration, the Dutch pianist brought in Lacy records may be less agreeable to those who prefer Steve Lacy (CAMJazz) and Rudd (along with his longtime partner, drummer really jazzy jazz, but the leader and Potts are heard by Duck Baker , who had worked with Lacy at least from at length on all but The Cry, with pianist Bobby once in the mid ‘70s) to revisit the music of their great Few joining in on Troubles and The Condor and Ricky This no-frills package consists of straight reissues of mentors, Thelonious Monk and Herbie Nichols. At Ford and Tom Varner added on tenor saxophone and the original records made for the Italian labels Black this juncture, serious covers of any but simple Monk , respectively, for Vespers (perhaps the Saint and Soul Note in thin, single-CD sleeves. In tunes were still rare and those of Nichols almost best of the song records). many cases, original liner notes are not included, but nonexistent, so both this record and the subsequent The fact that liner notes are not included in the more about that later. Soprano saxophonist Steve Lacy Change of Season (the 1985 follow-up devoted package means that buyers will be well advised to (1934-2004) produced an enormous body of work completely to Nichols) have great historical look up the poems by Bob Kaufman, Nanni Balestrini during the near-quarter century (1976-93) represented significance. Mengelberg really ‘got’ both pianists; his and others that provide the texts heard on The Condor, here and this cross-section is valuable for tracing near-deconstruction of Nichols’ “2300 Skiddoo” is the remarkable Blaga Dimitrova poetry heard on broad outlines of his artistic development. It divides particularly delicious. Vespers and especially the Taslima Nasrin works that neatly into five CDs devoted to instrumental settings Rudd was not on hand for the all-Nichols record, inspired The Cry. This exiled Pakistani poet has lived and five that feature vocals. but it’s a gas to hear trombonist George Lewis’ take under the threat of death since 1994, owing to her Trickles, Lacy’s first record for Black Saint, was a on this music. The almost mischievous playfulness views on religion and feminism. The Cry is terrific quartet date from 1976 that finds him in the that Mengelberg and Bennink display on these uncompromising and demanding even with the texts frontline with his old comrade-in-arms from the early records is front and center on Dutch Masters (1987), in hand; without them it is all but inaccessible. ‘60s, trombonist , backed by his regular which must rank with Mengelberg’s best dates. Lewis bassist of time in Kent Carter plus his only album is again the trombonist and his beautifully controlled For more information, visit camjazz.com. A Lacy tribute is with drummer Beaver Harris. This top-flight unit of virtuosity makes a great counterbalance to the master at Greenwich House Music School Feb. 12th with Ideal free jazz veterans performs five Lacy originals with cutups from the Netherlands. Bread. See Calendar.

Cobi Narita’s open Mic is at Pearl studios, 519 8th ave, 12th Floor EVERY FRIDAY NIGHT - from 7:30 to 10:30 p.m. $10

FEB 1 FEB 16 FRANK OWENS, Music Director, Host & Pianist pharoah sanders terry waldo gotham city band “This is possibly one of the most entertaining Open Mics in the city, primarily due to Frank Owens, and the eclectic mix of singers and tap dancers.” FEB 2 FEB 17 juilliard jazz ensembles mardi gras stomp with joe saylor & alphonso horne Cobi Narita PreseNts FEB 3 simon bolivar big band FEB 18–19 MARK YOuR CAlENDAR t.s. monk sextet Monday, March 9, 2015 - 8 to 10 p.m., $25 FEB 4–5 otis brown lll: FEB 20–22 Saint Peter’s Church the thought of you sounds of brazil: mario adnet 619 lexington Avenue (entrance on E 54th Street)

FEB 6–8 FEB 23 | MONDAY NIGHTS WITH WBGO & friends jimmy greene quartet: beautiful life FuNDRAISER: FEB 9 Cobi Narita and the allan harris: black bar jukebox FEB 24 album release concert william paterson university Jazz Center of New York jazz ensembles & orchestra FEB 10–11 Remember & Celebrate Paul Ash, clarence penn & penn station FEB 25 the amigos and ken peplowski Cobi’s late husband, with the FEB 12–15 First Annual Presentation of kim nalley sings songs of love FEB 26–MARCH 1 * valentine’s day features a prix fixe the music of dexter gordon: Paul J. Ash legends of Jazz Awards to menu; special pricing applies a celebration the dexter gordon legacy ensemble Jimmy Heath, & Also celebrating Cobi’s 89th Birthday and what swing by tonight set times 7:30pm & 9:30pm jazz.org / dizzys would have been Paul’s 86th Birthday on March 29 Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc CobiNarita.CoM

36 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Autumn Song Auto Jazz: Tragic Destiny of Lorenzo Bandini One Oasis More Than A Mood Mose Allison (Prestige) Barney Wilen (MPS) / (Victor) New York Jazz Quartet (Enja) (MusicMasters) February 13th, 1959 February 13th, 1968 February 13th, 1971 February 13th, 1981 February 13th, 1992 After getting his start strictly as a French saxophonist Barney Wilen is A number of albums made in 1970-71 This geographically named ensemble Tenor saxophonist Stanley Turrentine, pianist with and Stan Getz in best known to American listeners for by pianist Mal Waldron were recorded (no recording location is given but one nicknamed “The Sugar Man”, had a 1956-57, Mose Allison struck out on his his work with Miles Davis in 1957 on in Japan, typically with local musicians can assume it was waxed in the city long career, beginning as a 19-year own as a leader in 1957. With very few the soundtrack to Ascenseur pour (and more inside than the European and/or that its members lived there at section player in the orchestra of Earl exceptions since, he has stayed in that l’échafaud. But he had extensive credits sessions he was waxing during the the time) had been in existence for nine Bostic in 1953 through hundreds of role for nearly 50 albums. This final on either side of that album, starting same period). This disc is unusual in years by the making of this album. albums until his death in 2000 at 66. album for Prestige is a trio session with out as a hardbopper but then getting that Waldron, plus Yoshio Suzuki Founder Sir Roland Hanna (piano) This album is an allstar session, the his rhythm section of the time in more experimental in the ‘60s. This (bass) and Hiroshi Murakami (drums), was still there, with the much-changed leader’s group completed by Freddie Addison Farmer and Ronnie Free. Of album, a quartet session with pianist are playing in support of Kimiko lineup of Frank Wess (tenor sax and Hubbard (trumpet on two tracks), the ten tunes, seven (originals like the François Tusques, bassist Beb Guérin Kasai, a now-retired Japanese jazz-pop flute), George Mraz (bass) and Ben (piano), title track and Dizzy Gillespie’s and drummer Eddy Gaumont, mixes vocalist. The dedicatee is singer Billie Riley (drums), for what would be the (bass) and (drums), all “Groovin’ High”) are instrumentals in on-location audio from the 1957 Holiday, Waldron’s former employer, group’s final album. Wess contributes players with whom Turrentine had while the remaining three, including Monaco Grand Prix, in which the and the album features songs written two songs to the session, Hanna recorded over the years, except for Ellington’s “Do Nothin’ Till You Hear Italian racecar driver Lorenzo Bandini by and/or associated with her, such as providing the other four, including the Higgins. The material is a mix of jazz from Me”, have Allison also on vocals. suffered fatal injuries. “Don’t Explain” and “My Man”. title track. standards from various eras. BIRTHDAYS February 1 February 6 February 11 February 16 February 21 February 25 †James P Johnson 1894-1955 †Ernie Royal 1921-83 †Claude Jones 1901-62 †Bill Doggett 1916-96 †Tadd Dameron 1917-65 †Tiny Parham 1900-43 †Tricky Sam Nanton 1904-46 Sammy Nestico b.1924 †Matt Dennis 1914-2002 †Charlie Fowlkes 1916-80 †Eddie Higgins 1932-2009 †Ray Perry 1915-50 Sadao Watanabe b.1933 †Bernie Glow 1926-82 †Martin Drew 1944-2010 Howard Riley b.1943 † 1933-2003 †Fred Katz 1919-2013 Tyrone Brown b.1940 Tom McIntosh b.1927 Raoul Björkenheim b.1956 b.1954 †Graham Collier 1937-2011 †Rene Thomas 1927-75 Bugge Wesseltoft b.1964 †Nelson Boyd 1928-1985 Didier Lockwood b.1956 Akira Sakata b.1945 †Sandy Brown 1929-75 b.1969 Oleg Kiryev b.1964 Jaleel Shaw b.1978 February 17 Herb Robertson b.1951 †Tommy Newsom b.1929-2007 Michael Griener b.1968 †Wallace Bishop 1906-86 Warren Vaché b.1951 †Ake Persson 1932-75 February 2 Scott Amendola b.1969 February 12 †Charlie Spivak 1906-82 Matt Darriau b.1960 Brian Drye b.1975 †Sonny Stitt 1924-82 †Paul Bascomb 1912-86 †Harry Dial 1907-1987 Christian Howes b.1972 †Mimi Perrin 1926-2010 February 7 †Tex Beneke 1914-2000 †Alec Wilder 1907-80 February 26 †Stan Getz 1927-91 †Eubie Blake 1887-1983 † 1921-2003 †Buddy DeFranco 1923-2014 February 22 Dave Pell b.1925 MAGGIE NICOLS b.1942 †Ray Crawford 1924-97 †Art Mardigan 1923-77 †Buddy Jones 1924-2000 †James Reese Europe 1881-1919 †Chris Anderson 1926-2008 February 24th, 1948 Louis Sclavis b.1953 †Ray Alexander 1925-2002 †Mel Powell 1923-98 Fred Frith b.1949 †Rex Stewart 1907-67 †Hagood Hardy 1937-97 †King Curtis 1934-71 Juini Booth b.1948 Nicole Mitchell b.1967 †Claude “Fiddler” Williams Trevor Watts b.1939 Vocalist Maggie Nicols was February 3 Sam Trapchak b.1984 Bill Laswell b.1955 1908-2004 Yosuke Yamashita b.1942 born in Scotland but made her †Lil Hardin Armstrong Ron Horton b.1960 February 18 †Buddy Tate 1914-2001 Guy Klucevsek b.1948 name in London, initially as 1898-1971 February 8 Szilard Mezei b.1974 †Hazy Osterwald 1922-2012 †Joe Wilder 1922-2014 part of drummer John Stevens’ †Dolly Dawn 1919-2002 †Lonnie Johnson 1889-1970 †Frank Butler 1928-84 Dave Bailey b.1926 February 27 Spontaneous Music Ensemble, † 1919-2011 †Buddy Morrow 1919-2010 February 13 † 1928-91 George Haslam b.1939 †Leo Watson 1898-1950 first appearing on the 1969 †Chico Alvarez 1920-92 † 1926-88 †Wingy Manone 1900-82 Jeanfrancois Prins b.1967 Marc Charig b.1944 † 1907-51 album Oliv (Marmalade). In John Handy b.1933 †Eddie Locke 1930-2009 †Les Hite 1903-62 Gordon Grdina b.1977 Harvey Mason b.1947 †Abe Most 1920-2002 the ‘70s, she was one of the Leroy Williams b.1937 Renee Manning b.1955 †Wardell Gray 1921-55 Joe La Barbera b.1948 †Dexter Gordon 1923-90 vocalists in Keith Tippett’s Bob Stewart b.1945 †Ron Jefferson 1926-2003 February 19 †Chuck Wayne 1923-97 mammoth Centipede and Greg Tardy b.1966 February 9 Keith Nichols b.1945 †Johnny Dunn 1897-1937 February 23 Rob Brown b.1962 went on to form Voice with Rob Garcia b.1969 † 1900-57 Fred Van Hove b.1937 †Hall Overton 1920-72 Joey Calderazzo b.1965 her fellow singers from that †Peanuts Holland 1910-79 February 14 Ron Mathewson b.1944 †Johnny Carisi 1922-92 album: Julie Tippetts and Phil February 4 †Joe Dodge 1922-2004 †Perry Bradford 1893-1970 Blaise Siwula b.1950 †Richard Boone 1930-99 February 28 Minton. Nicols has given †Manny Klein 1908-96 †Joe Maneri 1927-2009 †Jack Lesberg 1920-2005 David Murray b.1955 †Les Condon 1930-2008 †Louis Metcalf 1905-81 many solo performances and †Artie Bernstein 1909-64 Steve Wilson b.1961 Elliot Lawrence b.1925 Wayne Escoffery b.1975 Svend Asmussen b.1916 worked in a number of †Harold “Duke” DeJean Daniela Schaechter b.1972 Phillip Greenlief b.1959 February 20 †Bill Douglass 1923-94 improvising groups over the 1909-2002 Behn Gillece b.1982 Jason Palmer b.1979 †Jimmy Yancey 1894-1951 February 24 †Donald Garrett 1932-89 decades, including those of †Jutta Hipp 1925-2003 †Fred Robinson 1901-84 †Eddie Chamblee 1920-99 †Willie Bobo 1934-83 Louis Moholo, Minton, Barry †Wally Cirillo 1927-77 February 10 February 15 †Oscar Aleman 1909-80 †Ralph Pena 1927-69 Charles Gayle b.1939 Guy and Paul Rutherford. †Tony Fruscella 1927-69 †Chick Webb 1909-39 †Harold Arlen 1905-86 †Frank Isola 1925-2004 †Andrzej Kurylewicz 1932-2007 Pierre Dørge b.1946 One of her longstanding †John Stubblefield 1945-2005 †Sir Roland Hanna 1932-2002 †Walter Fuller 1910-2003 †Bobby Jaspar 1926-63 Michel Legrand b.1932 Hilliard Greene b.1958 groups is Les Diaboliques †Walter Perkins 1932-2004 Nathan Davis b.1937 Nancy Wilson b.1937 †David “Fathead” Newman Mikko Innanen b.1978 with pianist Irène Schweizer February 5 †Rahn Burton 1934-2013 Kirk Lightsey b.1937 Lew Soloff b.1944 1933-2009 and bassist Joëlle Léandre, †Roxelle Claxton 1913-95 Rufus Reid b.1944 Henry Threadgill b.1944 Anthony Davis b.1951 †Steve Berrios 1945-2013 February 29 which is responsible for three †Gene Schroeder 1915-75 †“Butch” Morris 1947-2013 †Edward Vesala 1945-99 Leroy Jones b.1958 Vladimir Chekasin b.1947 † 1904-56 albums in her small leader Rick Laird b.1941 Michael Weiss b.1958 Herlin Riley b.1957 Darek Oles b.1963 Bob Magnusson b.1947 †Paul Rutherford 1940-2007 discography. (AH) Bill Mays b.1944 Paolo Fresu b.1961 Dena DeRose b.1966 Iain Ballamy b.1964 Maggie Nicols b.1948 b.1948 CROSSWORD 1 2 3 4 5 6 7 8 ACROSS 25. Birthplace of John Crocker and Elton Dean 9 10 1. ICP violinist/violist 9. Trumpeter Carl, saxophonist Jack DOWN

11 12 or singer/trombonist Ray 10. Jazz vocalist who suffered from 1. Peter Brötzmann’s weapon of choice

13 14 Multiple Sclerosis 2. What Sonny Sharrock asked in 1991 11. Dutch drummer See 3. Old recording medium 12. Bassist on Wolfgang Dauner’s 4. One half of a choice given by 1969 Für album Wayne Shorter on JuJu 13. Sponsor of 2015 Tucson Jazz Festival 5. Danish imprint 14. Olympian daughter of Monk 6. Meaty bassist Reginald portrayer Rome Neal 7. Georgian keyboardist Lolashvili 15 16 17 18 19 15. URL extension for Berklee or 8. Tala Juilliard 16. New Harlem jazz brunch spot 20 21 22 18. Ornette’s “Una ___ Bonita” Gran Piatto ____ 20. Repeated twice a Heyward/ 17. Swiss record label

23 24 Gershwins song 18. Vietnamese saxophonist Quyền Văn 22. Stooges song covered by The Thing 19. Brazilian band ____ Bossa Jazz and Neneh Cherry 21. The leader of this Swedish piano trio 25 23. Caine and Gurvich died at 44 in a scuba-diving accident 24. Coltrane’s favorite kind of worm 22. 1951 Miles & Sonny Prestige album By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 37 CALENDAR

Sunday, February 1 êOrrin Evans’ Captain Black Big Band • Pedrito Martinez Group Subrosa 7, 9 pm $20 Smoke 7, 9 pm $9 • Jill McCarron Measure 8 pm êPharoah Sanders Quartet with William Henderson, Nat Reeves, Joe Farnsworth • Juilliard Jazz Ensembles Dizzy’s Club 7:30, 9:30 pm $25 • Nick Kadajski Quintet Silvana 6 pm Dizzy’s Club 7:30, 9:30 pm $45 • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper • Alex Bryson Quartet Shrine 6 pm • Bill Charlap Trio with Peter Washington, Kenny Washington Cornelia Street Café 8:30 pm $10 • Sweet Megg and The Wayfarers: Megg Farrell, Ryan Weisheit, Brandon Vetrano, Smoke 7, 9, 10:30 pm $40 • Jill McCarron Measure 8 pm Abe Pollack, Garrett Manley Saint Peter’s 1 pm $10 êVanguard Jazz Orchestra 49th Anniversary Celebration • Secret People: Dustin Carlson/Kate Gentile; Musicianer: Josh Sinton, Jason Ajemian, Village Vanguard 8:30, 10:30 pm $25 Chad Taylor Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 • Christian Scott Blue Note 8, 10:30 pm $35 • Peter Bernstein solo; Spencer Murphy with Tivon Pennicott, John Chin, Thursday, February 5 êVinnie Sperrazza, Jacob Sacks, Masa Kamaguchi Lawrence Leathers Smalls 7:30 pm 1 am $20 Cornelia Street Café 8:30 pm $10 • Hashem Assadullahi’s Safety Buffalo with Pete McCann, Leonard Thompson, • Melvin Gibbs, Henry Kaiser, Weasel Walter; Topography of the Spleen: Henry Kaiser, • Pharoah’s Daughter: Basya Schechter, Daphna Mor, , Uri Sharlin, Peter Brendler, Brian Woodruff; Dan Lehner’s Memory Field with Xavier Del Castillo, Chris Pitsiokos, Weasel Walter The Stone 8, 10 pm $15-20 Mathias Kunzli, Shanir Blumenkranz, Yuval Lion and guests Sammy Weissberg, Dan Kurfirst WhyNot Jazz Room 7, 9 pm • Ambrose Akinmusire Quintet with Sam Harris, , Harish Raghavan, The Stone 8, 10 pm $15 • Ece Goksu Quartet with Can Cankaya, Scott Colberg, Ronen Itzik Justin Brown Harlem Stage Gatehouse 7:30 pm êDavid Hazeltine/Sean Smith The Drawing Room 7 pm $20 ShapeShifter Lab 8:15 pm $10 êHoward Alden/Warren Vaché Duo Bar Next Door 8:30, 10:30 pm $12 • George Gee Swing Orchestra with David Gibson, Hilary Gardner, John Dokes, • John Malino Trio with John West, Melissa Slocum • Mike Moreno The Jazz Gallery 8, 10 pm $15 Ed Pazant, Michael Hashim, Tony Lustig, Freddie Hendrix, Andy Gravish, Willard Dyson, Bar Next Door 8:30, 10:30 pm $12 êBrianna Thomas Smoke 7, 9, 10:30 pm $9 Marcus McLaurine, Steve Einerson; Johnny O’Neal Trio with Luke Sellick, • Marla Sampson Duo Tomi Jazz 8 pm êKatie Thiroux Quartet with Graham Dechter, Roger Neumann, Matt Witek Charles Goold; Joe Magnarelli Smalls 4:30, 7:30, 10:30 pm $20 • Howard Williams Jazz Orchestra The Garage 7 pm Jazz at Kitano 8, 10 pm $15 • Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam • Lance Zitron Trio Le Cirque Café 7:30 pm • Dmitry Ishenko solo; Leo Genovese and Legal Aliens with Mariano Gil, Uri Gurvich, Fat Cat 6, 8:30 pm 12:30 am • Cameron Mizell Trio Silvana 6 pm Dan Blake, Max Siegel, Entcho Torodov, Aleks Petrov, Francesco Marcocci, êTwins of El Dorado: Joe Moffet/Kristin Slipp; Rallidae: Angela Morris, Alex Samaras, Stelios Michas The Firehouse Space 9, 10 pm $10 Dustin Carlson, Scott Colberg; Ben Winkelman Trio with Sam Anning, Eric Doob • Yuhan Su Quintet with Matt Holman, Kenji Herbert, Petros Klampanis, WhyNot Jazz Room 7, 8:30, 10 pm $10 Tuesday, February 3 Nathan Ellman-Bell; Tomoko Omura Roots Quintet with Will Graefe, Glenn Zaleski, • Patrick Brennan’s Transparency Kestra with Gene Coleman, Ken Filiano, Noah Garabedian, Colin Stranahan Haruna Fukazawa, Hilliard Greene, Stephanie Griffin, Brian Groder, Thomas Heberer, êAtomic: Ingebrigt Håker Flaten, Fredrik Ljungkvist, Magnus Broo, Håvard Wiik, ShapeShifter Lab 7, 8:15 pm $10 Patrick Holmes, Richard Keene, Christof Knoche, David Sidman, Harvey Valdez, Hans Hulbœkmo ShapeShifter Lab 7, 8:15 pm $15 • Amy Cervini with Jeremy Udden, Oded Lev-Ari, Linda Oh Rod Williams, Angelo Branford The Firehouse Space 7:30 pm $10 êRavi Coltrane Quintet with Ralph Alessi, Aaron Parks, Bob Hurst, Jeff “Tain” Watts 55Bar 7 pm êPeter Leitch/Harvie S Walker’s 8 pm Jazz Standard 7:30, 10 pm $30 • Ariacne Trujillo Quartet with Panagiotis Andreou, Mauricio Herrera, Ivan Llanes • Hajime Yoshida Group with Sylvester Onyejiaka, Julian Shore, Lars Ekman, Ronen Itzik êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson Drom 9:30 pm $10 ShapeShifter Lab 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $25 • King Solomon Hicks Ginny’s Supper Club 8 pm $10 • Evan Gallagher Ensemble; A Super Bowl “In C” • John Pizzarelli Quartet Birdland 8:30, 11 pm $45 • Jon Sheckler Trio; John Feliciano Trio with Dana Malseptic, Alex Mackinnon ABC No-Rio 7 pm $5 • Kirk Whalum Blue Note 8, 10:30 pm $35 Somethin’ Jazz Club 7, 9 pm $12 • Seth Kessel and the 2 Cent Band Rue B 8:30 pm • Simon Bolivar Big Band directed by Andrés Briceño • Akihiro Yamamoto Trio Tomi Jazz 9 pm $10 • Elijah Thomas Trio with Max Kraus, Benjamin Singer Dizzy’s Club 7:30, 9:30 pm $35 • John Lang Trio Cleopatra’s Needle 7 pm Somethin’ Jazz Club 7 pm $12 • Eddie Barbash Dizzy’s Club 11:30 pm $5 • Ben Patterson Organ Trio The Garage 7 pm • Rosalyn McClore Measure 8 pm • Nick Moran Group NYC Baha’i Center 8, 9:30 pm $15 • Otis Brown III’s The Thought of You with Jean Baylor, Alan Hampton, Raymond Angry, êDaniel Levin, Franz Loriot, Flin Van Hemmen; Pascal Niggenkemper/ • Invite The Spirit: Henry Kaiser, Charles K. Noyes, Sang-Won Park; John Ellis, Keyon Harrold Dizzy’s Club 7:30, 9:30 pm $30 Christian Lillinger Trio Downtown Music Gallery 6, 7 pm Henry Kaiser/Charles K. Noyes The Stone 8, 10 pm $15-20 • Eddie Barbash Dizzy’s Club 11:30 pm $10 • Joe Pino Quintet Silvana 6 pm • Jack Jeffers and the New York Classics • Godwin Louis Band with Billy Buss, Victor Gould, Jonathan Michel, Shakoor Sanders, • Ike Sturm and Evergreen Saint Peter’s 5 pm Zinc Bar 8, 10 pm John Davis; Carlos Abadie Quintet with Peter Zak, Clovis Nicolas, Luca Santaniello • Yoon Sun Choi, Elena Camerin, Khabu Doug Young • Pedrito Martinez Group Subrosa 7, 9 pm $20 Smalls 9:30 pm 12 am $20 Lark Café 4 pm $5 • Whispers: Russ Lossing, Adam Kolker, Masa Kamaguchi, Billy Mintz • Saul Rubin Zebtet Fat Cat 10 pm • Marlene Verplanck Trio with Tedd Firth, Jay Leonhart Korzo 9 pm êRavi Coltrane Quintet with Ralph Alessi, Aaron Parks, Bob Hurst, Jeff “Tain” Watts Blue Note 11:30 am 1:30 pm $29.50 • Travis Reuter Quintet with Adam O’Farrill, John O’Gallagher, Rajna Swaminathan, Jazz Standard 7:30, 10 pm $30 • Roz Corral Trio with Roni Ben-Hur, Chris Tordini Cornelia Street Café 8:30 pm $10 êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson North Square Lounge 12:30, 2 pm • Laurie Krauz Jazz Soup Metropolitan Room 7 pm $20 Village Vanguard 8:30, 10:30 pm $25 • Michika Fukumori Trio; Kayo Hiraki Quartet • Chembo Corniel Nuyorican Poets Café 9 pm $10 • Noah Haidu Quartet Birdland 6 pm $25 The Garage 11:30 am 7 pm • Arnon Palty Trio with Dan Adler, Marcello Pellitieri • John Pizzarelli Quartet Birdland 8:30, 11 pm $45 Bar Next Door 8:30, 10:30 pm $12 • Kirk Whalum Blue Note 8, 10:30 pm $35 • Tantshoyz: Avia Moore and Matt Temkin Band • Pedrito Martinez Group Subrosa 7, 9 pm $20 Monday, February 2 Stephen Wise Free Synagogue 7:30 pm $15 • Jill McCarron Measure 8 pm • Spike Wilner Trio; Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, • Bruce Harris Sextet with Andy Farber, Grant Stewart, Michael Weiss, • Ann Ruckert Memorial Saint Peter’s 7:30 pm Theo Hill, Ameen Saleem, Kush Abadey; Kyle Poole and Friends Yasushi Nakumara, Pete Van Nostrand and guests êMingus Big Band Jazz Standard 7:30, 10 pm $25 Smalls 7:30, 9:30 pm 12:30 am $20 Minton’s 6 pm $10-20 • Joe Alterman solo Jazz at Kitano 8 pm • Irv Grossman Sextet Silvana 6 pm • E. J. Decker Group; Alberto Madrid Somethin’ Jazz Club 7, 9 pm $12 • David Zakarian; Song Yi Jeon Duo Tomi Jazz 8, 11 pm • Champian Fulton Quartet The Garage 7 pm • Miss Ida Freddy’s Backroom 9 pm • Gypsy Jazz Caravan Radegast Hall 8 pm Lauren Meccia • Jill McCarron Measure 8 pm • Dmitry Strelianny Silvana 6 pm • Jeff King Rendall Memorial Presbyterian Church 12, 1 pm $15 Inside Wednesday, February 4 • ’S Wonderful ... ‘S Marvelous ... ‘Gershwin!: Standard Time with Michael Feinstein, Your Tedd Firth, Sean Smith, Mark McLean and guest Catherine Russell Zankel Hall 7:30 pm $83-99 Hosted by trombonist/composer CRAIG HARRIS, êAlternative Guitar Summit: Anders Nilsson/Aaron Dugan; Eyes Marco Cappelli/James Ilgenfritz; Ava Mendoza/Chris Corsano a major figure in jazz for over thirty years. ShapeShifter Lab 7:30 pm $15

• Otis Brown III’s The Thought of You with Jean Baylor, Alan Hampton, Raymond Angry, new Rendall Memorial Presbyterian Church John Ellis, Keyon Harrold Dizzy’s Club 7:30, 9:30 pm $25 th • Eddie Barbash Dizzy’s Club 11:30 pm $5 release 59 W. 137 Street êHenry Kaiser, Bill Laswell, Lukas Ligeti; Henry Kaiser/Bill Laswell from spirit (between Lenox and Fifth Aves.) The Stone 8, 10 pm $15-20 st nd • Quartet with Rick Germanson, Yasushi Nakamura, Louis Hayes music 1 set 12 – 12:45pm ~ 2 set 1 – 1:45pm An Beal Bocht Café 8, 9:30 pm $15 • The New York-Cuba-Brazil Connection: Helio Alves, Edward Perez, Ignacio Berroa Admission is just $15! Jazz at Kitano 8, 10 pm $15 (discount for students, seniors and groups) • Jacqui Naylor Iridium 8, 10 pm $25 êRebecca Martin’s Upstate with Guillermo Klein, ALBUM RELEASE CONCERT 212-662-7779 Rockwood Music Hall Stage 3 7:30 pm $15 • George Coleman, Jr. Quartet Smoke 7, 9, 10:30 pm $9 Tickets at the door or welcometoharlem.com • Godwin Louis Band with Billy Buss, Victor Gould, Jonathan Michel, Shakoor Sanders, Allan Mednard; Jon Beshay Quartet with Willerm Delisfort, George Delancey, TOUR COMPANIES ARE WELCOME Kevin Kanner Smalls 9:30 pm 12 am $20 • Groover Trio; Ned Goold Jam Fat Cat 9 pm 12:30 am êChet Doxas Trio with Peter Slavov, Eric Doob SEEDS 8:30 pm rd • Dezron Douglas Black Lion Minton’s 7, 8:30, 10 pm $15-25 • NYU Jazz Studies Concert: Alan Ferber NYU Nonet; Dave Pietro Wayne Shorter Ensemble February 3 Drom 10 pm • Bob Gingery Group with Jon Irabagon, Mike Baggetta, Mark Ferber; Jon Lundbom and Jeff King Big Five Chord with Bryan Murray, Justin Wood, Sam Kulik, Moppa Elliott, Featuring Donald Vega Dan Monaghan Cornelia Street Café 8:30, 10 pm $10 êAnna Webber, Travis Reuter, Marc Hannaford, Will Mason with Mike Frost Band th Spectrum 7 pm $10 February 10 • Sergej Avanesov Quartet with Wayne Tucker, Tyler Luppi, Brevan Hampden; Trees & Birds: Jasper Dutz, Lee Meadvin, Chris Gaskell, Connor Parks Alex Harding WhyNot Jazz Room 7, 9 pm • Queens Jazz OverGround Jazz Jam Flushing Town Hall 7 pm $10 th • Nicolas Letman-Burtinovic, Josh Sinton, Peter Kronreif February 17 Bar Chord 9 pm • Bryan Qu’s Gristle with Matt Bumgardner, Alex Perry, Mat Muntz, Connor Parks Somethin’ Jazz Club 7 pm $12 Henry Grimes • Lauren Lee; Steve Bloom Tomi Jazz 8, 11 pm • Yvonnick Prene Quartet The Garage 7 pm ShapeShifter Lab Feb 6 7-10pm • Joe Alterman Caffe Vivaldi 9 pm th êRavi Coltrane Quintet with Ralph Alessi, Aaron Parks, Bob Hurst, Jeff “Tain” Watts 18 Whitwell Place, Brooklyn 11215 February 24 Jazz Standard 7:30, 10 pm $30 êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson 646-820-9452 Village Vanguard 8:30, 10:30 pm $25 Milton Suggs • John Pizzarelli Quartet Birdland 8:30, 11 pm $45 mikefrostband.com • Kirk Whalum Blue Note 8, 10:30 pm $35

38 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD Friday, February 6 êRavi Coltrane Quintet with Ralph Alessi, Aaron Parks, Bob Hurst, Jeff “Tain” Watts • Maria Manousaki Quartet with Shai Maestro, Petros Klampanis, John Hadfield Jazz Standard 7:30, 10, 11:45 pm $35 Cornelia Street Café 8:30 pm $10 êThe Fringe: George Garzone, John Lockwood, Bob Gullotti êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson • Chris Stover’s Book of Sand with Justin Wood, Quinsin Nachoff, Carl Maraghi, Cornelia Street Café 9, 10:30 pm $10 Village Vanguard 8:30, 10:30 pm $25 Seneca Black, Dave Smith, Nathan Eklund, Ryan Keberle, Jen Wharton, êAlternative Guitar Summit: Probosci: Gyan Riley/David Cossin; Prasanna solo; • John Pizzarelli Quartet Birdland 8:30, 11 pm $45 Alexis Cuadrado, Martha Kato, Jeff Davis Planet MicroJam Trio with Adam Matta, Utar Artu • Kirk Whalum Blue Note 8, 10:30 pm $35 ShapeShifter Lab 8:30 pm $10 Rockwood Music Hall Stage 2 7 pm $20 • Lucas Kadish Spearhead Quintet Silvana 6 pm • Hiromi Suda Quintet with Yotam Silberstein, Julian Shore, Haggai Cohen, êEddie Henderson Quintet with Gary Bartz, George Cables, Doug Weiss, êAyelet Rose Gottlieb with Michael Bates, Ronen Itzik, Eylem Basaldi, Sebastian Noelle; Jordan Perlson WhyNot Jazz Room 7 pm Billy Drummond Smoke 7, 9, 10:30 pm $38 Mycale: Ayelet Rose Gottlieb, , Sara Serpa, Malika Zarra • Jeff McLaughlin Trio with Marcos Varela, Recardo Recabarren • Buster Williams Mezzrow 9 pm $20 Pomegranate Gallery 4 pm $10 Bar Next Door 8:30, 10:30 pm $12 êThe Trumpet Shall Sound: Roy Hargrove, Adam O’Farrill, Orrin Evans, Ben Williams, êWho is Billie Holiday? with Aaron Diehl, Charenee Wade • Spike Wilner Trio; Lucas Pino No Net Nonet with Colin Stranahan, Glenn Zaleski, Justin Brown The Jazz Gallery 8, 10 pm $35 Rose Theater 1, 3 pm $10 Desmond White, Alex LoRe, Rafal Sarnecki, Nick Finzer, Andrew Gutauskas; êTed Rosenthal Trio with Martin Wind, Tim Horner • Larry Newcomb Quartet; Bossa Brasil: Maurício de Souza, Alan Chaubert, Kyle Poole and Friends Smalls 7:30, 9:30 pm 12:30 am $20 Jazz at Kitano 8, 10 pm $30 Joonsam Lee; Akiko Tsuruga Trio The Garage 12, 6, 10:30 pm • Saul Rubin; Peter Brainin Latin Jazz Workshop êJason Kao Hwang’s Amygdala: Rami Seo, Michael Wimberly; Jason Kao Hwang’s Fat Cat 7, 9 pm Sing House with Andrew Drury, Ken Filiano, Chris Forbes, Steve Swell • Litvakus with Dmitri Slepovitch Stephen Wise Free Synagogue 7:30 pm $15 Roulette 8 pm $20 Sunday, February 8 • Joe Alterman solo Jazz at Kitano 8 pm • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Alex Sipiagin Quintet with • Rich Bomzer Quartet with Ben Rice, Mike Roninson, Juan Sanchez; Song Yi Jeon; Dave Binney, John Escreet, Matt Brewer, Donald Edwards êAlternative Guitar Summit: Doug Wamble/Mino Cinelu; Joel Harrison/Glenn Patscha; Sergej Avanesov Somethin’ Jazz Club 7, 9, 11 pm $12 Smalls 7:30, 10:30 pm $20 Adam Levy/Sheryl Bailey; Michael Gregory Jackson/Keith Witty • Joey Beerman Tomi Jazz 8 pm • Vanessa Cruz Quintet; Jared Gold/Dave Gibson Rockwood Music Hall Stage 2 7 pm $20 • Rob Edwards Quartet The Garage 7 pm Fat Cat 6, 10:30 pm êNava Dunkelman, Henry Kaiser, Ikue Mori, John Zorn; Henry Kaiser/Brandon Ross • Antonio Ciacca Measure 8 pm êLuis Bonilla, Bruce Barth, Andy McKee The Stone 8, 10 pm $15-20 • Winterfisch Silvana 6 pm Knickerbocker Bar and Grill 9:45 pm $5 • Jane Ira Bloom Trio with Mark Helias, Bobby Previte êAlex Harding Rendall Memorial Presbyterian Church 12, 1 pm $15 • Itai Kriss Trio with Petros Klampanis, Charles Ruggiero Cornelia Street Café 8:30 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 êFar Cry Flutes: Robert Dick, Jamie Baum, Jessica Lurie, Elsa Nilsson • JC Hopkins Biggish Band with Queen Esther, Charles Turner, King Solomon Hicks, Spectrum 7 pm Wayne Tucker, Seneca Black, Corey Wallace, Claire Daily, Julian Pressley, • UpSurge! Ken Filiano, Lou Grassi, Marshall Sealy, Zigi Lowenberg, Patience Higgins, Troy Roberts, Noah Jackson, Charles Goold and guest Raymond Nat Turner; Sharik Hasan Quartet with Adam Larson, Noam Weisenberg, Jon Hendricks Minton’s 7:30, 9:30 pm $25-35 Jimmy Macbride WhyNot Jazz Room 7, 10 pm $10 êVictor Goines and Friends with Chris Pattishall, Russell Hall, Joe Saylor and guest • Eyal Vilner Big Band with Charenee Wade, Nadia Washington, Charles Turner, Joe Temperley Dizzy’s Club 7:30, 9:30 pm $40 Dan Block, Andrew Gould, Asaf Yuria, Lucas Pino, Eden Bareket, Bryan Davis, • Eddie Barbash Dizzy’s Club 11:30 pm $10 Matt Jodrell, Wayne Tucker, John Mosca, Nick Finzer, Max Seigal, Tadataka Unno, • Chip Delany/Henry Kaiser; Brandy Gale, Henry Kaiser, Ava Mendoza Jennifer Vincent, Joe Strasser; Johnny O’Neal Trio with Luke Sellick, Charles Goold; The Stone 8, 10 pm $15-20 Bruce Harris Quintet with Alex Hoffman, Ehud Asherie, David Wong, Aaron Kimmel êAlex Harding Trio with Adam Klipple, George Gray Smalls 4:30, 7:30, 10:30 pm $20 Buku Nigerian Restaurant 9 pm • Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam • Jerome Sabbagh Quartet with Ben Monder, Joe Martin Fat Cat 6, 8:30 pm 12:30 am Neighborhood Church of Greenwich Village 8, 10 pm • The New York Chillharmonic ShapeShifter Lab 8:15 pm $8 êScott Neumann Nue3 Trio with Michael Blake, Mark Helias; • Gabrielle Stravelli/Michael Kanan The Drawing Room 7 pm $20 Por Che Ne Trio: Leo Genovese, Francesco Marcocci, Aleksandar Petrov êPeter Leitch/Sean Smith Walker’s 8 pm WhyNot Jazz Room 7, 9 pm • Cristian Amigo/Blaise Siwula; K. Page solo • Cathy Kreger; Mike Frost Band with Lauren Meccia, Donald Vega ABC No-Rio 7 pm $5 ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Rosalyn McClore Measure 8 pm • Broken Reed Saxophone Quartet: Charley Gerard, Jenny Hill, Dimitri Moderbacher, • Elijah Thomas Trio with Max Kraus, Benjamin Singer and guests Shakoor Sanders, Jacob Teichroew with guest Kristin Slipp Brandon Evan Moulden Somethin’ Jazz Club 7 pm $12 Ibeam Brooklyn 8 pm $15 • Seth Kessel and the 2 Cent Band Rue B 8:30 pm • Rachel Therrien/Tuomo Uusitalo; Tony Tixier Trio êEddie Henderson Quintet with Gary Bartz, George Cables, Doug Weiss, Somethin’ Jazz Club 7, 9 pm $12 Billy Drummond Smoke 7, 9, 10:30 pm $38 • Emilio Teubal Trio Tomi Jazz 9 pm $10 • Buster Williams Mezzrow 9 pm $20 • Seth Kessel and the 2 Cent Band The Flatiron Room 9 pm êVictor Goines and Friends with Aaron Diehl, Yasushi Nakamura, Lawrence Leathers • Ruben Steijn Trio Taszo Espresso Bar 7:30 pm and guest Joe Temperley Dizzy’s Club 7:30, 9:30 pm $35 • Kuni Mikami Trio Cleopatra’s Needle 8 pm êRavi Coltrane Quintet with Ralph Alessi, Aaron Parks, Bob Hurst, Jeff “Tain” Watts • Al Marino Quartet; Recessionals Jazz Band Jazz Standard 7:30, 10 pm $30 The Garage 6, 10:30 pm êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson êRavi Coltrane Quintet with Ralph Alessi, Aaron Parks, Bob Hurst, Jeff “Tain” Watts Village Vanguard 8:30, 10:30 pm $25 Jazz Standard 7:30, 10, 11:45 pm $35 • Kirk Whalum Blue Note 8, 10:30 pm $35 êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson • Martin Schulte Quartet Silvana 6 pm Village Vanguard 8:30, 10:30 pm $25 • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, • John Pizzarelli Quartet Birdland 8:30, 11 pm $45 Dan Silverstone Caffe Vivaldi 6 pm • Kirk Whalum Blue Note 8, 10:30 pm $35 • James Weidman Slave Songs Ensemble • Jill McCarron Measure 8 pm Saint Peter’s 5 pm • Valentina Marino Silvana 6 pm • Nicole Henry Abyssinian Baptist Church 4 pm $20 • Oscar Peñas Quartet Blue Note 11:30 am 1:30 pm $29.50 • Kelly Suttenfield Trio with Tosh Sheridan, Matt Aronoff “Never Forgotten” North Square Lounge 12:30, 2 pm Saturday, February 7 • Lou Caputo Quartet; David Coss Quartet êAlternative Guitar Summit: solo; Adam Rudolph’s Go: Organic Guitar The Garage 11:30 am 7 pm Orchestra with Damon Banks, Marco Cappelli, Tomas Doncker, Liberty Ellman, David Gilmore, Joel Harrison, Jerome Harris, Miles Okazaki, Kenny Wessel Legendary Rockwood Music Hall Stage 2 7 pm $25 Monday, February 9 • Renée Manning BAMCafé 9 pm Guitarist • Songs in the Key of D: Theo Bleckmann with Henry Hey, Matt Moran, Zach Danziger êLawrence “Butch” Morris Memorial with Stephanie Richards, Graham Haynes, Grace Rainey Rogers Auditorium 7 pm $50 Brandon Ross, The Nublu Orchestra conducted by Ted Greene • Pepito Gómez Roulette 8 pm $25 Saint Peter’s 7 pm êNick Didkovsky, Henry Kaiser, Bob Musso, Jesse Krakow, Weasel Walter; êAllan Harris’ Black Bar Jukebox with Pascal Le Boeuf, Jake Goldbas, Leon Boykins, with vocalist Henry Kaiser/Alan Licht The Stone 8, 10 pm $15-20 Yotam Silberstein, Samuel Torres Dizzy’s Club 7:30, 9:30 pm $30 • East Asian Vibrancy: Mayumi Miyata, Wu Man, Jin Hi Kim • Hypercolor: Eyal Maoz, James Ilgenfritz, Lukas Ligeti; Dither: Taylor Levine, Asia Society 8 pm $30 James Moore, Josh Lopes, Gyan Riley; Philip White Cathy Segal-Garcia • Brooklyn Jazz Wide Open: Daniel Kelly/Gretchen Koehler’s The Waxwing with JACK 8 pm $15 Luke Notary; Rob Garcia Quartet with Scott Robinson, • VINX Blue Note 8, 10:30 pm $15 Brooklyn Conservatory of Music 8 pm $10 êMingus Big Band Jazz Standard 7:30, 10 pm $25 êJohn Hébert’s Bridge and Tunnel with Peter Berstein, Dayna Stephens, Eric McPherson êOrrin Evans’ Captain Black Big Band A Double Set! Cornelia Street Café 9, 10:30 pm $10 Smoke 7, 9 pm $9 • André Matos 5tet with Tony Malaby, Jacob Sacks, Eivind Opsvik, Billy Mintz; • Antonio Ciacca Measure 8 pm Two Miles a Day: Jacob Sacks, Eivind Opsvik, Mat Maneri, Billy Mintz êBrian Drye/Kirk Knuffke; Miguel Frasconi/Chris Cochrane Greenwich House Music School 8 pm $15 Ibeam Brooklyn 8:30 pm $10 êAfroHorn: Francisco Mora Catlett, Aruán Ortiz, Sam Newsome, Alex Harding, • Anais Maviel solo; While We Still Have Bodies: Michael Foster, Ben Gerstein, Sean Ali, Ramon Diaz Sistas’ Place 9, 10:30 pm $20 Flin van Hemmen Delroy’s Cafe and Wine Bar 8:30, 9:30 pm $10 One documentary DVD of a live • Petro Klampanis Trio with Gilad Hekselman, John Hadfield • Jon Davis Trio with Yasushi Nakamura, Shinnosuke Takahashi; performance and one documentary CD of Bar Next Door 7:30, 9:30, 11:30 pm $12 Ari Hoenig Quartet with Tivon Pennicott, Eden Ladin, Orlando Le Fleming; • Antonio Ciacca Measure 8 pm Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 two live performances • Sebastian Noelle Quartet with Matt Clohesy • Ned Goold Quartet; Billy Kaye Jam WhyNot Jazz Room 10:30 pm Fat Cat 9 pm 12:30 am DVD from 2000 at Rocco’s Jazz Club in L.A. • Rome Neal’s Banana Puddin’ Jam Nuyorican Poets Café 9:30 pm $15 • Flying Dragon; John Yao’s 18-Piece Instrument ShapeShifter Lab 7, 8:30 pm $10 CD is of two performances, one from the old building of • Michael Mwenso and The Shakes Ginny’s Supper Club 7:30, 9:30 pm $10 M.I. in Hollywood 1976, the other at • The Free Sound Ahn-somble The Cell 9 pm • Zeel Sextet: Andy Arditi, Kira Daglio Fine, Ravi Campbell, Andrés Rovira, Conner Duke, • Lavenia Nesmith; Sharon Rae North Jesse Thorson; Dan Adler Group with Yvonnick Prene, Lewis Porter, Arnon Palty, Papashon’s Restaurant in Encino in 1999 Metropolitan Room 7, 11:30 pm $20 Marcello Pellitteri WhyNot Jazz Room 7, 9 pm • Jon Bass; Brothers of Contrapuntal Swing: Jimmy Halperin, Larry Meyer, Dave Frank, • Nora McCarthy Trio with Marvin Sewell, Donald Nicks Bill McCrossen, George Hooks Somethin’ Jazz Club 7, 9 pm $12 Bar Next Door 8:30, 10:30 pm $12 I am so honored to have these recordings with the • Chieko Honda; Patrick Clare Trio Tomi Jazz 8, 11 pm $10 • Antoine Pierre Somethin’ Jazz Club 9 pm $12 • Larry Banks Trio Cleopatra’s Needle 8 pm • Joe Maniscalco Duo Tomi Jazz 8 pm legendary guitarist, Ted Greene. Ted was a dear friend êEddie Henderson Quintet with Gary Bartz, George Cables, Doug Weiss, • Lou Caputo Not So Big Band The Garage 7 pm to many people, including me. I met Ted in 1976 in the Billy Drummond Smoke 7, 9, 10:30 pm $38 • Matt Baker and Trio with Nicolas King • Buster Williams Mezzrow 9 pm $20 Le Cirque Café 7:30 pm jazz club Donte’s in L.A.. I had heard about him while êThe Trumpet Shall Sound: Roy Hargrove, Marquis Hill, Orrin Evans, Ben Williams, • Martin Schulte Quartet Shrine 6 pm I was attending Berklee College, and when we met, Justin Brown The Jazz Gallery 8, 10 pm $35 • Steve Hudson Trio with Ugonna Okegwo we started playing together. I was one of the only êTed Rosenthal Trio with Martin Wind, Tim Horner St. Francis College 12:30 pm Jazz at Kitano 8, 10 pm $30 singers he worked with. - Cathy Segal-Garcia • Billy Kaye; Alex Sipiagin Quintet with Dave Binney, John Escreet, Matt Brewer, Donald Edwards; Stacy Dillard Smalls 7:30, 10:30 pm 1:30 am $20 Tuesday, February 10 • Raphael D’lugoff Quintet; Greg Glassman Jam Price for sales within the continental U.S. Fat Cat 10 pm 1:30 am êBill Frisell plays Zorn; The Gnostic Trio: Bill Frisell, Kenny Wollesen, $25 (includes free shipping) êLuis Bonilla, Bruce Barth, Andy McKee Carol Emanuel Village Vanguard 8:30, 10:30 pm $25 Knickerbocker Bar and Grill 9:45 pm $5 • Clarence Penn Quartet with Luis Perdomo, Yasushi Nakamura, Chad Leftkowitz-Brown ~~~~~~~ • JC Hopkins Biggish Band with Queen Esther, Charles Turner, King Solomon Hicks, Dizzy’s Club 7:30, 9:30 pm $30 International sales Wayne Tucker, Seneca Black, Corey Wallace, Claire Daily, Julian Pressley, • Chad Lefkowitz-Brown’s Virgo Tenors Patience Higgins, Troy Roberts, Noah Jackson, Charles Goold and guest Dizzy’s Club 11:30 pm $5 $25 (shipping to be determined by country) Jon Hendricks Minton’s 7:30, 9:30 pm $25-35 • Nicole Henry Blue Note 8, 10:30 pm $35 êVictor Goines and Friends with Aaron Diehl, Yasushi Nakamura, Lawrence Leathers • Marilyn Maye; Sara Gazarek Birdland 7, 9, 11 pm $30 and guest Joe Temperley Dizzy’s Club 7:30, 9:30 pm $45 • Justin Kauflin with Matthew Stevens, Chris Smith, Billy Williams ORDER THE PACKAGE • Eddie Barbash Dizzy’s Club 11:30 pm $20 Jazz Standard 7:30, 10 pm $25 • Ray Blue Ensemble NYC Baha’i Center 8, 9:30 pm $15 [email protected] • Pablo Mayor Folklore Urbano Subrosa 7, 9 pm $20

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 39 Wednesday, February 11

PEDRITO MARTINEZ êElectric Masada: John Zorn, Marc Ribot, Jamie Saft, Trevor Dunn, , Kenny Wollesen, Cyro Baptista, Ikue Mori Village Vanguard 8:30, 10:30 pm $25 êGeorge Coleman Quartet with Harold Mabern, John Webber, George Coleman, Jr. Jazz Standard 7:30, 10 pm $30 êMatt Mitchell 4tet with Chris Speed, Chris Tordini, Dan Weiss SEEDS 9 pm êLage Lund 4 with Glenn Zaleski, Matt Brewer, Tyshawn Sorey Cornelia Street Café 8:30 pm $10 êRebecca Martin’s Upstate with Guillermo Klein, Larry Grenadier Rockwood Music Hall Stage 3 7:30 pm $15 êAdam Birnbaum Trio with Al Foster Smoke 7, 9, 10:30 pm $9 êThree Part Invention: Russ Lossing, Ralph Alessi, Mark Helias Ibeam Brooklyn 8:30 pm $10 • Adam Larson Quartet with Frank Kimbrough, Raviv Markovitz, Jimmy Macbride Jazz at Kitano 8, 10 pm $15 • JC Hopkins Biggish Band with Queen Esther, Charles Turner, King Solomon Hicks, Wayne Tucker, Seneca Black, Corey Wallace, Claire Daily, Julian Pressley, Patience Higgins, Troy Roberts, Noah Jackson, Charles Goold Minton’s 7, 8:30, 10 pm $15-25 • Kaoru Watanabe ShapeShifter Lab 7:30 pm $10 • Loren Stillman Trio with Nate Radley, Jared Schonig; Jamale Davis Smalls 9:30 pm 12 am $20 • Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am • Aaron Shragge, Alex Weiss, Syberen Van Munster, Alexi David WhyNot Jazz Room 7 pm • Tish Rabe and Friends Metropolitan Room 7 pm $20 • Jimmy Merchant Quartet with Michael Bernabe, Jonathan McElroy, Kyle Duppstadt; Sharik Hassan Trio Somethin’ Jazz Club 7, 9 pm $12 • Lara Hrn Trio; Kyle Moffatt Tomi Jazz 8, 11 pm • Dan Adler/Arnon Palty Band The Garage 7 pm • Clarence Penn Quartet with Luis Perdomo, Yasushi Nakamura, Chad Leftkowitz-Brown Dizzy’s Club 7:30, 9:30 pm $30 • Chad Lefkowitz-Brown’s Virgo Tenors Dizzy’s Club 11:30 pm $5 • Nicole Henry Blue Note 8, 10:30 pm $35 • Marilyn Maye; Sara Gazarek Birdland 7, 9, 11 pm $30 • Antonio Ciacca Measure 8 pm • Dan Willis and The Velvet Gentlemen JAZZ FESTIVAL Silvana 6 pm êDaryl Sherman/Art Baron Saint Peter’s 1 pm $10

Thursday, February 12

êJohn Medeski, Billy Martin, Trevor Dunn Village Vanguard 8:30, 10:30 pm $25 êTalea Ensemble with John Zorn, Ikue Mori, Tyshawn Sorey, Trevor Dunn Merkin Hall 7:30 pm $25 • Joanne Brackeen Mezzrow 8:30 pm $20 êMichael Blake Quartet with Cat Toren, Ben Allison, Rudy Royston Cornelia Street Café 8:30 pm $10 êIdeal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara; Outhead: Alexander Weiss, Josh Sinton, Dmitry Ishenko, Deric Dickens, Pete Galub Greenwich House Music School 8 pm $15 BRIAN LYNCH ARTISTIC DIRECTOR êAruán Ortiz Ensemble Harlem Stage Gatehouse 7:30 pm • Dave Bass Trio with Harvie S, Ignacio Berroa and guest Karrin Allyson Jazz at Kitano 8, 10 pm $15 • Kim Nalley Dizzy’s Club 7:30, 9:30 pm $35 • Chad Lefkowitz-Brown’s Virgo Tenors Dizzy’s Club 11:30 pm $10 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 THE EDDIE PALMIERI • Sweet Lu Olutosin with Antonio Ciacca Quartet THU Measure 8 pm AFRO-CARIBBEAN JAZZ OCTET êRotem Sivan Trio with Haggai Cohen Milo, Ziv Ravitz The Jazz Gallery 8, 10 pm $15 MAR 12 • Patrick Cornelius Trio with Jared Gold, McClenty Hunter DONALD HARRISON STEVE DAVIS LUQUES CURTIS Bar Next Door 8:30, 10:30 pm $12 • Julian Shore Quintet with Dayna Stephens, Gilad Hekselman, Aidan Carroll, LITTLE JOHNNY RIVERO ANTHONY CARILLO 8 PM Jochen Rueckert; Nick Hempton Band with Tadataka Unno, Dave Baron, Dan Aran Smalls 9:30 pm 12 am $20 CAMILO MOLINA BRIAN LYNCH • Avi Rothbard; Greg Glassman Quintet Fat Cat 7, 10 pm • Atticus Live!: Jesse Lewis, Kyle Saulnier and The Awakening Orchestra with Patrick Cornelius, Jon Irabagon, Samuel Ryder, Andrew Gutauskas, Kevin Gosa, FRI Daniel Urness, Seneca Black, Nadje Noordhuis, Jonathan Powell, Benjamin Griffin, NEW CUBAN NEW YORK Matthew Musselman, Shannon Barnett, Joe Barati, James Shipp, Michael Macallister, Jesse Stacken, Joshua Paris, Will Clark, Rohin Khemani MAR 13 ShapeShifter Lab 7:30, 9 pm $10 PEDRITO MARTINEZ GREGORY TARDY YOSVANY TERRY • Sammy Miller and the Congregation Big Band HANS GLAWISCHNIG OBED CALVAIRE BRIAN LYNCH Ginny’s Supper Club 7:30, 9:30 pm $10 MANUEL VALERA 8 PM • Lucía Pulido with Sergio Reyes, Sebastian Cruz, Pedro Giraudo Americas Society 7 pm $20 • James Ilgenfritz solo; PFL Traject: Pascal Pariaud, Jean-Charles François, Gilles Laval; Dance of the World Project: Diana Wayburn, Jeff Newell, Adam Matthes, Spencer Hale, Kaveh Haghtalab The Firehouse Space 7, 8, 9 pm $10 BOLERO MEETS JAZZ! SAT • Joe Breidenstine Quintet; Seth Trachy Quartet with Glenn Zaleski, Pablo Menares, Jaz Sawyer Somethin’ Jazz Club 7, 9 pm $12 IVAN RENTA RALPH MOORE MARSHALL GILKES • Scot Albertson Trio with Ron Jackson, Tommy Morimoto MAR 14 Tomi Jazz 9 pm $10 ZACCAI CURTIS YUNIOR TERRY VINCE CHERICO • Nathan Brown Trio Cleopatra’s Needle 7 pm RON BLAKE • George Weldon Quartet The Garage 7 pm 8 PM • Albert Marques, Walter Stinson, Zack O’Farrill REINALDO DE JESUS XIOMARA LAUGART BRIAN LYNCH Caffe Vivaldi 9 pm • Baby Soda Jazz Band Radegast Hall 9 pm • Judi Marie Indian Road Café 7:30 pm

An agency of UJA-Federation êGeorge Coleman Quartet with Harold Mabern, John Webber, George Coleman, Jr. GIANTS OF LATIN JAZZ—ON THE BEST STAGE IN NYC Jazz Standard 7:30, 10 pm $30 êMatt Mitchell 4tet with Chris Speed, Chris Tordini, Dan Weiss SEEDS 9 pm TICKETS SELL FAST—ORDER TODAY! | 92Y.ORG/JAZZ | 212.415.5500 • Marilyn Maye; Sara Gazarek Birdland 7, 9, 11 pm $30 êCharenee Wade Minton’s 6 pm $10-20 LATIN ON LEX JAZZ FESTIVAL IS UNDERWRITTEN BY GILDA AND HENRY BLOCK IN MEMORY OF KENNETH KOLKER Z”L. • Carl Maraghi Jeru Project Silvana 6 pm

40 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD Friday, February 13 êAlexis Cole Trio with John diMartino, Jon Gordon • Beyond Duo: Francois Grillot/Cheryl Pyle; Versify: Allan Andre, George Taylor, Jazz at Kitano 8, 10 pm $30 Nick Herman ABC No-Rio 7 pm $5 êDianne Reeves with Peter Martin, , Reginald Veal, Terreon Gully êAndrew Lamb Sistas’ Place 9, 10:30 pm $20 • Annie Chen Octet with Boris Acosta, Jan Kus, David Smith, Rafal Sarnecki, Rose Theater 8 pm $30-120 • Monk in Motion—The Next Face of Jazz: Billy Buss Group Andres Rotmistrovsky, Joel E. Mateo, Nezih Antakli and Sherry Wang, Hsinwei Chiang, êJohn Zorn/Milford Graves; Marc Ribot, Trevor Dunn, Tyshawn Sorey Tribeca Performing Arts Center 7:30 pm $25 Devin Cholodenko, Marcel Krasner ShapeShifter Lab 8:15, 9:30 pm $12 Village Vanguard 8:30, 10:30 pm $25 • Quentin Angus Trio with Desmond White, Kenneth Salters • The NeW Quintet: Elijah J. Thomas, Marcell Bellinger, James Collins, Greg Paynter, • Jim Black’s Smash and Grab with Jonathan Goldberger, Keisuke Matsuno, Bar Next Door 6:30, 8:30, 10:30 pm $62 Max Kraus, Jeremy Sowers, David Marion Simon Jermyn Cornelia Street Café 9, 10:30 pm $10 • Misha Piatagorsky Trio Zinc Bar 8 pm Somethin’ Jazz Club 7 pm $12 • Ben Monder Trio with Gary Wang, Jochen Rueckert • Lucky Chops ; B.A. Miale • Seth Kessel and the 2 Cent Band Rue B 8:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Industry City Distillery 8 pm • Diane Schurr and The DIVA Jazz Orchestra êGerald Clayton/Dayna Stephens Jazz at Kitano 8, 10 pm $30 • Timothy Bloom with Wayna Ginny’s Supper Club 7:30, 9:30 pm $15 Iridium 8, 10 pm $35-45 • Diane Schurr and The DIVA Jazz Orchestra • Daniel Bennett Group; Nick Morrison Trio êMingus Big Band Jazz Standard 7:30, 10 pm $30 Iridium 8, 10 pm $35-45 Tomi Jazz 8, 11 pm $10 • The Jean and Marcus Baylor Project with Keyon Harrold, Keith Loftis, Dezron Douglas êMingus Big Band Jazz Standard 7:30, 10, 11:45 pm $30 • Kevin Hildebrandt Trio Cleopatra’s Needle 8 pm and guest Sullivan Fortner Smoke 7, 9, 10:30 pm $38 • The Jean and Marcus Baylor Project with Keyon Harrold, Keith Loftis, Dezron Douglas êDianne Reeves with Peter Martin, Peter Sprague, Reginald Veal, Terreon Gully • Jose “Pepito” Gomez Drom 6, 8:30 pm $69 and guest Cyrus Chestnut Smoke 7, 9, 10:30 pm $38 Rose Theater 8 pm $30-120 • Kim Nalley Dizzy’s Club 7:30, 9:30 pm $35 • Manuel Valera and The Groove Square with John Ellis, Nir Felder, John Benitez, • Diane Schurr and The DIVA Jazz Orchestra • Rachelle Ferrell Blue Note 8, 10:30 pm $45 EJ Strickland The Jazz Gallery 8, 10 pm $22 Iridium 8, 10 pm $65 êKevin Hays solo The Lounge at Hudson View Gardens 5 pm $12 • Marianne Solivan Quartet; Harry Allen êMingus Big Band Jazz Standard 7:30, 10, 11:45 pm $30 • Soundpainting Workshop The Firehouse Space 6 pm $10 Smalls 7:30, 10:30 pm $20 • The Jean and Marcus Baylor Project with Keyon Harrold, Keith Loftis, Dezron Douglas • Andre Carvalho Silvana 6 pm êGreg Lewis Organ Monk Quartet Fat Cat 10:30 pm and guest Cyrus Chestnut Smoke 7, 9, 10:30 pm $38 • J.J. Wright Trio Saint Peter’s 5 pm êToby Driver solo; Pale Horse Trio: Jeremiah Cymerman, Christopher Hoffman, • Tommy Campbell and Vocal-Eyes with Carolyn Leonhart, Helio Alves, Ben Sher, • Steve Gosling Trio with , Tyshawn Sorey Brian Chase The Firehouse Space 8, 9 pm $10 Harvie S; Harry Allen; Philip Harper Village Vanguard 3 pm $20 • Ray Gallon/Paul Gill Knickerbocker Bar and Grill 9:45 pm $5 Smalls 7:30, 10:30 pm 1:30 am $20 • New Orleans Mardi Gras Brunch: “Hot Lips” Joey Morant and Catfish Stew • Alicia Olatuja with Jon Cowherd, Michael Olatuja, Otis Brown III, David Rosenthal • Paul Bollenback; Greg Glassman Jam Blue Note 11:30 am 1:30 pm $35 Minton’s 7:30, 9:30 pm $25-35 Fat Cat 10 pm 1:30 am • Vanessa Perea Trio with Ron Affif, Dave Baron • Jose “Pepito” Gomez Drom 6:30, 9 pm $69 • Ray Gallon/Paul Gill Knickerbocker Bar and Grill 9:45 pm $5 North Square Lounge 12:30, 2 pm • Ken Silverman Trio with Sam McPherson, Andy O’Neill • Jose “Pepito” Gomez Drom 6:30, 9 pm $69 • Mayu Saeki Trio; David Coss Quartet WhyNot Jazz Room 9 pm • Kim Nalley Dizzy’s Club 7:30, 9:30 pm $130 The Garage 11:30 am 7 pm • Clovis Nicolas Quintet with Riley Mulherkar, Jeb Patton, Pete Van Nostrand; • Chad Lefkowitz-Brown’s Virgo Tenors Mitch Marcus’ Invaders Trio Somethin’ Jazz Club 7, 9 pm $12-15 Dizzy’s Club 11:30 pm $20 • Hillary Capps Duo Tomi Jazz 9 pm $10 • Joanne Brackeen Mezzrow 8:30 pm $20 Monday, February 16 • Jim Pryor Trio Cleopatra’s Needle 8 pm • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Adam Rongo Trio; Peter Valera Jump Blues Band • Sweet Lu Olutosin with Antonio Ciacca Quartet • Terry Waldo Gotham City Band with Jon Erik-Kellso, Mike Davis, Jim Fryer, The Garage 6, 10:30 pm Measure 8 pm Evan Arntzen, Howard Alden, Brian Nalepka, Rob Garcia • Rob Silverman Indian Road Café 8 pm êMatt Mitchell 4tet with Chris Speed, Chris Tordini, Dan Weiss Dizzy’s Club 7:30, 9:30 pm $30 • Andrew Ahr Inkwell Café 7 pm SEEDS 9 pm êMingus Big Band Jazz Standard 7:30, 10 pm $25 • Kim Nalley Dizzy’s Club 7:30, 9:30 pm $40 • Marilyn Maye; Sara Gazarek Birdland 7, 9, 11 pm $30 êOrrin Evans’ Captain Black Big Band • Chad Lefkowitz-Brown’s Virgo Tenors • Roz Corral Quartet 55Bar 6 pm Smoke 7, 9 pm $9 Dizzy’s Club 11:30 pm $10 • Kyoko Oyobe Trio; David Coss Quartet; Virginia Mayhew Quartet • Eva Cortes Blue Note 8, 10:30 pm $15 • Joanne Brackeen Mezzrow 8:30 pm $20 The Garage 12, 6, 10:30 pm • Matt Parker Trio with Alan Hampton, Reggie Quinerly • Rachelle Ferrell Blue Note 8, 10:30 pm $45 Cornelia Street Café 8:30 pm $10 • Sweet Lu Olutosin with Antonio Ciacca Quartet • Left Side Up: Matt Mitchell, Emilie Lesbros, Devin Gray; Sweet Talk: Jake Henry, Measure 8 pm Sunday, February 15 Dustin Carlson, Cody Brown Delroy’s Cafe and Wine Bar 8:30, 10 pm $10 êMatt Mitchell 4tet with Chris Speed, Chris Tordini, Dan Weiss • Art Hirahara Trio with Linda Oh, John Davis; Ari Hoenig Quartet with Gilad Hekselman, SEEDS 9 pm êBar Kokhba: Marc Ribot, Mark Feldman, Erik Friedlander, Greg Cohen, Joey Baron, Orlando Le Fleming; Spencer Murphy with Tivon Pennicott, John Chin, • Marilyn Maye; Sara Gazarek Birdland 7, 9, 11 pm $30 Cyro Baptista, John Zorn Village Vanguard 8:30, 10:30 pm $25 Lawrence Leathers Smalls 7:30 pm 1 am $20 • Rodrigo Bonelli Septet Shrine 6 pm • Bucky Pizzarelli/Ed Laub Mezzrow 9 pm $20 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Sixth Annual High School Competition and Festival • Kenny Wessel Trio with Matt Pavolka, Russ Meissner; Brian Groder Trio with • James Langton’s New York All-Star Big Band with Dan Levinson, Molly Ryan Manhattan School of Music Miller Hall 6 pm Michael Bisio, Jay Rosen WhyNot Jazz Room 7, 8:30 pm $10 The Rainbow Room 7 pm $175 • Lena Bloch/Roberta Piket The Drawing Room 7 pm $20 • Kavita Shah Trio with Yotam Silberstein, Rogério Boccato êPeter Leitch/Ray Drummond Walker’s 8 pm Bar Next Door 8:30, 10:30 pm $12 Saturday, February 14 • Bob Gluck/Aruán Ortiz Cornelia Street Café 6 pm $15 • Ammocake: Dorian Wallace, Carl Limbacher, Max Maples • Leandro Fortes Sextet with Anibal Rojas, Laura Metcalf, Leco Reis, Alex Kautz, WhyNot Jazz Room 7 pm êMasada Quartet: John Zorn, Dave Douglas, Greg Cohen, Joey Baron Michel Gentile Cornelia Street Café 8:30 pm $10 • Evan Francis Group with Michelle Amador, Matt Nelson, Kenny Brooks, Kurt Kotheimer, Village Vanguard 8:30, 10:30 pm $25 • Johnny O’Neal Trio with Luke Sellick, Charles Goold; Ned Goold Quartet Tim Bulkley; Nate Hook Quartet with Jake Silverman, Dean Torrey, Paolo Cantarella êGregory Porter Town Hall 8 pm $32-47 Smalls 7:30, 10:30 pm $20 Somethin’ Jazz Club 9, 11 pm $12 • Vince Giordano and the Nighthawks • Terry Waldo’s Gotham City Band; Brent Birckhead; Brandon Lewis/Renee Cruz Jam • Rob Edwards Big Band The Garage 7 pm The Rainbow Room 7 pm $350 Fat Cat 6, 8:30 pm 12:30 am • David Budway/Kristin Lee Sergeant • Antoinette Montague Flushing Town Hall 8 pm $22 • Victor Gould Measure 8 pm Le Cirque Café 7:30 pm • Lezlie Harrison The Jazz Gallery 8, 10 pm $22 • Victor Gould Measure 8 pm

SWEET LU OLUTOSIN with the ANTONIO CIACCA Quartet

Multiple Night: FEBRUARY 12-14

SPECIAL EVENT VALENTINE’S DAY: FEBRUARY 14

Celebrating the music of Sweet Lu Olutosin from his latest album: “Sweet Lou’s Blues”

Measure - Langham Place 400 Fifth Ave. New York, NY 10018 Phone: 212.695.4005

In the fall of 2013, the Antonio Ciacca quartet had an engagement at the famous Blues Alley jazz club in Washington D.C. It was there Antonio met Sweet Lu Olutosin. What caught the attention of vocalist Sweet Lu that night was the soulful, “Silver-esque,” “Golson-esque” quality of Ciacca’s compositions. Antonio and Sweet Lu started to discuss material for his new CD, soon after they recorded in May 2014 a set-list of the same soulful grooving music of the 50s, but with lyrics written by Sweet Lu.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 41 DMP JAN 20 SHOW YOUR LOVE AD

êT.S. Monk Sextet Dizzy’s Club 7:30, 9:30 pm $35 Tuesday, February 17 • Sammy Miller and the Congregation êHenry Butler, Steven Bernstein and The Hot 9 Dizzy’s Club 11:30 pm $10 Brooklyn Bowl 8 pm $15 êTomas Fujiwara, Mary Halvorson, Briggan Krauss; Charles Evans Quartet with êAndrew Drury Content Provider with Briggan Krauss, Ingrid Laubrock, Dan Blake, Ron Stabinsky, Tony Marino; Mostly Other People Do the Killing: Brandon Seabrook; Andrew Drury solo; Andrew Drury Content Provider with Steven Bernstein, Jon Irabagon, Dave Taylor, Brandon Seabrook, Ron Stabinsky, Briggan Krauss, Ingrid Laubrock, Brandon Seabrook and guests Jason Kao Hwang, Moppa Elliott, Kevin Shea ShapeShifter Lab 7, 8:15, 9:30 pm $10 J.D. Parran, Kevin Ray Roulette 8 pm $15 êJamie Saft Trio Russ & Daughters Café 8 pm êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, • Matt Brewer Quintet with Steve Lehman, Kyle Wilson, Lage Lund, Tyshawn Sorey George Garzone, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Cornelia Street Café 8:30 pm $10 Billy Drummond Village Vanguard 8:30, 10:30 pm $25 • Gilad Hekselman Trio with Sam Anning, Kush Abadey êUri Caine, Tim Berne, ; Uri Caine, Jim Black, Kirk Knuffke, Scott Colley Bar Next Door 8:30, 10:30 pm $12 The Stone 8, 10 pm $15 • Vadim Neselovskyi Trio with Dan Loomis, Ronen Itzik êBilly Childs Project with Steve Wilson, Scott Colley, Johnathan Blake Jazz at Kitano 8, 10 pm $15 Birdland 8:30, 11 pm $40 êTivon Pennicott The Jazz Gallery 8, 10 pm $15 • Kermit Ruffins BBQ Swingers Blue Note 8, 10:30 pm $45 • Riley Mulherkar Ginny’s Supper Club 8 pm $10 • Russell Malone Quartet with Rick Germanson, Gerald Cannon, Willie Jones III • David Gibson Quintet with Josh Evans, Theo Hill, Alexander Claffy, Kush Abadey; Jazz Standard 7:30, 10 pm $30 Carlos Abadie Quintet with Peter Zak, Clovis Nicolas, Luca Santaniello • Joe Saylor’s Mardi Gras Stomp with Alphonso Horne Smalls 9:30 pm 12 am $20 Dizzy’s Club 7:30, 9:30 pm $30 • Point of Departure Fat Cat 10 pm • Sammy Miller and the Congregation • Brandon Bain Sextet Smoke 7, 9, 10:30 pm $9 Dizzy’s Club 11:30 pm $5 • Matt Panayides Trio with Rich Perry, Mark Ferber • Eyal Vilner Big Band with Charenee Wade, Nadia Washington, Charles Turner, Spectrum 7 pm Dan Block, Andrew Gould, Asaf Yuria, Lucas Pino, Eden Bareket, Bryan Davis, • Dan Adler Group with Arnon Palty, Lewis Porter, Yvonnick Prene, Avishai Rozen; Matt Jodrell, Wayne Tucker, John Mosca, Nick Finzer, Max Seigal, Tadataka Unno, Ian Sims And Divergent Paths Somethin’ Jazz Club 7, 9 pm $12 Jennifer Vincent, Joe Strasser and guest Jimmy Owens • Benjamin Servenery Trio Tomi Jazz 9 pm $10 NYC Baha’i Center 8, 9:30 pm $15 • Seth Kessel and the 2 Cent Band Radegast Hall 9 pm êJamie Baum Trio with Gilad Hekselman, Sam Anning • Steve Elmer Trio Cleopatra’s Needle 7 pm Bar Next Door 8:30, 10:30 pm $12 • Rick Stone Trio The Garage 7 pm • Cory Weeds Mezzrow 9 pm $20 êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, • Lucía Pulido Trio with Sebastian Cruz, Stomu Takeishi George Garzone, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Subrosa 7, 9 pm $25 Billy Drummond Village Vanguard 8:30, 10:30 pm $25 • Misha Piatagorsky Quartet Zinc Bar 8, 10 pm êBilly Childs Project with Steve Wilson, Scott Colley, Johnathan Blake • Fresh Cut Orchestra: Mark Allen, Mike Cemprola, Brent White, Brian Marsella, Birdland 8:30, 11 pm $40 Matt Davis, Tim Conley, Francois Zayas, Josh Lawrence, Jason Fraticelli, • Kermit Ruffins BBQ Swingers Blue Note 8, 10:30 pm $45 Anwar Marshall Rockwood Music Hall Stage 2 9:15 pm $10 • Victor Gould Measure 8 pm • Nick Sanders Trio with Henry Fraser, Connor Baker • Charenee Wade Minton’s 6 pm $10-20 Cornelia Street Café 8:30 pm $10 • Brian Pareschi Express Silvana 6 pm • Spike Wilner Trio; Josh Evans Big Band with Stacy Dillard, David Gibson, Josh Evans, • Joe Pino Quintet Shrine 6 pm Bruce Williams, Theo Hill, Max Seigel, Stafford Hunter, Vitaly Golovnev, Frank Lacy, Yunie Mojica, Lauren Sevian; Kyle Poole and Friends Smalls 7:30, 9:30 pm 12:30 am $20 Friday, February 20 • Saul Rubin; Pablo Bencid Fat Cat 7, 9 pm • The Bronx Conexión Nuyorican Poets Café 9:30 pm $10 êAndy Bey solo Minton’s 7:30, 9:30 pm $25-35 • Dance of the World Project: Diana Wayburn, Adam Matthes, Ken Silverman, • Sherman Irby’s Journey Through Swing with Victor Goines, Bruce Harris, Spencer Hale, Kaveh Haghtalab Pianos Upstairs Lounge 7 pm Vincent Gardner, Eli Bishop, James Chirillo, Charles Craig, Sr., Gerald Cannon, • Allen Watsky’s Djangle Box Project Alvester Garnett; Elio Villafranca’s Music of the Caribbean with Jon Faddis, Stephen Wise Free Synagogue 7:30 pm $15 Leyla McCalla, Jass Syncopators The Appel Room 7, 9:30 pm $45-55 • Joe Alterman solo Jazz at Kitano 8 pm • New Orleans Songbook: Aaron Diehl, Cyrille Aimée, Milton Suggs, The New Orleans • Zolaband: Rebecca Zola, Bryan Qu, Joe Vilardi, Nick Dunston, Connor Parks; Jazz Orchestra with Irving Mayfield Matt Malanowski Trio with Nick Dunston, David Jimenez; Sergej Avanesov Rose Theater 8 pm $30-120 Somethin’ Jazz Club 7, 9, 11 pm $12 êGiacomo Gates Quartet with John diMartino, Ed Howard, Ron Vincent • Goel Serverin Tomi Jazz 8 pm Jazz at Kitano 8, 10 pm $30 • Recessionals Jazz Band The Garage 7 pm êThe New Drum Battle: Joe Farnsworth vs. Kenny Washington with Jeremy Pelt, • Miss Ida Freddy’s Backroom 9 pm Harold Mabern, John Webber Smoke 7, 9, 10:30 pm $35 • Victor Gould Measure 8 pm • Alan Broadbent Mezzrow 9 pm $20 • Jon Sheckler Trio Silvana 6 pm • Chuck Redd Quartet with Spike Wilner, Darrian Douglas; Mike DiRubbo Quintet with Henry Grimes Rendall Memorial Presbyterian Church 12, 1 pm $15 Josh Evans, Brian Charette, Ugonna Okegwo, Rudy Royston • Smalls 7:30, 10:30 pm $20 • John Benitez Fat Cat 10:30 pm • Sounds of Brazil: Mario Adnet with Duduka Da Fonseca, Eduardo Belo, Wednesday, February 18 Vitor Gonçalves, Billy Drewes Dizzy’s Club 7:30, 9:30 pm $40 êHugh Masekela/Vusi Mahlasela Kupferberg Center 9 pm $35-55 • Sammy Miller and the Congregation • Kurt Elling with Harold Mabern, John Webber Dizzy’s Club 11:30 pm $10 Mezzrow 8:30 pm $20 • Gretchen Parlato/Lionel Loueke The Jazz Gallery 8, 10 pm $22 • Ofakim: Uri Caine, Julie Patton, Ralph Alessi, Jim Black; Uri Caine, Ikue Mori, Jim Black, êUri Caine solo; String Quartet Caprices Ralph Alessi, Chris Otto The Stone 8, 10 pm $15 The Stone 8, 10 pm $15 êLotte Anker, Craig Taborn, Gerald Cleaver; Dawn Clement/Max Johnson Group with • Miles Okazaki Trio with Ben Wolfe, Donald Edwards Jason Rigby, Billy Mintz ShapeShifter Lab 7, 8:15 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Frank Vignola Guitar Night with Al Caiola, Olli Soikelli, Nicki Parrot • Petros Klampanis’ Contextual with Gilad Hekselman, Jean-Michel Pilc, Gokce Erem, The Cutting Room 7:30 pm $25 Maria Manousaki, Peter Kiral, Colin Stokes êT.S. Monk Sextet Dizzy’s Club 7:30, 9:30 pm $35 Cornelia Street Café 9, 10:30 pm $10 • Sammy Miller and the Congregation • Marco Cappelli Spectrum 7 pm Dizzy’s Club 11:30 pm $5 • Victor Lin Trio Knickerbocker Bar and Grill 9:45 pm $5 êRebecca Martin’s Upstate with Guillermo Klein, Larry Grenadier • Scot Albertson/Steve Ash Klavierhaus 7:30 pm Rockwood Music Hall Stage 3 7:30 pm $15 • David Glasser Quartet Somethin’ Jazz Club 9 pm $12 êRuss Lossing, Mark Helias, Tyshawn Sorey • Kuni Mikami Trio Tomi Jazz 9 pm $10 Ibeam Brooklyn 8:30 pm $10 • Seth Kessel and the 2 Cent Band The Flatiron Room 9 pm êAlexis Cole Trio An Beal Bocht Café 8, 9:30 pm $15 • Ruben Steijn Trio Taszo Espresso Bar 7:30 pm êLetters to Dinah Washington: Champian Fulton • Antonello Parisi Trio Cleopatra’s Needle 8 pm The Greene Space 7 pm $20 • Tom Tallitsch Quartet; Kevin Dorn and the BIG 72 • Bruce Harris Sextet Smoke 7, 9, 10:30 pm $9 The Garage 6, 10:30 pm • Amos Hoffman Quintet with Asaf Yuria, Duane Eubanks, Omer Avital, Vince Ector; • Tierney Sutton Band with Christian Jacob, Ray Brinker, Kevin Axt Vitaly Golovnev with Misha Piatigorsky, Marcos Varela, Jonathan Barber Jazz Standard 7:30, 10 pm $35 Smalls 9:30 pm 12 am $20 êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, • Raphael D’lugoff; Don Hahn/Mike Camacho; Ned Goold Jam George Garzone, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Fat Cat 7, 9 pm 12:30 am Billy Drummond Village Vanguard 8:30, 10:30 pm $25 • Le Boeuf Brothers: Remy and Pascal Le Boeuf with Ben Wendel, Linda Oh, êBilly Childs Project with Steve Wilson, Scott Colley, Johnathan Blake Peter Kronreif Cornelia Street Café 8:30 pm $10 Birdland 8:30, 11 pm $40 • Marcelino Feliciano Quartet with Nickie Adams, Dan Stein, Francesco Ciniglio • Kermit Ruffins BBQ Swingers Blue Note 8, 10:30 pm $45 Jazz at Kitano 8, 10 pm $15 • Victor Gould Measure 8 pm • JC Hopkins Biggish Band with Queen Esther, Charles Turner, King Solomon Hicks, • Luke Hendon Acoustic Combo Silvana 6 pm Wayne Tucker, Seneca Black, Corey Wallace, Claire Daily, Julian Pressley, Patience Higgins, Troy Roberts, Noah Jackson, Charles Goold and guest Johnny O’Neal Minton’s 7, 8:30, 10 pm $15-25 • Timo Vollbrecht Quartet with Keisuke Matsuno, Sam Anning, Jason Burger WhyNot Jazz Room 9 pm • Free Meters: Nicolas Letman-Burtinovic, Sean Nowell, Danny Sher Bar Chord 9 pm • Jeff Lopez and Friends with Fred Hughes, Frank Russo; Laura Angyal; Neal Kirkwood Quartet Somethin’ Jazz Club 7, 9, 11 pm $12 • Kristen Lee Sergeant Trio Tomi Jazz 8 pm • Avi Rothbard Trio The Garage 7 pm • Gaia Petrelli Wilmer Octet; The Stachel Quintet Silvana 6, 8 pm êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, George Garzone, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Billy Drummond Village Vanguard 8:30, 10:30 pm $25 • Project with Steve Wilson, Scott Colley, Johnathan Blake Birdland 8:30, 11 pm $40 • Kermit Ruffins BBQ Swingers Blue Note 8, 10:30 pm $45 • Russell Malone Quartet with Rick Germanson, Gerald Cannon, Willie Jones III Jazz Standard 7:30, 10 pm $30 • Victor Gould Measure 8 pm • Mikhail Martin Trio Shrine 6 pm Thursday, February 19 êHighlights In Jazz 42nd Anniversary Gala: Catherine Russell with Jon-Erik Kellso, John Allred, Mark Shane, Tal Ronen, Mark McLean, Matt Munisteri; Dan Levinson, Bria Skonberg, Nicki Parrott, Gordon Webster Tribeca Performing Arts Center 8 pm $45 • Tierney Sutton Band with Christian Jacob, Ray Brinker, Kevin Axt Jazz Standard 7:30, 10 pm $30 • Wintereise: Uri Caine/Theo Bleckmann; Uri Caine Trio with John Hébert, The Stone 8, 10 pm $15 • Kurt Elling with Harold Mabern, John Webber Mezzrow 8:30 pm $20

42 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD Saturday, February 21 • Ari Hoenig Quartet with Tivon Pennicott, Eden Ladin, Noam Wiesenberg; • Primavera: Sara Serpa, André Matos, Pete Rende, Thomas Morgan Jonathan Michel Smalls 10:30 pm 1 am $20 Cornelia Street Café 8:30 pm $10 • Uri Caine, Erik Friedlander, Clarence Penn; Uri Caine, Barbara Walker, Brad Jones, • Jeremy Manasia Trio; Billy Kaye Jam • Tatiana Eva-Marie and the Avalon Jazz Band Clarence Penn The Stone 8, 10 pm $15 Fat Cat 9 pm 12:30 am Joe’s Pub 9:30 pm $16 êKatja Cruz/Howard Curtis Ibeam Brooklyn 8:30 pm $15 • Antonio Ciacca Measure 8 pm • Ben Flocks Trio with Zach Brown, Michael W. Davis êRob Brown Trio with William Parker, Gerald Cleaver • Whitney James Trio with LaRue Nicholson, Gregg August Bar Next Door 8:30, 10:30 pm $12 Greenwich House Music School 8 pm $15 Bar Next Door 8:30, 10:30 pm $12 • Kinze Kerce Metropolitan Room 9:30 pm $20 • Kiran Ahluwalia with Rez Abbasi, Nitin Mitta, Will Holshouser, Nikku Nayar • A Cosmopolitan Affair: Beat Kaestli, Clarice Assad, Keita Ogawa • Street Meat: Jonah Rosenberg, Christopher Hoffman, Joanna Mattrey Roulette 8 pm $30 Zinc Bar 7 pm $10 The Firehouse Space 8 pm $10 • Janis Mann Quartet with Kenny Werner, Johannes Weidenmueller, Mark Ferber • Alexander Anderson Somethin’ Jazz Club 7 pm $12 • Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino; Nick Grinder Quintet Jazz at Kitano 8, 10 pm $30 • Eyal Vilner Big Band The Garage 7 pm with Ethan Helm, Danny Gouker, Juanma Trujillo, Matt Honor, Andrew Schiller; êBrianna Thomas Quartet Ginny’s Supper Club 7:30, 9:30 pm $15 • Cole Rumbough Le Cirque Café 7:30 pm Alan Palmer Trio Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Revolutionary Snake Ensemble BAMCafé 9 pm • Song Yi Jeon Silvana 6 pm • Senri Oe Tomi Jazz 9 pm $10 • Andreas Arnold with Tania Mesa, Petros Klampanis, Jose Moreno • CJ Everett Trio Cleopatra’s Needle 7 pm Cornelia Street Café 6 pm $10 • Dre Barnes Project The Garage 7 pm êJon Irabagon Trio with Bob Stewart, Barry Altschul Tuesday, February 24 • Tigran Hamasyan’s Mockroot SubCulture 7:30 pm $25 Cornelia Street Café 9, 10:30 pm $10 • Pedrito Martinez Group Subrosa 7, 9 pm $20 • Leo Genovese and Candombe Trance with Solange Prat, Arturo Prendez, • Gato Barbieri Blue Note 8, 10:30 pm $45 êRobert Glasper Trio with Vicente Archer, Damion Reid Sergio Camaran Nublu 10 pm êWashboard Duo: Warren Smith/Newman Taylor Baker; Tones ‘n’ Bones: Lloyd Haber, Village Vanguard 8:30, 10:30 pm $25 • John “Satchmo” Mannan with Yayoi Ikawa, Wink Ellington, Brian McKenzie, Abdul Mboup, Warren Smith The Stone 8, 10 pm $15 • Steps Ahead 35th Anniversary Celebration: Mike Mainieri, Eliane Elias, Peter Erskine, Ralph Hamperian, Michael Flythe, Makiko, Dr. Gilmore êRobert Glasper Trio with Vicente Archer, Damion Reid Marc Johnson, George Garzone Birdland 8:30, 11 pm $40 Gran Piatto d’Oro 7:30 pm Village Vanguard 8:30, 10:30 pm $25 • Antonio Ciacca Measure 8 pm • Howard Paul Trio with Mark Egan, Earl Latham • Steps Ahead 35th Anniversary Celebration: Mike Mainieri, Eliane Elias, Peter Erskine, • Minton’s 6 pm $10-20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Marc Johnson, George Garzone Birdland 8:30, 11 pm $40 • John Yao Quintet with John O’Gallagher, Randy Ingram, Peter Brendler, • Antonio Ciacca Measure 8 pm • William Paterson University Jazz Ensembles and Orchestra Shawn Baltazor Silvana 6 pm • Rachim Ausar Sahu Sistas’ Place 9, 10:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • Misha Piatagorsky Trio Zinc Bar 8 pm • Russell Hall Dizzy’s Club 11:30 pm $5 • Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor • Chris Bergson Band with Ellis Hooks, Steven Bernstein, Jay Collins, Somethin’ Jazz Club 9 pm $12 Ian Hendrickson–Smith, Craig Dreyer, Matt Clohesy, Ethan Eubanks • Standard Procedures; Kazuki Yamanaka Trio Jazz Standard 7:30, 10 pm $25 Tomi Jazz 8, 11 pm $10 • Aaron Burnett and The Big Machine with Peter Evans, Craig Taborn, Nick Jozwiak, • Darrell Smith Trio Cleopatra’s Needle 8 pm Tyshawn Sorey Roulette 8 pm $20 êAndy Bey solo Minton’s 7:30, 9:30 pm $25-35 • Erik Deutsch Jazz Outlaws Brooklyn Bowl 8 pm $8-10 • Elio Villafranca’s Music of the Caribbean with Jon Faddis, Leyla McCalla, • Will Mason with Stuart Breczinski, Curtis Macdonald, Nina Moffitt, Travis Reuter, Jass Syncopators; Sherman Irby’s Journey Through Swing with Victor Goines, Andrew Smiley, Dan Stein; Gadadu: Hannah Selin, Nicki Adams, Pat Adams, Dan Stein Bruce Harris, Vincent Gardner, Eli Bishop, James Chirillo, Charles Craig, Sr., and guest Carrie Frey ShapeShifter Lab 7 pm $10 Gerald Cannon, Alvester Garnett The Appel Room 7, 9:30 pm $45-55 • Flip City: David Aaron, Will McEvoy, David Gould • New Orleans Songbook: Aaron Diehl, Cyrille Aimée, Milton Suggs, The New Orleans Cornelia Street Café 8:30 pm $10 Jazz Orchestra with Irving Mayfield • Nadav Peled Trio with Scott Colberg, Jordan Young Rose Theater 8 pm $30-120 Bar Next Door 8:30, 10:30 pm $12 êThe New Drum Battle: Joe Farnsworth vs. Kenny Washington with Jeremy Pelt, • Spike Wilner Trio; Ben Solomon with Davis Whitfield, Daryl Johns, Kush Abadey; Harold Mabern, John Webber Smoke 7, 9, 10:30 pm $35 Kyle Poole and Friends Smalls 7:30, 9:30 pm 12:30 am $20 • Alan Broadbent Mezzrow 9 pm $20 • Saul Rubin; Itai Kriss and Gato Gordo; John Benitez Latin Bop • Sylvia Cuenca Organ Quartet with Tivon Pennicott, Jared Gold, Paul Bollenback; Fat Cat 7, 9 pm 12:30 am Mike DiRubbo Quintet with Josh Evans, Brian Charette, Ugonna Okegwo, • Sebastian Noelle/Tammy Scheffer WhyNot Jazz Room 8 pm Rudy Royston; Stacy Dillard Smalls 7:30, 10:30 pm 1:30 am $20 • Valerie Duke Metropolitan Room 7 pm $20 • Frank Lacy’s Vibetet; Greg Glassman Jam • Joe Alterman solo Jazz at Kitano 8 pm Fat Cat 10 pm 1:30 am • JP Jofre Somethin’ Jazz Club 7 pm $12 • Sounds of Brazil: Mario Adnet with Duduka Da Fonseca, Eduardo Belo, • Michael Gallant Trio Tomi Jazz 8 pm Vitor Gonçalves, Billy Drewes Dizzy’s Club 7:30, 9:30 pm $45 • Carl Bartlett, Jr. Trio The Garage 7 pm • Sammy Miller and the Congregation • Antonio Ciacca Measure 8 pm Weinstein Photo ©Todd Dizzy’s Club 11:30 pm $20 • Kyle K. Green Silvana 6 pm • Gretchen Parlato/Lionel Loueke The Jazz Gallery 8, 10 pm $22 • Milton Suggs Rendall Memorial Presbyterian Church 12, 1 pm $15 • Victor Lin Trio Knickerbocker Bar and Grill 9:45 pm $5 • Tierney Sutton Band with Christian Jacob, Ray Brinker, Kevin Axt Jazz Standard 7:30, 10 pm $35 Wednesday, February 25 êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, DEBORAH LATZ George Garzone, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, êWIS: Warren Smith, Howard Curtis, Katja Cruz, Edith Lettner; WIS Trio: Warren Smith, Billy Drummond Village Vanguard 8:30, 10:30 pm $25 Ras Moshe, William Parker The Stone 8, 10 pm $15 êBilly Childs Project with Steve Wilson, Scott Colley, Johnathan Blake • The Amigos: Justin Poindexter, Sam Reider, Noah Garabedian, Will Clark and guest Birdland 8:30, 11 pm $40 Ken Peplowski Dizzy’s Club 7:30, 9:30 pm $35 • Kermit Ruffins BBQ Swingers Blue Note 8, 10:30 pm $45 • Russell Hall Dizzy’s Club 11:30 pm $5 • Underground Horns Blue Note 12:30 am $10 êLotte Anker, Craig Taborn, Gerald Cleaver • William “Chan” Hall Silvana 6 pm Ibeam Brooklyn 8:30 pm $10 • Wade Barnes Tribute Band: Roy Meriwether, Bill Saxton, Vincent Chancey, Dave Gibson, • Bill Cantrall and Axiom Smoke 7, 9, 10:30 pm $9 Philip Harper, Alex Grassel Brownsville Heritage House 3 pm • Gregg August Quartet with Myron Walden, Brandon McCune, Donald Edwards • Marc Devine Trio; Mark Marino Trio Smalls 9:30 pm $20 The Garage 12, 6 pm • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am • Tigran Hamasyan’s Mockroot SubCulture 7:30 pm $25 • Dave Ambrosio Trio with Loren Stillman, Russ Meissner Sunday, February 22 Cornelia Street Café 8:30 pm $10 • Yuko Ito Quartet with Cidinho Teixeira, Gustavo Amarante, Mauricio Zottarelli êImprov Night—A Stone Benefit: Uri Caine, John Zorn and guests; Uri Caine Trio with Jazz at Kitano 8, 10 pm $15 Mark Helias, Clarence Penn The Stone 8, 10 pm $15-25 • JC Hopkins Biggish Band with Queen Esther, Charles Turner, King Solomon Hicks, • Nick Finzer’s 10 Year Suite; Andy Clausen’s Split Stream Big Band Wayne Tucker, Seneca Black, Corey Wallace, Claire Daily, Julian Pressley, ShapeShifter Lab 7, 8:15 pm $10 Patience Higgins, Troy Roberts, Noah Jackson, Charles Goold • Rafal Sarnecki Sextet with Lucas Pino, Bogna Kicinska, Adam Birnbaum, Minton’s 7, 8:30, 10 pm $15-25 Desmond White, Jimmy Macbride Cornelia Street Café 8:30 pm $10 • Marko Djordjevic Trio; Alex Levine 4tet • Andrea Wolper; Yuto Kanazawa Quartet with Felix Peikli, Zwelakhe-Duma Bell le Pere, SEEDS 8:30, 10 pm Jonathan Pinson WhyNot Jazz Room 7, 10 pm $10 • Pedrito Martinez Group Subrosa 7, 9 pm $20 êPeter Leitch/Sean Smith Walker’s 8 pm • Nancy Harms Metropolitan Room 9:30 pm $20 • Siren Dan; Johnny O’Neal Trio with Luke Sellick, Charles Goold; Charles Owens Trio • Juilliard Jazz Orchestra Juilliard School Peter Jay Sharp Theater 8 pm with Andrew Randazzo, Devonne Harris • Shubh Saran Presentation with Brian Plautz, Max McKellar, Arthur Kam; Joe Barna and Smalls 4:30, 7:30, 10:30 pm $20 Sketches Of Influence with Stacy Dillard, Victor Gould, Ryan Berg, Joe Barna • Terry Waldo’s Gotham City Band; Jon Davis Trio; Brandon Lewis/Renee Cruz Jam Somethin’ Jazz Club 7, 9 pm $12 Fat Cat 6, 8:30 pm 12:30 am • Hiro Honshuku Group Tomi Jazz 8 pm • Rosalyn McClore Measure 8 pm • Dwight Dickerson Trio The Garage 7 pm • Donald Sturge McKenzie II solo; Samuel Newsome solo • Gordon’s Grand Street Stompers Radegast Hall 9 pm ABC No-Rio 7 pm $5 êRobert Glasper Trio with Vicente Archer, Damion Reid • Luiz Simas; The NeW Quintet: Elijah J. Thomas, Marcell Bellinger, James Collins, Village Vanguard 8:30, 10:30 pm $25 Greg Paynter, Max Kraus, Jeremy Sowers, David Marion • Steps Ahead 35th Anniversary Celebration: Mike Mainieri, Eliane Elias, Peter Erskine, Somethin’ Jazz Club 5, 7 pm $12 Marc Johnson, George Garzone Birdland 8:30, 11 pm $40 • Seth Kessel and the 2 Cent Band Rue B 8:30 pm • Chris Bergson Band with Ellis Hooks, Steven Bernstein, Jay Collins, êThe New Drum Battle: Joe Farnsworth vs. Kenny Washington with Jeremy Pelt, Ian Hendrickson–Smith, Craig Dreyer, Andy Hess, Ethan Eubanks Harold Mabern, John Webber Smoke 7, 9, 10:30 pm $35 Jazz Standard 7:30, 10 pm $25 • Alan Broadbent Mezzrow 9 pm $20 • Antonio Ciacca Measure 8 pm • Sounds of Brazil: Mario Adnet with Duduka Da Fonseca, Eduardo Belo, • Emanuele Cisi Silvana 6 pm Vitor Gonçalves, Billy Drewes Dizzy’s Club 7:30, 9:30 pm $40 • Eugene Marlow’s Heritage Ensemble • Tierney Sutton Band with Christian Jacob, Ray Brinker, Kevin Axt Saint Peter’s 1 pm $10 Jazz Standard 7:30, 10 pm $30 êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, George Garzone, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Thursday, February 26 Billy Drummond Village Vanguard 8:30, 10:30 pm $25 • Kermit Ruffins BBQ Swingers Blue Note 8, 10:30 pm $45 êEddie Palmieri Salsa Orchestra B.B. King’s Blues Bar 8 pm $35 êKatja Cruz/Howard Curtis Downtown Music Gallery 6 pm êThe Big Band Sound of Rufus Reid with Steve Allee, Vic Juris, Chris Beck, • Mareike Wiening Silvana 6 pm Charenee Wade, John Irabagon, Jason Curry, Scott Robinson, Tom Christensen, • Crossing Paths: Alexa Tarantino/Dariusz Terefenko Carl Maraghi, Tanya Darby, Freddie Hendrix, Tim Hagans, Scott Wendholt, Saint Peter’s 5 pm Ryan Keberle, Marshall Gilkes, Dave Taylor, Luis Bonilla, John Clark, Vincent Chancey • Brad Shepik NYU Jazz Ensemble Blue Note 11:30 am 1:30 pm $29.50 Jazz Standard 7:30, 10 pm $30 • Roz Corral Trio with Nir Felder, Boris Kozlov êDexter Gordon Legacy Ensemble: George Cables, Gerald Cannon, Lewis Nash, North Square Lounge 12:30, 2 pm Joe Locke, Abraham Burton, Craig Handy • Iris Ornig Quartet; David Coss Quartet Dizzy’s Club 7:30, 9:30 pm $40 The Garage 11:30 am 7 pm • Russell Hall Dizzy’s Club 11:30 pm $10 êWIS: Warren Smith, Bill Cole, Joe Daley The Stone 8, 10 pm $15 Monday, February 23 êInterpretations: Amina Claudine Myers Trio with Jerome Harris, Reggie Nicholson; Thurman Barker’s Strike Force with Malik Washington, Bryan Carrott, Eli Fountain, • Jimmy Greene Quartet with David Bryant, Luke Sellick, Jimmy MacBride Ray Mantilla, Lonnie Gasperini Roulette 8 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 êBen Wolfe Quartet with Orrin Evans, Donald Edwards, Stacy Dillard • After Midnight Orchestra with Catherine Russell Ginny’s Supper Club 8 pm $10 The Rainbow Room 7 pm $175 • Judi Silvano/Michael Abene Duo Jazz at Kitano 8, 10 pm $15 êMingus Big Band Jazz Standard 7:30, 10 pm $25 • 1032K—The Skip James Project: Ku-umba Frank Lacy, Kevin Ray, Andrew Drury and êOrrin Evans’ Captain Black Big Band guests J.D. Allen, Justin Hicks David Rubenstein Atrium 7:30 pm Smoke 7, 9 pm $9 • Carolyn Leonhart Quintet Smoke 7, 9, 10:30 pm $9 • J.J. Sansaverino Blue Note 8, 10:30 pm $15 • Kenneth Salters Haven with Matt Holman, Tivon Pennicott, Aki Ishiguro, Brad Whiteley, êJamie Baum and Short Stories with Gilad Hekselman, Ben Wendel, Joe Martin, Spencer Murphy; Nick Hempton Band with Tadataka Unno, Dave Baron, Dan Aran Jeff Hirshfield WhyNot Jazz Room 9 pm Smalls 9:30 pm 12 am $20 êTatsuya Nakatani solo; Sandra Weiss Quintet with Kenny Warren, Jonathan Moritz, • Roman Skakun Quintet Fat Cat 10 pm Sean Ali, Carlo Costa Delroy’s Cafe and Wine Bar 8:30, 10 pm $10 • Sam Harris The Jazz Gallery 8, 10 pm $15

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 43 Friday, February 27 Saturday, February 28 êSpirit of Satch: Dr. John with The Nite Trippers and guest Nicholas Payton • Norman Connors Ginny’s Supper Club 7:30, 9:30 pm $30 REGULAR ENGAGEMENTS Town Hall 8 pm $50-65 êPercussion Discussion: Warren Smith, Eli Fountain, Thurman Barker, • Jazz Across the Americas: Jazz at Lincoln Center Orchestra with Wynton Marsalis Newman Taylor Baker The Stone 8, 10 pm $15 Rose Theater 8 pm $30-120 • Cecil Bridgewater Sistas’ Place 9, 10:30 pm $20 MONDAY êGeorge Cables Trio with Essiet Essiet, Victor Lewis • DG’s Dog and Pony Show: Danny Gouker, Joe Moffett, Darius C. Jones, Nick Grinder, • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Minton’s 7:30, 9:30 pm $25-35 Dustin Carlson, Sam Ospovat; The MacroQuarktet: Dave Ballou, Herb Robertson, • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $155 êDogon Duo: Andrew Lamb/Warren Smith; WIS Quartet: Mark Taylor, Tom Abbs, Michael Formanek, Tom Rainey Ibeam Brooklyn 8:30, 10 pm $15 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) Andrew Lamb, Warren Smith The Stone 8, 10 pm $15 • Adam Larson Quartet with Sam Harris, Harish Raghavan, Jimmy Macbride • Richard Clements and guests 11th Street Bar 8 pm êFrank Kimbrough Quartet with Steve Wilson, Jay Anderson, Matt Wilson The Jazz Gallery 8, 10 pm $22 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Jazz at Kitano 8, 10 pm $30 êMonk in Motion—The Next Face of Jazz: Adam O’Farrill Group with • Joel Forrester solo Brandy Library 8 pm • Steve Nelson Mezzrow 8:30 pm $20 Chad Lefkowitz-Brown, Stephan Crump, Zack O’Farrill • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) êChris Lightcap’s Bigmouth with Tony Malaby, Andrew Bishop, Craig Taborn, Tribeca Performing Arts Center 7:30 pm $25 • Grove Street Stompers Arthur’s Tavern 7 pm Gerald Cleaver Cornelia Street Café 9, 10:30 pm $10 • Jeff Barone Trio with Jared Gold, Charles Ruggiero • Jazz Foundation of American Jam Session Local 802 7 pm • David Berkman and the New York Standards Quartet with Tim Armacost, Bar Next Door 7:30, 9:30, 11:30 pm $12 • Arthur Kell and Friends Bar Lunatico 8:30 pm Ray Drummond, Gene Jackson and guest Robin Eubanks • Michael Feinberg Greenwich House Music School 8 pm $15-20 • Renaud Penant Trio Analogue 7:30 pm Smoke 7, 9, 10:30 pm $38 • Misha Piatagorsky Trio Zinc Bar 8 pm • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Brian Drye Trio with Matt Pavolka, Jeff Davis and guest Dave Ballou; • Linda Presgrave Quartet with Stan Chovnick, Mister Fred, Seiji Ochiai; • Stan Rubin All-Stars Charley O’s 8:30 pm BeepHonk: Dave Ballou, Adam Hopkins, Mike Kuhl, Anthony Pirog The Blusical City: Ms. Blu, Yoshino Nakahara, Iris Ornig, Yujiro Nakamura; • Smoke Jam Session Smoke 11:30 pm Ibeam Brooklyn 8:30, 10 pm $15 Project Grand Slam Somethin’ Jazz Club 5, 7, 9 pm $12 • Swingadelic Swing 46 8:30 pm êDaryl Sherman/Warren Vache Knickerbocker Bar and Grill 9:45 pm $5 • Kathryn Allyn Duo; Yusuke Seki Tomi Jazz 8, 11 pm $10 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 • Tad Shull; Jay Collins and the Kings County Band with Roy Dunlap, Scott Sharrard, • Justin Lees Trio Cleopatra’s Needle 8 pm • Diego Voglino Jam Session The Village Lantern 9:30 pm Jeff Hanley, Diego Voglino Smalls 7:30, 10:30 pm $20 • Jazz Across the Americas: Jazz at Lincoln Center Orchestra with Wynton Marsalis • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) • Anthony Nelson Fat Cat 10:30 pm Rose Theater 8 pm $30-120 êRoberto Gatto Trio with Dayna Stephens, Joseph Lepore êGeorge Cables Trio with Essiet Essiet, Victor Lewis Bar Next Door 7:30, 9:30, 11:30 pm $12 Minton’s 7:30, 9:30 pm $25-35 TUESDAY • Miles Okazaki Quartet with Donny McCaslin, Francois Moutin, Dan Weiss êFrank Kimbrough Quartet with Steve Wilson, Jay Anderson, Matt Wilson • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) The Jazz Gallery 8, 10 pm $22 Jazz at Kitano 8, 10 pm $30 • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) êTyshawn Sorey solo and duo with Giacomo Merega • Steve Nelson Mezzrow 8:30 pm $20 • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm Prospect Range 9 pm $10 êChris Lightcap’s Bigmouth with Tony Malaby, Andrew Bishop, Craig Taborn, • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • Randy Ingram Quartet with Lage Lund, Matt Clohesy, Jochen Rueckert Gerald Cleaver Cornelia Street Café 9, 10:30 pm $10 • George Gee Swing Orchestra Swing 46 8:30 pm $12 ShapeShifter Lab 8:15 pm $10 • David Berkman and the New York Standards Quartet with Tim Armacost, • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Dave Hassell with Thomas Bergeron, Dos Allen, Andrew Miramonti, Dave Palazola; Ray Drummond, Gene Jackson and guest Robin Eubanks • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Asher Kurtz’s Oblio with Lynn Ligammari, Aaron Rourk, Chris Doyle, Ronnie Lanzilotta, Smoke 7, 9, 10:30 pm $38 • Art Hirahara Trio Arturo’s 8 pm Angelo Spampinato The Firehouse Space 8, 9 pm $10 êDaryl Sherman/Warren Vache Knickerbocker Bar and Grill 9:45 pm $5 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • MSM Concert Jazz Band Borden Auditorium 7:30 pm • Roberto Gatto Quartet with Michael Blake, Nir Felder, Matt Penman; Jay Collins and the • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm • The JL Experience; Yoonmi Choi Quartet with Carolina Giannakopoulou, Tyler Luppi, Kings County Band with Roy Dunlap, Scott Sharrard, Jeff Hanley, Diego Voglino; • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm Deaho Luum Somethin’ Jazz Club 7, 9 pm $12 Philip Harper Smalls 7:30, 10:30 pm 1:30 am $20 • The Minton’s Players Minton’s 7, 8:30, 10 pm $10-20 • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Eric Wheeler; Greg Glassman Jam • Mona’s Hot Four Jam Session Mona’s 11 pm • Sunfree Band Trio Cleopatra’s Needle 8 pm Fat Cat 10 pm 1:30 am • Annie Ross The Metropolitan Room 9:30 pm $25 • Masami Ishikawa Trio; Peter Valera Jump Blues Band êThe Big Band Sound of Rufus Reid with Steve Allee, Vic Juris, Chris Beck, • Slavic Soul Party Barbès 9 pm $10 The Garage 6, 10:30 pm Charenee Wade, John Irabagon, Jason Curry, Scott Robinson, Tom Christensen, • Diego Voglino Jam Session The Fifth Estate 10 pm • Rob Silverman Indian Road Café 8 pm Carl Maraghi, Tanya Darby, Freddie Hendrix, Tim Hagans, Scott Wendholt, êThe Big Band Sound of Rufus Reid with Steve Allee, Vic Juris, Chris Beck, Ryan Keberle, Marshall Gilkes, Dave Taylor, Luis Bonilla, John Clark, Vincent Chancey Charenee Wade, John Irabagon, Jason Curry, Scott Robinson, Tom Christensen, Jazz Standard 7:30, 10, 11:45 pm $35 WEDNESDAY Carl Maraghi, Tanya Darby, Freddie Hendrix, Tim Hagans, Scott Wendholt, êDexter Gordon Legacy Ensemble: George Cables, Gerald Cannon, Lewis Nash, • Astoria Waltz-Astoria 6 pm Ryan Keberle, Marshall Gilkes, Dave Taylor, Luis Bonilla, John Clark, Vincent Chancey Joe Locke, Abraham Burton, Craig Handy • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Jazz Standard 7:30, 10, 11:45 pm $35 Dizzy’s Club 7:30, 9:30 pm $45 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm êDexter Gordon Legacy Ensemble: George Cables, Gerald Cannon, Lewis Nash, • Russell Hall Dizzy’s Club 11:30 pm $20 • Joel Forrester Manhattan Inn 7, 8 pm Joe Locke, Abraham Burton, Craig Handy êRobert Glasper Trio with Vicente Archer, Damion Reid • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm Dizzy’s Club 7:30, 9:30 pm $40 Village Vanguard 8:30, 10:30 pm $25 • Hilary Kole Café Noctambulo at Pangea 7 pm $20 • Russell Hall Dizzy’s Club 11:30 pm $10 • Steps Ahead 35th Anniversary Celebration: Mike Mainieri, Eliane Elias, Peter Erskine, • Les Kurtz Trio; Nathan Brown Trio Cleopatra’s Needle 7, 11:30 pm êRobert Glasper Trio with Vicente Archer, Damion Reid Marc Johnson, George Garzone Birdland 8:30, 11 pm $40 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Village Vanguard 8:30, 10:30 pm $25 • Antonio Ciacca Measure 8 pm • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Steps Ahead 35th Anniversary Celebration: Mike Mainieri, Eliane Elias, Peter Erskine, • Dance of the World Project: Diana Wayburn, Dawoud Kringle, Jimmy Lopez • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Marc Johnson, George Garzone Birdland 8:30, 11 pm $40 Silvana 6 pm • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Antonio Ciacca Measure 8 pm • Marsha Heydt Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet • Stan Rubin Orchestra Swing 46 8:30 pm • Stephanie Chou/Octavia Romano Silvana 6 pm The Garage 12, 6, 10:30 pm • Eve Silber Arthur’s Tavern 7 pm • Asako Takasaki Shrine 6 pm • Camille Thurman Quartet Smoke 11:30 pm • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm

THURSDAY • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) Academy Records • Richard Clements Piano Workshop University of the Streets 5 pm • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Jazz Jam Session American Legion Post 7:30 pm • Kazu Trio Cleopatra’s Needle 11:30 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm & CDs • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Renaud Penant Trio Cadaqués 7:30 pm • Sol Yaged Grata 8 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)

FRIDAY Cash for new and used • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Gene Bertoncini Ryan’s Daughter 8 pm • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm compact discs,vinyl • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 records, blu-rays and • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm dvds. • Bernard Linnette Jam Session University of the Streets 11:30 pm • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • Renaud Penant Quartet Cadaqués 8 pm • Richard Russo Quartet Capital Grille 6:30 pm • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) We buy and sell all • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am SATURDAY genres of music. • Rob Anderson Jam Session University of the Streets 10 pm • Avalon Jazz Quartet Matisse 8 pm • The Candy Shop Boys Duane Park 8, 10:30 pm All sizes of collections • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Yoosun Nam The Grain 8 pm welcome. • Johnny O’Neal and Friends Smoke 11:45 pm • Skye Jazz Trio Jack 8:30 pm

SUNDAY • Avalon Jazz Quartet The Lambs Club 11 am For large collections, • John Benitez Jam Session Terraza 7 9:30 pm • The Candy Shop Boys The Rum House 9:30 pm • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm please call to set up an • Isaac Darch Group Basik Bar 7 pm • Natalie Douglas Jazz Party Birdland 6 pm $30 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm appointment. • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Joel Forrester solo Grace Gospel Church 11 am • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Tony Middleton Trio Jazz at Kitano 11:30 am $35 • The Minton’s Players; Brianna Thomas Minton’s 12, 5:30, 7, 8:30 pm $10-20 Open 7 days a week 11-7 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Artemisz Polonyi and Trio Indigo BarSix Restaurant 8 pm • Earl Rose solo; Tony DeSare Bemelmans Bar 5:30, 9 pm 12 W. 18th Street NY, NY 10011 • Lu Reid Jam Session Shrine 4 pm • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm • Ryo Sasaki Trio Analogue 7 pm 212-242-3000 • Milton Suggs Cávo 7 pm

44 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • The Fifth Estate 506 5th Avenue, Brooklyn • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • 55Bar 55 Christopher Street (212-929-9883) • The Firehouse Space 246 Frost Street www.parkavenuechristian.com Subway: 1 to Christopher Street www.55bar.com Subway: L to Graham Avenue www.thefirehousespace.org • Parlor Entertainment 555 Edgecombe Ave. #3F • ABC Chinese Restaurant 34 Pell Street • The Flatiron Room 37 West 26th Street (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com (212-346-9890) Subway: J to Chambers Street (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com • Parnell’s 350 East 53rd Street #1(212-753-1761) • ABC No-Rio 156 Rivington Street (212-254-3697) • Flushing Town Hall 137-35 Northern Boulevard, Flushing Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com Subway: J,M,Z to Delancey Street www.abcnorio.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Pearl Studios 500 8th Avenue • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org Subway: R to Prospect Avenue www.freddysbar.com/events • Pianos 158 Ludlow Street • American Folk Art Museum 45 W 53rd Street (212-265-1040) • The Garage 99 Seventh Avenue South (212-645-0600) (212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com Subway: E to 53rd Street www.folkartmuseum.org Subway: 1 to Christopher Street www.garagerest.com • The Plaza Hotel Rose Club Fifth Avenue at Central Park South • American Legion Post 248 West 132nd Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Pomegranate Gallery 137 Greene Street (212-260-4014) • Americas Society 680 Park Avenue • Grace Gospel Church 589 E. 164th Street Subway: N, R to Prince Street www.pomegranategallery.com (212-628-3200) Subway: 6 to 68th Street www.as-coa.org (718-328-0166) Subway: 2, 5 to Prospect Avenue • Prime and Beyond Restaurant 90 East 10th Street • An Beal Bocht Café 445 W. 238th Street • Grace R. Rogers Auditorium 1000 Fifth Avenue at 82nd Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com Subway: 1 to 238th Street www.LindasJazzNights.com (212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org • Prospect Range 1226 Prospect Avenue • Analogue 19 West 8th Street (212-432-0200) • The Graham 190 Graham Ave (718-388-4682) Subway: F to Fort Hamilton Parkway www.prospectrange.com Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Radegast Hall 113 North 3rd Street • The Appel Room Broadway at 60th Street, 5th floor • The Grain 893 Broadway (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (646-398-9663) Subway: 6 to 23rd Street www.thegrainnyc.com • The Rainbow Room 30 Rockefeller Plaza www.jalc.org • Gran Piatto d’Oro 1429 5th Avenue (212-722-2161) (212) 632-5000 Subway: B, D, F, M to 47-50th Streets - Rockefeller Center • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 2, 3 to 116th Street www.granpiattorestaurant.com www.rainbowroom.com Subway: 1 to Christopher Street www.arthurstavernnyc.com • Grata 1076 1st Avenue (212-842-0007) • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 • Arturo’s 106 W. Houston Street (at Thompson Street) Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com (212-283-2928) Subway: 2, 3 to 135th Street • Asia Society 725 Park Avenue • The Greene Space 44 Charlton Street • Rockwood Music Hall 196 Allen Street (212-477-4155) (212-288-6400) Subway: 6 to 68th Street www.asiasociety.org (646-829-4400) Subway: 1 to Houston Street www.thegreenespace.org Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Greenwich House Music School 46 Barrow Street • Rose Theater Broadway at 60th Street, 5th floor • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (718-636-4139) Subway: M, N, R, W to Pacific Street; • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street www.jalc.org Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org • Roulette 509 Atlantic Avenue • B.B. King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com Subway: F to 4th Avenue www.ibeambrooklyn.com • Rue B 188 Avenue B (212-358-1700) Subway: L to 1st Avenue • Bflat 277 Church Street (between Franklin and White Streets) • Iguana 240 West 54th Street (212-765-5454) • The Rum House 228 W. 47th Street Subway: 1, 2 to Franklin Streets Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • Bar Chord 1008 Cortelyou Road • Indian Road Café 600 West 218th Street @ Indian Road • Russ & Daughters Café 127 Orchard Street 127 Orchard Street (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com (212-475-4881) Subway: F to Delancey Street • Bar Lunatico 486 Halsey Street • Industry City Distillery 33 35th Street #6a, Brooklyn www.russanddaughterscafe.com (917-495-9473) Subway: C to Kingston-Throop Avenues (718-305-6951) Subway: D, N, R to 36th Street www.drinkicd.com • Ryan’s Daughter 350 E 85th Street • Bar Next Door 129 MacDougal Street (212-529-5945) • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com Subway: 5 to Sterling Street www.plgarts.org • St. Francis College 180 Remsen Street (718-522-2300) • BarSix Restaurant 502 Sixth Avenue • Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: 2, 3, 4, 5 to Borough Hall; N, R to Court Street www.sfc.edu (212-691-1363) Subway: 1, 2, 3, F, M to 14th Street www.barsixny.com Subway: 1,2 to 50th Street www.theiridium.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Issue Project Room 22 Boerum Place (718-330-0313) (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Bemelmans Bar 35 E. 76th Street (212-744-1600) • JACK 505 Waverly Avenue Avenues (212-832-0888) Subway: 6 to 51st Street Subway: 6 to 77th Street www.thecarlyle.com (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Sapphire NYC 333 E. 60th Street (212-421-3600) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com (212-281-0777) Subway: 2, 3 to 125th Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Birdland 315 W. 44th Street (212-581-3080) Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com www.seedsbrooklyn.org Subway: A, C, E, to 42nd Street www.birdlandjazz.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • ShapeShifter Lab 18 Whitwell Place • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: N, R to 28th Street www.jazzgallery.org (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Shell’s Bistro 2150 5th Avenue • Borden Auditorium Broadway and 122nd Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com (212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu • Joe G’s 244 W. 56th Street (212-765-3160) • Showman’s 375 W. 125th Street at Morningside) • Brandy Library 25 N. Moore Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-864-8941) Subway: A, B, C, D to 125th Street (212-226-5545) Subway: 1 to Franklin Street • Joe’s Pub at the Public Theater 425 Lafayette Street www.showmansjazz.webs.com • Broadway Thai 241 West 51st Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com www.joespub.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Brooklyn Bowl 61 Wythe Avenue • Juilliard School Peter Jay Sharp Theater 155 W. 65th Street • Silvana 300 West 116th Street (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu (646-692-4935) Subway: B, C, to 116th Street • Brooklyn Conservatory of Music 58 Seventh Avenue • Klavierhaus Concert Hall in Le Parker Meridien 119 West 56th Street • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org (212-245-4535) Subway: F, N, Q, R to 57th Street www.klavierhaus.com (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Brownsville Heritage House 581 Mother Gaston Boulevard • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) (718-385-1111) Subway: L to New Lots Avenue Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com Subway: 1,2,3 to 14th Street www.smallsjazzclub.com • Buka Nigerian Restaurant 946 Fulton Street (347-763-0619) • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Smoke 2751 Broadway between 105th and 106th Streets Subway: A, C to Clinton-Washington Avenues www.bukanewyork.com www.konceptionsmusicseries.wordpress.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Cadaqués 188 Grand Street, Brooklyn • Kupferberg Center 65-30 Kissena Boulevard, Flushing • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (718-218-7776) Subway: L to Bedford Avenue www.cadaquesny.com (718-793-8080) Subway: E to 71 - Continental Avs - Forest Hills (212-371-7657) Subway: E to Lexington Avenue-53rd Street • Café Carlyle 35 E. 76th Street (212-744-1600) • The Lambs Club 132 W. 44th Street www.somethinjazz.com/ny Subway: 6 to 77th Street www.thecarlyle.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Lark Café 1007 Church Avenue, Brooklyn www.spectrumnyc.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com (718-469-0140) Subway: Q to Beverly Road www.larkcafe.com • Stephen Wise Free Synagogue 30 W. 68th Street • Café Noctambulo at Pangea 178 Second Avenue • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) (212-877-4050) Subway: 1 to 66th Street www.swfs.org (212-995-0900) Subway: L to First Avenue www.pangeanyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com • The Stone Avenue C and 2nd Street • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets • Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: F to Second Avenue www.thestonenyc.com Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • SubCulture 45 Bleecker Street (212-533-5470) www.caffevivaldi.com • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 6 to Bleecker Street www.subculturenewyork.com • Capital Grille 120 Broadway (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Subrosa 63 Gansevoort Street (212-997-4555) (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • The Lounge at Hudson View Gardens 183rd and Pinehurst Avenue Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com • Cávo 42-18 31st Avenue, Astoria Subway: A to 181st Street • Swing 46 349 W. 46th Street (646-322-4051) (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com • L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street www.swing46.com • The Cell 338 West 23rd Street Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Tagine 537 9th Ave. between 39th and 40th Streets (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Charley O’s 1611 Broadway at 49th Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Taszo Espresso Bar 5 Edward M Morgan Place (212-246-1960) Subway: N, R, W to 49th Street • Manhattan Inn 632 Manhattan Avenue (718-383-0885) (212-694-8770) Subway: 1 tp 157th Street www.taszo.com • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) Subway: G to Nassau Avenue www.themanhattaninn.com • Terraza 7 40-19 Gleane Street (718-803-9602) Subway: C to Clinton-Washington Avenues www.bistrolola.com • Manhattan School of Music Miller Hall 120 Claremont Avenue Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) (212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu • Tomi Jazz 239 E. 53rd Street Subway: C to Lafayette Avenue www.chezoskar.com • Matisse 924 Second Avenue (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Town Hall 123 W. 43rd Street Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street (212-997-1003) Subway: 1, 2, 3, 7 to 42nd Street-Times Square • Cornelia Street Café 29 Cornelia Street www.langhamplacehotels.com www.the-townhall-nyc.org (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam • Tribeca Performing Arts Center 199 Chambers Street www.corneliastreetcafé.com (212-501-3330) Subway: 1 to 66th Street-Lincoln Center (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org • The Cutting Room 44 E. 32nd Street www.kaufman-center.org • Turnmill NYC 119 East 27th Street (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • David Rubenstein Atrium Broadway at 60th Street Subway: N, R to 23rd Street www.metropolitanroom.com • University of the Streets 130 East 7th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Mezzrow 163 W. 10th Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org www.new.lincolncenter.org/live/index.php/atrium Subway: 1,2,3 to 14th Street www.mezzrow.com • The Village Lantern 167 Bleecker Street • Delroy’s Cafe and Wine Bar 65 Fenimore Street • Minton’s 206 West 118th Street (212-243-2222) (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries Subway: B, C to 116th Street www.mintonsharlem.com • Village Vanguard 178 Seventh Avenue South at 11th Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Mona’s 224 Avenue B Subway: L to First Avenue • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: F to East Broadway www.downtownmusicgallery.com • Neighborhood Church of Greenwich Village 269 Bleecker Street • WhyNot Jazz Room 14 Christopher Street • The Drawing Room 56 Willoughby Street #3 (917-648-1847) (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (646-756-4145) Subway: 1 to Christopher Street www.whynotjazzroom.com Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • Zankel Hall 881 Seventh Avenue at 57th Street • Drom 85 Avenue A (212-777-1157) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org Subway: F to Second Avenue www.dromnyc.com • North Square Lounge 103 Waverly Place • Zeb’s 223 W. 28th Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) (212-254-1200) Subway: A, B, C, E, F to West 4th Street 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: C, E to Spring Street www.earinn.com www.northsquareny.com • Zinc Bar 82 W. 3rd Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Nublu 62 Avenue C between 4th and 5th Streets (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-979-9925) Subway: F, V to Second Avenue www.nublu.net www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2015 45 (INTERVIEW CONTINUED FROM PAGE 6) artistically satisfying CDs with some of the more interesting musicians of our time. There are absolutely SPRING 2015 TNYCJR: Is there music from other cultures you like? no impositions put on the music and so every recording comes across as being genuine and unique.” Carlberg, CR: I studied some Indian singing when I was in she adds, “is sensitive enough to never interfere in SPECIAL SELECTIONS college in California and in that part of the world there one’s music because he clearly trusts the artistic merit are different scales, different ways of singing, different of that individual. For every RPR project I’ve been from techniques and so I love listening to Indian singers. I involved in, Frank has spent countless painstaking love listening to Arabic and Israeli music. I was in hours working with the engineer to find the right Israel last year. There’s a complete mix of Arab and sound to end up with the best possible outcome.” NAXOS OF AMERICA Israeli music that happens naturally and it’s incredible. Right now these outcomes are only sold as CD, I love music that comes out of Greece and of Mali. although Carlberg does say that vinyl is worth Oumou Sangaré, a Malian singer, is incredible. Habib considering. Also while available as downloads Koité is another. ...It’s not in English so I can just listen through vendors such as iTunes and CDBaby, RPR and get absorbed into the music and then find out avoids free sites and streaming services. “I don’t see what the songs mean. ...I also love Cuban music. I love what’s gained from having stuff on those sites/ JAZZsalsa, big band salsa. I’m half-Panamanian so I grew services. Exposure, they would like to make you think. & up listening to calypso and had Latin people who Bullshit, I say! CDs or downloads really aren’t that played salsa in my family playing at family gatherings. expensive. If we’re willing to pay $5 for a white NEW MUSIC PARTNERS I was in Brazil a few years back and heard great samba chocolate mocha latte, why can’t we pay $9.99 for an music; we don’t really hear samba here. It’s all album download, 99 cents for a track or $13 for a hard Kronos Quartet with Tanya Tagaq | Tundra Songs incorporated into the people. The music isn’t separate. copy of some great music?” Always at the forefront, seeking the new I love traditional, beautiful Irish singing... I like Record business uncertainties aside, RPR is and pushing to its limits the boundaries of anything that’s going to teach me about the culture… committed to releasing many more discs this year. the traditional string quartet, it is no surprise the Kronos Quartet sought out Inuit throat Guitarist Joe Morris and pianist Leo Genovese will singer Tanya Tagaq for another collaboration TNYCJR: Is what’s happening in race relations here in lead their own sessions while there will be more with Canadian composer Derek Charke. the U.S. influencing you as a musician? Carlberg song/poetry projects. As he notes, “There’s Tagaq’s guttural, highly intimate, primal sounds date back to her ancestors. She has something universal and direct about the human voice. turned these sounds into an art form that CR: Music is a great healer and it always has been in There’s hardly a culture that doesn’t have singing and has enthralled audiences the world over. the face of adversity in this country—and I think it will many cultures and genres are defined to a great extent JUNO & ECMA Award-winning composer and flutist Derek Charke is a full professor at continue to be. If you look around at jazz audiences, by a great voice…think Edith Piaf, Amália Rodrigues, Acadia University in Wolfville, Nova Scotia. they’re mixed. So right there is evidence of music Mercedes Sosa, Elis Regina, Lata Mangeshkar, Mahalia “It’s one of the major, spectacular pieces CENTREDISCS that has ever been written for Kronos.” – bringing people together and I will continue to do my Jackson, Ray Charles, Stevie Wonder, etc.” CMCCD 21015 • 773811210158 David Harrington, Kronos Quartet part. Getting back to personal preferences, people have Or Christine Correa and RPR. v their preferences and there’s nothing that you can Wayne Shorter | The Language of the Unknown - A Film About the Wayne Shorter Filmmaker Guido Lukoschek’s “The Language really do about that except to be kind to other people. For more information, visit redpianorecords.com of the Unknown” enters the universe of one of the last living saxophone legends of Jazz. TNYCJR: What’s your next kind act? Shorter sees his celebrated soloists drum- mer Brian Blade, bassist John Patitucci and pianist Danilo Pérez less as sidemen than as CR: (laughs) We are looking forward to making our equal elements of a living organism. They call their method ”Zero Gravity“, an original sixth album, which will be released in 2016. I am state of music that they always re-conjure incredibly thankful for the musicians I get to work in the interaction, and which is the basis of their explorative journeys into new musical with and the musicians that work with me…I’m territory. “The Language of the Unknown” expanding my musical relationships, working with accompanies the great saxophonist and his band as they ready themselves for a different-sized bands and orchestras and continuing to REARWARD concert on November 3, 2012, in the Salle learn material. Just continuing my music history Pleyel in Paris and observes the effect of the BLU: 108114 • 807280811490 music on their creators, revealing surprising education, which is endless, it seems! v DVD: 102197 • 807280219791 insights into the essence of their music and the creative spirit. For more information, visit catherinerussell.net. Russell is at EMIE R ROUSSEL TRIO | Quantum Zankel Hall Feb. 4th, Tribeca Performing Arts Center Feb. In physics, a Quantum is the smallest indivisible unit. It also provides a perfect 19th as part of Highlights In Jazz and The Rainbow Room illustration of the trio: an ensemble Feb. 23rd with After Midnight Orchestra. See Calendar. composed of three individuals, with similarities as well as differences, joining together to create a unique and indivisible Recommended Listening: core. Emie R Roussel formed her Trio in • Earl May Quintet—Live at Shanghai Jazz 2010, recording her first album, “Temps (Introducing Catherine Russell) Inégal”, that same year to warm critical (Shanghai Jazz, 2000) reception. Her second album, “Transit”, was • Catherine Russell—Cat (World Village, 2005) nominated in the Best Jazz CD category in • Catherine Russell—Sentimental Streak 2014 for the OPUS prize. In May 2014, Emie R. Roussel was nominated the CBC Jazz (World Village, 2007) Revelation of 2014-15. • Catherine Russell—Inside This Heart EFFENDI FND139 • 690579013923 (World Village, 2009) • Catherine Russell—Strictly Romancin’ Airelle Besson & Nelson Veras | Prélude (World Village, 2011) Airelle Besson plays the trumpet divinely; • Catherine Russell—Bring It Back (Jazz Village, 2013) Nelson Veras is currently one of the best European jazz guitarists. Over the past few years, they have formed a magical duet that regularly appears at the biggest European festivals. Prélude, their newest album, is now out, and just like their concerts, should (LABEL CONTINUED FROM PAGE 11) prove a delight. Discover new, sophisticated, subtle, harmonious and delicate music, where listening, exchanges, creativity and Correa was initially stunned and inspired by the freshness are key words. Ms. Besson – mu- Lincoln discs Blake played for her after she came from sician, trumpeter, composer and conductor Mumbai to study in the U.S., she was the perfect person – is a much sought-after artist, having recorded about fifty albums to date. with whom to record the tributes, he adds. Correa is “a NAÏVE taste of tomorrow. I love the way she bends pitches, DISTRIBUTED BY NJ624911 • 3298496249110 her rhythmic attack, her drama, the way she uses silences.” Correa, who has also recorded for many labels, available at : fasdlfkjdaflshalsdkhfldaksnvl says that RPR “has a strong identity of releasing

46 FEBRUARY 2015 | THE NEW YORK CITY JAZZ RECORD

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FEBRUARY APRIL JASON KAO HWANG'S AMYGDALA AND BRIGGAN KRAUSS' H-ALPHA SING HOUSE MONDAY, APRIL 20, 2015 8PM $20/15 FRIDAY, FEBRUARY 6, 2015 8PM $20/15 ANDREW DRURY’S CONTENT PROVIDER + MAY THE DRUM 2 CD RELEASE CELEBRATION! [RESIDENCY] TYSHAWN SOREY’S DOUBLE TUESDAY, FEBRUARY 17, 2015 8PM $20/15 TRIO MONDAY, MAY 4, 2015 8PM $20/15 [COMMISSION] AARON BURNETT AND THE BIG MACHINE ICP ORCHESTRA WITH FRIENDS TUESDAY, FEBRUARY 24, 2015 8PM $20/15 WEDNESDAY, MAY 6, 2015 - FRIDAY, MAY 8, 2015 8PM $30/25 PRESALES: $25/20 MARCH JAMES FALZONE'S RENGA ENSEMBLE: THE JUNE ROOM IS CELEBRATING THE SUNNYSIDE RECORDS WEDNESDAY, MARCH 4, 2015 8PM $20/15 RELEASE OF JOHN HOLLENBECK'S SONGS WE LIKE A LOT [recorded with Theo Bleckmann, Kate CHRISTIAN WOLFF AT 80: A CELEBRATION McGarry, Uri Caine and the Frankfurt Radio Big Band] Live WITH JOEY BARON, VINCENT with the John Hollenbeck Large Ensemble featuring Theo CHANCEY, THOMAS MORGAN, ROBYN Bleckmann and Kate McGarry WEDNESDAY, JUNE 10, 2015 8PM $20/15 SCHULKOWSKY, AND NATE WOOLEY THURSDAY, MARCH 5, 2015 8PM $30/25 PRESALES: $25/20 LUKAS LIGETI: 50TH BIRTHDAY CONCERT SUNDAY, JUNE 14, 2015 5:30PM $20/15 [RESIDENCY] TYSHAWN SOREY’S KOAN II WEDNESDAY, MARCH 11, 2015 8PM $20/15

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