october 2019—ISSUE 210 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM

blakeyart Indestructible Legacy

david andrew akira DR. billy torn lamb sakata taylor Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2019—ISSUE 210 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : david torn 6 by michael cobb [email protected] Andrey Henkin: Artist Feature : andrew lamb 7 by george grella [email protected] General Inquiries: On The Cover : art blakey 8 by russ musto [email protected] Advertising: Encore : akira sakata 10 by phil freeman [email protected] Calendar: Lest We Forget : DR. billy taylor 10 by eric wendell [email protected] VOXNews: LAbel Spotlight : hopscotch 11 by john sharpe [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festival report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, album Reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 39 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, Event Calendar Mark Keresman, Marilyn Lester, 40 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, Michael Cobb, George Kanzler, Steven Loewy, Legacy is a word thrown around quite a bit in the jazz world and with good reason, as this Peter Margasak, Franz Matzner, Eric Wendell music is built on the foundations of those who came before, to be built upon further by those who follow. Yet a tangential concept to legacy is responsibility: teachers and students working Contributing Photographers with respect for one another, knowing that the results are bigger than all of them. Drummer Enid Farber, Peter Gannushkin, Art Blakey (On The Cover) understood this better than most, using his Jazz Messengers as James Foster, Alan Nahigian, a finishing school par excellence for generations of players, who themselves would go on to Sherry Rubel, Juliane Schütz, Claire Stefani, Robert I. Sutherland-Cohen, Steph Yates mentor their own charges. Guitarist David Torn (Interview) feels the same way about technology, imbuing it with its own legacy and requiring younger players to understand the history of what they are doing and how. Saxophonist Andrew Lamb (Artist Feature) continues Fact-checker the legacy of masters like Coltrane and Ayler in his various projects while saxophonist Akira Nate Dorward Sakata (Encore) includes the legacy of Japan’s cultural history in his work. And there can be no greater exemplar of the concept of legacy than pianist Dr. Billy Taylor (Lest We Forget), who devoted his life to education and outreach, most notably by founding JazzMobile, a program that has brought the legacy of jazz to countless New York audiences for 55 years.

nycjazzrecord.com On The Cover: Art Blakey (photo by Alan Nahigian) Corrections: Last month’s Encore on Howard Johnson was written by John Pietaro. In the Cover Feature, Fred Frith was at Mills College for 20 years. In the NY@Night on Ray Blue, the drummer was Tommy Campbell and for the review of Irreversible Entanglements, Aquiles Navarro looked like Cyrus’ lieutenant Masai. In the review of Sheila Jordan’s Sheila, it was not made clear that this is a new vinyl reissue.

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

2 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

NEW YORK @ NIGHT

There’s a look that comes over Norwegian guitarist An instructive moment came in the middle of Billy Lage Lund when he’s entered the proverbial “zone”, Cobham’s Blue Note set (Sep. 12th) during a week cascades of morphing melodic shapes emerging from when he was celebrating his 75th birthday (actually his amp, body hunched, rocking back and forth, eyes back in May). The legendary drummer told the capacity staring upwards and rightwards into the darkened crowd that he was also celebrating the 45th anniversary room, above and beyond the audience. This look of the release of Crosswinds, his second of three dozen occurred often during the early set at The Jazz Gallery albums as a leader, noting that most of the people in (Sep. 6th), when he revisited Rebuild the Rubble, the audience were probably not even born when it a suite of original compositions fashioned out of wide- came out. To this there was a lusty chorus of denials sweeping song-lines and short quotations pulled from and looking around at the sea of white hair, Cobham Kurt Vonnegut’s writings and elaborated by vocalist had misspoken. This vehemence of this reaction Theo Bleckmann. Orchestrated for sextet, which was demonstrated that fusion fans are among the most completed by pianist Micah Thomas, synthesizer loyal in the jazz world, living in blissful denial that it player Frank LoCrasto, bassist Ben Street and drummer isn’t 1974 anymore and that jazz, for the most part, has Obed Calvaire, the lush harmonies padded the moved on. Not so on this night as Cobham, seated obliquely contoured tunes—difficult, angular songs behind the biggest drumkit this correspondent had with angst-ridden imagery Bleckmann navigated with even seen on the Blue Note stage, played tunes from apparent nonchalance, a tribute to his agile instrument. the aforementioned album with a band that included The brightest sparks of the set, however, were Lund’s an original participant: trumpeter Randy Brecker. And solos, particularly on “I Know You Know”, “Langsam” if the latter looks the part of the eminence grisé he is, (after which a woman, dutifully inspired, cried out, Cobham could have just stepped out of the back cover “You’re fuckin’ killin’ it, man!”) and “Train Song”, of a Mahavishnu Orchestra album. The hyperkinetic which featured Lund’s arpeggiated soliloquy and, music did feel dated at times, especially with the later, an inspired improvisation. These sparks were various effects applied to the instruments, including kindled and fanned by magnificent drumming, Brecker’s trumpet and Paul Hanson’s bassoon and Calvaire’s crisp sticking and on-the-top pulse saxophone. The lengthy and energetic solos didn’t counterbalanced by sounds of wet, washy cymbals and disappoint those assembled but the real draw was the hi-hat draped with large clusters of small bells, powerful statements by the leader, a touch slower than tambourines and chains. —Tom Greenland decades before, but no less inventive. —Andrey Henkin o g r a p h y a r b e F o t R . I S u t h e r l a n d - C o / j z x p s i g © 2 0 1 9 E n i d F Lage Lund @ The Jazz Gallery Billy Cobham @ Blue Note

Frank Kimbrough, first to record for Newvelle, The duet in jazz is a distilled opportunity for shared a vinyl-only label selling yearly subscriptions to six- language and common purpose. And it helps to have album sets, fronted the Newvelle Anniversary Band at the participants truly enjoy one another’s company. Jazz Standard (Sep. 7th). Along with trumpeter Riley There have been few partnerships of longer standing Mulherkar, tenor saxophonist Andy Zimmerman, than saxophonist Dave Liebman and pianist Richie guitarist Ben Monder, bassist Chris Tordini and Beirach (their generation’s heir to the collaboration drummer Francisco Mela—labelmates all, some old between Wayne Shorter and Herbie Hancock), going friends, some new acquaintances—the pianist served back over 50 years, preceding the first Lookout Farm listeners a seven-course ‘meal’, an aural complement album and on to many subsequent duo releases. So it to the comestibles and potables on their tables. The was a special occasion to have the pair assemble as appetizer/apéritif, Kurt Weill’s “Alabama Song” in such at Mezzrow (Sep. 12th), old friends catching up in G Major, formal but free, modulating to the parallel front of an intimate crowd (Beirach is a longtime minor for Kimbrough’s “Katonah”, with energetic resident of Germany). While both were born in New contributions from trumpet and piano, led to the first York, they represent different aspects of their main course: guest vocalist Becca Stevens’ breathy hometown, Liebman grittier while Beirach oozes reading of “Everything Happens to Me” backed by rounded elegance. The encapsulation of their masterful guitar chording. “Meantime”, title track to communication came on a tune by Shorter, as it the label’s inaugural album, suggested South African happened, “Footprints”, first appearing when Liebman gospel played in free time. Andrew Hill’s “Laverne”, and Beirach were jazz babies in their early ‘20s. This a relatively bright song from an otherwise dark most memorable of melodies was deconstructed and repertoire, featured another artful turn by Mulherkar. corrugated, emphasizing its poignancy. Without the Stevens returned for “Moonlight in Vermont” (which insistent bassline of the original, the song’s form was Kimbrough humorously introduced as “a haiku”), liberated, sped up and slowed down. Liebman is delivering the spare lyrics with offhand restraint. For among the major soprano saxophonists of 20th century dessert, Mela launched into a rowdy cover of Paul jazz, alongside Shorter, his sharp tone immediately Motian’s “Mumbo Jumbo”, his hands skipping lightly recognizable but here buffed smooth by Beirach’s over the drumset, right pinky cocked like an lyricism. But Beirach also functioned like a prism, Englishman drinking tea, ending with a potent coda splitting Liebman’s lines into their component spectral that enigmatically omitted the very last stroke. (TG) frequencies across a wondrous 15 minutes. (AH)

4 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD The return of Pat Metheny to the New York concert The crowd which overwhelmed Clemente Soto Velez stage found the celebrated guitarist unveiling a new Cultural Center (Sep. 6th) came to celebrate Steve “playing environment” dubbed “Side Eye”, one in Cannon, poet, elder, teacher and cultural organizer, WHAT’S NEWS which he would collaborate with young pioneering whose June passing remains grievous. Among the players; the first featured pianist-keyboard player performing poets were Steve Dalachinsky—whose An exhibition on the work of pianist Jason Moran will be at James Francies and drummer Marcus Gilmore. The unexpected passing but a week later has leveled the the Whitney Museum through Jan. 2020 and include his sculptures, drawings and collaborations with visual artists. second (Sep. 12th) of a three-night sold-out Sony Hall community—his partner Yuko Otomo, Lydia Cortes A schedule of performances by a variety of jazz musicians run began with a pair of duets with Gilmore—the first and Edwin Torres opened the concert with moving and new live adaptations of works will also be part of the a bluesy take on Ornette Coleman’s “Turnaround”, the works. Later, Anne Waldman performed with programming. For more information, visit whitney.org/ second a buoyant outing on his own “James”— saxophonists James Brandon Lewis and Devin Brahja exhibitions/jason-moran. followed by two more with Francies, a soulful rendition Waldman blowing cyclical, interlocking phrases of his original “Have You Heard” and a swinging around and through her poetry. “You may welcome all Registration is open for the 2020 Jazz Congress, a reading of the standard “If I Were A Bell”. With the the strains,” Waldman dramatically advised. Cleveland co-presentation of JazzTimes and Jazz at Lincoln Center, taking place Jan. 13th-14th, 2020 at Jazz at Lincoln return of Gilmore the trio embarked on a marathon set poet/vocalist Julie Ezelle Patton’s piece drew on Center’s Frederick P. Rose Hall. For more information, visit of Metheny classics, which began appropriately with stirring melisma, spoken word, blues and a world of ticketing.jazz.org/9861/9862. the bossa-tinged “So May It Secretly Begin” and moved vocalization. Another gifted poet and vocalist, Tracie seamlessly into the countrified “Bright Size Life”, the Morris, with cornet player Graham Haynes and Two benefit events of note: Issue Project Room 2019 audience erupting in raucous appreciation. The mood guitarist Elliott Sharp, movingly performed to Gala Honoring Suzanne Fiol and Robert Longo, taking calmed for pretty ballad “The Bat” then ramped back Cannon’s recorded voice. The powerful ensemble place at Issue Project Room Oct. 16th at 7 pm (for more up on the Coleman calypso “The Good Life” (a feature What It Is?, fronted by Arts for Art administrator information, visit issueprojectroom.org); and Blank Forms Third Annual Benefit Honoring Ikue Mori and Arto Lindsay, for rousing drumming) and sanguine Latin-tinged Patricia Nicholson Parker (poetry, dance) also boasted taking place at Ukrainian National Home Oct. 16th at 7 pm “Better Days Ahead”, with Francies’ keyboards singing William Parker (bass), Melanie Dyer (viola), Lewis and (for more information, visit blankforms.org). melodically along with Metheny, whose bop chops Waldman (saxophones) and Val Jeanty (electronic were on full display with organ on “Timeline”. The percussion). Closing off this magical evening was In addition to the concert programming for this year’s band traveled ethereally through “Sirabhorn”, then Marshall Allen and the Sun Ra Arkestra, which soared, BRIC JazzFest (Oct. 19th-26th), there will a Jazz Film rocked out on “The Red One”. A set of new untitled wailed and softly sang through captivating originals, Series with screenings of Blue Note Records: Beyond The material that pointed in intriguing directions was quaking free segments and an utterly compelling Notes and Aretha Franklin Live Performance Amazing Grace and Brooklyn Poetry Slam hosted by Mahogany L. followed by a Pikasso guitar improv before the set “Stranger in Paradise” with vocalist Tara Middleton’s Browne. For more information, visit bricartsmedia.org. closer “When We Were Free”. —Russ Musto rich alto welcoming all strains. —John Pietaro A)loft Modulation, a play inspired by events at a midtown loft from 1957-65, written by Jaymes Jorsling and directed by Christopher McElroen and featuring a live jazz band playing music by Gerald Clayton and Immanuel Wilkins, opens Oct. 2nd. at Mezzanine Theatre at the A.R.T./New York Theatres. For more information, visit theamericanvicarious.org. Jazz at Princeton has announced its new season of programming, beginning Oct. 12th with Rudresh Mahanthappa’s Tiger Quartet+. For more information and

the complete season, visit music.princeton.edu. This month’s Jazz Museum in Harlem programming R u b e l

y includes: Afro Yaqui Music Collective—Migration, Movements and Music (Oct. 3rd at 7 pm); Desert Island Discs with Jane Bunnett (Oct. 8th at 7 pm) and Joe Lovano S h e r (Oct. 15th at 7 pm); Vinyasa Jazz Flow (Oct. 12th at 3:30

o b y pm) and Intergenerational Jazz Jam (Oct. 13th at 2 pm). For more information, visit jazzmuseuminharlem.org. P h o t A l a n N h i g Pat Metheny @ Sony Hall Sun Ra Arkestra @ Clemente Soto Velez Cultural Center Alex Hahn has won first prize in the inaugural Michael Brecker International Saxophone Competition with Alex Weitz and Artem Badenko coming in second and Celebrating the music of Sonny Rollins on the Over three stirring sets, Union Pool (Sep. 4th) played third, respectively. For more information, visit weekend of his birthday, longtime Rollins trombonist host to an evening of thunderous new music in breckercompetition.org. Clifton Anderson held forth at The 75 Club with a band celebration of headliners Sarah Bernstein/Kid comprised of the two-tenor frontline of George Millions’ new album Broken Fall (577 Records). Though Pianist Christian Sands has been named the Creative Coleman and Eric Wyatt backed by a rhythm section the evening was laden with end-of-summer humidity, Ambassador for the Erroll Garner Estate, which, in of pianist Edsel Gomez, bassist Belden Bullock, Rollins the atmospheric density seemed generated entirely conjunction with Mack Avenue, has launched the Octave alumnus drummer Ronnie Burrage and percussionist from the stage. The opening solo set by James Brandon Remastered Series, restored and remastered editions of 12 Garner albums to be released on a rolling schedule Victor See Yuen. The second birthday eve (Sep. 6th) set, Lewis surged with the tenor saxophonist’s liquid through 2020, with the first four released last month. For which followed a full set of Rollins songs including improvisational themes, rich, evocative and reaching. more information, visit mackavenue.com. classics “St. Thomas”, “Airegin” and “Oleo”, began He called on the ancestors in a rush of sound, atonally with the band, sans Coleman, performing “O.T.y.O.G.”, blue, filling the hungry space joyfully with a whirling The 75 Club at Bogardus Mansion hosted its final concerts an ‘80s Rollins piece that had the trombone-tenor series of “ideas I have for new compositions”, he later last month while City Winery is relocating to Pier 57. frontline digging in on top of a funky backbeat and explained. Performing next was Weak Signal, a post- woody clave block, after which piano swung punk trio with a penchant for droning repetition, their German drummer Paul Lovens will receive the Albert Mangelsdorff Award at this year’s Berlin Jazzfest. straightahead over walking bass. Coleman’s arrival on engaging set ironically belying their name. But as to the bandstand initiated an impromptu jam session, violinist Bernstein and drummer Millions took the The late pianist Randy Weston has had a street named in with Jerry Weldon’s tenor joining the two others for stage, the thickening crowd moved forward and right his honor in his home borough of Brooklyn while late a swinging romp through Duke Ellington’s “Satin from the downbeat the duo shredded the airspace. vocalist Betty Carter has had a park named in her honor, Doll”, skillfully arranged by Coleman, pointing to Heavily amplified perpetual-motion bowing cast an also in Brooklyn. Gomez to begin with a solo intro before the tenors utter breathlessness over the audience; drums offered played the melody over a shuffle rhythm. Wyatt was responses built on adrenalin and an array of relentless Roulette has announced its Resident and Commissioned Artists for its 2019–2020 season: Jaimie Branch, Aaron up first, dark and gritty, followed by Weldon, who melodic riffs, accents and explosions. When Bernstein Burnett, Kelly Moran, Brandon Lopez and Mary Prescott entered quoting “Hi-Fly”, after which the saxophones began vocalizing loudly while assaulting her have been selected for year-long residencies; harmonized on the bridge before Coleman soloed, instrument with continuous downstrokes (bow hairs Commissioned artists include Morgan Guerin, Val Jeanty, slow and soulful. Bullock and Burrage each took a flying wildly), the music turned juicily unsettling, Max Johnson, Muyassar Kurdi and Cassie Wieland. For turn, after which the horns engaged in fiery exchanges. vibrating the house like a cyclone and spilling onto more information, visit roulette.org. A racing “Cherokee” was up next, followed by vocalist unsuspecting Williamsburg. Post-punk free jazz? Tony Hewitt’s romantic take on “When Sunny Gets Perhaps, but to us who witnessed this gorgeously Submit news to [email protected] Blue”. The set ended with a blues. (RM) torrential exchange, it was simply possessive. (JP)

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 5 INTERVIEW

point! They took me through the list of features and I was blown away! It sounded amazing and is the size of the typical pedal. So my rant did have some effect. It could also be that my body of work, including three of the four+ records I did with David Bowie, my album Cloud About Mercury and my scores for films like Traffic david showed my involvement developing the use of looping. So it was probably more than just the rant.

TNYCJR: Tell me about working with David Bowie.

DT: I worked with him for 15 years. The record Heathen begins and ends with me. If you play it in order, the a n i / E C M R e c o r d s torn (CONTINUED ON PAGE 46) house of improv presents © C l a i r e S t f by michael cobb october 20, 2019 avid Torn is a guitarist who defies easy description. loopers can be tricky. I imagine it takes a while to tani tabbal, mike bisio, adam siegel D brian groder, michael bisio, Jay rosen A session musician, sideman, producer, mixer, scorer of develop a signature sound? el barrio artspace films and independent solo artist, Torn does it all without 215 e. 99th street ever being restricted by genre. He is content playing jazz, DT: I can say that there aren’t that many people that 6 to 96th street rock, metal, experimental, pop or any other style and his list use it as a part of their signature sound. It’s getting october 21, 2019 of collaborations speaks volumes. Torn has contributed to harder and harder to determine who is who as the brandon lopez, gerald cleaver, recordings by artists including David Bowie, k.d. lang, John devices have begun to be made similarly as when they brandon seabrook, Joanna mattrey Legend, Madonna, Tori Amos, Bill Bruford, Tony Levin, were first made based on tape-looping devices. It’s still november 1, 2019 Mick Karn, David Sylvian, Chocolate Genius, Michael a pretty weird thing, but there’s been a kickup of Whit dickey, rob broWn, Shrieve, Steve Roach, Patrick O’Hearn, Andy Rinehart, interest progressively since about 15 years ago, michael bisio, steve sWell Matt Chamberlain, Meshell Ndegeocello and Don Cherry. especially in the last seven. Whit dickey/kirk knuffke duo What distinguishes Torn is his wizardly prowess with 244 rehearsal studios 244 W. 54th street, 10th floor electronic effects, in particular his use of looping, which TNYCJR: How did you first get into looping? c, e to 50th street / n, Q, r , W to 57th street allows him to construct ethereal layers of sound. all performances start at 8 pm | admission $20 DT: I think I first started getting into looping after facebook.com/slovenlyeric instagram.com/ericshouseofimprov The New York City Jazz Record: Did you grow up in a hearing Terry Riley’s A Rainbow In Curved Air. I was tWitter.com/ericshouseofim1 musical household? very lucky to know people who were developing these tickets available through eventbrite devices. Now I’m involved with another breakthrough David Torn: Yes, there was a lot of music around. looping product that’s about to come out in the next My mom was super-musical, wrote words for musical few months. plays and made me focus and study as a kid. I did all Leonard Bernstein’s children’s series at Lincoln Center, TNYCJR: Which product? so I had a lot of exposure. I had studied as a kid, had the basics of harmony by age 17, really knew it in my DT: I had a big influence on the development of the 20s, but was a high school dropout. My stubbornness Chase Bliss Blooper pedal. It all started when I wrote and inability to focus on what I wanted out of music a rant on the Gear Page in 2015 about what a drag it was was challenging. Later, I went to Berklee but just that most people think of looping as a live multi-track couldn’t fit in, couldn’t focus, couldn’t see where the recording and all they were doing was phrase sampling, learning was leading to. I dropped out of there too and where you set up a tempo in advance, play a tune and joined a band. If I had stayed in school, I would’ve are basically repeating something. It’s like showing really benefited from it. But I lived and worked with that you can record well. I don’t mean it pejoratively my first band for seven years and that really was like other than the fact that looping based on the original school. Then I went on the road with Don Cherry and tape-looping model has a million creative applications learned even more. if you have access to things that help you manipulate the loop in real time. As a person who works in a TNYCJR: Digital looping is an integral part of your professional environment, I feel obliged to react online sound. to younger guitarists who may not know where things come from. I don’t mean to be condescending, but DT: It’s a regular part of my sound, yeah. It’s something I think it’s valuable for musicians of all ages to converse that I integrate with whatever instrument I’m playing. about the lineage of music and treat it as a continuum. It was the key thing of the last 45 years of my career. Anyway, I posted this rant, which was an open I’ve been figuring out a way to continue to be a guitarist letter to the manufacturers of looping devices. They and do these electronic things based originally around were just focused on what Ed Sheeran was doing, which this looping stuff and yet fully integrate into whatever was to play a phrase by yourself. All the breakthroughs style of music I’ve been involved in, whether it was made with loopers from the ‘90s just disappeared, which commercial or creative. The goal has always been to seemed like an insult to our intelligence. I got mad, was make it one thing, a continuum of sound-making kind of a jerk about it and said that they were all building rather than things that appear to be separate pieces. the same thing without offering the creative controls in a way that’s obvious and that the technology had moved TNYCJR: The original loopers were done with tape backwards instead of forwards. It got an insane amount machines, correct? of views for this chat group, which has something like 170,000 members, and then I shared it on Facebook and DT: Yeah, they were really first put into use by Terry it blew up even more. Riley [pioneer of Western minimalist classical music], I forgot about it, but eventually representatives before that Stockhausen and then back again to Les from the company came to me in person to let me know Paul. The benchmark for me was really Terry Riley, that they had taken my critiques and incorporated them who really inspired me to get into tape looping. into the design of their new devices. They told me that they adapted every function that I thought a new looping TNYCJR: As a guitarist, I know that working with device should have based on my rant as a reference

6 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit facebook.com/babaandrew.lamb. Lamb is at Nublu 151 Oct. 19th and Saint Peter’s Church Oct. 25th. See Calendar.

Recommended Listening: • Andrew Lamb—Portrait in the Mist (Delmark, 1994) andrew • Dennis Gonzalez New Southern Quintet— Old Time Revival (Entropy Stereo, 2002) O W N M U S I C . E T • Andrew Lamb/Warren Smith—The Dogon Duo (Engine, 2004) • Andrew Lamb Trio—The Hues of Destiny (CIMP, 2008) • Andrew Lamb/Warren Smith/Arkadijus Gotesmanas— The Sea of Modicum (NoBusiness, 2016) lamb • Andrew Lamb—The Casbah of Love (Birdwatcher, 2018)

P e t r G a n u s h k i / D O W N T by george grella Andrew Lamb has been keeping the flame of spiritual there are many levels of this thing that you are not jazz burning bright and strong. The North Carolina- going to truly touch in the way that you are going after. born saxophonist, clarinetist and flutist plays with a It won’t really happen that way, because some powerful and deeply expressive and emotional sound. people are there for the sake of the gig, so to speak, He has been active on the New York jazz scene for they’re not really there for the other thing, [being] in some four decades as a collaborator and a bandleader, tune with some of the other vibrations. So you need playing frequently with musicians like drummer/ kindred spirits that are in tune with the vibrations that percussionist Warren Smith and bassists Alan Silva you seek.” and Tom Abbs. He also maintains projects in Europe, He has been playing this way for decades, frequently performing and recording live throughout appearing in live settings far more often than in the the continent. His latest domestic release, The Casbah of studio and The Casbah of Love is just one of his recent Love, leading the Andrew Lamb Trio, is on Abbs’ albums. “Previously, in 2017,” Lamb explains, “there Birdwatcher Records. was a record that I made [The Sea of Modicum, He used to play with Abbs frequently, then NoBusiness Records], on vinyl. I made it live in “at one point we had lost contact for a little while, then Lithuania, at the Vilnius International Jazz Festival, we got back in touch,” Lamb says. “We talked and he with [percussionists] Warren Smith and Arkadijus invited me up to his studio just so we could source Gotesmanas. It’s also available streaming and digital.” some things. When we went up there, we had a set That’s just one of several projects he has going on, thought in mind and that’s when I met [drummer] the most ambitious of which is the Circadian Spheres Ryan Jewell, who had been working with Tom and of Light Project. That group has a multimedia lives up in Tom’s community in the Catskills. And we performance at Saint Peter’s Church this month. In line blended right in. We just went straight to work then.” with Lamb’s unique sensibilities, the show is not the Lamb brought some material to the session, but usual music-with-video agglomeration, but instead describes what ended up on the album as “a lot of music accompanied by a visual artist, a dancer and spontaneous composition. Some things are first takes, even a magician. the majority are first takes. Once we started, once we Lamb breaks down the personnel: “That group has locked in, we just flowed.” Marvin ‘Bugalu’ Smith, Lloyd Haber, Newman Taylor Flow is a word Lamb uses often when he talks Baker, Jose Abreu [percussionists]. Right now it’s got AN EXOTIC OASIS IN BUSHWICK about his music and also “vibration”; the music flows [bassist] Hilliard Greene and [trombonist] Dick Griffin, as the musicians vibrate together. That way of looking Melanie Dyer [violin], Lester St. Louis [cello]. I have at music is at his core as a spiritual player and how he Jimmy James Green, the visual artist, doing some 10/7 SARAH DAVACHI + MATCHESS found his way to that style. “Well, it was a calling, spontaneous visual art. And Ngoma Hill, poet and actually. It came about, it’s sort of like the music came spoken word, Trashina Conner, dance, and a magician, TIM BERNE REFLEX W/ NASHEET and got me. So when I heard it, could communicate The Great Olmedini. I’m very excited about it, I’m 10/8 WAITS & REID ANDERSON with it, I could express myself through it. So it just looking forward to it.” continued along that path for me. As Lamb describes it, the Circadian Sphere of 10/12 Y LA BAMBA + STEFA* + NOIA “I was listening to a lot of different things. But Light is a seamless whole. Green, Hill, Conner and I heard some very late Coltrane and some Albert Ayler The Great Olmedini are “going to be working with the “BATTERIE” A DRUMMER-CURATED and when I listened to the music I heard the truth in it. music, within the music. The visual artist is going to be 10/14-15 SERIES FEATURING JIM BLACK I was attracted to that, I could tell that there was truth painting spontaneously with the music, the poet is being told in most of it, it wasn’t just about playing for going to come in and out, the magician is going to ELYSIAN FIELDS playing’s sake, for entertainment, you know what come in and out, but it’s all going to flow together. 10/31 I mean? It was true expression. And I was always one There won’t be any stopping point, it’s going to flow ADELINE who needed to express himself. I’m not a very throughout the whole experience.” 11/1 boisterous-type person, always having some sort of Despite the impact of the live experience of an JOHN ZORN’S SIMULACRUM expression. But I went there [musically]. I also listened ensemble like this, he hopes to put a version of the to everything else also, to everything that was being band on record. He adds that he’s “also looking at a 2/21 (JOHN MEDESKI, MATT HOLLENBERG, played. Listened to all the traditional music. I heard couple other studio records, one with Tom and one KENNY GROHOWSKI) truth in everything, in all the traditional music. But with a trio that I have in Paris with [bassist] Yoram this particular thing resonated in me the most.” Rosilio and [drummer] Rafael Koerner.” When he plays, he feels like “I’m just conveying That trio released an album earlier this year, what comes through me…I’m being honest about how The Night of the 13th’ Moon on Le Fondeur de son, I feel through. And everything is coming through me. recorded live at a Paris club. It’s “moving very well in That’s the blessing of the Creator and that comes Paris and Europe,” Lamb says. “I’m looking forward to through me.” those things, absolutely. And also another collaboration Finding musicians to share that experience with with Arkadijus Gotesmanas, doing another record. him means having “kindred spirits around you in These are all things I’m definitely looking at and order to develop and play certain things. That’s when working toward and everything is in motion. So we’ll @THESULTANROOM THESULTANROOM.COM things can really happen. When you don’t have that, see how the blessings go and the things flow.” v

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 7 ON THE COVER

art blakey

Indestructible Legacy a l n

by russ musto n a h i g

The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. music everything that I imagined music was supposed to Mobley, Silver and Watkins, recording the first Art The latter date introduced Wynton Marsalis, along with be: intelligence, thought-provoking, spiritual, soul- Blakey and the Jazz Messengers album Live at the Café tenor saxophonist Billy Pierce and pianist James searching, gritty, humorous and a whole lot more.” Bohemia. The group disbanded due to internal conflicts, Williams, ushering in the “Young Lions” era. Art Blakey was born on Oct. 11th, 1919 in Pittsburgh but Blakey kept the name and formed a new band with In the years to come Blakey would fuel the jazz and began playing music at an early age in order to Donald Byrd, Ira Sullivan, Kenny Drew and Wilbur pipeline with a bevy of talented young players, escape the toil of working in coalmines. Legend has it Ware, recording for Columbia. When that group broke including Branford Marsalis, Donald Brown, Terence that he switched to drums from piano at the behest of a up, a new one with Bill Hardman, Jackie McLean, Sam Blanchard, Donald Harrison, Philip Harper, Javon gun-toting club owner who felt that Erroll Garner was Dockery and Spanky Debrest followed, with Johnny Jackson, Benny Green, Robin Eubanks, Brian Lynch, better suited for that position. Soon afterwards he hit Griffin later added to the band and eventually replacing Geoff Keezer, Frank Lacy and Essiet Essiet, all of whom the road, first with a short-lived small group led by McLean. It was the group with Griffin that would would go on to become leaders in their own right. After pianist Mary Lou Williams and then with the big band record the classic Art Blakey’s Jazz Messengers with a period of woeful neglect Blakey would once again of Fletcher Henderson. Roy Haynes, who heard Blakey Thelonious Monk album for Atlantic. receive the critical and popular acclaim he had long with Henderson recalls, “He was a great drummer, After years of changing personnel, recording for deserved, elevating him to the top of the jazz world, definitely. He reminded me a little of Chick Webb.” But different labels, the Messengers trajectory solidified where he would remain until his death, one week after touring through the Jim Crow south didn’t suit Blakey with Blakey’s return to Blue Note in 1958. On his 71st birthday on Oct. 16th, 1990. and he left the band, settling in Boston for a short time Halloween eve of that year the group, now consisting On the night of what would have been Blakey’s where he formed his own group. A call from Billy of trumpeter Lee Morgan, tenor saxophonist Benny 99th birthday, drummer Ralph Peterson, one of only Eckstine to replace the drafted Shadow Wilson in his Golson, pianist Bobby Timmons and bassist Jymie two drummers to play alongside him in the Jazz orchestra sent Blakey back out on the road in 1944. The Merritt, went into Rudy Van Gelder’s Hackensack, Messengers Big Band, launched his Messenger Legacy pioneering band is rightfully credited as the incubator New Jersey studio to record what remains its most band with fellow alumni Lynch, Watson, Pierce, Keezer of the nascent bebop movement that would revolutionize classic album. Originally released with the eponymous and Essiet. He notes, “As we continue the celebration of jazz and Blakey was the engine driving the music in its title Art Blakey and the Jazz Messengers, the date included Art Blakey’s 100th Birthday touring The Messenger new direction. Haynes remembers hearing him with the Timmons’ “Moanin’” and Golson’s “Blues March” and Legacy, I am struck by the amount of work it took for band and noted the change in his playing. “This new “Along Came Betty”, songs that greatly increased the him to travel and deal with the rigors of the road. I music was happening—this so-called bebop—and he band’s popularity and remained in the Messengers never heard him complain about it. He loved doing it. was dropping bombs.” Blakey stayed with the Eckstine repertoire right up to the group’s final days. Golson Art Blakey was a leader of men and the roster of band until its demise in 1947. By that time he had would soon leave the band, but not before adding two Messengers alumni and what they have accomplished relocated to New York and started his own big band, the more staples to the Messengers songbook: “Whisper in music and life speaks for itself and needs no Seventeen Messengers. It was with that group that he Not” and “I Remember Clifford”. defending, only celebrating. It has been a great experience. made his first of many dates as a leader for Blue Note. Golson’s replacement in the group proved to be The audience response has been overwhelmingly Although the group was short lived Blakey found plenty equally proficient and even more prolific. Saxophonist positive. It really confirms that the Jazz Messengers of work as the house drummer at Birdland and recording Wayne Shorter brought a whole new level of sound is timeless. It’s a sound that will always have a as a sideman with ex-Eckstine band members. sophistication to the group, giving the band a more place not only in jazz history, but as a fully relevant and Following a stint with Buddy DeFranco, Blakey contemporary, but no less soulful sound that wrapped important part of the modern idiom of this music.” v was back in New York, recording on dates by Clifford Blakey’s incendiary drumming around singable Brown, Lou Donaldson and Horace Silver for Blue melodies and opulent harmonics. As the band evolved For more information, visit artblakey.com. Blakey tributes are at Note. Then on Feb. 21st, 1954 the drummer teamed up to include Freddie Hubbard, Curtis Fuller, Cedar Juilliard Oct. 1st, Birdland Oct. 2nd, Dizzy’s Club Oct. 7th-12th the three and bassist Curley Russell for a live recording Walton, three similarly talented composers, along with and 21st, Jazz Standard Oct. 8th-9th, Smoke Oct. 10th-13th and by what was to be dubbed the Blue Note All Stars but, bassist Reggie Workman, Blakey finally had a stable Manhattan School of Music Oct. 17th. See Calendar. as Donaldson relates in the film Beyond The Notes, a unit that would be hailed as his greatest group. bribe paid by the drummer to Birdland emcee Pee Wee The ensuing years, following Shorter’s exodus to Recommended Listening: Marquette resulted in the band being called the Art join Miles Davis and the other members’ departure to • Art Blakey Quintet—A Night at Birdland, Vol. 1 & 2 Blakey Quintet. The resulting albums really launched form their own groups, resulted in another period of (Blue Note, 1954) Blakey’s career as a leader. At the end of one of the shifting personnel during which time Blakey enlisted • Art Blakey & The Jazz Messengers— sides Blakey can be heard saying, “When these guys get dozens of talented players. However, the Messengers Moanin’ (Blue Note, 1958) too old, I’ll get some young ones.” Thus the philosophy star was fading in a post-Beatles era of popular music • Art Blakey & The Jazz Messengers— of Art Blakey and the Jazz Messengers was born. and Blakey took time off to tour with the allstar Giants The Big Beat (Blue Note, 1960) The earliest Jazz Messengers dates done later that of Jazz ensemble. But as a born leader Blakey could not • Art Blakey & The Jazz Messengers— year were actually made under the leadership of Horace relinquish his mantle heading the Jazz Messengers for Buhaina’s Delight (Blue Note, 1961) Silver. The group with trumpeter Kenny Dorham, tenor long and soon he assembled a new group, reenlisting • Art Blakey & The Jazz Messengers— saxophonist Hank Mobley, bassist Doug Watkins and Hardman and recruiting tenor saxophonist David Free For All (Blue Note, 1964) Blakey played predominantly originals by Silver, Schnitter to form a frontline to play with a revolving • Art Blakey & The Jazz Messengers— which, while maintaining the harmonic sophistication cast of pianists, including George Cables, Albert Dailey Album of the Year (Timeless, 1981-82)

8 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

ENCORE

22-minute version of Albert Ayler’s “Ghosts”, from Chikamorachi (a play on the Japanese word for Montreux Afterglow, is absolutely punishing. “strongman”, chikaramochi) with bassist Darin Gray akira Today, Sakata says of those early years, “I spent and drummer Chris Corsano and Arashi (Japanese for significant time thinking how I could stand on the same “storm”), with bassist Johan Berthling and drummer line with [pioneering Japanese saxophonist] Sadao Paal Nilssen-Love. They’re very different. Chikamorachi Watanabe. And I came up with a solution—not to do frequently heads into a noise-rock direction, sometimes sakata anything that he was doing, because I couldn’t do with the help of ex-Sonic Youth guitarist Jim O’Rourke, anything that other musicians could. This idea is actually while Arashi is more traditional 21st century free jazz. by phil freeman based on the advice by Charlie Parker for the young To Sakata, each group stands on its own. “Whether or saxophonists I read somewhere in his biography. He said, not they are fascinating as individual musicians matters Saxophonist Akira Sakata is a fascinating figure. ‘Take the deepest breath you can ever take and move to me,” he says. “I never compare Corsano over Nilssen- Extremely short, his bald head, glasses and bristly your fingers as fast as you can.’ And I thought, This is it!” Love, nor Darin over Johan. They are all talented and mustache make him look like a Japanese Wilford In the mid ’80s, he met Bill Laswell when the wonderful as individual musicians.” Brimley. In addition to making music, he is a writer bassist’s group Last Exit toured Japan. Sakata can be For Sakata, whether he’s playing the saxophone or and actor, appearing on TV and in films in his heard on their album The Noise Of Trouble: Live In Japan shouting hoarsely in a self-created nonsense language, homeland. He has a variety of interests, from marine and he later formed the trio Mooko with Laswell and the point is always communication. He’s playing to the biology (which he studied in college) to mythology and drummer Ronald Shannon Jackson, making a studio audience, not at them. “I consider it a failure if my language and they all manifest in his art; he’s made and a live album. Over a decade later, Sakata and interpretation of music does not move audience or albums in tribute to plankton and recorded a manic, Laswell worked together again on the saxophonist’s musicians I am playing with. No matter if we theatrical version of the Japanese epic poem The Tale of album Fisherman’s.com, recently reissued by the Trost understand the meaning or not, we still can get excited the Heike. His performances are wild and at times label. The lineup was completed by drummer Hamid or fascinated by songs in the language we don’t know,” seemingly unhinged; he frequently abandons the horn Drake and guitarist Pete Cosey, best known for his he says. “That’s because the ‘sense of feeling’ is in order to engage in extended vocal improvisations work in Miles Davis’ band from 1973-75. Although the common to all of us human beings. Noam Chomsky that are like a cross between monastic chanting and album was received coolly at the time, its reputation said, ‘Only one language exists on this Earth after all.’ Lucky’s soliloquy from Waiting For Godot, performed in has grown in the intervening years. “Before making the We understand the phrase ‘I love you’ no matter what a nonsense language he calls hanamogera, intended to album, I briefly explained the meaning of the songs to language it would be spoken in.” v resemble how Japanese might sound to a non-speaker. the members, and they instantly understood what I The Japanese language is a very important creative was trying to convey,” Sakata recalls. “I think it was a For more information, visit akira-sakata.com. Blank Forms springboard for Sakata. “In order to stimulate/move great success, and was surely attributed to Bill’s presents Sakata at James Cohan Gallery Oct. 2nd and my own soul from the bottom, it has to be in Japanese versatile abilities. Brooklyn Music School Oct. 3rd. See Calendar. for me,” he says. “If a player himself is not captivated “Pete was playing in the same fashion as he was in with the music he is making, he will never be able to Miles’ band,” Sakata recalls. “I remember that one day Recommended Listening: shake the souls of others.” at a hotel room, he played a live recording of Ellington’s • Manfred Schoof, Akira Sakata, Yosuke Yamashita, Born in 1945, Sakata first came to prominence in the band from an India tour for me, which his father Takeo Moriyama—Distant Thunder (Enja, 1975) early ‘70s as a member of pianist Yosuke Yamashita’s [a tenor saxophonist] was playing in. There was a • Akira Sakata—Mooko trio, taking a spot previously held by Seiichi Nakamura. funny moment I clearly remember—at his hotel room, I (NEC Avenue/Venture—Bridge, 1987) The group toured extensively outside Japan and found all the doors and windows were sealed with • Akira Sakata & Chikamorachi—Friendly Pants developed a strong international reputation for its white duct tape. I asked him what was going on and he (Family Vineyard, 2006) fierce, extended free jazz blowouts, with Sakata up told me that’s because the neighbor had complained • Akira Sakata, Jeff Parker, Nate McBride, front, his alto piercing the storm created by Yamashita about the tobacco smell. Another story of him is that he John Herndon—In A Babble (Presspop, 2009) and drummer Takeo Moriyama (and, on 1976’s Montreux used the hotel phone on a regular basis—very, very • Akira Sakata—The Tale of the Heike Afterglow, Shota Koyama). His performances on albums long phone calls. And Bill ended up paying for all of (Doubtmusic, 2011) like Chiasma and Montreux Afterglow were some of the that, leaving him completely broke.” • Akira Sakata/Johan Berthling/Paal Nilssen-Love— most intense blowing to be heard at that time. The trio’s These days, Sakata has two main groups: Arashi: Jikan (PNL, 2017) LEST WE FORGET

built Taylor’s thirst to pursue music and formal study but a few. On television, Taylor was a cultural at Virginia State College. Upon graduation, the bright correspondent on the popular news program CBS Dr. billy lights of New York City soon called Taylor where he Sunday Morning and served as Musical Director for The would perform with tenor saxophonist Ben Webster. David Frost Show from 1969-72. While in New York City, Taylor began an unofficial One of Taylor’s most celebrated accomplishments mentorship with Tatum; they went to after-hours was founding JazzMobile in 1965 to present jazz taylor performances, with Taylor later stating, “every concerts in underserved NYC communities. One opportunity I got, I followed him around.” regular participant was tenor saxophonist Jimmy by eric wendell Taylor soon began to make a name for himself, Heath, who spoke of his experience: “The children establishing a nimble, formidable style. From 1949- who weren’t exposed to jazz music would say to us If ever there was a “citizen of jazz”, Dr. Billy Taylor 1951, he was the house pianist at Birdland, performing sometimes, ‘You know, they always send in Bach and would be a prime example. Not just a talented pianist with a who’s who of jazz including Charlie Parker, Beethoven and stuff—we never heard no brothers and composer, Taylor and his work as a broadcaster, Dizzy Gillespie and Art Blakey. In addition to his club coming in and playing jazz.’” educator and advocate helped defy the image of jazz work, Taylor also worked as a sideman on several Taylor passed away on Dec. 28th, 2010 from heart being an unkempt trade but rather a dignified and Broadway shows, including Duke Ellington’s Blue failure at the age of 89. He will be remembered as a respected emblem of American artistic expression. Holiday and Billy Rose’s The Seven Lively Arts. gentleman of jazz and a steward of art. v What makes Taylor so important was his non- Taylor’s style was steadfast in its construction and performance-based output. He was a mainstay in jazz calm in its execution. Fellow pianist Marian McPartland A Taylor tribute/JazzMobile 55th Anniversary Celebration is at education, radio and television, acting as much as a described him as a “top-notch modern-day bebop Flushing Town Hall Oct. 19th with Winard Harper. See Calendar. champion for jazz as a performer. As a result, he pianist who could play anything. He had such excellent received numerous honorary doctorates and awards, chops and he could tear up and down the piano.” Recommended Listening: such as being named an NEA Jazz Master in 1988 and As a broadcaster, Taylor used radio and television • Eddie South—The Dark Angel of the Fiddle (Trip, 1944) receiving the National Medal of Arts in 1992. to expand the reach of jazz in a way that no other • Billy Taylor—The Billy Taylor Trio with Candido Taylor was born on Jul. 24th, 1921 in Greenville, musician was able to do at the time. Taylor held (Fantasy-OJC, 1954) North Carolina. He came of age in Washington, D.C. positions at WNEW in New York City as well as • Billy Taylor—I Wish I Knew How It Would Feel To Be and began to take piano lessons at seven from a woman National Public Radio. Taylor earned a PhD in Music Free (Tower-Capitol, 1968) named Elmira Smith. With her, Taylor learned the Education from the University of Massachusetts in • Billy Taylor—The Jazzmobile Allstars (Taylor-Made, 1989) fundamentals of music, which, in concert with early 1975 and held academic appointments at Long Island • Billy Taylor—Ten Fingers-One Voice (Arkadia Jazz, 1996) exposure to records by Fats Waller and Art Tatum, University and Manhattan School of Music, to name • Billy Taylor Trio—Urban Griot (Soundpost, 2000)

10 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

process by myself. We found out what was the cheapest a bit away from the music, but now I’m back to way to print and it was a great way to do it.” The label balancing work and music. It’s very nice because that hopscotch name derives from an experimental novel by the involvement with the Israeli music scene is a blessing.” Argentine writer Julio Cortazar. “I love the idea of Tsahar’s recent offerings like 2014’s Code Re(a)d with by john sharpe non-linear thinking and presentation,” says Tsahar. bassist Mark Dresser and drummer Gerry Hemingway Further releases demonstrated the range of his and 2018’s In Between The Tumbling A Stillness with Artist-run labels have become an essential part of the creativity in trio, solo and large ensemble formats. Parker and Drake, were recorded at his club. jazz survival kit. For reed player Assif Tsahar in the After his separation from Ibarra in 2000, the label The collective Digital Primitives, an alchemical late ‘90s, when he worked with bassist William Parker’s documented his work with some of music’s finest mix of roots and rapture with Cooper-Moore and Little Huey Creative Music Orchestra, setting up his drummers like Hamid Drake, Sunny Murray and drummer Chad Taylor, remains Tsahar’s prime outlet Hopscotch imprint seemed the natural route to take. Rashied Ali. He also issued albums by friends like and boasts three albums on Hopscotch. Cooper-Moore Tsahar explains: “When William started Little Huey he pianists Cooper-Moore and Agustí Fernández and is effusive in his praise of Tsahar: “We’re talking about put out his own record. I co-produced with William saxophonist Chris Jonas. “I would print for them, help ethics, generosity, caring for others, empathy, honesty, and Patricia the first two Vision Festivals and we were them distribute and if some money comes in I’ll give it a businessman, a great writer—people don’t know his doing concert series and this thing about us doing to them. We just do it like shared cost. My label was writing. He can play. He can push the music. He takes things on our own really was part of it.” Already never about, oh I need some money out of it. But it’s care of lots of people. All I can say is that he’s a committed to free jazz, Tsahar left his native Israel for good because it made the label more like a label. It’s wonderful human being.” New York in 1990 with a plan to study, but he decided not just my label. It helped other people.” This month, celebrating his 50th birthday, Tsahar that rather than jazz, he would learn classical theory Hopscotch discs remain personal events, as Tsahar appears for five nights at The Stone in several of the while at the same time taking in as much music as he curates not only the music but also the liner notes, configurations represented on Hopscotch including could. “That was my dream. I went to see William artwork and packaging design. Inspired by the black Digital Primitives, the Parker/Drake trio and a large Parker, Charles Gayle. I lived at the Knitting Factory.” and white drawing Cooper-Moore provided for his ensemble. Of the latter he says: “That’ll be the most fun Parker invited him to take part. “That was a wonderful solo release Deep In The Neighborhood of History and night. It’s a wonderful possibility just to meet everybody. gift. I played and that opened the door for me.” Influence, Tsahar had the idea that he wanted all the I love writing music, but when I play usually I find I can What was the motivation for starting his own covers to be white, black and red, with hand written improvise. I just want to get to it, like the Sam Rivers label? “I sent tapes around before, but I really hated typefaces, which gives them their distinctive character. Trio. But I love writing for a large ensemble, because I that. I don’t need anybody judging my music. I was In 2006 Tsahar moved back to Israel, planning to get to write more counterpoint, more lines and shape like we should own our own music. We can do it. And stay no more than a year, but somehow life got in the the music. It’s a strange thing that I like writing music I just started it.” Tsahar was then married to drummer way and now 13 years later he’s remarried with two but then I don’t play a lot of written music.” Tsahar Susie Ibarra and the first release was a well-received children. He opened a club Levontin 7 in Tel Aviv, plans to record during the residency: “I hope that next duo, Home Cookin’, recorded part in the Knitting which has become one of the capital’s key venues for year I’m going to release a lot of stuff.” v Factory and part at home. “I recorded by myself at adventurous music across a range of genres. Inevitably home. I mixed and mastered by myself. Sometimes the pace of releases has slowed since his return. “In the For more information, visit hopscotchrecords.com. Tsahar is I gave it to people, but sometimes I just did the whole beginning it was a lot of work with the club. That took at The Stone at The New School Oct. 23rd-26th. See Calendar.

Lost Brother Hum Crackle & Pop I Got It Bad Code Re(a)d In Between The Tumbling A Stillness Tsahar/Cooper-Moore/Drake Digital Primitives Assif Tsahar/Tatsuya Nakatani Dresser/Hemingway/Tsahar Tsahar/Parker/Drake VOXNEWS

songs like the danceable “Pancho Remolino” and The title track, one of the best performances on the plaintive ballad “Quebranto” (with classic Peruvian album, juxtaposes Arthur Schwartz-Howard Dietz’ JAZZ ALLIANCES criolla singers Charo Goyoneche and Rosita Guzmán “Confession” with Jessie Mae Robinson’s “The Other León, respectively), the album not only introduces Woman”, a clever pairing that gives Swift the by suzanne lorge new listeners to a little-known musical heritage, but opportunity to show off her broad emotional range. also preserves some of this heritage for the future. “I’m She’ll be performing at OnStage at Kingsborough (Oct. A few years ago, bassist Matt Geraghty started Just always trying to instill in the younger generation the 11th) and Mezzrow (Oct. 17th). Play, a musical organization that generates cross- need to conserve the tradition,” Goyoneche declared in Since the late ‘90s, Japan-born TAEKO has been border creative collaborations between North and a “Just Play: Peru” video. “After that, do innovative gigging in both New York and her home country, South American musicians. Its stated goal is to things.” The Just Play videos—one for each track on developing a reputation as a confident scat singer and document these spontaneous musical collaborations the album, on a monthly roll-out schedule through passionate interpreter of classic American jazz and pop electronically and then share the recordings, thus early 2020—are an integral part of the project, along tunes. Her new album, Contemplation (Flat Nine), her helping to demystify cultural differences. All told, with a webisode series that talks about the value of fourth as a leader, only solidifies that reputation. She Geraghty plans to make four albums over the course of building alliances among musicians the world over. In moves effortlessly from an esoteric version of McCoy several years, one each for Cuba, Peru, Africa and his travels to meet up with musicians on their own Tyner’s “Contemplation” (with koto accompaniment) Puerto Rico. He released the first, a collection of turf, “there’s an instant connection that goes far beyond to a smoky R&B take on The Stylistics’ “Betcha By Golly Havana jam sessions entitled Trade Winds: Cuba, in borders and political differences,” Geraghty says in Wow” to a charming “Waltz for Debby”. The opener, 2006 and the second, The Warrior Women of AfroPeruvian one of these videos. “I want to capture this for others.” “Ugetsu: Fantasy” uses lyrics from the Earth, Wind & Music, this past July. The latter breaks new ground by Veronica Swift has been working on major jazz Fire song with the melody of The Jazz Messengers’ delving into the rich musical tradition of black female bandstands since childhood and by the time she placed Japanese-titled standard in a stroke of genius. TAEKO artists in Peru and challenging the racism, sexism and second in the 2015 Thelonious Monk Competition, she will kick off the album at Birdland (Oct. 10th). marginalization these women face daily in their had already released several albums under her own The street date for Lauren Lee’s new disc Windowsill homeland. Recorded in several locations (Lima, name. Her latest, Confessions, marks her debut on Mack (s/r) is Oct. 17th, when she’ll celebrate with a concert at Chicago, Greenpoint, Astoria, Long Island City), this Avenue—a dozen flawless tracks that establish Swift Rockwood Music Hall; check out the teaser single historic album brings together nine singers and as a major voice in jazz. The theme of her informed “Aback” on Soundcloud beforehand. Then, on Oct. percussionists on 10 Spanish-language songs, repertoire on this release is heartbreak, with selections 20th, Jay Clayton will perform with drummer Jerry accompanied by a piano- and guitar-based rhythm from writers as disparate as André Previn (“You’re Granelli from their 1986 LP Sound Songs as part of the section and traditional AfroPeruvian percussion (cajón, Gonna Hear From Me”), Mel Tormé (“A Stranger In Association for the Advancement of Creative Musicians’ cajita, quijada and checo). Made up of Peruvian folk Town”) and Bob Dorough-Dave Frishberg (“I’m Hip”). concert series at Symphony Space. v

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 11 IN MEMORIAM

CLORA BRYANT (May 30th, 1927— Aug. 23rd, 2019) The trumpeter and bob wilber protégée of Dizzy Gillespie was a mainstay of the Los Angeles jazz scene by andrey henkin in her later years, leading various combos, but earlier was a part of the International Sweethearts of Rhythm in the late ‘40s and recorded an album for Mode in 1957, Gal With A Horn. Bryant died Aug. 23rd at 92.

JIM CULLUM, JR. (Sep. 20th, 1941— Aug. 11th, 2019) The cornet player and son of clarinetist Jim Cullum took over SWING BY TONIGHT his father’s Dixieland ensemble Happy 7:30PM & 9:30PM Jazz Band in 1973, renaming it the Jim OCT 1 • FLIPSIDE SESSIONS Cullum Jazz Band, releasing a large mathis sound orchestra, 7:30pm number of traditional jazz albums from endea owens and the cookout, 9:30pm 1976 into the new millennium to go along with sideman credits under his father, Allan Vaché, Evan Christopher OCT 2 scatter the atoms that remain and others. Cullum died Aug. 11th at 77. OCT 3 donald edwards quintet CONNIE LESTER (Jun. 12th, 1931— Aug. 20th, 2019) The saxophonist was a OCT 4 Bob Wilber, the saxophonist/clarinetist who was an stalwart of the Newark, NJ jazz scene sarah mckenzie quintet early early student, protégé and sideman for Sidney and had a smattering of recording OCT 5-6 Bechet and had a six-decade career as a leader plying credits in the ‘60s with Joe Carroll, nnenna freelon traditional jazz for dozens of labels, died Aug. 4th at 91. Jimmy McGriff and Freddie Roach. Wilber was born Mar. 15th, 1928 in New York City. Lester died Aug. 20th at 88. • OCT 7 ART BLAKEY CENTENNIAL CELEBRATION At only 20 years old, he recorded alongside soprano ralph peterson gen-next big band saxophone and clarinet master Bechet for the latter’s TURK MAURO (Jun. 11th, 1944—Aug.

OCT 8-9 • ART BLAKEY CENTENNIAL CELEBRATION A Jazz Masterwork (Columbia), an experience that 15th, 2019) The saxophonist had releases one for all: in honor of blakey would be both formative and prophetic for Wilber’s on Jazzcraft, Phoenix Jazz, Bloomdido career. The same year, the precocious Wilber would and Milestone from the ‘70s-90s and OCT 10 • ART BLAKEY CENTENNIAL CELEBRATION make his leader debut for Rampart with his Wildcats. sideman credits with Buddy Rich, Red our father who art blakey big band He would continue to alternate work as a leader for Rodney, Mark Murphy and Eric Allison. labels like Circle, Riverside and Bethlehem at the end Mauro died Aug. 15th at 75. v OCT 11-12 • ART BLAKEY CENTENNIAL CELEBRATION the jazz messengers: the legacy of art blakey led of the ‘40s into the ‘50s with more work with Bechet as well as Ruby Braff, Wild Bill Davison, Jimmy by valery ponomarev USED McPartland, Rex Stewart, Max Kaminsky and Stan OCT 13 • ALBUM RELEASE PARTY Rubin, plus membership in the band The Six (with Bob NEW oscar hernandez quintet: "love the moment" Peterson, Eddie Phyfe, John Glasel, Porky Cohen and OCT 14 Tommy Goodman), which released albums on Norgran julliard jazz ensembles: the conceptual genius of and Bethlehem in the mid ‘50s. john lewis & george russell The ‘60s found Wilber on albums by Bobby Hackett, Jim Chapin, Jack Teagarden and a handful of OCT 15 bill charlap: solo piano albums as a leader, such as New Clarinet in Town (Classic Editions, 1960) and For Saxes Only! (Music OCT 16 • ALBUM RELEASE PARTY Minus One, 1962). It was in the ‘70s that Wilber drew dick hyman & ken peplowski present: upon his early experience with Bechet to co-found 236 West 26 Street, Room 804 counterpoint lerner & loewe Soprano Summit with Kenny Davern, making albums New York, NY 10001 OCT 17-20 for World Jazz, Concord, Chiaroscuro and Storyville in big band sound of rufus reid the late ‘70s, as well as releasing his own Spreadin’ Joy (The Music Of Sidney Bechet) for Classic Jazz in 1976. Monday-Saturday, 10:00-6:00 OCT 21 • ART BLAKEY TRIBUTE manhattan school of music jazz orchestra Wilber continued to be active in the ‘80s, now in his 50s, as interest in early jazz styles blossomed after the Tel: 212-675-4480 OCT 22 electric ‘70s. He was a guest with the Widespread Fax: 212-675-4504 trevor watkis quintet: Depression Orchestra, had a duet with Dick Wellstood, the music of dizzy reece played the music of Django Reinhardt with Biréli Lagrène Email: [email protected] OCT 23-24 and, most significantly, founded his Bechet Legacy Band. Web: jazzrecordcenter.com andy farber & his orchestra In the ‘90s Wilber reunited with Davern for a second go-around with Soprano Summit and started recording OCT 25-27 LP’s, CD, Videos (DVD/VHS), eric reed quartet: mainly monk for Arbors, the perfect home for his brand of tradition- Books, Magazines, Posters, minded jazz. He would make many albums for Arbors Postcards, T-shirts, OCT 28 • MONDAY NIGHTS WITH WBGO into the new millennium, including the aptly titled damien sneed presents a tribute to A Perfect Match with pianist Dick Hyman. Calendars, Ephemera aretha franklin: the queen of soul During an interview for Hamilton College’s Milton and Nelma Fillius Jazz Archive, Wilber recalled what Buy, Sell, Trade OCT 29 a lesson was like with Bechet: “He would sit on this samuel torres "alegria" album release piano stool at this big upright piano and he had his Collections bought OCT 30-31 horn there and he had the keyboard...the first thing we and/or appraised edmar castaneda quartet talked about, he said, ‘well, let’s take a song and I’ll show you how to present it...but his whole thing was Also carrying specialist labels you’ve got to tell a story...You present the melody and e.g. Criss Cross, ECM, Enja, ESP, JAZZ.ORG / DIZZYS you play it in such a way that people say, oh what a 212-258-9595 beautiful song that is, then you start to introduce Fresh Sound, High Note, Pi, Savant, jazz at lincoln center variations...and then you build it up and then at the Sunnyside, Venus and many more. broadway at 60th st., 5th fl. end you come back to the melody again and bring it right down. Tell a story.’”

12 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD festival report PIECES of Peace & Fire! chicago guelph by peter margasak by kurt gottschalk by stuart broomer t e s a Y a n d J m e s F o t r J u l i a n e S c h ü t z J I C S t e p h Mats Gustafsson Roscoe Mitchell Hank Roberts, Ingrid Laubrock, Tom Rainey

Swedish saxophonist Mats Gustafsson is generally not Chicago is big on celebrating its past. In the city’s jazz Located in a university town 60 miles west of Toronto, one to look back upon his own past. Since emerging on scene especially, legacy has always been important. the Guelph Jazz Festival (Sep. 12th-15th) stands in the international scene in the mid ‘90s he’s been an And come Labor Day weekend and the Chicago Jazz sharp contrast to Ontario’s larger “jazz” festivals, inveterate explorer, forever searching for new modes Festival, the past becomes a celebration. The often- increasingly dominated by pop and rock nostalgia. of expression even if his distinctive arsenal of extended repeated slogan of the Association for the Advancement Here even a free program of outdoor events can techniques remains an identifying trademark, such as of Creative Musicians (one of the city’s most vital jazz challenge the casual listener, this year including extreme tongue slapping and striated overblowing. In organizations) is “Ancient to the Future”. That might Montréal’s Eyevin Trio playing the music of Thomas recent years he’s increasingly used electronics in his be amended as “Forward Thinking About the Past” for Chapin. The differences lie in part in the festival’s work, applying the acidic textures and onomatopoetic the annual festival. roots. Since its founding in 1994, the festival has been language of his various horns to primitive synthesizers In addition to free concerts in Millennium Park, linked to a conference on improvisation, the Festival and tabletop devices and frequently pushed his jazz girded by the big shoulders of the Loop and Lake Colloquium, and fostering the International Institute roots to the side in pursuing noisy rap collaborations Michigan, the city comes alive with satellite concerts, for Critical Studies in Improvisation (IICSI), centered in Anguish or grimy art-pop drones in Fire! whether friendly after-hours jams or Newport Rebels- at the University of Guelph. NyMusikk Trondheim, a regional branch of styled productions. But in recent years, the festival has The festival’s special character might even reach to Norway’s crucial contemporary music organization, expanded to incorporate some of these off-site events the university’s beginnings in Ontario’s former presented a fascinating exhibition (Aug. 22nd-28th) and, this year, stretched the holiday weekend to a full Agricultural College. There’s the Honeybee Research that rounded up one particular facet of Gustafsson’s 10 days. On the Thursday before the holiday weekend Centre nearby and a 400-acre Arboretum with gardens, creative output over the past two decades: graphic proper, the downtown Chicago Cultural Center was woodlands and wetlands. It’s not just Guelph’s scores. The gallery space was ringed by 19 framed rife with music. Free programming started before noon landscape that’s green. In Ontario’s last election, the pages of graphic scores dating back to 1999, with on two stages and included a memorial to three province turned sharply right while Guelph elected Hidros 2, up to a new score commissioned for this departed members of the AACM: drummer Alvin the first Green Party member of parliament. exhibition called Hidros o.T., with artwork by Austrian Fielder, saxophonist Joseph Jarman and vocalist Saalik You can find innovation and sustainability in the visual artist Mathias Pöschl, the pages of which were Ziyad. An a cappella trio intoned “this is the song festival’s practices too. The 26th edition demonstrated arrayed on a circle of music stands. There was also a Saalik left” followed by a percussion quartet for Fielder longevity for an event characterized by high humorous installation by the saxophonist called and the two groups were joined by piano, saxophones, seriousness and creative daring. It also has its ear to “Felix”, an unruly pile of broken saxophone reeds trumpet and bass to build an improvisation around the ground with younger musicians at the helm, piled up in one corner of the space. For Gustafsson the a chant led by Ernest Dawkins. “Shoku Joseph / recently naming Scott Thomson Artistic and General cover art and packaging of recordings is essential to Jarman / You are / the one” repeated until Dawkins’ Director with Karen Ng as his assistant. his practice and graphic sensibility, so it made sense searing alto took over, then gave way to a dynamic scat This year’s programming emphasized solo that the exhibition also included several vitrines with by local treasure Dee Alexander. performances and unusual instruments, revealing items from his massive collection, such as eight original The afternoon also included a “trumpet talk” untapped potential in the sonic past. An afternoon variations of Albert Ayler’s classic ESP-Disk release during which Corey Wilkes and Pharez Whitted triple bill presented Guelph’s own Ben Grossman, Bells, most notably an impossibly rare hand-painted, vamped on Miles Davis with a fantastic rhythm section a virtuoso of the hurdy-gurdy who mixed howling transparent cover and test pressing. There were also of drummer Jeremiah and bassist Micah Collier, a pair drones and rapid Indian-flavored runs on the ancient eight hand-painted and one-of-a-kind variations of of cousins not long out of their teens. Bassist Anton barrel violin; Nova Scotian chik white played jaw harps Peter Kowald’s 1973 FMP debut album as well as six Hatwich played a fired-up set with trumpeter Jaimie with added vocalizing and amplified throat, creating a variations of the Han Bennink and Willem Breuker Branch, saxophonist Keefe Jackson and drummer primordial music sprung from the unconscious; the 1967 ICP album New Acoustic Swing Duo, all Avreeayl Ra, giving an Ornette Coleman reading to third soloist, pedal-steel guitarist Susan Alcorn, individualized by Bennink himself. “Flowers for Albert”, a David Murray tune dedicated presented a powerful meditation on the music of The exhibition also featured a number of videos, to Albert Ayler, making for a triple tribute. Ra also extreme experiences, a threnody referencing Messiaen’s such as low-key documentaries of Gustafsson appeared on the main stage on the final day of the fest requiem for the dead of WWII, a segment from his performing with and going on record hunts with in a quartet with keyboard player Jim Baker, bassist Quartet for the End of Time, Astor Piazzolla’s memorial guitarist Thurston Moore as well as a performance of Ingebrigt Håker Flaten and saxophonist Dave Rempis for his father and cellist Pablo Casals’ concert-closing the saxophonist “playing” an installation by Christian and if there was a living legend trophy to be awarded “Song of the Birds”, all interlaced with a narrative on Marclay called “Chalkboard”, which combined during the fest, it would have gone to Ra, who is at political violence. In another solo performance, Jen traditional notation with various words and doodles least as energetic—and certainly younger looking— Shyu presented her Nine Doors, using voice, piano, stretched out across a long blackboard. than he was 20 years ago. multiple Asian string instruments, tapes and dramatic Visually, Gustafsson’s scores collide design Also appearing off-site was the 14-piece AACM staging to present the story of a young girl finding aesthetics inspired by different composers and artists, Great Black Music Ensemble, playing an afternoon set strength to cope with the loss of her family. where grids, appliquéd cut-ups of traditional notation, at Fred Anderson Park, again led by Dawkins and Traditional instruments brought a special song to amoeba-like globules, expressionistic black ink dedicated to Art Ensemble of Chicago trumpeter Lester the air, with dense, wild, keening sounds and harmonic splatters and venn diagram abstractions combine in all Bowie. The young pianist Alexis Lombre proved a overlays too rich for conventional music. The most kinds of ways. By their very nature there’s something highlight, showing herself more than ready to forceful were the Breton bagpipes of Ervan Keravec (CONTINUED ON PAGE 47) (CONTINUED ON PAGE 47) (CONTINUED ON PAGE 47)

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 13 album REVIEWS

“People Like Tanks” has an insistent theme in the phrasing, ghost notes and overall instrumental saxophone and Sam Weber’s bass that repeats over the mastery. Andres Papas, playing a variety of Greek piano. “Bots” is not at all mechanical but a gentle percussion instruments, gives the leaders plenty of almost melancholy ballad that Davis sings on her horn. room while maintaining a solid rhythmic underpinning. The title track, which is reprised later in the album at a “Skaros” and closer “Mariola (Miroloi)” deserve slower tempo and via electric instruments, is a kind of special mention. The former is a beautifully peaceful invocation for the whole band, quirky and infectious. co-improvised shepherd’s introspection while the “Lithe” closes the session with a graceful hymn to latter, featuring outstanding vocalist Kostas Tzimas, is dance movement, slightly spasmodic but catchy and an aching lamentation whose cantillated course chills The Hierophant also gorgeous. the listener. The Soul of Epirus is a meeting filled with John Zorn (Tzadik) Clearfield’s tunes focus on the structure and magnificent cross-generational conversations. by Franz Matzner layout of rhythm. “A Soothing, Melancholy Breeze” is short, sweet and through-composed, a romantic, waltz- For more information, visit artway.gr. This project is at John Zorn is a musical omnivore legendary for the like movement by piano underlying the lovely melody Holy Trinity Cathedral Oct. 5th. See Calendar. prodigious scope of his experimentalism in both his that saxophone plays above. “Green” is another moody instrumental and compositional work, as well as the gem making use of a gentle rhythmic pulse, via diversity of sound found on his label Tzadik. Thus, drummer Jay Sawyer, that is classic jazz and ballad- there are many Zorns and as many access points to his like. Davis and Clearfield do a snaky unison section spectacular oeuvre. before Weber takes a rare and pointedly beautiful solo. The Hierophant is an especially good way to It’s yet another instance of how like-minded these experience Zorn’s compositional skills. In the hands of players are. And finally, “Secrets”, the most extended three serious adepts—pianist Brian Marsella, bassist track, has a diversity of moods, from very still and Trevor Dunn and drummer Kenny Wollesen, who are emotional to bolder and more passionate. able to integrate many of Zorn’s facets into the nine Both leaders have much to say. They are almost original compositions—the album moves between like that famous shot of Bibi Andersson and Liv barely contained freneticism to melodic minimalism. Ullmann in the Bergman film as they seamlessly move Each of the nine titles is drawn from the Tarot, into each other’s musical psyches, finding new including the titular opening piece, which in Tarot colors that get transmitted to everyone in this pitch- symbology represents spiritual wisdom (upright) and perfect quartet. challenging the status quo (reversed). Listeners will have to determine independently how exactly—or For more information, visit sunnysiderecords.com. This much—each piece deals directly with its designated project is at The Jazz Gallery Oct. 2nd. See Calendar. Tarot reading, but it is evident that the connection is far from arbitrary. Dramatic beats, sudden changes and cymbal crashes erect the “Tower”. Dissonance, heavy rhythms, shadowy phrases and discomfiting bowing portray the “Devil”. “High Priestess” moves with elegance and • Kris Davis—Diatom Ribbons (Pyroclastic) sensual poise. “Death” establishes a challenging R • Silke Eberhard/Maike Hilbig— meditation constructed of empty soundscapes, Matsch Und Schnee (Trouble in the East) abstractions etched with rumbling, slow drum rolls, e • Avram Fefer—Testament (Clean Feed) otherworldly strings and gentle sound effects. The • Jazzmeia Horn—Love and Liberation entwined lines of “The Lovers” liltingly navigate c The Soul of Epirus (Concord) a crescendo of harmony and disharmony that clarifies Petroloukas Halkias/Vasilis Kostas o • Ahmad Jamal—Ballades back to a lullaby-like stillness. (Artway-Technotropon) (Jazzbook/Jazz Village) The remaining sections are equally stunning in by Elliott Simon m • Timo Lassy/Teppo Makynen— delivery and form, making the whole a production Eponymous (WeJazz) worthy of Zorn’s reputation as conceptualist par The folkloric music that developed in Greece’s Epirus m • Jim McAuley/Scot Ray— excellence. Here, the results are also quite accessible region dates back to pre-Homeric times. Along with e Second Earth (Long Song) from many perspectives—Painkiller to The Book of other regional indigenous musics it benefitted from the • Ed Neumeister—One and Only Heads études. late 19th century introduction of the clarinet as well as n (MeisteroMusic) the influence of traveling Romani musicians. The • Phil Slater—The Dark Pattern For more information, visit tzadik.com. Brian Marsella is at clarinet could be played loudly and had a wide range d (Earshift Music) The Stone at The New School Oct. 1st-5th. See Calendar. that enabled players to perfect bends, warbles and • Eric Wyatt—The Golden Rule: for Sonny vocal mimicry conveying extreme joy and e (Whaling City Sound)

overwhelming sadness. d Laurence Donohue-Greene, Managing Editor Clarinetists advanced to virtuosos in this milieu and during the ‘60s the place to hear them, outside of • Angles 9—Beyond Us (Clean Feed) Greece, was in the Greek restaurants along NYC’s n • James Carter Organ Trio— Eighth Avenue and W. 29th Street. Periklis Halkias was Live from Newport Jazz (Blue Note) among the most famous of these clarinetists. e • Jimmy Cobb—This I Dig Of You Octogenarian Petroloukas Halkias is his son and the (Smoke Sessions) clarinetist on The Soul of Epirus. Here he is paired with w • Mats Eilertsen—Reveries & Revelations laouto (Greek lute) player Vasilis Kostas. (Hubro) Numerous Epirotic musical idioms are on this Anthems • Oran Etkin Timbalooloo—Finding Friends session and Halkias and Kostas are superb whether the r Caroline Davis & Rob Clearfield Persona (Sunnyside) Far From Home: A Journey with Clara Net by Donald Elfman purpose of the tune is to dance, drink, lament or call e (Timbalooloo) sheep. Halkias is a clarinet magician and he cries, • Yoni Kretzmer 2Bass Quartet— Saxophonist Caroline Davis and keyboard player Rob shrieks, whimpers and wails in brilliant combination l Mis-Take (OutNow) Clearfield find a brilliant merging of their artistic with runs, jumps and trance-inducing melisma. Kostas • Chris Lightcap—SuperBigmouth (Pyroclastic) identities on this strikingly original recording. Each is a graduate of Boston’s Berklee College of Music and e • Joe McPhee/John Edwards/Klaus Kugel— contributes a handful of diverse compositions in which is well known to jazz audiences as a member of pianist A Night in Alchemia (Not Two) styles and statements complement one other. The Danilo Pérez’ Global Messengers. The laouto is a • Louis Sclavis Quartet— whole venture—with a band name referring to the typically an accompanying instrument but Kostas, s Characters On A Wall (ECM) sense of identity in the film Persona by Ingmar using a unique blend of technical ability and jazz • Aki Takase Japanic—Thema Prima Bergman—creates powerful statements of musical chops, makes it the improvisational equal of e (BMC Records) purpose. mesmerizing clarinet. He matches, answers and even Andrey Henkin, Editorial Director Davis’ compositions are focused on melody. raises the ante in these tête-à-têtes through dazzling s

14 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

and energy as of tone and texture. For while the inspired solos and flawless execution in the ensemble prospect of a solo bass recording may conjure images sections. Sonny Red’s hip, swaggering “‘Teef” proves of hermetic ponderousness, Grenadier cuts against the to be a lot of fun, with the added twist of featuring grain of expectation with a vast cartography. In the Smith in the initial solo. Turner likely turned some three-dimensional plucking of “Pettiford”, as also in heads with his imaginative unaccompanied the arco beauties of “Oceanic” and “The Gleaner” that introduction leading into Harold Arlen-Johnny surround it, he walks the line between comping and Mercer’s “Come Rain Or Come Shine”, though the melodizing with such ease that he seems to emerge show stopping performance is the intimate duet by with a new category in hand. In the evocative Foster and Smith of the timeless Bob Haggart-Johnny Brick and Mortar “Woebegone”, one of only two tracks to feature Burke ballad “What’s New?”. J. Pavone String Ensemble (Birdwatcher) minimal overdubs, he combines those elements richly. by Kurt Gottschalk Another highlight of his originals is “Vineland”, which For more information, visit caprirecords.com. Turner is at tips its hat to Phillips. Village Vanguard Oct. 8th-13th with FLY and Oct. Jessica Pavone has released three records of solo viola Grenadier includes a smattering of lovingly 22nd-27th with Billy Hart. See Calendar. music over the last five years, seemingly ramping up chosen material by others. Chief among them is “Gone for her new quartet, the J. Pavone String Ensemble. Like the Season Does”; written by his wife, singer Not a string quartet in the usual sense (the violins are Rebecca Martin, it feels like watching a teardrop fall in UNEARTHED G EM joined by a pair of violas rather than the traditional slow motion. Also noteworthy are his fusion of John viola and cello), the group marks a return to composing Coltrane’s “Compassion” with Paul Motian’s “The for multiple strings for Pavone, who previously Owl of Cranston”, which is about as full a statement as reworked the string quartet format by replacing the one could imagine from the instrument, and a dramatic second violin with a bass viol. reimagining of George Gershwin’s “My Man’s Gone There’s a not-quite-settled quality to Pavone’s Now”, which begins with urgent bowing before solo work, which continues with the new ensemble. settling into a lilt of robust, down-home pizzicato. It’s curious music, cautious and apprehensive, housed Rounding out this cabinet of curios are two on a brief compact disc (or digital download) of just bagatelles written for Grenadier by musical compatriot over half an hour. Pavone herself is a strong player and Wolfgang Muthspiel. The second of these is a thing of composer and it would be a mistake to accuse the staggering beauty and points to The Gleaners as more lace-maker of being easily unraveled. Instead, these than an album of bracing insight and invention, but Call Me: Jazz From The Penthouse Jack Wilson Quartet (Century 67-Light in the Attic) are five snapshots of fragility, of uncertainty, of one of the finest solo bass albums ever produced. by Scott Yanow condensation on glass and shadows on carpet. Her fellow violist in the group is Joanna Mattrey, For more information, visit ecmrecords.com. Grenadier is at Despite being a fine jazz pianist who accomplished often heard in groups led by Erik Friedlander, Marc Village Vanguard Oct. 8th-13th with FLY and Zankel Hall a bit in his career, Jack Wilson (1936-2007) has been Ribot, John Zorn and others. The violins are Erica Oct. 18th with Joey Alexander. See Calendar. somewhat forgotten. A professional by the time he Dicker (who, like Pavone, is often seen in Anthony was 17, he made his recording debut with guitarist

Braxton’s ensembles) and Angela Morris, better known Bill Jennings in 1955 and worked and recorded as a saxophonist and co-leader of the Webber/Morris regularly with Dinah Washington during two stints Big Band. (1957-58 and 1961-62). He moved to Los Angeles in The opening “Hurtle and Hurdle” belies a 1962 and was a fixture on the West Coast for over 20 Minimalist inspiration in its repeated phrasings. years through studio sessions, work in the Gerald It’s not the strongest piece and makes for a less than Wilson Orchestra and gigs with both local bands promising preamble. The following “Lullaby and and national players passing through Los Angeles. Goodnight” (which would seem to want to be a closing Wilson led albums for several labels, including three track) has a lovely, measured fragility, coming to an for Blue Note, made other recordings during 1977- unexpectedly assured resolution. The album comes to 85 and then faded from the scene due to declining Meets Gary Foster a satisfying conclusion with “By and Large”, which Mark Turner (Capri) health, making a final album in 1993. seems to breath like a dancer who’s just left the stage. by Ken Dryden During 1963-66 Wilson had his most successful The title track is also the most compelling, working group, a quartet with the up-and-coming a wavering drone where the lack of low end is most There are many one-time meetings between vibraphonist Roy Ayers and various bassists and apparent. “Sooner or Later” is a short suite that could instrumentalists that produce great music, but most drummers. The Century 67 label, in their Light In have benefited more development. In fact, all of the concerts of this kind are only heard by the audience in the Attic series, recently came out with a previously compositions feel as if they want to say more and the attendance. This 2003 date paired the then-up-and- unreleased and well-recorded live set from The musicians certainly have the capacity for spontaneous coming tenor saxophonist Mark Turner with alto Penthouse in Seattle by the Wilson Quartet, featuring development. The record release concert at Roulette, saxophonist Gary Foster, a seasoned veteran with the pianist and Ayers, plus bassist Buddy Woodson with double the number of string players on stage, extensive credentials as a sideman yet deserving of and drummer Von Barlow. may well provide that opportunity. wider recognition, both then and now. It is obvious from the opening selection, Tony Rounding out the quartet were Foster’s fellow Hatch’s “Call Me”, that Wilson was an excellent For more information, visit birdwatcherrecords.bandcamp.com. West Coast residents, bassist Putter Smith and pianist but Ayers was the main star of the group. The This project is at Roulette Oct. 7th. See Calendar. drummer Joe La Barbera, the latter drummer in Bill vibraphonist’s bright tone, creative ideas and Evans’ final trio. There is no explanation in the liner enthusiasm are a constant standout. Wilson, however,

notes as to how this concert came together or why it has his spots. He takes particularly heated solos on a remained unissued for so long but, in any case, the faster-than-usual rendition of Jimmy Van Heusen- performances merited release, in spite of the risks for a Johnny Burke’s “Here’s That Rainy Day” and his small label like Capri. blazing original “C.F.D.” and is thoughtful on another A lot of the setlist is compositions by the late original, “Harbor Freeway 5 P.M.”, which is a bit more pianist Lennie Tristano and those who studied, played relaxed than one usually feels on L.A.’s Harbor or are otherwise influenced by him, so the obvious Freeway. At the time Ayers had his own sound built comparison is to the many pianoless quartet sessions out of the Milt Jackson tradition, with no hints of his featuring alto saxophonist Lee Konitz and tenor disco albums that were a decade in the future. saxophonist Warne Marsh. Most of the tracks are Woodson and Barlow are fine in their supportive roles The Gleaners between 11 and 16 minutes, with unified heads and except that the former keeps on rushing throughout Larry Grenadier (ECM) by Tyran Grillo individual solo features, which don’t just showcase the the medium-tempo version of Leroy Anderson’s headliners but also the rhythm section. Aside from two “Serenata” in surprisingly relentless fashion. Other With The Gleaners, Larry Grenadier joins a line of standards, most of these works have been infrequently than the latter reservation, Call Me is an excellent double bass virtuosos—including Miroslav Vitous, explored, except by the still very active Konitz. sampling of Wilson and his spirited quartet. Barre Phillips and Dave Holland—that have released a All of the music penned by Tristano or his protégés solitary program on ECM. What distinguishes his from is demanding with intricate paths and sudden twists, For more information, visit lightintheattic.net those predecessors is as much a matter of musicality but the quartet negotiates each song expertly, with

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 15

GLOBE UNITY

Legacy Alive, Vol. 6 at The Side Door Live in Berlin Ralph Peterson’s Messenger Legacy (Onyx) Mount Meander (Gotta Let It Out) Parallel Moments Unbroken Listen Up! Façons GGRIL (Circum-Disc) (featuring Marilyn Crispell & Evan Parker) Ralph Peterson’s Gen-Next Big Band (Onyx) Pacifica Glasgow Improvisers Orchestra (FMR) by Joel Roberts The Vampires (Earshift Music) by Stuart Broomer by Tom Greenland Few are better suited to lead a tribute to the legendary Since its inception in 2002, the Glasgow Improvisers drummer and bandleader Art Blakey than veteran Jazz groups are sometimes divided into frontline Orchestra (GIO) has been developing strategies for drummer Ralph Peterson, the only drummer to play and rhythm section—i.e., leaders and followers— large-scale improvisation, merging ideas of individual alongside him in the big band Blakey led in the early although the more freeform, the less such distinctions and collective creativity, collaborating with guest ‘80s. He’s also an accomplished bandleader in his own make sense. Three global groupings—Mount soloist/composers such as Barry Guy, George Lewis right and a dedicated proponent of Blakey’s legacy. Meander, Grande Groupe Régional d’Improvisation and Phil Minton. Present here, Evan Parker may be the This year marks the centennial of Blakey’s birth Libérée (GGRIL) and The Vampires—show three longest running partner, first touring and recording and Peterson has released two new albums in his honor. distinct approaches to ‘leading’ and ‘following’. with the group in 2003. This two-CD set presents two The first, Legacy Alive, features a sextet of Jazz Mount Meander’s Live in Berlin is the quartet’s performances, recorded seven months apart, of Parallel Messengers alumni: saxophonists Bobby Watson and second CD, capturing Latvian tenor/soprano Lines Unbroken, composed by alto saxophonist Bill Pierce, trumpeter Brian Lynch, pianist Geoffrey saxophonist Kāris Auziņš, Polish bassist Tomo Raymond MacDonald, using “a collection of graphic Keezer and bassist Essiet Essiet. Recorded live at The Jacobson (both now based in Copenhagen) and two scores, through-composed sections, photographs and Side Door in Connecticut, it’s a spirited set of 11 tunes Germans, pianist Lucas Leidinger and drummer artworks, all based on past musical experiences and drawn from various eras of the Messengers, ranging Thomas Sauerborn, in action at Berlin Jazz Units. relationships with the musicians involved. An from classic compositions by Wayne Shorter (“Children Like the dense, late-Autumn forest depicted on its ‘assembly’ of these was created individually for each of the Night”) and Benny Golson (“Blues March” and cover photo, the music is layered and lush, with one of the musicians performing the piece.” The “Along Came Betty”) to a pair of gems from Watson, a indistinct outlines or boundaries. Each section process allowed MacDonald to channel the music in stalwart of Blakey’s ‘70s-80s ensembles. Culminating in segues into the next in a long continuous suite with a specific direction while individuals could develop a rollicking take on Duke Ellington-Juan Tizol’s little or no obvious leadership, each member unique responses to the materials and the orchestral “Caravan”, a perennial vehicle for Blakey’s groups, this interjecting ideas and options, all decision-making input. Thus the two versions are very different. high-energy album succeeds in proving that the a collective enterprise. Some parts, “Arrival” and The first performance, from December 2013, Messengers legacy continues to flourish. “Opus”, for instance, recall the meta-modalism of features pianist Marilyn Crispell as soloist with a Mentoring the next generation of jazz musicians mid-period John Coltrane, but elsewhere the 26-member orchestra (as well as band regulars, Maggie was one of Blakey’s greatest contributions and Peterson intercalated buzzes and murmurs are more akin to Nicols and Gino Robair also appear). The recording continues that tradition on his second new release, the complex soundscape of the woods. An especially begins with “Parallel Signs (e)”, a solo spot, and Crispell Listen Up!. The album features his Gen-Next Big Band, a effective climax is heard at the end of “Interaction”. immediately establishes her presence, building from hard-hitting 20-piece lineup of primarily younger talent, GGRIL, under the direction of electric bassist stark percussive incidents to dense, rapid lines and along with trombonist Ku-umba Frank Lacy, yet another Éric Normand, is a large improvising ensemble clusters in a four-minute tour de force flowing naturally Messengers alum, as a guest soloist. Utilizing the same based out of the small Québécoise city of Rimouski. into a drum-centric exchange with the orchestra. two-drummer format that Peterson played in with Façons is a sprawling two-CD set comprised of three Individual segments develop distinct textures, including Blakey, the album draws on an eclectic assortment of pieces. The monolithic, pan-modal “Organon” a brief “Interlude” with Adam Linson’s airy electronics. Blakey-associated tunes by Peterson, Watson, Shorter, features 17 musicians (strings, brass, woodwinds, The elegiac “Parallel Melbourne” is highlighted by the Curtis Fuller and Freddie Hubbard, plus the Hoagy guitars, basses, percussion) sustaining a slowly lyric melancholy of three trombones while “Parallel Carmichael standard “Skylark”, which includes a morphing ‘hyper-chord’, exploring its various Moments” is a rambunctious duet between Crispell and charming vocal by Chloe Brisson. The young drummers dimensions for a 21-minute stretch. “Sur les MacDonald that turns into “Parallel Songs”, a diverse Christian Napoleon and Samuel Bolduc acquit genoux”, with Ingrid Laubrock guesting on tenor segment including half-familiar melodic quotations and themselves splendidly throughout, as does Peterson, saxophone, is quicker and shorter, with a more concluding with an eerily ethereal extended duet with who evokes Blakey’s powerful drumming on the porous musical fabric and more restrained ensemble Nicols and fellow singer Cliona Cassidy. rousing closing version of his own tune “Acceptance”. interaction. “Local Fixations”, a six-part suite by The second version, from June 2014 with Parker and featuring English tenor/soprano saxophonist and a 19-member band, is fundamentally different. For more information, visit ralphpetersonmusic.com. Peterson’s John Butcher, ranges from aggressive electric Gone are the three trombones, two of three Gen-Next Big Band is at Dizzy’s Club Oct. 7th and his Messenger episodes to rustles, whispers, birdcalls and other percussionists and Nicols and there are now four initial Legacy is at Jazz Standard Oct. 8th-9th. See Calendar. Foley-type effects, powerfully concluding with segments, “Parallel Signs, a-d”, omitted from the “Floating Amphora”, a study in contrasting timbres. December performance. The focus shifts from a The Vampires’ name aptly implies the (once featured soloist to a lead voice in an orchestral context, Australian, now multinational) quartet’s ability to from the gentle gathering of the “a” segment to the groove (or “vamp”). Pacifica, its sixth release, charging collective power of “c” and the multiphonic employs saxophonist Jeremy Rose and trumpeter tenor blast that signals the transition to “d”, a moody Nick Garbett in the frontline, bassist Alex Boneham orchestral segment in which distinct voices—Anne and Alex Masso in the rhythm section. Besides this MacLeod’s oboe, Peter Nicholson’s cello—are clear division of labor, other factors separating this foregrounded. The solo “e” segment presents Parker group from the others reviewed above are an on tenor in circular breathing mode, sounding adherence to concise song forms, use of studio particularly flute-like and Celtic. Later movements are overdubs and sound effects, propensity for generally longer and more relaxed, the orchestra’s appealing melodies (Rose, composer of half the greater familiarity with the materials likely a significant titles, is the chief culprit here) and the presence of factor. “Moments” becomes a feature for Parker and patent yet eclectic influences: “Liberty?” nods to this incarnation’s multiple guitars while trumpeter Ornette Coleman; “West Mass” to electric Miles Robert Henderson brings a significant melodic Davis; “Don Pacifico” to Jamaican dub. Three short, presence to “Melbourne” and the concluding “Songs”. layered percussion pieces serve as palate cleansers. It’s a tribute to MacDonald’s compound methodology that the orchestra achieves significantly For more information, visit gottaletitout.com, different yet coherent results with the same piece. circum-disc.com and earshift.com For more information, visit fmr-records.com

16 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD Ralph peteRson’s gen-next big band digital pRe-Release celebRation dizzy's club, octobeR 7, 7:30 & 9:30 pm $35 Ralph peteRson’s the messengeR legacy aRt blakey centennial tRibute jazz standaRd, octobeR 8-9, 7:30 & 9:30 pm $30

“When Ronny Whyte brings out a new release, you can be sure that it will be imbued with good taste and fine musicianship.” -Joe Lang, Jersey Jazz

“...a strongly expressive singer.. .an adventurous and inquisitive performer who can be either comic or romantic with an unflappably relaxed manner that gives his programs smoothness and unity.” -John S.Wilson, New York Times

“There is much to be learned from Ronny Whyte about pacing, taste, and the sheer art of performance. It’s impossible to imagine this city without him.” -Richard Sudhalter, New York Post

Ronny Whyte with The Cecilia Coleman Big Band and Eddie Monteiro Thursday, October 3rd Birdland Jazz Club, NYC Doors: 5PM/Show: 5:30 PM all ages $30.00 birdlandjazz.com ronnywhyte.com

My Dear” (with a typically thoughtful, elegant A tenor saxophonist, composer and educator, Dillon bass solo by Peter Washington) and Gene De Paul-Don has become a presence on the New York jazz scene. He Raye’s “You Don’t Know What Love Is” (slightly has a remarkable sound and command over the full accelerated, perhaps as an antidote to its sadness). In range of the instrument, which allows him to navigate a medley, Duke Ellington’s “Melancholia” flows into successfully between standards and original material. Gordon Jenkins’ “Goodbye”. Domenici’s spare This new CD presents a wider palette of colors rendering of Jenkins’ darkest love song sounds compared with his earlier one, reflecting a larger and personal and emotionally factual. more varied group, shifting from a classic quartet to a Domenici’s artistic antecedents are pianists of septet, thus adding thickness and complexity to the Playing who I am deep cultural refinement, like Tommy Flanagan, Hank music without renouncing a very melodic approach. Andrea Domenici Trio (abeat) Jones, Bill Evans and Kenny Barron. The only one still Dillon shines on fast tunes but it is the way he by Thomas Conrad alive is Barron. The tribute “For Kenny” shows that approaches well-known ballads that stands out in Domenici’s spiritual range includes not only romantic today’s tendency to rely on original, albeit often not Italy is one of the two or three strongest jazz scenes pensiveness but also outbreaks of joy and celebration. memorable, material. Theo Hill (piano), David Wong outside the United States, and the strongest category of This impressive debut is enhanced by the presence (bass) and Anwar Marshall (drums) are able to shift the Italian scene is piano players. The list of world- of Washington and drummer Billy Drummond, selfless seamlessly from the uptempo modal title track to the class Italian pianists includes, at a minimum, Stefano collaborators who contribute a continuous underlayer tender treatment of Lars Jansson’s “Marionette”. Bollani, Stefano Battaglia, Danilo Rea, Enrico of subtle intelligence. Throughout the music there is an underlying Coltrane Pieranunzi and Giovanni Guidi. mood, most evident in the title track and “Hit It”, both Andrea Domenici is an outlier. Although he was For more information, visit abeatrecords.com however filtered through a very Dillon approach, born and raised near Milan, he moved to New York in splendidly supported by his pals.

2012 and has a Bachelor’s degree from The New School “Go for the Jugular” is a more bop-influenced and a Master’s from Juilliard. Also, on the evidence of tune, with the augmented septet spurring Dillon and this debut recording, he is a more centrist pianist than trombonist Michael Dease’s spirited solos. Chick most of his compatriots. But he has one attribute in Corea’s “Up and Down” is freshened up by relying on common with them: he naturally gravitates toward a Hill’s Fender Rhodes and Wong and Marshall’s passionate romanticism that is distinctly Italian. infectious drive. Of note are also the punctual “It’s Easy to Remember” is perhaps the most contributions by Max Darche’s brassy trumpet and wistful song Richard Rodgers and Lorenz Hart ever Andrew Gould’s alto saxophone. “Dexterity” is a wrote. Domenici’s encounter with its bittersweetness piano-less tour de force building slowly in a relaxed is intimate. His version seems literal but there are sort of intensity, with Dillon and Wong’s phrasing Force Field tender asides all along the course of his right-hand getting tighter as the tune unfolds, aptly wrapping up Sam Dillon (Posi-Tone) markings of the melody. He seems to be thinking the by Marco Cangiano a highly rewarding CD. song to himself, but memories keep drawing him into digressions. This is Sam Dillon’s sophomore CD and builds upon For more information, visit posi-tone.com. This project is at Other rapt ballads are Thelonious Monk’s “Ruby his 2018 debut Out in the Open (Cellar Live). Birdland Theater Oct. 9th. See Calendar.

18 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

SSC 1560 IN STORES NOW

Hermeto: Voice and Wind Confessions Erik Charlston JazzBrasil (Sunnyside) Veronica Swift (Mack Avenue) by Anna Steegmann by Jim Motavalli ERIK CHARLSTON JAZZBRAZIL Vibraphonist Erik Charlston is a versatile artist who Plenty of competent female jazz vocal albums are HERMETO: VOICE AND WIND has performed/recorded with Wynton Marsalis, Dave released every year. Many of the singers are in the Linda Brubeck, the New York Philharmonic, Tony Bennett, Ronstadt camp—good interpreters of the Great Metallica, Sting and Elton John, to name a few. Growing American Songbook but not the full package available Appearing @ ZINC BAR on October 10 up in Chicago, he was exposed to classical, soul music to Sarah Vaughan, Carmen McRae or Betty Carter. and street drummers, which prepared him for a career Veronica Swift announces right off in Dory and André in many genres. More than seven years ago he founded Previn’s “You’re Gonna Hear From Me” that she has it the sextet JazzBrasil, inspired by Brazilian composer all: a cool, knowing attitude; a strong and clear voice; an Hermeto Pascoal’s way of combining different musical arsenal stocked with improv and scat; and the ability to cultures, a fearless style nevertheless respectful of swing like crazy. She’s also an able arranger of this tradition. Its debut Essentially Hermeto from 2012 was album, recorded with varying personnel at two sessions. SSC 1538 critically acclaimed and won the sextet many fans. Compare Swift’s version of Pete Rugolo’s IN STORES NOW Hermeto: Voice and Wind showcases interpretations “Interlude” with June Christy’s. The former’s is slow, of six of Pascoal’s compositions as well as works of atmospheric and moody, enhanced by Benny Green’s guitarist Egberto Gismonti, singer-songwriter Lenine, piano (he shares the chair with Emmet Cohen) and David a traditional tune and a Charlston original. The sextet Wong’s bass (Russell Hall is on some selections). Christy’s is made up of excellent musicians: Ted Nash take, from 1957’s Gone for the Day, is orchestrated and (saxophone, flute and clarinet), Mark Soskin (piano more straightforward. They’re both fine, but Swift makes and melodica), Keita Ogawa (percussion), Rogério it fresh with held notes, tempo changes and more CAROLYN DAVIS & ROB CLEARFIELD’s PERSONA Boccato (drums and percussion) and Jay Anderson yearning. On the other hand, Swift’s take on Mel Tormé’s ANTHEMS (bass). Charlston also plays marimba and sings in “A Stranger in Town” hews fairly close to the original, Portuguese on three tunes. though mercifully without the corny vocal chorus that Listeners will find themselves captivated by the Tormé chose to employ. No point in changing something Appearing @ JAZZ GALLERY on October 2 earthy traditional Brazilian rhythms and highly that was already pretty darned good. sophisticated jazz harmonies. There are many Swift is in command. When she tells her friend outstanding tracks: on “Nem Um Talvez”, first heard “Sister, you’re much better off without him” (on Dick on Miles Davis’ Live/Evil, Nash’s flute leads the Scanlan-Jeanine Tesori’s “Forget About the Boy”) you beautiful dreamy melody supported by marimba and believe that it’s good advice. Cohen is empathetic in bass; Charlston’s “Maracatu Blue” infuses Brazilian setting up a scat interlude on this one. SSC 1569 rhythms with the blues to astonishing effect; At 24 the native New Yorker (daughter of the late IN STORES 10/4/19 “Os Guizos” presents a harmonically expansive duet pianist Hod O’Brien and vocalist Stephanie Nakasian) between vibraphone and piano; and in “A Fala Da is already a veteran. She made a CD with Richie Cole at Paixao” marimba makes room for an intimate 9 and another with Harry Allen at 13. conversation between melodica and clarinet. The most Victor Schertzinger’s “I Don’t Wanna Cry energetic and exuberant tune and percussion highlight Anymore” features a great moment when Cohen is found on “Alegria do Vaqueiro”, a traditional accelerates the band, only to have drummer Kyle Poole cowboy song that evokes the sound and movement of take it down again. Swift can handle the fast curves, RANDY INGRAM herds across the plains. Try as you may, you will not just as Carter could. “I Hope She Makes You Happy” is THE MEANS OF RESPONSE find fault with this recording. You might just wish you Swift’s only composition on the album and it’s a new could understand Portuguese and the lyrics. standard and a fresh melody, with subtle indications that the title is somewhat misleading. Appearing @ MEZZROW on October 7 For more information, visit sunnysiderecords.com. This You have to give the nod to Ella Fitzgerald on Clay project is at Zinc Bar Oct. 10th. See Calendar. Boland-Moe Jaffe’s “Gypsy in My Soul”, but maybe that’s just because it works really well with a big band. Swift slows it down, speeds it up, slathers on vocal acrobatics and makes the old warhorse trot new steps. Andrew LAmb Robert Allen-Al Stillman’s “No, Not Much” is stop and SSC 4034 CirCAdiAn SphereS of Light projeCt start, with lots of scat and just Hall’s artful bass. They’re improvisation as stimulation for those with alzheimer’s disease, IN STORES 10/25/19 dementia, and post-traumatic stress disorder really listening to each other. Jessie Mae Robinson’s “The Other Woman” was sung indelibly by Nina Simone fridAy oCtober 25 and should be left alone by singers without the necessary SAint peter’S ChurCh chops. On Swift’s version (in an artful medley with 7:00 pm $20 Arthur Schwartz-Howard Dietz’ “Confession”), you can 619 Lexington Avenue picture that lonely woman in the rented room, just as At 54th Street you could when Simone sang the hell out of it. andrew lamb: reeds & winds LASZLO GARDONY hillard greene: acoustic bass Swift could have skipped Bob Dorough-Dave dick griffin: trombone LA MARSEILLAISE marvin bugulu smith: drums & perc. Frishberg’s “I’m Hip” because it’s been recorded too lloyd haber: drums & perc. much, but there’s nothing wrong with her saucy take. newman taylor baker: electronic washboard She also turns Roy Ingraham-Harry Tobias’ “No Appearing @ BIRDLAND THEATER on October 24 Jose luis abreu: percussion Regrets” into a showcase for vocal pyrotechnics. If you ngoma hill: spoken word for Jimmy James green: buy only one vocal jazz album in 2019, make it this one. visual art all melanie dyer: viola audiences! gwen laster: violin For more information, visit mackavenue.com. Swift is at lester st. louis: cello www.sunnysiderecords.com trashina conner: dance Kingsborough Community College Oct. 11th and Mezzrow the great olmedini: magic Oct. 17th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 19 distinguish between the two, or even determine the instrument in question as they spend much of the time operating at the extremes of technique. Although they do introduce melodic material, it remains at one remove from actual tunes. They test each other with a series of XA Night in Alchemia opening gambits—minimalist, rhythmic, percussive— Joe McPhee/John Edwards/Klaus Kugel (Not Two) then see where they might lead. Most tracks are long At The Hill of James Magee enough that they lead somewhere, often multiple Joe McPhee/John Butcher (Trost) destinations. “Race Matters” is a bracing tour de force, Brace for Impact which braids whinnying saxophone with an electronic Joe McPhee/Mats Gustafsson (Corbett vs. Dempsey) hiss, a whirl of juddering harmonics and sudden hollers by John Sharpe part voice, part instrument, but it’s not a comfortable listen. At the opposite pole, McPhee initiates off “Just Multi-instrumentalist Joe McPhee chafes at boundaries Green” on alto clarinet, establishing a template recalling at an age (he turns 80 next month) where many would hymn and gospel sonorities, matched by Gustafsson’s have settled into cozy regurgitation. He challenges breathy baritone saxophone, before seesawing between himself by seeking out new accomplices, often among an airy riff and twin-pronged assault. much younger musicians, geography being no obstacle. He’s on the road for much of the year and, happily, in For more information, visit nottwo.com, trost.at and this age of near ubiquitous documentation, his deeds corbettvsdempsey.com. McPhee is at El Taller LatinoAmericano often become available for everyone to hear. Oct. 11th and James Cohan Gallery Oct. 12th. See Calendar. A live recording from Kraków’s legendary

basement club, A Night in Alchemia is the second album from McPhee’s trio with British bassist John Edwards and German drummer Klaus Kugel. And what a night it was! There can be few better representations of the intoxicating blend of excitement and emotion that McPhee conjures in the flesh at this juncture. His winning mix of familiar touchstones, such as spirituals and Monk tunes, extemporized melodies and explosive skronk are on extensive display. He’s helped by a sympathetic team, alternately responsive and pushy, Love the Moment providing a gnarly underpinning. Edwards has few Oscar Hernández & Alma Libre (Origin) equals when it comes to patrolling this sort of free by Russ Musto jazz/free improv border, performing with remarkable energy and physicality, exposing the percussive side of The sophomore release from Oscar Hernández & the bass, especially when wielding his bow. Kugel plies Alma Libre finds the leader of the Grammy-Award- the fluid combination of tone color and momentum winning Spanish Harlem Orchestra in the more that would be expected from someone who has worked intimate setting of a quintet, shining a brighter with Steve Swell, Ken Vandermark and Charles Gayle. spotlight on his skills as a soloist and composer/ Perhaps the highlight arrives with the peaks and arranger. The band—saxophonist/flutist Justo valleys of the lengthy “At The Waters Edge”, which Almario, electric bassist Oskar Cartaya, drummer moves from gusty exhalations to squalling Jimmy Branly and percussionist Christian Moraga— rambunctiousness, before ending with reference to plays with fire and beauty throughout ten new Monk’s “Evidence”. melodically appealing, harmonically sophisticated and Issued nine years after the event, At The Hill of rhythmically compelling Hernández originals. James Magee captures McPhee’s meeting with The group lives up to its name (Spanish for free adventurous British saxophonist John Butcher in the spirit) on opener “Otro Nivel” (Another Level), a Texas desert 75 miles east of El Paso at the titular art hardbopping cooker adding the trumpet of guest Gilbert installation. The album begins with each player Castellanos to the frontline, charging straightahead recorded in separate rooms some 57 meters apart, over the pulsating rhythm section before making way unable to hear one another until they leave the rooms to for a melodious piano solo and incendiary trap drum approach his counterpart along an exterior walkway. interlude. The mood softens as Almario and Castellanos Nonetheless there are pleasing synchronicities, as when switch to flute and flugelhorn, respectively, on the title McPhee’s slow pulsing cry with vocal overtones meshes track that follows, a minor mode episode recalling the with Butcher’s softly blown gasps and resonant Horace Silver Quintet. The date moves forward in a multiphonics. Once united, Butcher’s repeated honking decidedly AfroCuban direction on the next three tracks: ricochets off the walls, to be followed by a dulcet phrase “Latino Jazz”, a lively excursion with a montuno that McPhee mirrors, but lends a bittersweet edge. Both midsection featuring congas; “Danzón for Lisa”, men customarily play off their surroundings, so the a pretty variation on the traditional Cuban dance form, unique setting also has a presence through the echoes Almario back on flute and guest Dayren Santamaria on and reverberations that they exploit to the full. After violin; and “Mi Cancion Es Para Ti”, an energized outing the 20-minute opener, they alternate solos until a final with tenor wailing over a rumba rhythm. brief duet. On “Paradise Overcast” Butcher begins with “Silent Prayers” is a meditative piece, Almario staccato plosive gasps, which stutter in amazing natural again on flute and the returning Castellanos playing decay, like a chorus of frogs. Even though Butcher has muted trumpet, then remaining to play powerful open- developed a personal language of carefully controlled bell horn alongside tenor on “Alternate Roots”, an overblown pitches and McPhee is more inclined to exciting venture with a climactic drum solo played lyricism, there’s sufficient common ground for the over a piano montuno. Almario and Hernández wax encounter to be a success. romantic on the ballad “Sentimento De Amor”, then Similarly rescued from the vaults, Brace for Impact dance over the mellow rhythms of “Groove For Peace”. contains further duets by McPhee, this time with The date ends in soulful fashion with “Mindful Swedish saxophonist Mats Gustafsson. It’s by far the Thoughts”, Cartaya soloing lyrically before Hernández most uncompromising program of these three discs, and Almario (back on tenor) take their turns to close although as familiar partners from over ten years spent out this most satisfying date. in Peter Brötzmann’s Chicago Tentet, even at their most experimental they still achieve the ends of structure, For more information, visit originarts.com. This project is musicality and empathy. It’s not always easy to at Dizzy’s Club Oct. 13th. See Calendar.

20 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD ECM OCTOBER CALENDAR

Vijay Iyer Composer Portrait

October 24th, 8pm Miller Theater 2960 Broadway (at 116th street)

Ethan Iverson Quartet with Tom Harrell Ethan Iverson piano / Tom Harrell trumpet, fl ugelhorn Ben Street bass / Eric McPherson drums

October 16th, 7:30pm / 9:30pm Jazz Standard 116 E 27th Street Sun of Goldfi nger: David Torn / Tim Berne / Ches Smith David Torn electric guitar, live-looping, electronics Tim Berne alto saxophone Ches Smith drums, electronics, tanbou

October 13th, 9pm Nublu 151 151 Avenue C

Shai Maestro Trio Shai Maestro piano / Jorge Roeder bass / Ofri Nehemya drums with special guest Philip Dizack trumpet

October 29th - 30th, 7:30pm / 9:30pm Jazz Standard 116 E. 27th Street

ECM Records at 50 With Jack DeJohnette, Joe Lovano, Egberto Gismonti, Enrico Rava, Craig Taborn, Meredith Monk, Wadada Leo Smith and many more

November 1st - 2nd, 8pm Rose Theater, Jazz at Lincoln Center Time Warner building, 10 Columbus Circle

ECMRECORDS.COM

personal touch is here and it’s intimate and deep. forcefully with bassists Reuben Radding and Sean This is by far the best record in the bassist’s Conly and drummer Mike Pride. Kretzmer is in clear discography. A talented ensemble player and soloist, his command as he flies over the rhythm section, which is own albums tend to lose their focus on compositional in perfect syzygy, Pride’s polyrhythmic support concerns. The point here is not the composing but the complemented by the powerful acoustic basses. playing and Wonderment has some of the best of the year. Generally, Kretzmer prefers slow to medium tempos over which he blasts with unremitting firepower while For more information, visit mattulery.com. Brock is at 55Bar the basses and drums stir with edifying abandon. Oct. 14th with Jim Ridl and 21st as a leader. See Calendar. While the saxophonist takes most of the solo space, Wonderment there is plenty of collective improvisation with Zach Brock/Matt Ulery/Jon Deitemyer contrasting sounds from the basses and stunning (Woolgathering) drumming throughout, including a lengthy, thoughtful by George Grella solo on “I Doubt There For”. Kretzmer tends to build to an enormous crescendo and end on a softer note, This album is the debut of the trio of violinist Zach Brock, exploring the outer limits of the horn along the way. bassist Matt Ulery and drummer Jon Deitemyer From the first notes of Bring, it is clear that (Woolgathering is Ulery’s label). And what a kick-ass trio Kretzmer is pursuing a different direction with the it is. The immediate reference point here is William debut of a trio with pianist Daniel Sarid and drummer Parker’s trio with violinist Billy Bang. Once past the pure Mis-Take Michael Evans, a subtler, more nuanced sound Yoni Kretzmer 2Bass Quartet (OutNow) instrumentation though, it stands on its own. This is a performed with abundant finesse. “Rotate”, one of the Bring groove-heavy album, but smart and utterly sincere. best tracks, explores a sensitive collective sound and Daniel Sarid/Yoni Kretzmer/Michael Evans (OutNow) There’s nothing showy, nothing mannered or done simply by Steven Loewy leads eventually to signature ecstatic saxophone in for effect. The grooves come out of the imperative to have machine-gun-like bursts. Throughout the album, something meaty for the musicians to tackle together. Since moving to New York in 2010, Israeli tenor Kretzmer aches to explode with torrential gusts, yet he Under the large umbrella of contemporary jazz, saxophonist Yoni Kretzmer has built a strong reputation. often holds himself back before letting go. Adding this album is in the main rock and blues, all with funk, These two small-group recordings are just being extended techniques, including a striking and piercing but when they play “Wokey Dokey”, there’s plenty of released on Kretzmer’s OutNow Recordings, although falsetto, Kretzmer is the quintessential antibop swing. There’s a definite swagger, as well as seriousness Mis-Take was recorded in July 2013 and Bring in May performer, who rarely swings but always sings. of purpose (including fun) and that all comes together 2018. Both showcase Kretzmer in highly compatible “Grow” demonstrates his maturation as a leader, as the with real power. This is an album that has the listener settings, and, among other things, offer a glimpse of trio builds deliberately to a wild tour de force, letting rocking to the rhythms while following along with all how he has developed in the five intervening years. loose passionately and, in Kretzmer’s world, presaging the lines and feeling the reach of real emotions. The only Mis-take here is that it took so long for it a satisfyingly and surprisingly mellow ending. That gets back to seriousness of purpose. It’s not to be released, but one imagines it got lost in the shuffle the idea of a tune, or the thing as a whole, being ‘about’ between the band’s debut Weight from earlier in 2013 For more information, visit outnowrecordings.com. anything; it has to do with the meaning the three and 2015’s two-CD set Book II. Kretzmer stamps Kretzmer is at Bushwick Public House Oct. 14th and The musicians find in making music with each other. The Mis-Take with his muscular, soaring horn, connecting Stone at The New School Oct. 24th. See Calendar.

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22 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

In a partnership that spans over 25 years, they’ve been The kickoff is “Feel Good”, beginning tentatively producing work as technically flawless as it is wildly and elegantly before Werner and (especially) Liebman creative, born of a magical compatibility. Like the goose things into a higher level with a slightly calypso- marriage of other iconic duos, such as Stéphane flavored melody, Liebman playful, Werner bright and Grappelli and Django Reinhardt and Ruby Braff and delicately engaging. “Tender Mercies” is an eerily Ellis Larkins, Hyman and Peplowski stimulate each languorous ballad featuring Liebman’s elegantly other to exceed the sum of their two parts. sobbing soprano saxophone and woody flute over This latest collaboration, Counterpoint: Lerner & ringing, cyclic piano chords. The elegant, measured Loewe, takes many of the familiar tunes of another pacing gives this number a slightly eerie, time-has- Common Practice splendidly creative duo, Broadway lyricist Alan Jay been-slowed-down quality and Werner’s solo is near- Ethan Iverson Quartet (with Tom Harrell) (ECM) Lerner and composer Frederick Loewe, and steers perfection. This set’s only vocal selection is the oft- by George Kanzler them into new territory beyond stock interpretations. heard Gershwins’ standard “Embraceable You”, here There is a legend about the 92-year old Hyman that voiced by Vivienne Aerts, who gives it a starry-eyed, The “practice”, or process, was simple. Assemble a he’s never missed a note. Throughout Counterpoint: dryly heartfelt reading, her airy soprano relishing quartet for a week at the Village Vanguard; don’t Lerner & Loewe his technical prowess is purely stunning every syllable without a hint of pretense or being practice or rehearse arrangements; work from lead as is his mastery of just about every piano genre there overly theatrical. “Think of One” is a Thelonious Monk sheets of standards or originals with blues progressions, is. “Thank Heaven for Little Girls” (Gigi) sounds almost chestnut, Liebman coming out of the gate swinging i.e., from “common practice”. Pianist Ethan Iverson vaudevillian, with a stride foundation underlying the wittily yet heartily, Werner spare and droll, savoring assembled the quartet, with frequent bandmate bassist upbeat elation of Peplowski’s melodic appreciation of those Monk spaces, unfolding his solo with relish, Ben Street, plus new musical colleagues drummer Eric the fairer sex. It falls to Peplowski on most of the tracks essaying those brief silences and angular melodic McPherson and, as the main lead instrument, trumpeter to handle the melody while Hyman provides a wealth fragments before letting go with a brief torrent of key Tom Harrell. That simple formula has resulted in an of contrast in investigating his musical ideas. He does crackles. Carrington lets loose a bit of lightning and extraordinary album, sui generis, much like the similar take a piano solo on one of two versions of the title song energetic thunder. The title track has a hint of bossa explorations of standard repertoire that resulted in to Gigi, his playing emulating an entire orchestra. nova and Liebman goes to town on soprano, working Herb Ellis’ Nothing But the Blues and Gil Evans’ New Peplowski’s ability to play a melody with purity and himself into a somewhat John Coltrane-like frenzy, Bottle, Old Wine. Like those albums, Common Practice is authenticity is demonstrated in the short (2:11) “If Ever while Werner lets loose with some jabs and bursts; both soothingly familiar and utterly distinctive. I Would Leave You” (Camelot), offered with a graceful there’s some shimmering electric piano and sleek After first listening, it is easy to come away with the yet soulful delivery. On the tenor saxophone version of organ down in the mix, enriching the texture in general. impression that this is a collection of slow ballads, but “Gigi”, Peplowski takes a page from the Ben Webster Everyone evinces an amiable sense of restraint— repeated listening reveal a panoply of tempos, from the ballad songbook, playing a low, sweet ode impeccable soloing is pithy and vibrantly concise. Werner and buoyant bop of Denzil Best’s “Wee” and ‘30s swing of in its phrasing and storytelling. company establish a fascinating forum, easygoing Bud Green-Les Brown-Benjamin Homer’s “Sentimental The two are also contrapuntal in intent. “I Talk to tempos with some genteelly penetrating, finely intense Journey” to the Frank Sinatra heartbeat tempo of Jimmy the Trees” (Paint Your Wagon) and “Follow Me” soloing. For Werner, another one in the “Win” column. van Heusen-Johnny Burke’s “Polka Dots and (Camelot), for instance, numbers meant to be sung/ Moonbeams” and quickstep dance swing of Jerome played with a certain gravitas, are instead injected with For more information, visit newvelle-records.com. Werner is at Kern-Oscar Hammerstein II’s “All the Things You Are”. uptempo whimsy. “Waitin’ for My Dearie” (Brigadoon) The Appel Room Oct. 18th-19th with Joe Lovano. See Calendar. Yet it is the ballads taken at leisurely to almost somnolent is another jaunt, an amusing and lightly tripping romp tempi—Gershwins’ “The Man I Love”, Vernon Duke-Ira straying far from its melody into territory where call- Gershwin’s “I Can’t Get Started”, George Bassman-Ned and-response make its own statement. Washington’s “I’m Getting Sentimental Over You”—that Although Lerner and Loewe are synonymous with really make the deepest impression. Iverson and Harrell Broadway blockbusters, an early work, the unsuccessful RUSS LOSSING both seem to sculpt their solos out of individually The Day Before Spring, is all but forgotten; Hyman and considered and weighed notes and chords and the spaces Peplowski pay homage with two tracks, “A Jug of New Releases 2019 in between with classic care. The former’s haunting intro Wine”, which in its change of tempo comically invokes to “The Man I Love” carefully balances spare high and a sober mood drifting into the realm of tipsy; and “You low notes in a shadowy outline of Gershwin’s familiar Haven’t Changed at All”, the masters on extraordinary song, setting the table for the latter’s delicate rendering flights of fancy and outré improvisations rightly of the melody. termed ‘avant garde’. It’s a remarkable demonstration Iverson who (judging by his blog dothemath.com) is of how these two wizards inspire each other to up their deeply invested in jazz tradition and history as well as game in the creative moment. Counterpoint: Lerner & innovation, sonically illustrates “I Can’t Get Started” in Loewe is a paean to sublime artistry. a semi-rubato intro of hesitations, soloing in the spare manner of John Lewis after Harrell’s melody and solo. For more information, visit arborsrecords.com. This project He also references swing stride piano on “Sentimental is at Dizzy’s Club Oct. 16th. See Calendar. Journey” and, on “I’m Getting Sentimental Over You”, reminds us it was one of Thelonious Monk’s favorite piano vehicles. Like looking at a great painting or rereading a classic novel, this deceptively simple album reveals new facets with each listening.

For more information, visit ecmrecords.com. This project is at Jazz Standard Oct. 16th. See Calendar.

Church on Mars Kenny Werner (Newvelle) by Mark Keresman Kenny Werner is not only aces when it comes to choosing eyewear—those shades!—he’s the pianist of choice for contexts large (Thad Jones/Mel Lewis Orchestra, Metropole Orchestra of Holland) and small (his duo with Toots Thielemans, assorted bands with Counterpoint: Lerner & Loewe Joe Lovano and musical director for Broadway doyenne Ways - Hat Hut Records Dick Hyman/Ken Peplowski (Arbors) Motian Music (Music of Paul Motian) - Sunnyside by Marilyn Lester Betty Buckley). Church on Mars is his latest venture as a leader, ably accompanied by veteran saxophonist Changes (Duke, Monk & more) - Steeplechase Pianist Dick Hyman and clarinetist/saxophonist Ken David Liebman, solid bassist James Genus and Peplowski both possess virtuosity beyond imagination. dynamic drumming ace Terri Lyne Carrington. russlossing.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 23

turnaround, promptly peppered by double-time bop. hard-swinging units in its field. The title track is a futuristic folk dance with low- The dozen selections are full of surprises and octave stabs, rapid-fire repeated melody and a consistent joy. Vilner’s opening original “Downhill” gorgeous middle section of climbing chord clusters introduces the group as a fairly conventional big band and melismatic grace notes. “Mr. CC” is straight-up touched by the influence of Count Basie. That all ragtime delivered with crisp perfection, a sneaky 7/4 changes on “In A Mellow Tone” which, rather than cueing the schmaltzy bridge played in swinging stride emulating Duke Ellington as expected, has Brianna with a tinkly high solo before the recapitulation. Thomas singing vocalese lyrics based on an obscure Piano enthusiasts of every kind will enjoy this Trummy Young trombone solo. Spectrum every-decade treat from the gifted pianist. This new A rollicking “Dinah” by Harry Akst-Sam M. Lewis- Hiromi (Concord) recording shows maturity, creativity, blazing solos and Joe Young, Louis Alter-Eddie DeLange’s “Do You Know by Brian Charette surprising juxtapositions of style. What It Means To Miss New Orleans” (highlighted by James Zollar’s trad trumpet) and W.C. Handy’s 10 years since her last solo piano recording, Hiromi is For more information, visit concordmusicgroup.com. This “St. Louis Blues”, which is partly based on a Louis back with Spectrum. In the press release, Hiromi speaks project is at Sony Hall Oct. 19th-20th. See Calendar. Armstrong solo, find the band sounding quite credible about how different moods in music evoke different hinting at both New Orleans jazz and early swing. hues. Hiromi’s first piano teacher colored sections of Brandon Bain’s vocal on Bob Haymes-Alan Brandt’s her sheet music with pencil according to the feeling the “That’s All” (with Vilner taking a fine alto solo) is ‘50s passage had: red for fiery, blue for melancholy. Hiromi swing, “Big Apple Contest” from the 1939 film Keep has developed a broad palette since then, investigating Punchin’ is a riff-filled dance number that cooks and almost every kind of piano playing from counterpoint Walter Donaldson-Gus Kahn’s “My Baby Just Cares For to ragtime. There are many brilliant unison passages Me” is based on Nina Simone’s hit version of the late and technical feats throughout Spectrum but, in general, ‘50s. The other numbers are Vilner’s solid swinger the album finds Hiromi foregoing fusion pyrotechnics “Going Uptown”, a rock-and-rollish “5-10-15 Hours” in deference to a grittier, bluesier sound. (a big hit for Ruth Brown written by Rudy Toombs), “Kaleidoscope” starts with a minimal undulating Sholom Secunda-Jacob Jacobs’ “Bei Mir Bist Du Schon” Swing Out! motive, which slowly spirals out like a fractal with Eyal Vilner Big Band (s/r) and an episodic and adventurous take on the traditional chasing harmonies and imitative counterpoint. Two- by Scott Yanow song “I’m On My Way To Canaan Land”, which includes fisted funk snaps you back from your trance before a a free section, a gospel-flavored vocal by Thomas and fugue takes over. The glassy interlude has shimmering First formed around a decade ago as a modern bop- some complex ensembles worthy of Ellington. chords and ripping ascending thirds that never miss. oriented orchestra (their debut recording included While there are some fine short solos, it is the Blues wails cue the classic boogie-woogie bass pattern such songs as “Woody’n You” and “Un Poco Loco”) band’s spirit that is most memorable, Swing Out! is a of “Yellow Wurlitzer Blues”, a cycle of fifths quickly the Eyal Vilner Big Band has gradually evolved into delight for both listeners and swing dancers. modulating as Hiromi puts the grease on the top. The a much more swing-based band that plays for advanced harmony of the bridge serves as a foil to the jitterbugging dancers. Swing Out!, its fourth release, For more information, visit eyalvilner.com. This band is at blues of the “A” section and brings back the tricky makes the case that it is one of the most versatile and The Django Oct. 16th and Birdland Oct. 20th. See Calendar.

Pianist and Vocalist BRENDA EARLE STOKES NEW SOLO RECORDING

PRE-RELEASE CONCERT SATURDAY, OCTOBER 26TH, 2019

7PM SHOW, DOORS AT 6PM $20 ADVANCE, $25 AT THE DOOR, $20 FOOD/DRINK MINIMUM 178 2ND AVE, NYC WWW.PANGEANYC.COM WWW.BRENDAEARLE.COM

24 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD CELEBRATING 5 YEARS!

PHOTO COURTESY OF GEORGIA ANNE MULDROW OCTOBER 19 – 26, 2019

RAVI COLTRANE JOE RUSSO, BEN PEROWSKY, JOSH KAUFMAN & STUART BOGIE: BOYFRIENDS GEORGIA ANNE MULDROW MAKAYA MCCRAVEN KNEEBODY & MANY MORE!

BRIC, 647 FULTON ST, DOWNTOWN BROOKLYN MORE INFO + TIX: BRICARTSMEDIA.ORG/JAZZFEST

more to express once the curtain has come down. short and sweet when it’s his turn to shine. But within With Where We Come From (Chicago + London these succinct solo statements he invariably does shine, Mixtape), McCraven shows amazing prowess as a employing a full but clearly articulated tone to spin producer, slicing and dicing moments and ultimately out circling webs of sound—long, expansive skeins crafting a record that journeys through jazz, hip-hop delivered with the intensity of a trip-hammer, and a panoply of world music styles. Whether it’s the undergirded by a quiet but charismatic emotional arc, laid-back neo-soul displayed on “Suite for Artis like a preacher in church warming to his message, Gilmore” or rhythmic insistence of “The Oracle”, inspiring the flock with his conviction. While these McCraven reconsiders and reviews the weight of songs may not continue to ring in your ears when the Inside Hi-Fi capturing an improvisatory moment. album is over, the thematic threads should certainly Lee Konitz (Atlantic-Pure Pleasure) McCraven’s collage-based concept is honed on leave a lasting impression. by Duck Baker Universal Beings, four separate performances with four different groups in New York, Chicago, London and For more information, visit bluenote.com. This project is at Inside Hi-Fi was Lee Konitz’ first outing as a leader on Los Angeles. Universal Beings is more meditative and BRIC JazzFest Oct. 25th. See Calendar. Atlantic, following the fantastic date he co-led with shows more of McCraven as a drummer in the moment, Warne Marsh the previous year (1955). It is a strong demonstrating a style that is adept at changing course. date in its own right, with a different quartet heard on This is apparent early on with “Young Genius”, each side. The first features guitarist Billy Bauer while McCraven testing the waters first with a slow hip-hop pianist Sal Mosca is heard on the other, but a more beat, eventually moving to a swing pattern. obvious difference is that Konitz plays tenor on all of Where We Come From (Chicago + London Mixtape) side B. He also doubles on tenor and alto on the features nimble Rhodes playing as well as tuba while opening track, but prior to this release his only Universal Beings features groups utilizing everything recording with the larger horn was for one track on a from harp and cello to vibraphone and guitar. The Lars Gullin date. He would record on tenor only rarely result is a sound that is equal amounts ethereal and later, notably on a couple of the tracks on the 1967 thoughtful and breaks through every genre barricade. record Duos and finally for one entire record (Tenorlee, With these two releases McCraven proves that the jazz 1977). He always sounded very comfortable on tenor landscape is due for a new revolution—one snip and and it’s anyone’s guess why he has used it so edit at a time. infrequently. Konitz’ stylistic debt to Lester Young is more readily apparent with the bigger horn, though he For more information, visit intlanthem.com. McCraven is at sounds nothing like any of the Young-influenced tenor BRIC JazzFest Oct. 24th. See Calendar. players of the Cool Era. Nor does he sound much like

Marsh, even though both depend heavily on Tristano- school devices (long lines, the use of note groups that run counter to the meter of the tune, etc.). When Inside Hi-Fi first appeared, the tenor playing so struck fans that many fell particularly in love with that side of the record, but this listener has always felt that Side A is even more magical because the rhythm section seems more in sync. It opens with the first and possibly best recording of the Konitz original “Kary’s Trance”, a typically convoluted Tristano-ite line that KingMaker would remain in Konitz’ book for decades. Hearing Joel Ross (Blue Note) him play this kind of tune with Bauer is always by Tom Greenland delicious. This side also holds an advantage in terms of sound quality. There’s an almost edgy brightness to the If you’ve been out and about around the city, you may B side, though the listener notices the sonic difference have noticed a young vibraphonist who seems to be between the two dates much more on CD releases, popping up everywhere, with artists like Peter Evans, where we go straight from one session to the other. Marquis Hill and Makaya McCraven. That’s Joel Ross, This remastered LP version helps with the presence on a 24-year-old transplant from Chicago who, because both sides, but the difference in sound remains. These his twin brother beat him out for All-City Concert considerations don’t change the fact that both sides of Band drum chair, turned his attention to mallet Inside Hi-Fi are great and hearing Konitz on both alto instruments. All for the good, as it turns out. KingMaker, and tenor enhances our appreciation of his art. his debut as a leader, is both precocious and prodigious; less a showcase for his ecstatic soloing (best experienced For more information, visit purepleasurerecords.com. live) than a portfolio of his unique writing style and a Konitz is at The Jazz Gallery Oct. 20th. See Calendar. platform for Good Vibes, his working quintet of alto saxophonist Immanuel Wilkins, pianist Jeremy Corren, bassist Benjamin Tiberio and drummer Jeremy Dutton. The music seems to float in a nebulous but funky netherworld, an M-Base-like sound marked by long rhythmic phrases—strings of evenly-spaced accents with a slightly longer or shorter pulse (or two) inserted here and there—that produce an unevenly even flow. Ross’ melodies hang on these rhythmic contours, wrapped in chromatic but mostly tonal harmonies, Where We Come From (Chicago + London Mixtape) changing their personalities in contrasting bridge Universal Beings sections, returning to cyclic, slightly off-kilter vamps. A Makaya McCraven (International Anthem) by Eric Wendell second thing you may notice is how well these musicians play, each demonstrating impeccable The best improvisers understand the importance of command of his instrument (her in the case of vocalist organically capturing moments and expressing the Gretchen Parlato, who cameos on “Freda’s Disposition”) tightrope that is spontaneous performance. Drummer and the concomitant ability to synchronize with the Makaya McCraven has taken this a step further by taking others. It’s tricky music, but it doesn’t sound as tricky live improvisations and editing them into new pieces. as it could, played in less competent hands/bands. On Where We Come From (Chicago + London Mixtape) and Ross is a discreet leader, letting smoky alto guide Universal Beings, McCraven makes a compelling case for many of the melodies, often laying out for piano to live performance being just the start and that there is comp behind improvisations, keeping it relatively

26 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

Armstrong’s distinctive, gruff vocal style and portrayed him in the film. Other New Orleans musicians Marsalis celebrates on this soundtrack range from Johnson (who played in Bolden’s band in the 1900s) on “Making Runs” to Jelly Roll Morton on “I Thought I Heard Buddy Bolden Say” and the Original Dixieland Jazz Band on cornet player Nick LaRocca’s “Tiger Rag”. The personnel varies and includes trombonist Wycliffe Gordon, trumpeter Marcus Printup and alto Bolden (Original Soundtrack) saxophonist Ted Nash. Vocalists Catherine Russell on Wynton Marsalis (Blue Engine) the traditional “Make Me a Pallet on the Floor” and by Alex Henderson Brianna Thomas on Marsalis’ “Red Hot Mammas” are faithful to the gritty ‘20s style of Bessie Smith, Ma Historians cannot say for certain exactly what cornet Rainey and other blues singers Armstrong accompanied. player Buddy Bolden (1877-1931) sounded like. But they Allegedly, Bolden recorded a cylinder in 1898. generally agree that in the 1890s-1900s he played a very Lovers of New Orleans jazz continue to hope that it early version of what came to be called jazz and he has will turn up somewhere. However, his impact didn’t been cited as a direct or indirect influence on King end when his career did and Marsalis’ Bolden Oliver, Bunk Johnson and Louis Armstrong. One who soundtrack is a consistently engaging tribute. has much to say about Bolden’s life is trumpeter Wynton Marsalis, whose soundtrack to the recent film Bolden For more information, visit jazz.org/blueengine. Marsalis is fondly recalls the New Orleans jazz of the ‘20s-30s. at Rose Theater Oct. 25th-26th. See Calendar. Bolden’s career in music ended in 1907, when he was confined to a mental hospital, remaining until his death. Many of the standards Marsalis embraces on this CD were written long after Bolden’s career ended, such as Kid Ory’s “Muskrat Ramble”, Harry Akst-Sam Lewis’ “Dinah” and Fats Waller’s “Black and Blue”. Instead Marsalis salutes Bolden by acknowledging some of the ‘20s-‘30s musicians for whom he paved the way. Armstrong is prominent and Marsalis draws on his repertoire with inspired performances of Spencer Williams’ “Basin Street Blues”, Sam Theard’s “I’ll Be Parlour Game Glad When You’re Dead, You Rascal You” and Hoagy Jenny Scheinman/Allison Miller (Royal Potato Family) Carmichael’s “Stardust”. Most of these selections by John Pietaro feature singer Reno Wilson, who is mindful of When two celebrated musicians join in a collective ensemble, all too often the outcome is a cutting contest. Not so, Parlour Game. This new quartet of violinist Jenny Scheinman and drummer Allison Miller functions instead as a comradely parlor concert in your stereo, with 11 instrumental selections that hold all of the inclusive qualities of the best vocal music. Simple in concept and mood but never in execution, composition or scope, Parlour Game lures the listener in with a swath of styles, echoing late-show cabaret as easily as David Grisman’s quartets, bossas, moving ballads, jazz and fiddle tunes with a pocket. Scheinman’s sound is mystical, at points transparent, and on this album, she applies it in a sinewy, modal manner before digging the bow in and doubling a boppish piano melody (“Top Shelf”). Likewise, Miller has proven herself over the years as a driving, musical drummer but, much more so, she is a serious bandleader, touring and recording with several important aggregations, most notably Boom Tic Boom, holding the distinction of hippest band name led by a drummer. This album carries a beautiful stasis but within it, there are high points. “Michigan” explores the “New Acoustic” genre without ever falling into new age trappings; Scheinman’s floating melody and the work of pianist Carmen Staaf stand out. But it’s followed by “Fake Weather”, Tony Scherr’s bass riff and the very behind-the-beat groove by Miller pulling the listener into slow Sunday mode. Yet Scheinman here plays with an exquisitely uncertain quality, sliding into her notes and stepping around the tempo, complemented by Staaf’s wide open hands over Major 9 and 11 chords. Of special interest to this newspaper’s readership is the aforementioned “Top Shelf” (on which Staaf’s stirring foray is almost hurtfully good) and “Beans and Rice”, which opens like stride for a Harlem afternoon before Scheinman’s melody and solo statement conjure Stuff Smith and Itzhak Perlman. Simultaneously.

For more information, visit royalpotatofamily.com. This project is at Birdland Oct. 31st-Nov. 2nd. See Calendar.

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 27

playful, the play at one point, or maybe all, involving While the more overt funk is what initially the audience. impresses there are also cuts that are more progressive. A perfect starting point would be the Erroll Garner Guest acoustic bassist Jerome Harris turns the band in a chestnut “Misty”. Gardony treats the tune as its title more modern jazz direction with “The Invisible Man suggests, in a sort of reflective haze, an intimate and Breathes” and a smart 2.0 version of Herbie Hancock’s respectful take that never forgets the melody yet treats “Eye of the Hurricane”. “Walking with Z” showcases it in a way we have probably not heard before. Burnham and Loftis’ synergy in a ragged sauntering “Revolution” is a Gardony original inspired by and milieu while closer “Escape Route” is Frank Zappa- quoting the French patriotic tune that gives the album esque fusion with its quick rhythmical shifts and Relaxin’ with Nick its title. The original is obliquely referred to and then intriguing voicings. It has been a long time since music Nicholas Payton (Smoke Sessions) opens out into an expressive and hopeful hymn-like of this quality has had a political attitude worth hearing. by Franz Matzner format. “O Sole Mio” is personal and moving, bursting forth insistently and leaving any sense of schmaltz For more information, visit ropeadope.com. This project is Nicholas Payton (trumpet, keyboards, voice) colors behind. From the jazz world comes what Gardony at BRIC JazzFest Oct. 24th. See Calendar. outside the lines when it comes to traditional concepts deems a standard, Denny Zeitlin’s “Quiet Now”. He of jazz. With Relaxin’ with Nick—a double live album— elegantly finds a new, soulful place in which to frame NEW MUSIC BY PAUL AUSTERLITZ Payton and his trio mates Peter Washington (bass) and the impressionistic sense of the original. Kenny Washington (drums) dedicate two hours of The other tunes are Gardony compositions falling finely attuned music to demonstrating that into two categories: tunes originally played with his experimentation and individual expression can unfold band now presented as solo pieces; and fully inside the boundaries of jazz’ central, historical improvised pieces taking on shape and color through structures as effectively as outside. This is achieved by brilliant pianistic invention. The artist asked his playing both straight and manipulating the audience to give him four notes to weave “Four Notes interpretation of what exists inside those lines, as well Given”; they repeat at first and then become the base as knowing when to step judiciously beyond them. for a mysterious set of almost Eastern-sounding lines THE VODOU HORN ASAKIVLE MEETS Payton is known also for taking risks, as evinced and pulsations. “On the Spot” is a fully improvised AUSTERLITZ by his distinctive approach of accompanying his own piece, which, again, takes on structure thanks to “ a remarkable musical fusion. trumpet playing with piano, Fender Rhodes and voice, Gardony’s desire to go beyond the preconceived into kudos for crafting a varied, exciting program without a process he has evolved over the years in parallel with majestic new territory. That kind of magic also happens ever losing respect for the traditional music foundation complete command of the trumpet’s many lineages in the lovely “Mockingbird”, a bluesy and moving and a great performance. and acoustic potentials. Here this phenomenon is paean to the affecting sound of birds. Finally, “Bourbon —Mark Sullivan, allaboutJazz.CoM doubly impressive considering it is accomplished Street Boogie” is a throbbing and lively take on the BUSHWICK PUBLIC HOUSE OCTOBER 14— 10:45 PM without the aid of studio editing. In this way, Payton New Orleans groove. La Marseillaise is a grand, organic PaUL aUSTERLITz QUaRTET JaSper Dütz - baSS Clarinet has delineated an extraordinary style that provides a take on creating music in the moment. CharleS townSenD - eleCtriC violin high degree of flexibility and personal artistic control. kevin ray - baSS It should also be noted that the phenomenon would For more information, visit sunnysiderecords.com. Gardony PaULaUSTERLITz.ORg not be as successful without the astute backing of the is at Birdland Theater Oct. 24th. See Calendar. two Washingtons, whose strong grooves on bass and delicacy on drums—especially working the brushes— provides the necessary percussive pop to catalyze Payton’s fluid lines and self-trading. The result is a tour of trumpet music from Louis Armstrong to Chet Baker (including Payton’s falsetto, sometimes strained vocals) to Miles Davis and beyond. Fender Rhodes and electronics give the compositions variegated texture and allows Payton to present a collage of styles—both tune to tune and within single compositions—most of which are Payton originals. Cousin From Another Planet Lastly, Payton and his band open the door to the Aaron Whitby (Ropeadope) sensation—unique to live performance—that the by Elliott Simon tightrope walker can slip anytime, especially when the music sometimes dips into grating or off-kilter When tenor saxophonist Keith Loftis blows on the moments that don’t quite gel. These are rare, but opening cut of keyboard player Aaron Whitby’s Cousin Payton’s choice to retain them in the final release is yet From Another Planet, the “Sleeping Giant” wakes up. another example of his dedication and brave Loftis then continues to provide a large part of the jazz perspective. on this paean to P-Funk, prog and other fusions while bassist Fred Cash, percussionist Gary Fritz and For more information, visit smokesessionsrecords.com. drummer Rodney Holmes make you feel like dancing. This project is at Smoke Oct. 31st-Nov. 3rd. See Calendar. However, violinist Charles Burnham and vocalist Martha Redbone generate its assertiveness. Whitby’s

synths, piano and keyboards expertly fuse this together into a cohesive work. With vocalists Redbone, Tamar-kali and Rome Neal he makes it clear that “We the people are the Sleeping Giant”. Whitby is a very in demand instrumentalist with a place in P-Funk mythology and it is surprising that this is his first release as a leader. On these eight tunes, he cleverly uses the present to reexamine a time when jazz met funk and R&B in a politically-charged environment. Whitby, along with Cash’s powerful La Marseillaise up-in-the mix bass, are at the center of most of the Laszlo Gardony (Sunnyside) by Donald Elfman energy while Burnham’s outstanding electric bowings are a fiery timbre change ripping across the funky fray. At the center of Laszlo Gardony’s new live solo piano Burnham, like Whitby, has played with everybody and recording is a joyous sense of improvisation as well as his superb spiritual vocal on “Mrs. Quadrillion” is heartfelt passion for how music expresses freedom, right-on. The title cut is a personalized reference to the dignity, love. The music is alternately dreamy, melodic, John Sayles film Brother From Another Planet and along rambunctious, lyrical and, most importantly, gloriously with “Sleeping Giant” is a session standout.

28 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD 33105 J.P. Schlegelmilch 33110 Anders Mogensen 33115 Paul Brusger 33120 Joe Manis 33125 Federico Bonifazi 33130 Carl Winther 33135 Federico Bonifazi

33101 Old Time Musketry 33106 Yvonnick Prene 33111 Bob Sands 33116 Coleman-Ahearn 33121 Gene Segal 33126 Irene Becker/Avaja Lumholt 33131 Mark Minchello 33136 Eliot Zigmund

33102 Skip Wilkins 33107 Joe Manus 33112 Samo Salamon 33117 Mark Minchello 33122 Peter & Will Anderson 33127 Eugenia Choe 33132 Gene Segal 33137 Eugenia Choe

33103 Ronan Guilfoyle 33108 Rotem Sivan 33113 Paolo Sapia 33118 Allegra Levy 33123 Bernd Reiter 33128 D. Ambrosio/R. Meissner 33133 Peter & Will Anderson 33138 Federico Bonifazi

33104 Eliot Zigmund 33109 Burak Bedikyan 33114 Gene Segal 33119 Burak Bedikyan 33124 Greg Burk 33129 Burak Bedikyan 33134 C. Winther & J. Bergonzi 33139 Burak Bedikyan US distribution: www.statesidemusic.com - email: [email protected] Complete catalogs: www.steeplechase.dk time with Joe Zawinul and Grover Washington is psychology”, unraveled after sundown in fits of apparent. He’s not in the background, rather taking up creative action. In this respect, it shares much with the role of melody instrument for much of the session. jazz, the most enduring melodies of which seem to With Blake, the music is more organic—breath and emerge from the depths of nocturnal solitude. wood with no electrical magnification. Blake’s The disc opens with Dunn’s first string quartet. discography ranges from Randy Weston to the Written in 2007 and revised just prior to this release, it Manhattan Transfer. He’s a versatile player and takes cowers like a naked body, reaching for whatever scraps the opportunity to play rhythm section, slapping beats of cover it can find. The all-pizzicato second movement Still Breathing and repeating riffs under Cole’s wavering drones. It is brilliant for its subtle neuroses while the third and Bill Cole/Gerald Veasley (s/r) Still Breathing 2 makes for a better mix in what is still, like the Veasley final movement balances escapist reveries and Bill Cole/Alex Blake (s/r) duo, an album only suited for certain ears. smoldering realities in equal measure. Dunn joins the by Kurt Gottschalk quartet in “Melody for Contrabass with String Quartet” For more information, visit billcole.org. Cole is at The (1989). Dating from his college days, it’s the earliest Bill Cole has often been a valuable and unusual voice Brooklyn Commons Oct. 22nd. See Calendar. piece here and finds the composer utterly comfortable in New York groups, specializing in double reed in his evocations of discomfort. The restless energies instruments that aren’t the oboe. His agglomeration awoken by every whisper of bow are extraordinarily includes the hojok and piri from Korea and the Indian rendered. The “Six Nocturnes” (2015/17) between nagaswaram. He also plays a variety of non-Western them make for skeletal yet loving companions. Pianist single-reed instruments and even a few instruments Vicky Chow navigates their recesses with care, eliciting without reeds, such as the Tibetan trumpet and the especial beauty from the second’s warped ponderances. Australian didgeridoo. There’s very little in the way of overt illustration in It’s the didgeridoo—a deep and resonant Dunn’s sound-world; much is left to the listener’s instrument originally used in indigenous ritual—that’s imagination. In the closing “Tertiam Vocem” (2017), for the focus of Cole’s two Still Breathing CDs, neither of instance, one may take the titular third voice as a which is likely to overburden his bank account. These reference to its trio format—scored as it is for piano, are not easy records: amorphous, hour-long duets with Phoenix Rising violin and contrabass—but it could just as easily bassists Gerald Veasley on one and Alex Blake on the David Kikoski (HighNote) denote something inaudible. by Ken Dryden other. With the didgeridoo drone, both come off to As per usual in the realm of Tzadik, the a degree as environmental music, working well for Pianist Dave Kikoski has known tenor saxophonist musicianship is more than technically proficient but passive listening. But the music isn’t altogether Eric Alexander (a frequent leader and sideman himself also possessed of an acute emotional insight, fitting soothing; they tend to disrupt their own ambiance. For on HighNote) for a long time, but they only began hand-in-glove to the music at hand. All of which makes focused listening, however, they tend to meander. playing together over the year leading up to this the hours in which it was composed feel not small but That middle ground is, in a sense, what makes the session, while bassist Peter Washington and drummer as gargantuan as life itself. records unique. It’s busy music without clear direction, Joe Farnsworth have been regular collaborators of the an audio equivalent of watching ants at work. The first pianist. Together the quartet dives headlong into a For more information, visit tzadik.com. Dunn is at The volume pairs Cole with electric bassist Veasley, whose diverse setlist of potent originals, pop songs of several Stone at The New School Oct. 29th-Nov. 2nd. decades and one jazz standard. Although most of the songs are familiar, there is a freshness to each of them due to the pianist’s inventive touch. DAVE PIETRO Kikoski and Alexander co-wrote the powerful title track, a strong opener bringing to mind McCoy Tyner’s oct. 19, 2019, 8 & 10 pM ‘60s sessions while the saxophonist’s blues “Kik It” was written in honor of and showcases the pianist. The jAzz At kItANo quartet’s laidback yet soulful interpretation of Jimmy DAve pIetRo – alto & soprano sax Webb’s ‘60s pop smash “Wichita Lineman” gives it new Alex SIpIAgIN – trumpet gARy veRSAce – piano life in an imaginative reworking. A roundabout johANNeS WeIDeNMuelleR – bass exploration of Frank Loesser’s “If I Were A Bell” has the ARI hoeNIg – drums same effect on a standard long part of jazz repertoire. 66 pARk AveNue @ e. 38th StReet Johnny Mandel’s “Emily”, indelibly associated kItANo.coM/DININg/jAzz-At-kItANo with the late Bill Evans, is a masterpiece with Kikoski’s lyrical treatment, featuring a pensive introduction and Dave’s New Album slow tempo. After shimmering piano sets up Guy Wood-Robert Mellin’s “My One And Only Love”, “New Road: Alexander takes center stage, making great use of Iowa Memoirs” space. The blazing rendition of John Coltrane’s “Lazy (ArtistShare) Bird” and delightful Latin setting of Ann Ronell’s “Willow Weep For Me” add further variety to this rewarding release.

For more information, visit jazzdepot.com. Kikoski is at Zinc Bar Oct. 11th and Mezzrow Oct. 18th. See Calendar.

Nocturnes Trevor Dunn (Tzadik) by Tyran Grillo In his liner notes for Nocturnes, Trevor Dunn’s first dedicated album of classical compositions, the versatile DAVEPIETRO.cOm bassist speaks of his music as a form of “social

30 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD Transfusion Sandy Ewen/Chase Gardner (Marginal Frequency) See Creatures Lisa Cameron/Sandy Ewen (Astral Spirits) by Stuart Broomer

Sandy Ewen is a Toronto-born, former Texan, now New York resident, free improvising guitarist. She has ongoing collaborations with bassist Damon Smith and drummer Weasel Walter and in the past has performed with other key figures in improvised music, including Keith Rowe, Henry Kaiser and Jaap Blonk. While the latter set the pattern for horizontal, tabletop, prepared guitar, Ewen opts for the laptop adaptation, playing the instrument with an array of materials that can include “railroad spikes, sidewalk chalk, threaded bolts and steel wool”. On these two recent releases (Transfusion is a CD or download, See Creatures was a cassette and is now download- only), she’s heard in duet with fellow radical guitarists Chase Gardner and Lisa Cameron. From Transfusion’s opening “Circulation”, Ewen and Gardner create a dense, continuous music, a stream of particulate sound in which events, though distinct, tend to even out into a tapestry. Ewen is a visual artist as well, sometimes working in draped cloth, and there’s a strongly tactile feel to her music, a focus on materiality, the substance of sound directly connected to the materials with which she plays. There are six pieces here, averaging seven minutes each, but the textures make them feel at once rhythmic and timeless. “Assimilation” begins with a high-frequency rich repeating figure somewhere between sarangi and electronic insects while the concluding “Sync”, filled with wavering sounds, is particularly beautiful. In addition to guitar, Gardner lists “divided pickup” as an instrument, which might account for the bright metallic clicking that sometimes features here, as on “New Skin”. On See Creatures, dedicated to the memory of pianist Cecil Taylor, Ewen works with Cameron, an Austin, Texas resident who plays lap steel guitar, percussion, feedback and a “berimbauophone”, a homemade instrument for which we lack description or image but suspect it’s related to the berimbau, a single-string percussion instrument associated with the Brazilian martial art capoeira (it may be present in a twanging jaw-harp buzz on “Rhinochimera Atlantica”). Ewen and Cameron are a mini-wave of Southwest lap guitar improvisers, a more radical equivalent of pedal steel guitarists Susan Alcorn and Heather Leigh, though sounding here more like heirs to the feedback baths of The Velvet Underground. The titles name imaginary “see creatures” and the atmosphere is heavy, the sounds often murky, extensive use of low frequency feedback becoming an engulfing texture. It takes a while to get used to, but the mass assumes meaning and events are both blurred and magnified, becoming acts in which the listener’s imagination is collaborative. “Abysmal Grenadier”, one of the briefer tracks at four minutes, has a clarity of effect that longer pieces, the 11-minute “Gigantra Indica”, for example, forego, opting for depth involvement and an effect that feels like percussive feedback, creatures and murk becoming one in the most positive way.

For more information, visit marginalfrequency.bandcamp.com and astralspirits.bandcamp.com. Ewen is at Bushwick Public House Oct. 7th and 21st, Aron’s Place Oct. 17th and Downtown Music Gallery Oct. 27th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 31

who passed away in 2018. Blue performed in Weston’s through some tempo changes, if perhaps overly long at African Rhythms band for 38 years, his life deeply 11 minutes. Excellent is the way the band swings into affected by his relationship with the legendary pianist. Bill Carey-Carl Fischer’s “You’ve Changed” after a The Rhythms Continue features ten musicians fêting long unaccompanied introduction from Coleman. This African Rhythms’ jazz sensibility and passionate one is Coleman at his most rhapsodic, with invaluable, intensity. Blue plays alto and soprano saxophone, flute, telepathic support from Mabern. “Triste” is a nice and kalimba, sanza, lukemi and mbira. Alex Blake (bass) concise palate cleanser, with nice work from Farnsworth and Neil Clarke (drums) were the rhythm section of and a definitive tenor honk to close the album. Weston’s trio. The other participants are Vince Ector Could the album have been recorded at Rudy Van Road to the Sun (drums), Billy Harper (tenor saxophone) and Min Xiao- Gelder’s studio in 1959? You bet, but that doesn’t Amina Figarova (AmFi) Fen (pipa) while Sharp Radway, Mike King, Keith diminish the pleasures to be had from listening to it now. by Marco Cangiano Brown and Kelly Green fill Weston’s vacant piano bench. Saxophone is pivotal, often unaccompanied at For more information, visit smokesessionsrecords.com. This This CD marks the 20th anniversary of Amina first, then joined by other instruments. project is at Smoke Oct. 17th-20th. See Calendar. Figarova’s sextet. Even if of the original group only The 19 tracks include compositions by Weston, flutist Bart Platteau, who also happens to be Figarova’s Melba Liston and originals by the leader. Extensive husband, remains, the pianist’s writing has shaped a liner notes introduce each tune and Blue’s memories 66 Park avenue coherent body of work with a remarkable stylistic and emotions associated with it. Some tracks are short consistency. Figarova’s capacity to make a small group gems like “A Gathering of Elders” (1:33), a tribute to aT e. 38Th STreeT sound like a big band is remarkable as is her flair for the recording of The Spirit of Our Ancestors from 1991, or Tel: 212-885-7119 writing with specific soloists’ sound and phrasing in “Reverence For Those Who Came Before” (1:18). You’ll kiTano.com mind. Many of her compositions are characterized by a find Northern African melodies and instrumentation multilayered development of instruments and throughout, bright-tempoed swing on “Kasbah 330A”, melodies in which quality always prevails over intense rhythmic comping and a stunning structure for quantity. There is also an underlying sorrow in her the soloists’ improvisations on “Going to the East”. The writing, exceptionally well conveyed in September final tune “World 3: The Last Goodbye” has a delicate Suites, her recollection of 9/11, the intensity and melody and instrumentation to reflect the tender last complexity of which are recaptured in this latest effort. moments Blue spent with Weston. The groups alternate between pieces, with Figarova, Platteau, trumpeter Alex Pope Norris and For more information, visit tkblue.com. This project is at bassist Luques Curtis acting as anchors. The title track Minton’s Oct. 31st. See Calendar. immediately offers a clear example of Figarova’s ken PePlowSki/Frank kimbrough composing and arranging skills. The addition and Friday-SaTurday, ocTober 11-12 integration of string instruments in some of the tunes 8 &10 Pm $34 cover / $20 minimum adds depth and drama to the music, especially ken PePlowSki - clarineT/Sax “Tumbling Prism”. The following “All We Dance” is an Frank kimbrough – Piano intimate tune sustained by flute and Marc Mommaas’ saxophone, leading to a characteristically unhurried piano solo, which develops into an intense dialogue with the strings. “Snow Mess” is introduced by a piano Academy Records pedal shifting into an uptempo sequence, a brilliant solo by Norris suddenly slowing to let Wayne The Quartet Escoffery’s dramatic tenor saxophone sustain and then George Coleman (Smoke Sessions) & CDs accelerate the pace until the main theme wraps up. by Jim Motavalli There is so much music in just above five minutes, making the piece sound like a mini-suite. That’s tenor saxophonist George Coleman navigating Each composition reveals both melodic richness those beautiful changes in Herbie Hancock’s classic and sophistication along with excellent individual “Maiden Voyage” and he was also Hancock’s bandmate Cash for new and used solos. The contrast between the two saxophones—the in the Miles Davis quintet on Seven Steps to Heaven, My compact discs,vinyl mellower Mommaas and more assertive Escoffery—is Funny Valentine and Four & More. Those albums were quite interesting. Also of note are Norris’ warm sound, made well over 50 years ago, so it’s great to hear records, blu-rays and Platteau’s many contributions both as a soloist (check Coleman still in such good health. Coleman isn’t an out “On My Way”) and as lead voice and the different innovator, but back in the day was the kind of solid dvds. feel of the two drummers, with Jason Brown’s ethereal player who could elevate many a session. These days, touch contrasting Brian Richburg’s more aggressive he’s not going on the road but still heard with some beat. Happy anniversary and here’s to the next 20 years. regularity in New York. If his powers are diminished, it is not evident on this energetic session. We buy and sell all For more information, visit amfi-records.com. This project The late Harold Mabern is on piano and he and is at Smoke Oct. 16th. See Calendar. Coleman went back at least five decades to their high genres of music. school days in Memphis (with Jimmie Lunceford as All sizes of collections their teacher!). Mabern too sounds good—check out his dancing solo on Léo Chauliac-Charles Trenet’s “I welcome. Wish You Love” and how closely he and Coleman respond to each other on Duke Ellington’s “Prelude to a Kiss”. The old friends are joined by younger players, bassist John Webber and drummer Joe Farnsworth. The For large collections, latter gets a showcase on “Prelude to a Kiss”, then another one later on Antônio Carlos Jobim’s “Triste”. please call to set up an Coleman has two originals on the set, so he’s not appointment. just coasting on standards. Both are uptempo swingers. The Rhythms Continue TK Blue (JAJA) “East” starts with Coleman unaccompanied, then in by Anna Steegmann duo with Mabern before the band kicks in. Coleman’s solo here isn’t his strongest; maybe another take would T.K. Blue is a man of many talents, a saxophonist, have been better. “Paul’s Call” is confident Open 7 days a week 11-7 flutist, composer, bandleader and educator. The straightahead work all the way through. Rhythms Continue is his 13th CD as a leader and The ballads shine, given the many years of life 12 W. 18th Street NY, NY 10011 possibly his most heartfelt, a dedication to the memory experience Coleman brings to them. Victor Young- 212-242-3000 of his longtime employer and mentor Randy Weston, Edward Heyman’s “When I Fall in Love” is lovely

32 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD nov 9–24 Christian McBride, jazz advisor

Nimbus Dance featuring members of the New Jersey Symphony Orchestra with music by Nina Simone and Nancy Wilson Thu, Nov 14 @ 7PM

NJMEA All-State Jazz with special guest Steve Turre Fri, Nov 15 @ 7PM

After Midnight: The Music of the King Cole Trio featuring the roots with Billy Stritch–Musical Director, a christian mcbride Catherine Russell and Clint Holmes situation Fri, Nov 15 @ 7:30PM nov 16 Lee Ritenour with Dave Grusin & Friends Thu, Nov 21 @ 7:30PM

Christian Sands presents The Erroll Garner 3 Piano Summit featuring Helen Sung and buddy guy Tadataka Unno with special Fri, Nov 22 @ 7:30PM guest chaka Maurice Hines mavis staples khan Tappin’ Thru Life featuring nov 10 nov 14 The DIVA Jazz Orchestra Sat, Nov 23 @ 3 & 7PM Mike Mainieri of Steps Ahead with Bill Evans, Dorthaan’s Place Jazz Brunch Baron Browne, Steve Smith and Houston Person Adam Rogers. Sun, Nov 24 @ 11AM & 1PM steps ahead Sarah Vaughan International michael franks Jazz Vocal Competition & spyro gyra Sun, Nov 24 @ 3PM nov 15

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to hear the sound of musicians swinging with some group. These musicians deliberately have chosen an structural freedom within clearly defined formal affirmative name, Yes!, including that affirmative expectations. The concluding track, John Coltrane’s exclamation point. That Yes! can also refer to the trio’s “Living Space”, is both a totem and a tribute to that. rollicking embrace of swing, rhythmic drive and a sense, Lacy is double-tracked and that points to what makes on many of the more groove-oriented tracks, of joy. this an outstanding release; he works and wrangles with Adding to the notion of equality is the distribution and supports himself, wrestling with a sense of meaning. of originals. Avital contributes four, Jackson three and In an era when a lot of newly made jazz is about little Goldberg only one. The other non-original is the ‘40s more than running through changes and time signatures, standard, “I’ll Be Seeing You”, by Irving Kahal and The Law of Vibration this is jazz made to serve the needs of art and humanity. Sammy Fain, treated to a slow, lush exploration of the 1032K (s/r) melody and solos from piano and bass. The roles of the by George Grella For more information, visit 1032k.bandcamp.com. Frank Lacy members often merge and blend, with drums taking is at Smalls Oct. 1st and 22nd, Bar Lunàtico Oct. 11th with the lead, or bass, while the piano maintains a rhythmic This trio has a great sound, with trombonist Ku-umba Rob Duguay and Greater Calvary Baptist Church Oct. 18th. foundation. Avital’s “Muhammad’s Market” begins Frank Lacy’s bright edge floating above and cutting Kevin Ray is at Bushwick Public House Oct. 14th. Andrew with repeated riffs from piano and bass over a fast, through the strategic, aesthetic gaps in the rhythm Drury is at Soup & Sound Oct. 10th and 24th. See Calendar. chattering beat, a theme slowly developing from all section’s grooves. This is small group maximalism at a three and emerging finally as a piano solo in 4/4 before fundamental level, bassist Kevin Ray and drummer seamlessly melding back into the communal theme. Andrew Drury joining Lacy in playing out to the Jackson makes especially evocative use of his bass listener, laying bare ideas and feelings. This is not drum, using it to lead off his “Claqué” in contrast to about volume or activity or even energy levels, but his sticks on snare and, as the piece climbs toward a about utter guilelessness. That’s also how the late climax with a piano solo over an insistent bass ostinato, Roswell Rudd always played, so his guest appearance, adding tambourine. And on Avital’s “Flow”, Jackson playing his own “Yankee No-How”, is so seamless that employs that rock/R&B staple, the cowbell. the band sounds like one that he has mentored. The infectious spirit is exemplified especially on That quality, extroverted and grounded with deep two originals. Goldberg’s “Tokyo Dream”, a midtempo roots in ideas, emotions and group interplay—Lacy swinger, begins with clever interaction between piano Groove du Jour plays “I’ll Be Right Here Waiting” like a preacher Yes! Trio (Jazz&People) and brushed drums, includes a solo by Avital that is delivering a sermon, Ray and Drury a still-massive by George Kanzler reminiscent of Charles Mingus’ “Haitian Fight Song” two-man congregation—gives the album spaciousness and ends with sparkling piano-drums trades. Avital’s that goes beyond the fine engineering. Listening to the “Dr. Jackle” is a tune by Jackie McLean with a quick, “Bed-Stuy” begins in a slow groove but blooms into a music feels like being in a big hall with the musicians, tricky bebop line. It is played in unison by all three power ballad with rolling piano chords, a slap backbeat yet with a directness intimate enough to seem like the members of the Yes! Trio, Ali Jackson with brushes on and vamp climax full of ecstatic piano and bass trills. listener is the proverbial audience of one. his snare along with Aaron Goldberg’s piano and Omer This is all to say that The Law of Vibration is high- Avital’s pizzicato bass. The perfect balance and equality For more information, visit jazzandpeople.com. This project level modern jazz, completely satisfying if one wishes of the three encapsulates the aesthetic of this collective is at Jazz Standard Oct. 17th-20th. See Calendar.

kenny carr zinc bar - october 28 - 7:30 & 9 pm 82 w. 3rd street, nYc reservations suggested: (212) 477-9462 | zincjazz.com Featuring: kennY wollesen - drums | dannY walsh - sax | sam beven - bass

plaYing music From the criticallY acclaimed 2018 release “departure”

kennycarrguitar.com

34 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD

record. Halvorson, in speaking about the session, said The editing and mixing of Indigo Blue was done by it was a true collaboration with the pair composing another legendary fusion drummer who, like Clark, and arranging much of the music right on the spot. The has embraced different styles of music over the years, album features many cool aspects of modern guitar Lenny White. But White’s roots were acoustic jazz and playing like noise effects, edgy jazz lines, country his mixing adds to its generally ‘60s-minded sound. twangs and strutty riffs. Stylistically, Clark doesn’t do anything on Indigo Blue The short and stark “Excerpt from Spatial Serena” that he hadn’t already done in the past and while the (written by and using archival materal from composer performances don’t offer a lot of surprises, they’re and ethnomusicologist John Donald Robb) sets the consistent and Clark is in solid form as a drummer and Transatlantic Quartet spooky tone. The pluggy riff has a jagged overdrive group leader. Jeremy Carlstedt/Vincent Chancey/ sounding even more insistent with the phase and Serge Pesce/Barre Phillips (Fatto In Casa) panning effects; all the while, a brooding pad swells in For more information, visit ropeadope.com. Clark is at Jazz by Mark Keresman the background. “Short Knives” moves an auto-wah at Kitano Oct. 26th and Birdland Oct. 29th-30th with Frank diminished chord around a grounded slap bass Catalano. See Calendar. Free group/ensemble improvisation is a tricky emulation; the B section breaks the chord into prospect. It can yield joys and frustrations in lopsided a warbled arpeggio that keeps going more and more quantities and such is the case with Transatlantic out until it fades in a dreamy delay fog. IN PRINT Quartet. A foursome of Europeans and Americans, this “Lace Cap” has a “Crimson and Clover” tremolo grouping—plus a brief appearance by poet Barry and Far Eastern tinge, with manipulated delay times Wallenstein—maps out their own course in the sea of on the effect pedals creating dissonant lines that stand free with varied results. out against the washy backdrop. “Vega’s Array” has The ironically titled “Main Stream” has somber spare accompaniment with a wild harmonized melody; bowing from master bassist Barre Phillips, slashing gorgeous and dissonant chords alternate while moments from guitarist Serge Pesce and soulful cries supporting wild ukulele sounds mangled with delay. from French horn player Vincent Chancey. “Dis Donc” We get a hot drum loop and distorted Farfisa on features smears and restrained braying from Chancey “My Mother’s Lover”, the new wave jam bolstered by while the rest of the combo clatters in the background, intricate guitar comping and an anthemic synth Pesce letting loose with spidery tones, subtly increasing sneaking out behind the dueling guitars. More layers tension. After some uneasy near-silences Chancey of high synths are added until a vicious drum break. Jazz from Detroit Mark Stryker (University of Michigan Press) unleashes restrained roars over Jeremy Carlstedt’s “Better Than The Most Amazing Game” is circuit- by Kevin Canfield roiling, percolating drums. “Blues Again” features a bending at its best, a limping beat weighed down even bluesy cadence and a droll, mock-jivey narration more by sputtering guitars that snap and pop among Mark Stryker has spent the last 20 years (mocking The Beats, perhaps, or paying tribute?) from the found sounds. This is a lovely, moody album with interviewing Detroit jazz legends, visiting them at Wallenstein amid searing wails from Chancey and great whimsical pieces and unusual sonic treats. their homes, trekking to New York to watch them jittery lines from Pesce. perform and looking on as they shared their wisdom As this is a set of free improvisation, much of this For more information, visit newamrecords.com. This project with aspiring musicians. The veteran journalist’s has a tentative, somewhat cerebral feel except for the is at Roulette Oct. 28th. See Calendar. shoe-leather reporting informs his vibrant new concluding track: “Bass Travel” gets a melodic hook book, which reminds us that the Motor City is from French horn and guitar, Phillips getting in punchy “a national jazz power”. saws at his strings before the ensemble drifts into near- A portrait of an artistic community in good Hawaiian sighing textures. Then singing French horn times and in strife, Jazz from Detroit is a group is like a balm over clattering, distant-thunder-like biography of the pianists, singers, trumpeters, percussions rumbles and scratching guitar. The vibraphonists and others who’ve defined the city’s cumulative effect is almost symphonic—the band has jazz scene since the ‘40s. Some, like Kenny Garrett, guided us through a tempest and we’ve emerged after the late Geri Allen and James Carter, are a catharsis of sorts. internationally known. Others are regionally Not recommended as an introduction to group renowned. Each has had an estimable career, improv, but for the seasoned fan, it’s a good bet with whether starring at packed festivals, playing on Indigo Blue (Live at Iridium) vivid interplay and a thoughtful sense of restraint. Mike Clark (Ropeadope) storied recordings or teaching jazz in Detroit’s by Alex Henderson schools. Several of these musicians were among the For more information, visit fattoincasa.fr. Carlstedt is at millions of African Americans who moved north Bushwick Public House Oct. 21st and 28th. See Calendar. Because of his work with Herbie Hancock’s during the Great Migration and some worked in Headhunters and Brand X in the ‘70s, Mike Clark Michigan’s once-unrivaled auto industry.

continues to be celebrated for his contributions to Biographical details like these dovetail with fusion and jazz-funk. But the veteran drummer, who Stryker’s insights into the city’s economic downturn turns 73 this month, has played plenty of straightahead and shifting social and racial climates. acoustic jazz over the years. Indigo Blue: Live at the The book’s memorable personalities include the Iridium finds him leading a postbop sextet recalling late Marcus Belgrave, a trumpeter who mentored Blue Note recordings of the ‘60s. generations of musicians and whose “decision to The lineup is trumpeter Randy Brecker, alto remain anchored in Detroit” made him the city’s saxophonist Donald Harrison, Jr., tenor saxophonist jazz “patriarch”. Another notable presence is the Rob Dixon, pianist Antonio Farao and bassist Christian late saxophonist/flutist Yusef Lateef, who was four McBride and that ‘60s Blue Note influence asserts itself when his family moved to Detroit and later worked A Tangle of Stars on everything from uptempo smokers like Farao’s at a Chrysler plant; there are fascinating tidbits Mary Halvorson/John Dieterich (New Amsterdam) “Black Inside”, Dixon’s “If We Must Die” and composer about Lateef’s youth in the city—he boxed in the by Brian Charette Linda Reynolds’ “Past Lives” to Farao’s contemplative, gym that produced Joe Louis—and a disturbing good-natured ballad “Sweet”. anecdote about the night that Lateef, who was black, Guitarist Mary Halvorson has led groups of differing Brecker, of course, is an influential trumpeter in was assaulted by a white cop. size throughout her career, from trios to octets. Now his own right and while the Blue Note-ish horn Stryker writes equally well about Hank (piano), she presents a cooperative duo album with guitarist arrangements on “Of Infinity” or “Lucky No. 7” (both Thad (trumpet) and Elvin Jones (drums), Detroit- John Dieterich from the well-known indie rock band composed by Dixon) bring out early influences like area brothers whose work spans the stylistic Deerhoof, A Tangle of Stars. Lee Morgan and Freddie Hubbard, Brecker never fails trajectory of 20th century jazz. His profiles of Allen The guitarists had admired one other for a while to sound distinctive. and violinist Regina Carter—both grew up in and finally met at the Wels Unlimited Festival in Though the focus is on original material, the band Detroit; both championed women in jazz—are also Austria where they played a largely improvised offers exuberant performances of two tunes by pianist integral parts of this intelligent book. acoustic set together and had an instant connection. Thelonious Monk: “Well, You Needn’t” and “Straight, Over the next year, they sketched out some ideas and No Chaser”, both of which Monk first recorded for For more information, visit press.umich.edu ultimately met at Dieterich’s house in New Mexico to Blue Note (in 1947 and 1951, respectively).

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 35

closest to capturing the AACM jam. Jimmy Woode’s “Sconsolato” is probably best Chanted slogans provide the basis for rhythm and known for its 1968 version by the late Mark Murphy, melody, recalling the much-missed Ann Ward, who so but it’s a fairly obscure song. Sergeant should dig up often served as spontaneous bandleader and singing more unheard gems. Jody Redhage Ferber adds her spokesperson. In her big (though assuredly elegant) cello to this and “Smoke Gets in Your Eyes”, playing shoes we have singers Maggie Brown, Taalib-Din the unforgettable melody effectively in the song’s Ziyad and his son Saalik Ziyad. The big band, under midsection. The song itself, in medley with “These the direction of saxophonist Ernest Dawkins, also Foolish Things”, gets a cabaret-style reading. “The Best includes Isiah, Jeremiah and Micah Collier (two is Yet to Come” returns us to jazz for the wrap-up. Live @ Currency Exchange Cafe, Volume 1 brothers and a cousin who are rising stars in the city’s Sergeant is straddling a few genres on this release, but AACM Great Black Music Ensemble jazz scene), the versatile cornet player Ben Lamar Gay when was that a bad idea? (AACM Chicago Productions) and veteran percussionist Art Turk Burton. The 10 by Kurt Gottschalk tracks include a number of high points, most For more information, visit tednash.com. This project is at significantly the vocalese of Saalik Ziyad on “East”. Birdland Theater Oct. 29th. See Calendar. A new kind of AACM record has been emanating Ziyad died in February at 40 and Currency Exchange is from Chicago in recent years, one that shows an aspect one of the few releases on which he’s heard. of the organization less often captured on disc. The Another aspect reflected in the album is that, like on s creen venerable Association for the Advancement of Creative many labors of love, the organization can often be a Musicians was founded on a tenet of musicians well-meaning mess. The band photo on the cover isn’t composing and presenting their own work. That has the same as the personnel on the album—saxophonist remained a guiding principle for more than 50 years Douglas Ewart is pictured but doesn’t seem to be on but, of course, what constitutes composition in jazz is a the recording—and the lineup listed inside seems question that’s often asked and rarely answered. incomplete. Albums from the Chicago chapter of the Albums by members have tended to present the artist AACM have been rare of late and it’s a shame not to as composer, committing fairly refined material to get it right. But like the Fred Anderson Legacy Band posterity. It only makes sense. Artists should and release, this carries the inscription “Volume 1”. generally do use recordings to put their best foot Hopefully those are promises soon to be fulfilled. forward. But the AACM practice of free (or largely free) improvisation familiar to concertgoers hasn’t For more information, visit aacmchicago.org. Dawkins is at A Tuba to Cuba Directed by T.G. Herrington and Danny Clinch been heard nearly so often by the record-buying public. Symphony Space Leonard Nimoy Thalia Oct. 18th. See Calendar. (Blue Fox Entertainment) Fred Anderson Legacy Band’s Live (which I reviewed by Scott Yanow for TNYCJR in March) and the AACM Great Black Music Ensemble’s Live @ Currency Exchange change that game. In 2015, Preservation Hall Jazz Band made an The former is (seemingly) a free improv session including artistic pilgrimage to Cuba, absorbing the island’s some of the city’s finest elders while the latter’s diverse sounds and playing in sultry clubs alongside spontaneous songs built around simple themes comes some of its finest musicians. The journey has yielded a string of compelling projects. First came So It Is, a 2017 album of original compositions inspired by AfroCuban rhythms. Now the New Orleans-based band is back with a spirited documentary about its time in and around Havana. Smolder Kristen Lee Sergeant (Plastic Sax) Directed by T.G. Herrington and Danny Clinch, by Jim Motavalli A Tuba to Cuba features rousing performances—on street corners, in private homes and at storied Kristen Lee Sergeant is a trained sommelier, so you’d theaters—and memorable mini-profiles of forgive her if she chose to sing “Days of Wine and homegrown reed players, percussionists and Roses”, but instead she gives us “Smoke Gets in Your luthiers. Though its quick-cut montages are modern Eyes”, perhaps reflecting on nights spent with small and slick, the film is primarily concerned with the groups in cigar bars. Sergeant, a close collaborator past. For Ben Jaffe, Preservation Hall’s creative with the formidable alto saxophonist Ted Nash, is a director (he also plays tuba and double bass), the october 1st jazz singer, but with a strong Broadway/cabaret edge. trip is in homage to one his parents made decades Lena Bloch Feathery Ensemble She also veers into the Top 40, not in her approach but ago. In the early ‘60s, Allan and Sandra Jaffe moved in her choice of material; turns out Spandau Ballet’s from Philadelphia to New Orleans and started cheesy hit “True” has a pretty good melody. Preservation Hall, a performance space and october 8th Sergeant’s own pen makes a better showcase for eponymous band that embraced jazz history and, Paul West and the Lonnie West her voice. The ballad “Afterglow” finds her effectively unlike most Southern clubs of the era, welcomed Memorial Big Band using the lower registers. Midtempo “Balm/Burn” customers of all races. Ben Jaffe says he and his (One show only at 8 PM) (Nash on alto flute) is one of the better tracks, about bandmates feel a “responsibility as artists to make a partner who riles her up and calms her down in equal things whole” and one way to do this is to collaborate october 22nd measures, Jeb Patton adding a lyrical piano solo. with Cuban musicians. Annual Dizzy Gillespie Patton is also featured on Duke Ellington-Don More broadly, the documentary is a stirring and birthday celebration George-Johnny Hodges-Harry James’ “I’m Beginning perceptive exploration of Cuban music history. In Mike Longo’s NY State of the Art to See the Light”, introducing it with some stride licks. one scene, a percussionist demonstrates how to play Jazz Ensemble with Ira Hawkins and Jazz fans who have 10 versions of this song may not a chekeré, an instrument made from a gourd and guests Annie Ross and Jimmy Owens. need another one, but it’s perfectly fine. The same seeds; for Africans enslaved in Cuba, the chekeré (One show at 8 PM followed by FREE thing could be said of “Midnight Sun”, but that’s was a link to their rich heritage. Later, a Cuban film showing of Dizzy in concert) wrong because Sergeant does interesting things with music teacher explains that slaves, prohibited from it—the song is all introduction; you keep expecting it using drums, built boxy chairs that, when paddled to start gently swinging and it never does. Bassist with an open palm, made resonant sounds. To a Cameron Brown is heard to good effect. Cuban pianist, the language barrier between New York Baha’i Center At a slow ballad pace, the introduction of Cole Spanish-speaking Cubans and their English- 53 E. 11th Street Porter’s “It’s All Right With Me” shows off Sergeant’s speaking visitors isn’t an impediment. “There’s a (between University Place and Broadway) exceptionally clear lyric readings. The take really goes deeper bond there that comes from our roots,” he Shows: 8:00 & 9:30 PM through changes, a swinging midsection and then says, “which we all know are from Africa.” Gen Adm: $15 Students $10 much faster, led by piano. Want proof that Sergeant 212-222-5159 would acquit herself well in a musical? Alan Jay For more information, visit atubatocuba.com. This bahainyc.org/nyc-bahai-center/jazz-night Lerner-Frederick Loewe’s “Show Me”. She’s got the project is at Town Hall Oct. 24th. See Calendar. necessary drama down.

36 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD piano. In a relative sense, there is less of an obvious flow throughout the duration of the playing, but what on s creen the bold contrasts add up to is a compelling sense of logic, a formal design that comes out of each idea being run through to completion before the group moves on to the next one. There are individual tracks marked on each album, but they seem for the listeners’ convenience only. The Cowboy Transformation sounds vary from moment to moment, but everything Brad Barrett/Joe Morris/Tyshawn Sorey is of a piece. There are stretches of Cowboy Transfiguration (Fundacja Słuchaj!) ELK3 where one of the players drops out for a bit and Barrett Tyshawn Sorey/Nadav Remez/Antonin Tri Hoang has a solo passage, but these both work, ably, as full, (OutNow) extended improvisations. Neither record is better than Blue Note Records: Beyond The Notes by George Grella the other, nor are there any meaningful comparisons A Film by Sophie Huber between Sorey’s playing or the ensemble concepts. by Russ Musto Here are two improvising trio recordings anchored by This listener responded more powerfully to ELK3, but Tyshawn Sorey, playing drums with guitarist Joe your mileage will vary. The story of Blue Note Records’ 80-year history is Morris and bassist Brad Barrett and both drums and a unique one in the annals of the music industry. some prepared piano/piano interior with guitarist For more information, visit sluchaj.bandcamp.com and While it would be impossible to tell the entire saga Nadav Remez and alto saxophonist/bass clarinetist outnowrecordings.com. Sorey is at The Appel Room Oct. of the renowned label’s storied history in 84 minutes, Antonin Tri Hoang. Beyond the difference in 18th-19th with Joe Lovano. See Calendar. this film by Swiss director Sophie Huber does an instrumentation, there are drastic differences in excellent job of getting to the heart of just what has method and style, which speak to both Sorey’s made its (once somewhat interrupted) eight-decade preeminent musicianship and the perpetual riches to existence so momentous. be found in free improvisation. Beyond The Notes takes its title from a statement Barrett is the leader on Cowboy Transformation and by guitarist Lionel Loueke regarding Herbie writes in the liner notes of this, his debut album, that Hancock at a recording session pairing the pianist his ideas about free music are “deeply rooted” in and saxophonist Wayne Shorter, who helped propel Perpetual Frontier, Morris’ book on improvisation, as the label to fame in the ‘60s. A new generation of well as monumental figures like Cecil Taylor, Anthony Blue Note stars such as Loueke, Ambrose Braxton, Anton Webern and Karlheinz Stockhausen. Akinmusire, E.J. Strickland, Robert Glasper, Derrick That Mt. Rushmore-like mix makes for playing that is Hodge and Kendrick Scott speak throughout the Sentiments both skittering and exact, intelligent and energetic— film to how the label fueled their own development. Sahib Shihab (Storyville) it sounds like the musicians are listening to each other by George Kanzler This is more than a documentary detailing so with relaxed intensity and responding with trip-wire many historic recordings. It is a primer outlining reflexes. The feeling is firm and delicate, like an Sahib Shihab (Edmund Gregory took the Muslim a philosophy of how to create pioneering art that etching, the music full of details and also full of space. name in 1947), who died 30 years ago this month, is stands the test of time. That philosophy—seek out Morris’ rapid pointillist attacks float around tight best known for his appearances on some of Thelonious artists making groundbreaking musical statements interplay between Barrett and Sorey, the drummer Monk’s earliest (late ‘40s) recordings on alto saxophone, and give them the means to create—was put into tossing back timbres each time the bassist makes a as well as his tenure with Dizzy Gillespie’s ‘50s Big place by the label founders Alfred Lion and Francis rapid switch from pizzicato to arco. Band on baritone. He was in the baritone chair of Wolff and continued under the stewardship of Bruce Cowboy Transfiguration is like a peek into a particle Quincy Jones’ big band that dissolved in Europe in Lundvall, Michael Cuscuna and Don Was, all of collider, things flying by and bouncing off one another. 1959 and stayed on the continent until 1973, becoming whom speak to it with unbridled passion. ELK3 is heavier, muscular and athletic, physical where one of a number of prominent jazz expatriates who “Blue Note is the past, present and future,” says the other is more cerebral, like watching Picasso paint divided their time between Paris and Copenhagen. He producer/multi-instrumentalist Terrace Martin and in Henri-Georges Clouzot’s documentary. It’s a live also was a charter member (on baritone) of the Kenny the movie is as such a document of this, beginning recording from 2014 and that feeling and sound both Clarke-Francy Boland Big Band for its entire tenure, with film clips and sound bites related to the label’s come through vividly, capturing the space of the Banff 1961-73. Joining him on this date are pianist Kenny first sessions with boogie woogie pianist giants Centre for the Arts with no sacrifices to clarity. Drew, a fellow ex-pat based in Copenhagen; Niels- Albert Ammons and Meade Lux Lewis, before going ELK3 has a lot of drama, with sudden changes in Henning Ørsted Pedersen, the renowned Danish into depth regarding its immersion into bebop with density, activity, dynamics and texture. Remez uses a bassist, then in his mid 20s and yet to establish his the first recordings by pianist Thelonious Monk and broad range of techniques, from standard strumming reputation in America; and Jimmy Hopps, a young drummer Art Blakey, with insightful, often to playing near the tuning pegs. Along with the change American drummer Shihab had found in Paris. humorous commentary by saxophonist Lou in colors of his two instruments, Hoang plays around On the first side and first track of the second side Donaldson, including how a bribe by Blakey to with honking and slap-tonguing. Sorey himself drops of this reissued LP, Shihab plays soprano, concluding emcee Pee Wee Marquette changed the A Night at out for extended stretches, switching from drums to the side with two baritone tracks and a final one on Birdland recording by what was to be called the Blue alto flute. The repertoire, six originals by Shihab and Note All Stars to the Art Blakey Quintet. one from Drew, is surprisingly varied. The first two Donaldson and engineer Rudy Van Gelder have strong North African/Tunisian influences. speak endearingly of Lion and Wolff, the latter’s “Ma’Nee” is based on a song Shihab heard on a bus in stark black and white session and rehearsal Tunisia and he plays the melody over 14/8 time. photographs effectively utilized, along with “The Call” begins with a drone-like chant from soprano depictions of Reid Miles’ album cover designs, to before resolving into a bright melody in 5/4; the track make the film visually compelling in a manner that is notable for Pedersen’s fluttery, free-form solo. complements the musical soundtrack. “Rue de la Harpe”, a hardbop swinger, concludes the Hancock and Shorter both speak on camera on side with some of Shihab’s excellent soprano work. striving to make socially conscious music that spoke Hopps generates a percolating jazz-rock beat for to the moment but would also endure as art, the “Sentiments”, the Side Two opener, which finds Drew same sentiment expressed by the younger players, on organ and Pedersen on Fender bass for that one many of whom talk about the symbiotic relationship track. Shihab’s “From Me To You” is an attractive AABA between jazz and hip-hop. There is much to learned ballad embraced at a heartbeat tempo by his full-toned here, but perhaps its essence is best heard in baritone. Drew contributes a slower ballad, “Extase”, Lundvall’s words recounted by Glasper, “You’re the also limned by baritone in a trio setting without drums. artist, you make the art, it’s our job to sell it.” “Companionship” closes the album on a misty, ethereal plain, largely a duet between alto flute and bass, with For more information, visit bluenoterecords-film.com. soft percussion from Drew (bells) and Hopps. This film screens Oct. 22nd as part of BRIC JazzFest. For more information, visit bricartsmedia.org. For more information, visit storyvillerecords.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 37 album was recorded on tour in Europe and the U.S. something part voice and part instrument, but more BOXED SET at the back end of 2017 and features selections from visceral than either. It’s a gambit he favors many six dates, each represented by one CD. times through the nearly six hours of playing time, All the virtues of the DKV Trio stand present: though it reaches its apogee on his daringly fragile quintessential free grooves; hard-driving cadences; performance on the spiritually inflected “For Trayvon extemporized vamps; and freewheeling improvising. Martin (Giving Voice To One Which Was Stolen)”, To that you can add the heady and infectious backed by sparse pizzicato and drum commentary, pleasure of a second horn, either doubling up on the which forms one of the set’s many highlights. riffs or braiding contrapuntal lines. McPhee also Like an elite athlete, Drake can make time seem brings more overt lyricism, through both to bend to his will, allowing him to compress incisive compositional references to classics like Thelonious phrases gracefully into the tightest of spaces. In part Monk’s “Evidence” (which appears twice as he’s freed up by Kessler’s unfussy grounding, which The Fire Each Time “Circumstantial Evidence”), George Gershwin’s may not catch the ear, but whose impact becomes DKV Trio & Joe McPhee (Not Two) “Summertime” or Duke Ellington’s “Come Sunday”, obvious when he locks into the propulsive rhythms by John Sharpe as well as to his own predilection for juxtaposing to make them really take flight as he does half-way melody and mayhem in close proximity. through “Ebe Hanim” on the Poznan date. In The spirit of James Baldwin pervades the DKV Trio’s No matter whether the improvs begin in particular Don Cherry’s “Brown Rice” provides incendiary boxed set. The title derives from his seminal unaccompanied soliloquy or energetic abstraction, Drake with a showcase to stretch out while on collection of essays while many of the improvisations they usually resolve into something more direct. The clarinet Vandermark reiterates the circular theme to are named after significant locales in the writer’s life. number of Vandermark’s spontaneous R&B-flavored maintain the structure. Though Vandermark is rarely Having been active since the mid ‘90s, DKV is the figures is exceeded only by the ways in which Drake far from the action, if you had to choose a moment, longest-running unit of reed player Ken Vandermark can flex the beats. Consequently, when the band one of his most explosive and heartfelt solos arrives and still remains one of the hottest. It’s a band no picks up Vandermark’s motifs, it extrapolates, on the smoldering Chicago version of “Knox”. stranger to guests and the addition of McPhee elevates embellishes and adapts them to forge underlying Any one of these discs would be a dynamite the group conception to a whole new level. foundations, which give otherwise unfettered release in its own right. Taken as a boxed set, the Multi-instrumentalist Joe McPhee has a long excursions a cohesive feel. Two of McPhee’s cumulative effect is overwhelming. In Nobody Knows history with each member as part of Peter Brötzmann’s compositions help perform that same unifying My Name, Baldwin wrote: “All art is a kind of Chicago Tentet, as well as in duet with drummer function. Each time they emerge “Theme From confession, more or less oblique. All artists, if they Hamid Drake, in quartet with bassist Kent Kessler Knox” (on five occasions) and the stomping “Nation are to survive, are forced, at last, to tell the whole and saxophonist Rodrigo Amado, not forgetting Time” (four) fan the flames into full-blown rapture. story; to vomit the anguish up.” There’s anguish multiple hook ups with Vandermark, who has also Many of the more reflective episodes originate here for sure, but laced with an ineffable beauty too. recorded a disc of McPhee’s compositions. So with McPhee. Whether on tenor saxophone or although this was McPhee’s first time with the outfit, trumpet his playing comes drenched in emotion. He For more information, visit nottwo.com. McPhee is at there were no unknown quantities in the meeting and has developed to a fine art an affecting combination El Taller LatinoAmericano Oct. 11th and James Cohan accordingly they play to each other’s strengths. The of singing through his mouthpiece to create Gallery Oct. 12th. See Calendar.

mario trio arc pavone the scope of the piano trio

2008 paul bley matt wilson

arc trio chrome

2013 craig taborn 2017 matt mitchell gerald cleaver tyshawn sorey

Available at: playscape-recordings.com playscape recordings all digital download outlets celebrating 19 years of documenting creative music from a core group of veteran composer/improvisers mariopavone.com www.playscape-recordings.com

38 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

1er Oct. 1958 Action Tokyo 1975 Afrika Dada Jazz from Carnegie Hall (Frémeaux) Contemporary Jazz Quartet (Debut) Dexter Gordon (Elemental) Johnny Dyani (SteepleChase) Han Bennink/Sabu Toyozumi (Chap Chap) October 1st, 1958 October 1st, 1964 October 1st, 1975 October 1st, 1983 October 1st, 1995 This one-time answer to Norman As The New Thing crossed the About a year before tenor saxophonist Starting in 1978 with Witchdoctor’s This pairing of two continents’ Granz’ Jazz At The Philharmonic Atlantic and made its way across Dexter Gordon returned to the U.S. Son, South African bassist Johnny legendary drummers finds The (JATP) was organized by future media Europe and Scandinavia, local bands after 14 years living in Europe, he was Dyani had a productive relationship Netherlands’ Han Bennink (1942) on magnate Daniel Filipacchi and toured took up the mantle. One such group in Tokyo’s Yubin Chokin Hall during with Denmark’s SteepleChase the turf of Japan’s Sabu Toyozumi Europe in September-October 1958. was Denmark’s Contemporary Jazz his first trip to Japan. Joining him for Records, both with his own albums (1943) in the unusual environs of the It was a multi-generational and Quartet, whose most famous member this concert recording, discovered and and spots on those of others. This was Ogoori Minami Elementary School in (in homage to the JATP) multi-racial was trumpeter Hugh Steinmetz. released 43 years after the fact, is his penultimate set for them (he died Yamaguchi Prefecture. These two group: drummer Kenny Clarke, Joining him, bassist Steffen Andersen Gordon’s regular pianist and bassist two years later at 40), an international were involved in a large swathe of bassist Oscar Pettiford, trombonists and alto saxophonist Franz Beckerlee during his time overseas: Kenny session with saxophonists Charles avant jazz since the ‘60s in numerous Kai Winding and J.J. Johnson, pianists is famed American New Thing Drew and Niels-Henning Ørsted Davis and Ed Epstein, second bassist international settings, history they Red Garland and Phineas Newborn pioneer Sunny Murray (stepping in Pedersen. Completing the quartet is Thomas Østergren and the rhythms of bring to bear on individual solo pieces and alto saxophonist Lee Konitz. The for drummer Bo Thrige Andersen). the youngest of the Heath brothers, steel drummer Rudy Smith, drummer (Bennink adding piano to his) and dozen tunes from Paris’ Olympia Hall The album is five pieces written by Albert, on drums. One Gordon Gilbert Mathews and Dyani’s stepson then a collaborative effort, the nearly are a typical mix of jazz standards and individual band members and two original and three jazz standards Thomas on congas. The nine tunes are 23-minute-long “Dadakko (Off The songbook pieces. collaborative originals by the Danes. make up the 38-minute set. all Dyani originals. Beaten Track Children)”. BIRTHDAYS October 1 October 6 October 11 October 17 October 22 October 28 †André Paquinet 1926-2014 Norman Simmons b.1929 †Curtis Amy 1919-2002 †Cozy Cole 1906-81 †Giorgio Gaslini 1929-2014 †Chico O’Farrill 1921-2001 Dave Holland b.1946 Steve Elmer b.1941 †Art Blakey 1919-90 †Barney Kessel 1923-2004 †Tyrone Hill 1948-2007 Cleo Laine b.1927 Mark Helias b.1950 Masahiko Satoh b.1941 †Billy Higgins 1936-2001 †Sathima Bea Benjamin Jane Bunnett b.1955 Andy Bey b.1939 Tony Dumas b.1955 Mark Whitfield b.1966 †Lester Bowie 1941-99 1936-2013 Hans Glawischnig b.1970 Jay Clayton b.1941 Fred Lonberg-Holm b.1962 †Fred Hopkins 1947-99 Joseph Bowie b.1953 Glen Moore b.1941 October 7 Federico Ughi b.1972 Howard Alden b.1958 October 23 †Elton Dean 1945-2006 October 2 †Papa Jo Jones 1911-85 Manuel Valera b.1980 †Sonny Criss 1927-77 Michel Pilz b.1945 †Wally Rose 1913-97 †Alvin Stoller 1925-92 October 12 †Fats Sadi 1927-2009 Richard Bona b.1967 †Phil Urso 1925-2008 †Larry Young 1940-78 †Mel Rhyne 1936-2013 October 18 †Gary McFarland 1933-71 Kurt Rosenwinkel b.1970 †Howard Roberts 1929-92 Aaron Parks b.1983 Ed Cherry b.1957 †Anita O’Day 1919-2006 Ernie Watts b.1945 †Ronnie Ross 1933-91 Michael Mossman b.1959 †Bent Jaedig 1935-2004 Tristan Honsinger b.1949 October 29 EDDIE HENDERSON Peter A. Schmid b.1959 October 8 Harry Allen b.1966 †JC Moses 1936-77 Dianne Reeves b.1956 †Hadda Brooks 1916-2002 October 26th, 1940 Django Bates b.1960 †JC Heard 1917-88 Wynton Marsalis b.1961 †Neil Hefti 1922-2008 †Pepper Adams 1930-86 October 13 Bill Stewart b.1966 October 24 †Zoot Sims 1925-85 Not many people would October 3 John Betsch b.1945 †Art Tatum 1909-56 Myron Walden b.1972 †Louis Barbarin 1902-97 †Pim Jacobs 1934-96 walk away from the lucrative †Edgar Battle 1907-77 Steven Bernstein b.1961 Terry Gibbs b.1924 Esperanza Spalding b.1984 †Jimmie Powell 1914-94 Siggi Busch b.1943 world of medicine for the †Buddy Banks 1909-91 Ted Kooshian b.1961 †Ray Brown 1926-2002 Odean Pope b.1938 Emilio Solla b.1962 uncertain life of a jazz †Von Freeman 1922-2012 †Tommy Whittle 1926-2013 October 19 Jay Anderson b.1955 Mats Gustafsson b.1964 musician but when the George Wein b.1925 October 9 Lee Konitz b.1927 †Red Richards 1912-98 Rick Margitza b.1961 Josh Sinton b.1971 opportunity to play with Charles Downs b.1943 †Elmer Snowden 1900-73 †Johnny Lytle 1932-95 Eddie Daniels b.1941 Herbie Hancock came up, Mike Clark b.1946 †Bebo Valdes 1918-2013 Pharoah Sanders b.1940 Ronnie Burrage b.1959 October 25 October 30 that is just what Eddie Michael Bowie b.1961 †Yusef Lateef 1920-2013 Joachim Badenhorst b.1981 Tim Garland b.1966 †Eddie Lang 1902-33 †Teo Macero 1925-2008 Henderson chose. While the Carsten Dahl b.1967 Abdullah Ibrahim b.1934 †Don Banks 1923-80 †Bobby Jones 1928-80 trumpeter did go on to Chucho Valdés b.1941 October 14 October 20 Jimmy Heath b.1926 †Clifford Brown 1930-56 complete his studies and October 4 Satoko Fujii b.1958 Duško Gojković b.1931 †Jelly Roll Morton 1890-41 Terumasa Hino b.1942 Trilok Gurtu b.1951 work as a doctor, that early †Noel Chiboust 1909-94 Kenny Garrett b.1960 †Fritz Pauer 1943-2012 †Johnny Best 1913-2003 Robin Eubanks b.1955 gamble paid off. Henderson †Marvin Ash 1914-74 Jeff Albert b.1970 †Garrison Fewell 1953-2015 †Ray Linn 1920-96 October 31 was part of Hancock’s famed †Walter Bishop 1927-98 Amy Cervini b.1977 Kazumi Watanabe b.1953 †Willie Jones 1929-1991 October 26 Toshiyuki Miyama b.1921 Mwandishi group, which led †Leon Thomas 1937-99 †Eddie Harris 1934-96 †Charlie Barnet 1913-91 †Illinois Jacquet 1922-2004 to Henderson’s first two Mark Levine b.1938 October 10 October 15 Dado Moroni b.1962 †Warne Marsh 1927-87 †Ted Nash 1922-2011 albums (including most of Steve Swallow b.1940 †Harry “Sweets” Edison Freddy Cole b.1931 Mark O’Leary b.1969 Eddie Henderson b.1940 †Bob Graettinger 1923-57 the Mwandishi personnel). Eddie Gomez b.1944 1915-99 †Joe Roccisano 1939-97 †Ray Crane 1930-94 He has since released over a Robert Hurst b.1964 †Thelonious Monk 1917-82 Palle Danielsson b.1946 October 21 October 27 †Booker Ervin 1930-70 dozen more and recorded Mat Maneri b.1969 †Monk Montgomery 1921-82 Bo Stief b.1946 †Don Byas 1912-72 †Sonny Dallas 1931-2007 Les Tomkins b.1930 with Charles Earland, Billy †Julius Watkins 1921-77 Bill Charlap b.1966 †Dizzy Gillespie 1917-93 Barre Phillips b.1934 Johnny Williams b.1936 Hart, Richard Davis, Pharoah October 5 †Oscar Brown Jr. 1926-2005 Reid Anderson b.1970 †Don Elliott 1926-84 Philip Catherine b.1942 †John Guerin 1939-2004 Sanders, Kenny Barron, Gary †Jimmy Blanton 1918-42 Junior Mance b.1928 Bobby Few b.1935 Arild Andersen b.1945 Reimer Von Essen b.1940 Bartz, Billy Harper, McCoy †Bill Dixon 1925-2010 †Ed Blackwell 1929-92 October 16 Jerry Bergonzi b.1947 Nick Stephens b.1946 †Sherman Ferguson 1944-2006 Tyner, Archie Shepp, Benny †Donald Ayler 1942-2007 Cecil Bridgewater b.1942 Ray Anderson b.1952 Marc Johnson b.1953 Ken Filiano b.1952 David Parlato b.1945 Golson, The Cookers and Clifton Anderson b.1957 Scott Reeves b.1950 Tim Berne b.1954 Fred Hersch b.1955 David Hazeltine b.1958 †Bob Belden 1956-2015 many more. -AH Tord Gustavsen b.1970 Pam Fleming b.1957 Roy Hargrove b.1969 David Weiss b.1964 Amanda Monaco b.1973 Vincent Gardner b.1972 CROSSWORD

1 2 3 4 5 6 7 8 ACROSS DOWN

1. Argentinian saxophonist Barbieri 1. Longtime Willem Breuker bassist Arjen 9 10 5. Saxophonist Aaron, ukelele player Lagrimas and 2. Saxophonist served with blue cheese? harpist Rosen 3. 2019 Whit Dickey AUM Fidelity album The ____ Quartets 11 12 9. Singer Gayle or pianist Jason 4. Birthplace of saxophonist Jane Bunnett (abbr.) 10. Brass player Ken, singer Kathy and 5. Clifford Jordan song named for a Native American tribe 13 14 percussionist Anna 6. Birthplace of pianist Shahin Novrasli 11. 1977 Ray Russell DJM album Ready ____ 7. Dejan Ilijić, Marko Stojiljković, Miloš Vojvodić, 12. Operatic tenor Kornstad 15 16 17 18 Slađan Milenović 13. Dave Brubeck’s rank in the U.S. Army 8. Bandleaders need this no. for sideperson 1099s 14. 1965 Nina Simone Philips album ____ A Spell On You 9. The M in MOPDtK? 19 20 21 22 15. Italian trombonist Gianluca 10. 1956 Bing Crosby/Buddy Bregman Verve album 19. Label that originated the crowdfunding model Bing Sings ____ Bregman Swings 23 23. Often included in album packaging 16. ECM guitarist David is cousins with this late actor 24. Dutch improvised music label 17. Guitarist nickname 26. A.R. Penck, Frank Wollny, Heinz Wollny 24 25 26 18. Like Mosaic boxed sets (abbr.) 27. Record label headed by Heiner Stadler 20. ____ Spirits label 28. Bandleader Schneider with albums on 19 Across 21. What jazz musicians rarely do? 27 28 29 30. Neither flat nor natural 22. Vocalists James and Jones 31. Bassist Borsum and violinists Ericsson and Brodahl 24. Bassist Tim who works often with 29 Down 30 31 32. 2016 Charlie Hunter album Everybody Has A ____ 25. Simple song form Until They Get Punched In The Mouth 27. New millennium RCA Victor reissue catalogue prefixes 33. Saxophonist Fielder or Barlow 28. Type of range 32 33 29. Guitarist Mendoza

By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 39 CALENDAR

êDonald Harrison Nouveau Swing with Zaccai Curtis, John Benitez, Joe Dyson êA Tribute To Sonny Fortune: Kamau Adilifu Quartet with Michael Cochrane, Calvin Hill, Tuesday, October 1 Smoke 7, 9, 10:30 pm $35 Darrell Green Sistas’ Place 9, 10:30 pm $25 • Jake Richter Trio with Connor Evans, Benjamin Young; Jonathan Saraga Trio with êBrian Marsella, Ikue Mori, Kenny Wollesen • Duduka da Fonseca Trio with Helio Alves, Peter Washington; Don Braden Quartet with Walter Stinson, Aaron Seeber Bar Next Door 6:30, 8:30, 10:30 pm $12 The Stone at The New School 8:30 pm $20 Art Hirahara, Kenny Davis, Jeremy Warren • Ron Carter Big Band Birdland 8:30, 11 pm $40 • Terraza Big Band Terraza 7 8:30 pm $15 Smalls 7:30, 10:30 pm $20 • Charlie Judkins Bryant Park 12:30 pm • Ternovka Ensemble with Zhenya Lopatnick êDonald Harrison Nouveau Swing with Zaccai Curtis, John Benitez, Joe Dyson • Mathis Picard Sound Orchestra; Endea Owens and The Cookout Town & Village Synagogue 8:30 pm $15 Smoke 7, 9, 10:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35 • Carol Morgan/Russell Kranes Uke Hut 8 pm $20 êCyro Baptista/Brian Marsella The Stone at The New School 8:30 pm $20 • Keith Brown Dizzy’s Club 11:15 pm $5 êBarry Harris Trio with Ray Drummond, Leroy Williams êFinding Friends Far From Home—A Journey With Clara Net: Oran Etkin’s Timbalooloo • Gerardo Contino The Django at The Roxy Hotel 7:30, 10:30 pm Village Vanguard 8:30, 10:30 pm $35 Symphony Space Leonard Nimoy Thalia 11 am $17 • Allen Rubinstein Trio; Craig Wuepper • Prasanna with Shalini, Ofer Assaf, Panagiotis Andreou, Mauricio Zottarelli Fat Cat 7 pm 12:30 am $10 Friday, October 4 Terraza 7 7 pm $15 • Ralph Alessi with Ravi Coltrane, Chris Lightcap, Nasheet Waits; Dayna Stephens, êBarry Harris Trio with Ray Drummond, Leroy Williams Ben Monder, Pablo Menares, Diego Voglino • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Yuko Oz/Erich Fischer 5C Café 8 pm Village Vanguard 8:30, 10:30 pm $35 Halyard’s 8, 10 pm $10 • • Beegie Adair Trio with Roger Spencer, Scott Neumann • Helen Kay Quartet Jazz at Kitano 8 pm • Mike Holober and Balancing Act Aaron Davis Hall 8 pm $20 Weill Recital Hall at Carnegie Hall 8 pm $65-80 • The Baylor Project: Jean Baylor, Marcus Baylor, Keith Loftis, Terry Brewer, • Patrick Cornelius Trio with Pablo Menares, EJ Strickland Richie Goods Jazz Standard 7:30, 9:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 Sunday, October 6 êThe Beat Goes On—The Art Blakey Sound: Juilliard Jazz Duke Ellington Ensemble • Ron Carter Big Band Birdland 8:30, 11 pm $40 • Bruce Harris Birdland Theater 7, 9:45 pm $20-30 led by Bobby Watson Juilliard School Paul Hall 7:30 pm • A Benefit for the Veronica Pellitteri Memorial Fund: Marcello Pellitteri Band with Marilyn Kleinberg; Lucy Yeghiazaryan êRobert Glasper Trio with Derrick Hodge, Chris Dave and guest Yasiin Bey • Blue Note 8, 10:30 pm $75 Donny McCaslin, Tim Ries, David Gilmore Mezzrow 7:30, 10:30 pm $20 Birdland 5:30 pm $30 êThe Comet is Coming: Danalogue, Betamax, King Shabaka • Charlie Judkins Bryant Park 12:30 pm • Marco Sanguinetti Quartet with Agustin Uriburu, DJ Migma, Juan Chiavassa and guest • Kelly Green Trio with Alex Tremblay, Evan Hyde Music Hall of Williamsburg 9 pm $20 Birdland Theater 7 pm $20-30 • Feathery: Lena Bloch, Russ Lossing, Cameron Brown, Billy Mintz Daniele Germani Consulate General of Argentina 8:30 pm New York City Baha’i Center 8, 9:30 pm $15 • Sarah McKenzie with Dan Wilson, Troy Roberts, Donald Edwards • Ernie Hammes Group Blue Note 11:30 am 1:30 pm $39.50 • Charlie Rhyne Quartet with Drew Vandewinckel, Mikey Migliore, Brian Carter Dizzy’s Club 7:30, 9:30 pm $40 êRobert Glasper Trio with Derrick Hodge, Chris Dave and guest Yasiin Bey The Roxy Lounge at Roxy Hotel 8 pm $10 • Keith Brown Dizzy’s Club 11:15 pm $10 Blue Note 8, 10:30 pm $75 • Bruce Gregori Silvana 6 pm • Ken Fowser Quintet; Andy Farber Sextet êNnenna Freelon with Miki Hayama, Chris Berger, Adonis Rose êSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold; The Django at The Roxy Hotel 7:30, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $35 Frank Lacy Band Smalls 7:30, 10:30 pm $20 • Leo Sherman; Jared Gold/Dave Gibson; Ray Parker • Sam Ospovat solo; Guillermo Gregorio/Jeff Shurdut êBrian Marsella/Jon Irabagon The Stone at The New School 8:30 pm $20 Fat Cat 6, 10:30 pm 1:30 am $10 Downtown Music Gallery 6, 7 pm êBarry Harris Trio with Ray Drummond, Leroy Williams • Leon and The People’s Ginny’s Supper Club 7:30 pm $15 • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band Village Vanguard 8:30, 10:30 pm $35 • Joaquin Pozo Greater Calvary Baptist Church 7 pm $10 Fat Cat 6, 8:30 pm $10 • Robert Black solo Zürcher Gallery 8 pm $15 • Sara Serpa with Angelica Sanchez, Ingrid Laubrock êStanley Jordan Iridium 8, 10 pm $40-50 Happylucky no.1 8 pm $20 êSullivan Fortner Trio with John Patitucci, Nasheet Waits Wednesday, October 2 • Rhys Chatham’s The Sun Too Close to the Earth with Karen Haglof, Jazz Standard 7:30, 9:30 pm $30 Anna Roberts-Gevalt, Sarah Register, Ernie Brooks, Jonathan Kane, Anthony Coleman, • Neal Kirkwood, Ron Horton, Tim Harrison êMIke Stern 55Bar 10 pm Jaimie Branch, Jen Baker, Reut Regev Mezzrow 7:30 pm $20 êAlexis Cole Trio with David Finck, Kenny Hassler Issue Project Room 8 pm $20 êJason Marshall Big Band Minton’s 7:30, 9:30 pm $10 An Beal Bocht Café 8, 9:30 pm $20 êFrank Catalano Quartet with Theo Hill, Jay Anderson, Adam Nussbaum • Roz Corral Trio with John Hart, Paul Gill êE.J. Strickland Quartet with Jaleel Shaw, Marcus Strickland, Ben Williams Jazz at Kitano 8, 10 pm $34 Mat Maneri Dust Quartet with Lucian Ban, Brad Jones, Randy Peterson; Mat Maneri and North Square Lounge 12:30, 2 pm Bar Bayeux 8 pm • • Lucas Kadish Trio with Nick Dunston, Tim Angulo; Nick Dunston Trio with Jeong Lim Yang Quartet Bar Lunàtico 8:30, 10 pm $10 Friends with Craig Taborn, Tony Malaby, Joe Morris, Tanya Kalmanovitch, • Matthew Shipp The Jazz Gallery 7:30, 9:30 pm $25 Wendy Eisenberg, Karen Ng The Owl Music Parlor 7:30 pm $10 • Andrew Cheng Trio with Marcello Maccagnan, Sebastian Chiriboga • Yuko ito, Michika Fukumori, Michael O’Brien Bar Next Door 6:30 pm êSullivan Fortner Trio with John Patitucci, Nasheet Waits Jazz Standard 7:30, 9:30 pm $30 Russian Samovar 3 pm • Ron Carter Big Band Birdland 8:30, 11 pm $40 • Magos Herrera Saint Peter’s Church 6 pm êBirdography—Celebrating Art Blakey: David DeJesus, Chris Smith, David Wong, êPete Malinverni, Neal Miner, Aaron Seeber Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Andrew Boudreau, Simon Willson, Dayeon Seok; Sunyun Yoo’s Meanings Adam Birnbaum, James Burton III, Brandon Lee Scholes Street Studio 7 pm $10 Birdland Theater 9:45 pm $20-30 • Paula West; Benny Benack III Mezzrow 7:30, 10:30 pm $20 • Charles Turner Minton’s 7:30, 9:30 pm $20 • Shrine Big Band Shrine 8 pm • Charlie Judkins Bryant Park 12:30 pm • Andy Farber Sextet with Bruce Harris, Jeffery Miller, Adam Birnbaum, Felix Moseholm, êFranklin Kiermyer’s Scatter The Atoms That Remain with Mike Troy, Davis Whitfield, • Vinicius Gomes Quartet with Vitor Gonçalves, Peter Slavov, Rogério Boccato Otto Gardner Dizzy’s Club 7:30, 9:30 pm $35 Neighborhood Church of Greenwich Village 8, 9:30 pm Alvester Garnett; Tad Shull Quartet with Rob Schneiderman, Paul Gill, Joe Strasser • Keith Brown Dizzy’s Club 11:15 pm $5 êJohn Raymond and Real Feels Nublu 151 10 pm $15 Smalls 7:30, 10:30 pm $20 • Charles Turner Quartet; Javier Nero Jazz Orchestra • Ron Jackson Trio Room 623 at B2 Harlem 10 pm $15-20 êDonald Harrison Nouveau Swing with Zaccai Curtis, John Benitez, Joe Dyson The Django at The Roxy Hotel 7:30, 10:30 pm • Take Off Collective: Ole Mathisen, Matt Garrison, Marko Djordjevic Smoke 7, 9, 10:30 pm $35 • Wen-Ting Wu; TNT Quartet; Ned Goold Jam ShapeShifter Lab 7 pm $15 • Bill Stevens Songbook with Corey Larson, Paul Pricer Fat Cat 7, 9 pm 12:30 am $10 • Justus Heher; Josiah Boornazian Shrine 6, 7 pm Tomi Jazz 7 pm • Louis Armstrong Legacy Jam led by Carol Sudhalter • Michael Sarian Acoustic Quartet Silvana 6 pm êBarry Harris Trio with Ray Drummond, Leroy Williams Flushing Town Hall 7 pm $10 • Duduka da Fonseca Trio with Helio Alves, Peter Washington; Don Braden Quartet with Village Vanguard 8:30, 10:30 pm $35 êAkira Sakata/Darin Gray James Cohan Gallery 6:30 pm Art Hirahara, Kenny Davis, Jeremy Warren; Wallace Roney, Jr. • Celia Berk with Billy Drewes, Jay Anderson, Adam Nussbaum Smalls 7:30, 10:30 pm 1 am $20 Jazz at Kitano 8, 10 pm $18 êDonald Harrison Nouveau Swing with Zaccai Curtis, John Benitez, Joe Dyson • Caroline Davis/Rob Clearfield’s Persona Smoke 7, 9, 10:30 pm $35 The Jazz Gallery 7:30, 9:30 pm $15 • Very Still Life: Jacob Sacks, Vinnie Sperrazza and guest; Gabriel Zucker; Aaron Roche; • The Baylor Project: Jean Baylor, Marcus Baylor, Keith Loftis, Terry Brewer, Nina Dante Spectrum 7 pm $15 Richie Goods Jazz Standard 7:30, 9:30 pm $30 êBrian Marsella/Erik Friedlander The Stone at The New School 8:30 pm $20 • Duane Eubanks, Anthony Wonsey, Gerald Cannon; Pete Malinverni êBarry Harris Trio with Ray Drummond, Leroy Williams Mezzrow 7:30, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Magos Herrera Tribute to João Gilberto with Maucha Adnet, Kurt Elling, Anat Cohen, Gregoire Maret, Guilherme Monteiro, Helio Alves, Edward Perez, Alex Kautz Saturday, October 5 National Sawdust 7:30 pm $25 • Judy Niemack, John DiMartino, Doug Weiss êDissident Arts Festival: The Beyond Group: Cheryl Pyle, Michael Eaton, Larry Roland, Saint Peter’s Church 1 pm $10 François Grillot, Reggie Sylvester; Flames Of Discontent: John Pietaro/Laurie Towers; • Mari Boine/George Buljo Scandinavia House 7:30 pm $35 Judy Gorman; Zigi Lowenberg/Russell Dale; Puma Perl and Friends with • Jon Snell Shrine 6 pm Walter Steding, Joff Wilson, Joe Sztabnik, John Pietaro; Trudy Silver; Rose Tang, - • Carol Morgan Silvana 6 pm Ayumi Ishito, Wen-Ting Wu 17 Frost Theater of the Arts 7 pm • Scott Sharrard Grant Green Tribute with Pat Bianchi, Tony Mason, Craig Dreyer, • Quentin Angus Trio with Can Olgan, Rogério Boccato Kenny Brooks; Hendrik Meurkens Quartet with Akiko Tsuruga, Ed Cherry, Bar Next Door 7:30, 9:30, 11:30 pm $12 Jason Tiemann Smalls 7:30, 10:30 pm $20 • Ron Carter Big Band Birdland 8:30, 11 pm $40 • A Tribute to Wayne Shorter: Nicole Glover, Emilio Modeste, Sasha Berliner, • Bruce Harris Birdland Theater 7, 9:45 pm $20-30 Sean Mason, Neal Caine, Rodney Green êRobert Glasper Trio with Derrick Hodge, Chris Dave and guest Yasiin Bey Smoke 7, 9, 10:30 pm $20 Blue Note 8, 10:30 pm $75 êGatos do Sul: Brian Marsella, Itai Kriss, Mark Feldman, Jon Irabagon, Pablo Aslan, • The Rasslers: Mark Ehrhardt, Chet Mazur, Tim Mullins, Nick Romanenko; Kenny Grohowski, Cyro Baptista The Stone at The New School 8:30 pm $20 Patricia Spears Jones/Nicole Wallace Tribute to Steve Cannon; Ava Mendoza, êBarry Harris Trio with Ray Drummond, Leroy Williams Daniel Carter, James Brandon Lewis, Shayna Dulberger; Welf Dorr Unit with Village Vanguard 8:30, 10:30 pm $35 Keisuke Matsuno, Dmitry Ishenko, Kevin Shea Children’s Magical Garden de Carmen Rubio 1:30 pm • Denton Darien Trio Cleopatra’s Needle 8 pm Thursday, October 3 êNnenna Freelon with Miki Hayama, Chris Berger, Adonis Rose • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm Dizzy’s Club 7:30, 9:30 pm $45 • Cesar Garabini/Yotam Silberstein Bar Lunàtico 8:30, 10 pm $10 • Keith Brown Dizzy’s Club 11:15 pm $20 • Olin Clark Trio with Sam Weber, Owen Hyde; Nate Radley Trio with Matt Clohesy, • Giuseppe Venezia Quartet; “King” Solomon Hicks Adam Nussbaum Bar Next Door 6:30, 8:30, 10:30 pm $12 The Django at The Roxy Hotel 8, 10:30 pm • Ronny Whyte and Cecilia Coleman Big Band • Anthony Wonsey; Raphael D’lugoff Quintet; Greg Glassman Jam Birdland 5:30 pm $30 Fat Cat 7, 10 pm 1:30 am $10 • Ron Carter Big Band Birdland 8:30, 11 pm $40 • Antonio Hart Quartet Flushing Town Hall 8 pm $16 êRobert Glasper Trio with Derrick Hodge, Chris Dave and guest Yasiin Bey • Mighty Sparrow Ginny’s Supper Club 8 pm $15 Blue Note 8, 10:30 pm $75 • Sara Serpa Happylucky no.1 8 pm $20 êWadada Leo Smith/Pheeroan akLaff; Akira Sakata and Chikamorachi with Darin Gray, • Petroloukas Halkias and Vasilis Kostas with Ben Bahia Cohen, Panos Georgakopoulos Chris Corsano Brooklyn Music School 8 pm and guests Holy Trinity Cathedral 7 pm $45 • Charlie Judkins Bryant Park 12:30 pm êStanley Jordan Iridium 8, 10 pm $40-50 • Kuni Mikami Duo Cleopatra’s Needle 7 pm • Rhys Chatham’s The Sun Too Close to the Earth with Karen Haglof, êDonald Edwards Quintet with Anthony Wonsey, Luques Curtis, Abraham Burton, Anna Roberts-Gevalt, Sarah Register, Ernie Brooks, Jonathan Kane, Anthony Coleman, David Gilmore Dizzy’s Club 7:30, 9:30 pm $40 Jaimie Branch, Jen Baker, Reut Regev • Keith Brown Dizzy’s Club 11:15 pm $10 Issue Project Room 8 pm $20 • Charles Ruggiero Quartet; Ian Hendrickson-Smith • Fred Moten James Cohan Gallery 2 pm The Django at The Roxy Hotel 7:30, 10:30 pm • Tom Pappas Quintet with Bob Magnuson, Takaaki Otomo, Frank Tate, Tim Horner • Rafael Mondeagudo and Music Connection; Saul Rubin Zebtet; Paul Nowinski Jazz at Kitano 8, 10 pm $34 Fat Cat 7, 10 pm 1:30 am $10 • Fabian Almazan Trio with Linda May Han Oh • Zac Zinger Group with Sharik Hasan, Adam Neely, Luke Markham The Jazz Gallery 7:30, 9:30 pm $25 Jazz at Kitano 8, 10 pm $18 êSullivan Fortner Trio with John Patitucci, Nasheet Waits êChris Lightcap’s Superbigmouth with Craig Taborn, Tony Malaby, Chris Cheek, Jazz Standard 7:30, 9:30 pm $30 Jonathan Goldberger, Curtis Hasselbring, Gerald Cleaver, Dan Rieser êPete Malinverni, Neal Miner, Aaron Seeber The Jazz Gallery 7:30, 9:30 pm $15 Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Afro Yaqui Music Collective Jazz Museum in Harlem 7 pm $10 • Paula West; Jon Davis Mezzrow 7:30, 10:30 pm $20 êSullivan Fortner Trio with John Patitucci, Nasheet Waits êJC Hopkins Biggish Band with Joy Hanson, Shawn Whitehorn, Vanisha-Arleen Gould, Jazz Standard 7:30, 9:30 pm $30 Nico Sarbanes Minton’s 7:30, 9:30 pm $20 • Peter Mazza Mezzrow 7:30 pm $20 • Marco Sanguinetti Quartet with Agustin Uriburu, DJ Migma, Juan Chiavassa and guest • Andrea Brachfeld and Insight Michiko Studios 8 pm $20 Daniele Germani; Gileno Santana Trio with Philip Norris, Domo Branch êJazzmobile: Jimmy Owens Minton’s 7:30, 9:30 pm Nublu 9, 11 pm $15 • Pamelia Stickney’s Transcendental Dissonance Quartet with Sarah Bernstein, • Family Concert—Who is Chick Corea?: Sean Mason, Micah Thomas, Tyler Henderson Stuart Popejoy, Danny Tunick; ODES & fragments: Chris Mannigan, Danny Tunick, Rose Theater 1, 3 pm $10-25 Pamelia Stickney The Owl Music Parlor 7:30 pm $10 • Ben Rolston Qualia Quartet with Caleb Curtis, Adam Good, Lesley Mok; • Don Hanson Silvana 6 pm Morgan Guerin Group Scholes Street Studio 8 pm $10 • Caroline Davis Quintet with Marquis Hill, Julian Shore, Chris Tordini, Allan Mednard; • Hong’s Voices Shrine 7 pm Michael Feinberg Quintet with Tivon Pennicott, Giveton Gelin, Benito Gonzalez, • The Young Lions Jazz Orchestra Silvana 6 pm Ian Froman; Malick Koly Smalls 7:30, 10:30 pm 1 am $20

40 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD Monday, October 7 • Gregor Huebner’s El Violin Latino with Portinho, Klaus Mueller, Itaiguara Saturday, October 12 Zinc Bar 8:30 pm êAlex Harding/Lucian Ban Bar Lunàtico 8:30, 10 pm $10 êRodney Jones Trio with Lonnie Plaxico, Ronnie Burrage • Lisa Hoppe Trio with Webb Crawford, Leslie Mok; Teri Roiger Trio with Steve Berger, Thursday, October 10 Bar Next Door 7:30, 9:30, 11:30 pm $12 John Menegon Bar Next Door 6:30, 8:30, 10:30 pm $12 • Ron Carter Golden Striker Trio with Russell Malone, Donald Vega • Tedd Firth Trio Birdland Theater 8:30 pm $20-30 • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm Erich Johnson Trio with Leo Catricala, Wei-Ting Wu; Dave Stryker Trio with Jared Gold, Birdland 8:30, 11 pm $40 • Butcher Brown: DJ Harrison, Andrew Randazzo, Morgan Burrs, Marcus Tenney, • • Hila Kulik Group Birdland Theater 7, 9:45 pm $20-30 Corey Fonville Blue Note 8, 10:30 pm $25 McClenty Hunter Bar Next Door 6:30, 8:30, 10:30 pm $12 • TAEKO with Theo Hill, François Moutin, Victor Jones êRobert Glasper Acoustic Trio with Vicente Archer, Damion Reid • Zach Swanson, James Wengrow, Mike Alfieri; Stephen Gauci, Sandy Ewen, Blue Note 8, 10:30 pm $45 Adam Lane, Kevin Shea; Raf Vertessen, Hans Tammen, Keisuke Matsuno; David Leon, Birdland 5:30 pm $30 David Adewumi, Kalun Leung, Eli Wallace; Javier Robiou, Gustavo D’Amico, Ran Levi • Ron Carter Golden Striker Trio with Russell Malone, Donald Vega êArt Blakey Centennial Celebration—The Jazz Messengers, The Legacy of Art Blakey: Bushwick Public House 7 pm $10 Birdland 8:30, 11 pm $40 Valery Ponomarev, Don Braden, Steve Davis, Peter Washington, Kenny Washington êArt Blakey Centennial Celebration: Ralph Peterson Gen-Next Big Band êYoun Sun Nah Birdland Theater 9:45 pm $20-30 Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $35 êRobert Glasper Acoustic Trio with Vicente Archer, Damion Reid • George DeLancey Dizzy’s Club 11:15 pm $20 • Harold O’Neal; Behn Gillece; Billy Kaye Jam Blue Note 8, 10:30 pm $45 • Elio Coppola Quartet; Lauren Henderson Fat Cat 6, 9 pm 12:30 am $10 • Didi Grooves Duo Cleopatra’s Needle 7 pm The Django at The Roxy Hotel 8, 10:30 pm êStanley Jordan Iridium 8 pm $40-50 êArt Blakey Centennial Celebration: Valery Ponomarev’s Our Father Who Art Blakey êIngrid Laubrock, Brandon Lopez, Tom Rainey, Brandon Seabrook; Tony Malaby Quartet • Jazz Foundation of America Jam Session Dizzy’s Club 7:30, 9:30 pm $40 with Leo Genovese, William Parker, Billy Mintz; James Brandon Lewis Trio with Local 802 6:30 pm • George DeLancey Dizzy’s Club 11:15 pm $10 Luke Stewart, Warren Trae Crudup El Taller LatinoAmericano 7 pm • Randy Ingram, Drew Gress, Jochen Rueckert • Mark Whitfield The Django at The Roxy Hotel 10:30 pm • Gabriel Guerrero Quartet; Alex Claffy; Greg Glassman Jam Mezzrow 7:30 pm $20 • Jamale Davis Quintet; Greg Glassman Quintet; Ray Gallon Fat Cat 7, 10 pm 1:30 am $10 • Gordon Beeferman; Jack Waters; Christina Wheeler Fat Cat 7, 10 pm 1:30 am $10 êCyro Baptista Happylucky no.1 8 pm $20 Performance Space New York 6:30 pm • Progressive Chamber Music Festival: Lisa Hoppe’s Third Reality with Charlotte Greve, • A Salute to Richie Bonilla: Ismael Miranda; Joe Bataan; Albita; Frankie Morales; • Jessica Pavone String Ensemble with Abby Swidler, Erica Dicker, Angela Morris and Tal Yahalom; Pascal’s Triangle: Pascal Le Boeuf, Martin Nevin, Peter Kronreif; Orlando Marín; Los Hermanos Moreno; Connie Grossman; guests Meaghan Burke, Nicholas Jozwiak, Shayna Dulberger, Lisa Hoppe Shoko Nagai/Satoshi Takeishi’s VORTEX Steven Oquendo Mambo Orchestra Roulette 8 pm $25 Greenwich House Music School 7 pm $20-25 Hostos Center 7:30 pm $35 Christine Tobin, Michelle Walker, Phil Robson, Sean Fitzpatrick, Sam Bevan, • Jon Menges Quartet Shrine 6 pm • êJoe McPhee James Cohan Gallery 2 pm • Lucas Pino Nonet with Tatum Greenblatt, Alex LoRe, Andrew Gutauskas, Alex Wintz, Alvester Garnett Irish Arts Center 7:30 pm $24 • Tivon Pennicott Jamaica Center for Arts and Learning 8 pm $10 êKen Peplowski/Frank Kimbrough Jazz at Kitano 8, 10 pm $34 Miki Yamanaka, Desmond White, Jimmy Macbride; Joe Farnsworth Quartet Tivon Pennicott The Jazz Gallery 7:30, 9:30 pm $25 Smalls 7:30, 10:30 pm 1 am $20 • Michelle Duda Trio with Takaaki Otomo, Yoshi Waki • Jazz at Kitano 8, 10 pm $18 êGerald Clayton Quartet with Logan Richardson, Joe Sanders, Kendrick Scott Tuesday, October 8 êLucian Ban/Alex Harding The Jazz Gallery 7:30, 9:30 pm $15 Jazz Standard 7:30, 9:30 pm $35 êGerald Clayton Quartet with Logan Richardson, Joe Sanders, Kendrick Scott êStephane Wrembel’s Django/Debussy with Jean-Michel Pilc, Thor Jensen, • Ourida Bar Lunàtico 8:30, 10 pm $10 Jazz Standard 7:30, 9:30 pm $30 Ari Folman-Cohen, Nick Driscoll, Nick Anderson • Alec Aldred Trio with Bob Bruya, Jake Richter; Sebastian Noelle Trio with Rick Rosato, • Mike Longo/Paul West Mezzrow 7:30 pm $20 Joe’s Pub 7 pm $35 Jochen Rueckert Bar Next Door 6:30, 8:30, 10:30 pm $12 êJazzmobile: Danny Mixon Minton’s 7:30, 9:30 pm • Tom Placido Trio with Zwe Duma Bell le Pere, Brian Richburg • Ron Carter Golden Striker Trio with Russell Malone, Donald Vega êLiberty Ellman’s Supercell with Steve Lehman, Jonathan Finlayson, Jose Davila, Knickerbocker Bar & Grill 9:45 pm $3.50 Birdland 8:30, 11 pm $40 Stephen Crump, Damion Reid Roulette 8 pm $25 • Todd Coolman, Sam Dillon, Adam Birnbaum; Anthony Wonsey • Stephanie Nakasian and Matt Baker Trio with Karl Kimmel, Curtis Nowosad • Aaron Irwin Sextet with Peter Hess, Matthew McDonald, Emily Wong, Jeff Miles, Mezzrow 7:30, 10:30 pm $20 Birdland Theater 7 pm $30-40 Dan Loomis; Jon De Lucia Group with Stefan Vasnier, Kevin Thomas, Billy Mintz; êJC Hopkins Biggish Band with Joy Hanson, Shawn Whitehorn, Vanisha-Arleen Gould, êRobert Glasper Acoustic Trio with Vicente Archer, Damion Reid Breathe: Christian Finger, Peter Knoll, Christopher Braig Nico Sarbanes Minton’s 7:30, 9:30 pm $20 Blue Note 8, 10:30 pm $45 ShapeShifter Lab 7, 8:15, 9:30 pm $15 • Claudia Hayden; Michael Morgan Trio êIn Honor of Art Blakey: One For All: Eric Alexander, Steve Davis, Jim Rotondi, • Joe Pino Quintet Shrine 7 pm Shrine 6, 7 pm David Hazeltine, John Webber, Joe Farnsworth • Brandon Lee Silvana 6 pm êGreg Lewis Thelonious Monk Tribute Dizzy’s Club 7:30, 9:30 pm • Or Bareket Quartet with Charles Altura, Nitai Hershkovits, Kush Abadey; Sistas’ Place 9, 10:30 pm $20 • George DeLancey Dizzy’s Club 11:15 pm $5 Perry Smith Quartet with Matt Marantz, Matt Aronoff, Jay Sawyer êRandy Napoleon Quartet with Luther S. Allison, Neal Miner, Quincy Davis; • Antoine Alvear Quintet; Los Hacheros Smalls 7:30, 10:30 pm $20 ê Dezron Douglas Quartet with Grant Stewart, Sylvia Manco, Jerome Jennings; The Django at The Roxy Hotel 7:30, 10:30 pm Art Blakey Centennial Celebration: Joshua Bruneau, Eric Alexander, Mike LeDonne, Philip Harper Quintet Smalls 7:30, 10:30 pm 1 am $20 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop; Alexi David Clovis Nicolas, Kenny Washington Smoke 7, 9, 10:30 pm $35 • Andrew Drury solo; Pheeroan akLaff solo êArt Blakey Centennial Celebration: Joshua Bruneau, Eric Alexander, Mike LeDonne, Fat Cat 7, 9 pm 12:30 am $10 Clovis Nicolas, Kenny Washington Smoke 7, 9, 10:30 pm $35 • Adam Kolker Quartet with Bruce Barth, Billy Hart; Michael Kanan, Matt Pavolka, Soup & Sound 7 pm $20 Diego Voglino Halyard’s 8, 10 pm $10 • Shelley Burgon/Laura Ortman The Stone at The New School 8:30 pm $20 • In Defense of Memory: Marshall Trammell, Carlos Santisteven, Laura Ortman • Daisuke Konno Quartet Jazz at Kitano 8 pm êDan Blacksberg Town & Village Synagogue 8:30 pm $15 The Stone at The New School 8:30 pm $20 êArt Blakey Tribute: Ralph Peterson and The Messenger Legacy with Bill Pierce, êAlexis Cole’s Canary in Combat Boots with Tedd Firth, The New York Nightingales • Datevik Hovanesian and Trio Triad Theater 7 pm $30 Donald Harrison, Brian Lynch, Zaccai Curtis, Essiet Essiet Triad Theater 9:30 pm $25 • Ernest Turner Trio with Kevin Beardsley, Jeremy “Bean” Clemons Jazz Standard 7:30, 9:30 pm $30 • Ivan Polyanskiy Trio with Nathan Garrett, Charlie Steiner Tribeca Performing Arts Center 7:30 pm $30 êGiacomo Gates, John DiMartino, Ed Howard; Vanisha Gould Uke Hut 8 pm $20 êFLY: Mark Turner, Larry Grenadier, Jeff Ballard Mezzrow 7:30, 10:30 pm $20 êFLY: Mark Turner, Larry Grenadier, Jeff Ballard Village Vanguard 8:30, 10:30 pm $35 • Bethune Big Band led by Paul E. West Village Vanguard 8:30, 10:30 pm $35 êKara Walker’s Katastwóf Karavan with Jason Moran New York City Baha’i Center 8 pm $15 • Erik Charlston JazzBrasil with Charles Pillow, Vitor Gonçalves, Eduardo Belo, Whitney Museum 6:30 pm • SoundMind: Isabel Lepanto Gleicher, Kemp Jernigan, Eric Umble, Patrick Jankowski, Mauricio Zottarelli Zinc Bar 7:30, 9 pm $25 Remy Taghavi; Balance Campaign: Meghan Shanley, Emily Robinson, Sandy Choi, Erin Snedecor, Elizabeth G. Hill, Emory Hensley Friday, October 11 ShapeShifter Lab 7, 8:15 pm $15 • Hajime Yoshida/Satoshi Kataoka Shrine 6 pm • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm • Jarien Jamanila Silvana 8 pm • Rob Duguay’s Longevity with Frank Lacy êJustin Robinson Quartet with Leo Genovese, Santi Debriano, Francisco Mela; Bar Lunàtico 8:30, 10 pm $10 Abraham Burton Quartet with David Bryant, Dezron Douglas, Eric McPherson • Jocelyn Gould Trio with Noah Jackson, Adam Arruda Smalls 7:30, 10:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Benedicte Maurseth, David Rothenberg, Charles Lindsay • Ron Carter Golden Striker Trio with Russell Malone, Donald Vega Spectrum 7 pm $15 Birdland 8:30, 11 pm $40 • Loren Connors, Ryan Sawyer, Laura Ortman • Hila Kulik Group with David DeJesus, Tamir Shmerling, Dani Danor The Stone at The New School 8:30 pm $20 Birdland Theater 9:45 pm $20-30 êTim Berne/Nasheet Waits; Tim Berne’s Reflex with Reid Anderson, Nasheet Waits êRobert Glasper Acoustic Trio with Vicente Archer, Damion Reid The Sultan Room 9, 10:30 pm $15 Blue Note 8, 10:30 pm $45 is proud to present our fall lineup! • Los Aliens: Ricardo Gallo, Sebastián Cruz, Stomu Takeishi,Andrés Jimenez • Kuni Mikami Trio Cleopatra’s Needle 8 pm Terraza 7 9 pm $12 êArt Blakey Centennial Celebration—The Jazz Messengers, The Legacy of Art Blakey: êFLY: Mark Turner, Larry Grenadier, Jeff Ballard Valery Ponomarev, Don Braden, Steve Davis, Peter Washington, Kenny Washington Village Vanguard 8:30, 10:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $45 october 11 • George DeLancey Dizzy’s Club 11:15 pm $10 World piaNo Summit Wednesday, October 9 • Ken Fowser Quintet; Lezlie Harrison The Django at The Roxy Hotel 7:30, 10:30 pm aRMen donelian, steve • Allyson Briggs and Fleur Seule 54 Below 9:30 pm $25-35 êJoe McPhee/Jay Rosen; Angelica Sanchez Trio with William Parker, Randy Peterson; sandBeRg, & luiz siMas Melanie Dyer Trio with Kali Z. Fasteau, Shayna Dulberger • Bill Wurtzel/Jay Leonhart with guest Roz Corral etro aptiSt hurch American Folk Art Museum 2 pm El Taller LatinoAmericano 7 pm m b c , • Lawrence Fields Trio with Mark Whitfield, Jr. • MicroCorgi; Lawrence Clark; Avi Rothbard 7:30 pm Fat Cat 6, 10:30 pm 1:30 am $10 Bar Bayeux 8 pm 410 W. 40th Street Nyc • Vid Jamnik Trio with Helena Kay, Aaron Holthus • Roy Hargrove Memorial Celebration Bar Next Door 6:30 pm Ginny’s Supper Club 8 pm $15 • Ron Carter Golden Striker Trio with Russell Malone, Donald Vega • Jack Jeffers Greater Calvary Baptist Church 7 pm $10 Birdland 8:30, 11 pm $40 êProgressive Chamber Music Festival: Sirius Quartet: Fung Chern Hwei, • Sam Dillon Quartet Birdland Theater 7, 9:45 pm $20-30 Jeremy Harman, Gregor Huebner, Ron Lawrence; For Living Lovers: Brandon Ross/ october 13 êRobert Glasper Acoustic Trio with Vicente Archer, Damion Reid Stomu Takeishi; Theremin Noir: Rob Schwimmer, Mark Feldman, Uri Caine eddie allen/elias Bailey Greenwich House Music School 7 pm $20-25 Blue Note 8, 10:30 pm $45 allery pm êIn Honor of Art Blakey: One For All: Eric Alexander, Steve Davis, Jim Rotondi, • Underground Horns Groove Bar & Grill 7:30 pm 440 G , 4:40 David Hazeltine, John Webber, Joe Farnsworth êCyro Baptista Happylucky no.1 8 pm $20 440 Sixth aveNue, • Mike McGinnis Ibeam Brooklyn 8:30 pm $15 Dizzy’s Club 7:30, 9:30 pm rooklyN • George DeLancey Dizzy’s Club 11:15 pm $5 êKen Peplowski/Frank Kimbrough Jazz at Kitano 8, 10 pm $34 b • Josh Evans Big Band The Django at The Roxy Hotel 7:30 pm • Godwin Louis The Jazz Gallery 7:30, 9:30 pm $25 • Raphael D’lugoff; Trio +1; Ned Goold Jam êGerald Clayton Quartet with Logan Richardson, Joe Sanders, Kendrick Scott Fat Cat 7 pm 12:30 am $10 Jazz Standard 7:30, 9:30 pm $35 êStephane Wrembel’s Django/Debussy with Jean-Michel Pilc, Thor Jensen, • Okkyung Lee James Cohan Gallery 6:30 pm october 18 • Steve Sandberg Quartet with Stan Killian, Mauricio Zottarelli Ari Folman-Cohen, Nick Driscoll, Nick Anderson Jazz at Kitano 8, 10 pm $18 Joe’s Pub 7 pm $35 the Makanda PRoJect ê • Olli Hirvonen’s New Helsinki with Luke Marantz, Marty Kenney, Nathan Ellman-Bell Veronica Swift Trio Kingsborough Community College 7 pm $40-45 Greater calvary The Jazz Gallery 7:30, 9:30 pm $15 • Tom Placido Trio with Zwe Duma Bell le Pere, Brian Richburg êArt Blakey Tribute: Ralph Peterson and The Messenger Legacy with Bill Pierce, Knickerbocker Bar & Grill 9:45 pm $3.50 baptiSt church, Donald Harrison, Brian Lynch, Zaccai Curtis, Essiet Essiet • Mark Guiliana’s Beat Music Le Poisson Rouge 7:30 pm $20 7:00 pm Jazz Standard 7:30, 9:30 pm $30 • World Piano Summit: Luiz Simas/Wesley Amorim; Steve Sandberg/Sean Harkness; • Asen Doykin/Nick Vayenas Mezzrow 7:30, 10:30 pm $20 Armen Donelian/Marc Mommaas Metro Baptist Church 7:30 pm $20 43-55 W. 124th Street, Nyc êLew Tabackin Michiko Studios 8 pm $20 • Todd Coolman, Sam Dillon, Adam Birnbaum • Glenn Crytzer Quintet Radegast Hall 9 pm Mezzrow 7:30 pm $20 • Ike Sturm, Gene Bertoncini, Melissa Styliano • Solomon Hicks Minton’s 7:30, 9:30 pm $20 Saint Peter’s Church 1 pm $10 • Scot Albertson/Dan Furman Parnell’s Bar 7 pm Joe Pino Quartet Room 623 at B2 Harlem 10 pm $15-20 • Sana Nagano/Leonor Falcón Scholes Street Studio 7 pm $10 • November 10 • Charles Turner Quartet; Bas van Andel Quartet with Joris Teepe • Furmi Gomez 4tet Shrine 7 pm Shrine 6, 7 pm • Charles Turner Quartet Silvana 7 pm Janet Restino ê • Jaz Sawyer Quartet with Marcus Printup, Jennifer Vincent, John Chin; Randy Napoleon Quartet with Luther S. Allison, Neal Miner, Quincy Davis; 440 Gallery, 4:40 pm Carl Bartlett, Jr. Quartet with Julius Chen, Steve Wood, Will Terrill Dezron Douglas Quartet with Grant Stewart, Sylvia Manco, Jerome Jennings; Smalls 7:30, 10:30 pm $20 Corey Wallace DUBTtet Smalls 7:30, 10:30 pm 1 am $20 440 Sixth aveNue, brooklyN • Cynthia Scott with Patience Higgins, Jeb Patton, Paul Beaudry, êArt Blakey Centennial Celebration: Joshua Bruneau, Eric Alexander, Mike LeDonne, Dwayne “Cook” Broadnax Smoke 7, 9, 10:30 pm $20 Clovis Nicolas, Kenny Washington Smoke 7, 9, 10:30 pm $35 • Ego Sensation, Shayna Dulberger, Laura Ortman • Raven Chacon/Laura Ortman The Stone at The New School 8:30 pm $20 The Stone at The New School 8:30 pm $20 • Molly Tentarelli Triad Theater 9 pm $15 • Petros Klampanis Irrationalities with Lefteris Kordis, Francesco Ciniglio and guests êFLY: Mark Turner, Larry Grenadier, Jeff Ballard Camila Meza, Vasilis Kostas Symphony Space Leonard Nimoy Thalia 8:30 pm $35 Village Vanguard 8:30, 10:30 pm $35 êFLY: Mark Turner, Larry Grenadier, Jeff Ballard êDavid Kikoski Trio with Ed Howard, Billy Hart Village Vanguard 8:30, 10:30 pm $35 Zinc Bar 7, 9:30 pm $30 onebreathrising.org

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 41 Sunday, October 13 • Artur Akhmetov Trio with Nathan Garrett, Samvel Sarkisyan • Ehud Asherie/Pasquale Grasso Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Bar Next Door 6:30 pm • Kevin Hays, Joe Martin. Bill Stewart; Dave Kikoski/Ed Howard êEddie Allen/Elias Bailey 440Gallery 4:40 pm $10 • Ron Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley Mezzrow 7:30, 10:30 pm $20 • David Haney’s Birth of a City with Warren Benbow, Daniel Carter, Matt Lavelle, Birdland 8:30, 11 pm $40 • Andres Boiarsky Michiko Studios 8 pm $20 Melanie Dyer, Reggie Sylvester, Tomas Ulrich, Jorge Sylvester, Blaise Siwula, êRobert Glasper/Esperanza Spalding with guest Justin Tyson • Lezlie Harrison Minton’s 7:30, 9:30 pm $20 Jack DeSalvo, Adam Lane, Nora McCarthy Blue Note 8, 10:30 pm $45 • Gerry Gibbs’ Our People Nublu 7 pm $10 Areté Gallery 7 pm $15 êDick Hyman/Ken Peplowski; Dick Hyman, Ken Peplowski, Bill Charlap • Emma Frank; Simon Jermyn Trio with Chris Lightcap, Jim Black • Vanessa Racci Birdland 5:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $50 The Owl Music Parlor 7:30 pm $10 • Mafalda Minnozzi with Paul Ricci, Art Hirahara, Essiet Okon Essiet, Harvie S, • Charles Turner Uptown Swing Dizzy’s Club 11:15 pm $5 • D.O.G. Organ Trio: Eric Finland, Noe Socha, Jordan Rose Victor Jones, Rogério Boccato Birdland Theater 7, 9:45 pm $20-30 • Eyal Vilner Big Band The Django at The Roxy Hotel 10:30 pm Room 623 at B2 Harlem 10 pm $15-20 • Chris Potter NYU Jazz Ensemble Blue Note 11:30 am 1:30 pm $39.50 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam • Dahna and Panas Shrine 7 pm êRobert Glasper Acoustic Trio with Vicente Archer, Damion Reid Fat Cat 7, 9 pm 12:30 am $10 • Andrew McGowan Trio Silvana 6 pm Blue Note 8, 10:30 pm $45 êTed Brown Quartet with Michael Kanan, Murray Wall, Taro Okamoto • George Lewis’ Soundlines with International Contemporary Ensemble • Christian Scott aTunde Ajduah Brooklyn Bowl 8 pm $22-25 Jazz at Kitano 8, 10 pm $18 Skirball Center 7:30 pm $35-45 êDavid Chamberlain’s Band of Bones with guests Mercedes Ellington, • Ethan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson êSteve Slagle Quartet with Lawrence Fields, John Menegon, Jason Tiemann; Antoinette Montague The Cutting Room 6 pm $25 Jazz Standard 7:30, 9:30 pm $30 David Weiss Sextet with Nicole Glover, David Bryant, Tyrone Allen, Kush Abadey; • Oscar Hernández Quintet Dizzy’s Club 7:30, 9:30 pm $30 • Matthew Fries/Phil Palombi; Miki Yamanaka Wallace Roney, Jr. Smalls 7:30, 10:30 pm 1 am $20 • Ross Hammond solo; Raf Vertessen, Hans Tammen, Keisuke Matsuno; Mezzrow 7:30, 10:30 pm $20 êGeorge Coleman Quartet with John Webber, Joe Farnsworth Michael Vatcher/Sean Conly Downtown Music Gallery 6, 7, 8 pm • Hilary Gardner/Ehud Asherie Saint Peter’s Church 1 pm $10 Smoke 7, 9, 10:30 pm $45 êPapoleto Melendez; Aruán Ortiz Trio; Ingrid Laubrock, Nick Dunston, Francisco Mela • Alex LoRe Quartet with Glenn Zaleski, Desmond White, Allan Mednard; • John McCowen solo; Charmaine Lee/Weston Olencki; Eric Wubbels, Dana Jessen, El Taller LatinoAmericano 7 pm Curtis Nowosad’s CNQ+2 with Duane Eubanks, Braxton Cook, Corey Wallace, Sam Pluta Spectrum 7 pm $15 • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 Andrew Renfroe, Jonathan Thomas, Endea Owens • Will Bernard, Bill Laswell, Aaron Johnson, Peter Apfelbaum êPascal Niggenkemper’s Uncanny Valley; Shelley Hirsch Ensemble with Michael Foster, Smalls 7:30, 10:30 pm $20 The Stone at The New School 8:30 pm $20 Sarah Bernstein, Brandon Lopez JACK 8:30 pm • Amina Figarova Sextet with Alex Sipiagin, Marc Mommas, Bart Platteau, êSound Songs: Jay Clayton/Jerry Granelli; Zone Trio: Ernest Dawkins, • Intergenerational Jazz Jam Jazz Museum in Harlem 2 pm $10 Philip Norris, Jason Brown Smoke 7, 9, 10:30 pm $20 Adegoke Steve Colson, Reggie Nicholson êGerald Clayton Quartet with Logan Richardson, Joe Sanders, Kendrick Scott • Will Bernard, Jonathan Goldberger, Brad Jones, Ben Perowsky Symphony Space Leonard Nimoy Thalia 8 pm $30 Jazz Standard 7:30, 9:30 pm $30 The Stone at The New School 8:30 pm $20 • Donny McCaslin Quintet with Gregoire Maret, Ben Monder, Dezron Douglas, • John Dokes, Spike Wilner, Alexander Claffy; Chris Flory, Steve Ash, Lee Hudson • Donny McCaslin Quintet with Gregoire Maret, Ben Monder, Dezron Douglas, Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 Mezzrow 7:30, 10:30 pm $20 Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 • David Mills; Gerald Cleaver Trio with Brandon Lopez, Brandon Seabrook êJason Marshall Big Band Minton’s 7:30, 9:30 pm $10 Weeksville Heritage Center 7 pm • Melissa Hamilton Trio with Tom Dempsey, Will Slater Thursday, October 17 êFay Victor Whitney Museum 5, 7 pm $25 North Square Lounge 12:30, 2 pm • Joey Alexander Trio with Larry Grenadier, Eric Harland êSun of Goldfinger: Tim Berne, David Torn, Ches Smith • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm Zankel Hall 9 pm $50-65 Nublu 151 9 pm $20 • Errolyn Healy and Cris O’Bryon 54 Below 9:30 pm $25-35 • Donald Vega Trio with Ugonna Okegwo, Billy Drummond • Devin Gray Trio with Ralph Alessi, Angelica Sanchez; Gabriel Zucker • Ayumi Ishito, Sarah Manning, Hans Tammen; Sandy Ewen, Michael Vatcher, Zinc Bar 7:30, 9 pm $30 The Owl Music Parlor 7:30 pm $10 Darren Johnson; Daniel Carter, Dave Sewelson, Eric Plaks, Aron Namenwirth, • Charlie Rauh solo Park Church 4 pm Zach Swanson, Kevin Shea Aron’s Place 8 pm $10 Saturday, October 19 • Lluis Capdevila’s Cinematic Radio with Petros Klampanis • Scott Sharrard Bar Lunàtico 8:30, 10 pm $10 Rockwood Music Hall Stage 3 5 pm $12 • Olin Clark Trio with Sam Weber, Owen Hyde; Perry Smith Trio with Ben Wolfe, êJoe Lovano Universal Jazz Ensemble with Kenny Werner, John Patitucci, • Satish Robertson, Deborah Davis, T.W. Sample, Nathan Brown Donald Edwards Bar Next Door 6:30, 8:30, 10:30 pm $12 Liberty Ellman, Andrew Cyrille, Tyshawn Sorey, Graham Haynes, Judi Silvano Russian Samovar 3 pm • Mari Koga Quintet with Chiemi Nakai. Alex Apolo Ayala, Vince Cherico, Willie Ruiz The Appel Room 7, 9:30 pm $65-85 • Godwin Louis Choir Saint Peter’s Church 6 pm Birdland 5:30 pm $30 • Jostein Gulbrandsen Trio with Mike McGuirk, Ronen Itzik • Ehud Asherie Trio with Paul Gill, Jason Brown; Ralph Lalama Bop-Juice with • Ron Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley Bar Next Door 7:30, 9:30, 11:30 pm $12 Akiko Tsuruga, Clifford Barbaro Smalls 7:30, 10:30 pm $20 Birdland 8:30, 11 pm $40 • Ron Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley êArt Blakey Centennial Celebration: Joshua Bruneau, Eric Alexander, Mike LeDonne, • Matt Dwonszyk Wonderful World Quartet Birdland 8:30, 11 pm $40 Clovis Nicolas, Kenny Washington Smoke 7, 9, 10:30 pm $35 Birdland Theater 9:45 pm $20-30 • Joel Frahm Quartet Birdland Theater 7, 9:45 pm $20-30 • Peter Watrous Quintet with Chet Doxas, Jacob Sacks, Carmen Rothwell, • Robert Glasper Stevie Wonder Tribute with Burniss Travis II, Justin Tyson, • Robert Glasper Stevie Wonder Tribute with Burniss Travis II, Justin Tyson, Jesse Simpson; Carmen Rothwell’s Scree Ensemble Michael Severson, DJ Jahi Sundance and guest Luke James Michael Severson, DJ Jahi Sundance and guest Luke James Spectrum 7 pm $15 Blue Note 8, 10:30 pm $45 Blue Note 8, 10:30 pm $45 • Javier Limón’s Paco de Lucía Project with Antonio Sanchez, Israel Suárez “Piraña”, • Equilibrium Cleopatra’s Needle 7 pm • Walter Williams Trio Cleopatra’s Needle 8 pm Alain Perez, Antonio Serrano, David de Jacoba, Antonio Fernandez Montoya êRufus Reid Big Band with Steve Allee, Vic Juris, Chris Beck, Steve Wilson, êRufus Reid Big Band with Steve Allee, Vic Juris, Chris Beck, Steve Wilson, Symphony Space Peter Jay Sharpe Theatre 8 pm $35-55 Scott Robinson, Anton Denner, Tom Christensen, Carl Maraghi, Frank Greene, Scott Robinson, Anton Denner, Tom Christensen, Carl Maraghi, Frank Greene, • Linda Presgrave Quartet with Stan Chovnick, Kenji Yoshitake, Seiji Ochiai Ingrid Jensen, Tim Hagans, Freddie Hendrix, Ryan Keberle, Dion Tucker, Ingrid Jensen, Tim Hagans, Freddie Hendrix, Ryan Keberle, Dion Tucker, Tomi Jazz 7 pm Gina Benalcazar, David Taylor Dizzy’s Club 7:30, 9:30 pm $40 Gina Benalcazar, David Taylor Dizzy’s Club 7:30, 9:30 pm $45 êFLY: Mark Turner, Larry Grenadier, Jeff Ballard • Charles Turner Uptown Swing Dizzy’s Club 11:15 pm $10 • Charles Turner Uptown Swing Dizzy’s Club 11:15 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Jeffery Miller Quintet; Brent Birckhead Quartet • Eric Jacobson Quintet with Bruce Barth; Fleur Seule Latin Big Band The Django at The Roxy Hotel 7:30, 10:30 pm The Django at The Roxy Hotel 7:30, 10:30 pm Monday, October 14 • Sugartone Brass Band Ginny’s Supper Club 8 pm $15 êJazzmobile@55 presents Taylor Made—Dr Billy Taylor: Winard Harper with guest • Monday Michiru Trio with Misha Tsiganov, Michael O’Brien Jimmy Owens Flushing Town Hall 7 pm $20 • Jim Ridl Quartet with Zach Brock 55Bar 7 pm Jazz at Kitano 8, 10 pm $18 • Allan Harris Ginny’s Supper Club 8 pm $15 • Will Sellenraad, Rene Hart, Eric McPherson and guest • Martin Nevin The Jazz Gallery 7:30, 9:30 pm $15 • Yuka Honda Happylucky no.1 8 pm $20 55Bar 10, 11:30 pm • Kalia Vandever Group; Mark Wade Trio êJazz Foundation of America 28th Annual Jazz Loft Party Honoring Roy Haynes: • Stacy Dillard Bar Lunàtico 8:30, 10 pm $10 Jazz Museum in Harlem 7 pm $10 Wyclef Jean; Pharoah Sanders Quartet with Benito Gonzalez, Nat Reeves, • Jacob Kohlhas Trio with Daniel Wallace, Trevor Brown; Erli Perez Trio with • Yes! Trio: Aaron Goldberg, Omer Avital, Ali Jackson Marcus Gilmore; Tribute to New Orleans Icons Dr. John, Dave Bartholomew and Takaaki Otomoki, Yoshi Waki Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz Standard 7:30, 9:30 pm $30 Art Neville with Cyril Neville, Zigaboo Modeliste, Davell Crawford; 50th Anniversary of • Jed Levy Quartet with Phil Robson, Peter Slavov, Jason Brown êLouis Armstrong and Art Blakey—Jazz Messengers Both, Forever: In a Silent Way/Bitches Brew Sessions with Wallace Roney, Lenny White, Birdland Theater 7 pm $20-30 Manhattan School of Music Jazz Orchestra Tribute to Art Blakey led by Jon Faddis; John Scofield, Darryl Jones, Bernard Wright; Bertha Hope Quintet; • Frédéric Yonne Blue Note 8, 10:30 pm $25 The Wonderful World of Louis Armstrong All Stars: Herlin Riley, Roderick Paul, Sweet Georgia Brown Hudson Studios 7 pm $500 • Neb Ula, Mohamed Kubbara, Ziad Abdel-Aal, Uran Kamper; Stephen Gauci, Wycliffe Gordon, Nicholas Payton, Roland Guerin, Sean Mason and guest êDevin Gray Trio with Ralph Alessi, Angelica Sánchez; Eva Novoa Trio with Kim Cass, Adam Lane, Kevin Shea; John Melendez, Annie Nikunen, Mac Waters, Conner Duke, Davell Crawford Manhattan School of Music Neidorff-Karpati Hall 7:30 pm Devin Gray and guest Ryan Ferreira Michael Coiro; Yoni Kretzmer, Eivind Opsvik, Jeff Davis; Paul Austerlitz, Jasper Dütz, êVeronica Swift, Dan Nimmer, Aaron Kimmel Ibeam Brooklyn 8 pm $15 Charles Townsend, Kevin Ray; Aron Namenwirth, Eric Plaks, Sean Conly, John Loggia, Mezzrow 7:30 pm $20 • Larry Carlton Iridium 8, 10:30 pm $55-65 Jon Panikkar Bushwick Public House 7 pm $10 êJazzmobile: Marc Cary/Ben Williams Project • Sweet Megg and The Wayfarers: Megg Farrell, Ryan Weisheit, Rob Adkins, êThe Conceptual Genius of John Lewis and George Russell: Juilliard Jazz Ensembles Minton’s 7:30, 9:30 pm Thor Jensen, Chris Gelb, Sam Chess Dizzy’s Club 7:30, 9:30 pm $35 • Lauren Lee’s Windowsill Rockwood Music Hall Stage 3 10 pm Jalopy 8 pm $10 • Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 • Departure Duo; Longleash Trio Scholes Street Studio 8 pm $10 • Dave Pietro Group with Alex Sipiagan, Gary Versace, Johannes Weidenmueller, • Carlos Homs Mezzrow 7:30 pm $20 • Anibal Rojas Silvana 6 pm Ari Hoenig Jazz at Kitano 8, 10 pm $34 • Matt Lavelle Trio with Evan Crane, Leonid Galaganov; David Haney Trio with • Adam Larson Quartet with Glenn Zaleski, Desmond White, Jochen Rueckert; • Jaleel Shaw The Jazz Gallery 7:30, 9:30 pm $25 Matt Lavelle, Reggie Sylvester Michiko Studios 8 pm $10 Steve LaSpina Quartet with Rich Perry, Matthew Fries, Jon Di Fiore • Yes! Trio: Aaron Goldberg, Omer Avital, Ali Jackson • Phillipe Lemm Trio Silvana 8 pm Smalls 7:30, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 êRodney Green Quintet with Aida Johannes, Nicole Glover, Luis Perdomo, Tyrone Allen; êGeorge Coleman Quartet with John Webber, Joe Farnsworth • Ehud Asherie/Pasquale Grasso Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Giveton Gelin Quintet Smalls 7:30, 10:30 pm $20 Smoke 7, 9, 10:30 pm $45 • Kevin Hays, Joe Martin, Bill Stewart; Jon Davis • The Visitors Band: Jim Black, JP Schlegelmilch, Jonathan Goldberger • Will Bernard, Rinde Eckert, Kenny Wollesen Mezzrow 7:30, 10:30 pm $20 The Sultan Room 9, 10:30 pm $15 The Stone at The New School 8:30 pm $20 êJC Hopkins Biggish Band with Joy Hanson, Shawn Whitehorn, Vanisha-Arleen Gould, • Joel Harrison Quintet with Jon Irabagon, Gary Versace, Stephan Crump, Cedric Easton êLakecia Benjamin and Soul Squad Symphony Space Leonard Nimoy Thalia 7:30 pm $30 Nico Sarbanes Minton’s 7:30, 9:30 pm $20 Zinc Bar 7:30, 9 pm $20 • Linda Presgrave Quartet with Stan Chovnick, Kenji Yoshitake, Seiji Ochiai êWest Meets East: Seiki Yukimoto, Andrew Lamb, Takashi Shirayama, Terry Burrus, Tomi Jazz 7 pm Stanley Banks, Newman Taylor Baker, Craig Holiday Haynes Tuesday, October 15 • Frank London and Eleanor Reissa Town & Village Synagogue 8:30 pm $15 Nublu 151 8:30 pm $15 • Gary Pierce Trio with Jon B. Roche, Rie Yamaguchi-Borden êRagas Live Festival: Adam Rudolph’s Moving Pictures with Marco Cappelli, • Jacob Kohlhas Trio with Daniel Wallace, Trevor Brown Uke Hut 8 pm $20 Alexis Marcelo, Damon Banks, James Dellatacoma; Arun Ramamurthy Trio with Bar Next Door 6:30 pm • Donny McCaslin Quintet with Gregoire Maret, Ben Monder, Dezron Douglas, Perry Wortman, Sameer Gupta; Anirban Das Gupta/Mir Naqibul Islam; V.Selvaganesh/ • Ron Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 Swaminathan Selvaganesh; Soles of Duende: Brinda Guha, Arielle Rosales, Birdland 8:30, 11 pm $40 Amanda Castro; Saraswathi Ranganathan/Raghavan Sai; Rajna Swaminathan + êRobert Glasper/Esperanza Spalding with guest Justin Tyson Friday, October 18 Mangal; Dan Weiss/Miles Okazaki; Borogusakagu: Kaoru Watanabe, Sameer Gupta, Blue Note 8, 10:30 pm $45 Rogério Boccato; Unstruck Sound: Aaron Shragge, Neel Murgai, David Ellenbogen, êBill Charlap solo Dizzy’s Club 7:30, 9:30 pm $40 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Eric Fraser; Namami Karmakar, Anirban Chakravarty, Ehren Hanson; • Charles Turner Uptown Swing Dizzy’s Club 11:15 pm $5 êJoe Lovano Universal Jazz Ensemble with Kenny Werner, John Patitucci, Shiv Subramaniam, Neha Krishnamachary, Kavi Srinivasaraghavan; Steve Gorn, • Peter Brainin Afro-Caribbean Jazz Quintet; La Pachamambo Liberty Ellman, Andrew Cyrille, Tyshawn Sorey, Graham Haynes, Judi Silvano Eric Fraser, Shiva Ghoshal; Barun Kumar Pal and guest; Samarth Nagarkar/ The Django at The Roxy Hotel 7:30, 10:30 pm The Appel Room 7, 9:30 pm $65-85 Shankh Lahiri; T. Radhakrishna/Meghashyam Keshav; Neel Murgai Ensemble with • Saul Rubin Zebtet Fat Cat 7 pm $10 • Kaleidoscope Trio: Freddie Bryant Trio, Patrice Blanchard, Alvin Atkinson Arun Ramamurthy, Trina Basu, Marika Hughes, Sameer Gupta; Vinay Desai/ • Peter Watrous Quintet with Kenny Wessel, Adam Kolker, David Ambrosio, Bar Next Door 7:30, 9:30, 11:30 pm $12 Vivek Pandya; Crossroads: Yacouba Sissoko, Jay Gandhi, David Ellenbogen, Dayeon Seok; Anthony Wonsey, Ugonna Okegwo, Diego Voglino • Ron Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley Ehren Hanson; Roopa Mahadevan/Arun Ramamurthy; Halyard’s 8, 10 pm $10 Birdland 8:30, 11 pm $40 Reggie Workman’s Cerebral Caverns with Sameer Gupta, Pawan Benjamin, • Sabtiago Quartet Jazz at Kitano 8 pm • Joel Frahm Quartet Birdland Theater 7, 9:45 pm $20-30 Mari Tanaka; Abhik Mukherjee, Jay Gandhi, Shankh Lahiri; Anupama Bhagwat/ êOn the Cutting Edge—Vincent Gardner, Carlos Henriquez, Sherman Irby, Elliot Mason • Robert Glasper Stevie Wonder Tribute with Burniss Travis II, Justin Tyson, Nitin Mitta; Brooklyn Raga Massive and Marcus Printup: Juilliard Jazz Orchestra Michael Severson, DJ Jahi Sundance and guest Luke James Pioneer Works 7 pm $35-60 Juilliard School Peter Jay Sharp Theater 7:30 pm Blue Note 8, 10:30 pm $45 • Raquel Rivera/James Labrosse Shrine 7 pm • Kendra Shank, Frank Kimbrough, Dean Johnson; Naama Gheber • Alan Chaubert Trio Cleopatra’s Needle 8 pm êAhmed Abdullah’s Diaspora Meets Francisco Mora Catlett’s AfroHORN Mezzrow 7:30, 10:30 pm $20 êRufus Reid Big Band with Steve Allee, Vic Juris, Chris Beck, Steve Wilson, Sistas’ Place 9, 10:30 pm $20 • Emiliano Lasansk Shrine 6 pm Scott Robinson, Anton Denner, Tom Christensen, Carl Maraghi, Frank Greene, • George Lewis’ Soundlines with International Contemporary Ensemble • Jon Snell Silvana 7 pm Ingrid Jensen, Tim Hagans, Freddie Hendrix, Ryan Keberle, Dion Tucker, Skirball Center 7:30 pm $35-45 êSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold; Gina Benalcazar, David Taylor Dizzy’s Club 7:30, 9:30 pm $40 êSteve Slagle Quartet with Lawrence Fields, John Menegon, Jason Tiemann; Abraham Burton Quartet with David Bryant, Dezron Douglas, Eric McPherson • Charles Turner Uptown Swing Dizzy’s Club 11:15 pm $10 David Weiss Sextet with Nicole Glover, David Bryant, Tyrone Allen, Kush Abadey Smalls 7:30, 10:30 pm $20 • Ken Fowser Quintet; Hudson Horns Smalls 7:30, 10:30 pm $20 • Will Bernard, Chris Lightcap, Ches Smith The Django at The Roxy Hotel 7:30, 10:30 pm êGeorge Coleman Quartet with John Webber, Joe Farnsworth The Stone at The New School 8:30 pm $20 • Bruce Williams Fat Cat 10:30 pm $10 Smoke 7, 9, 10:30 pm $45 • Smash and Grab: Keisuke Matsuno, Simon Jermyn, Jim Black • Christopher McBride and The Whole Proof • Hiromi solo Sony Hall 8, 10:30 pm $45 The Sultan Room 9, 10:30 pm $15 Ginny’s Supper Club 8 pm $15 êStaten Island Jazz Festival: Reggie Workman’s New Stars on this Horizon; • Frank Kohl Triad Theater 9:30 pm $25 êThe Makanda Project: Kurtis Rivers, Joe Ford, Paavo Carey, Sean Berry, Leopold Fleming Afro-Caribbean Jazz Ensemble; Winard Harper and Jeli Posse; • Donny McCaslin Quintet with Gregoire Maret, Ben Monder, Dezron Douglas, Charlie Kohlhase, Jerry Sabatini, Haneef Nelson, Alfred Patterson, Ku-umba Frank Lacy, Danny Mixon Quartet; Antoinette Montague; Rudi Mwongozi; Jeannine Otis; Earl Sauls; Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 Bill Lowe, John Kordalewski, Wes Brown, Warren Smith, Mickey Davidson Sylvester Scott; Ray Scro; Darrell Smith; Karlus Trapp; WaFoo • Mari Okubo Zürcher Gallery 8 pm $15 Greater Calvary Baptist Church 7 pm St. George Theatre 2 pm $25-40 • Yuka Honda Happylucky no.1 8 pm $20 • Will Bernard, Ikue Mori, Brian Chase, Charlie Burnham, Kirk Knuffke, Mike McGinnis Wednesday, October 16 • Larry Carlton Iridium 8, 10:30 pm $55-65 The Stone at The New School 8:30 pm $20 êLew Tabakin Quartet with Bruce Barth, Dave Brown, Mark Taylor • Glenn Miller Orchestra Town Hall 3, 8 pm $42-54 • Simona Premazzi Quartet with Mark Shim, Matt Penman, Kush Abadey Jazz at Kitano 8, 10 pm $34 • Donny McCaslin Quintet with Gregoire Maret, Ben Monder, Dezron Douglas, Bar Bayeux 8 pm • Micah Thomas Trio The Jazz Gallery 7:30, 9:30 pm $20 Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 • Tommaso Cappellato Bar Lunàtico 8:30, 10 pm $10 • Yes! Trio: Aaron Goldberg, Omer Avital, Ali Jackson • Fred Moten; William Parker Weeksville Heritage Center 7 pm Jazz Standard 7:30, 9:30 pm $30 êFay Victor Whitney Museum 2, 4 pm $25

42 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD êRobert Glasper Tribute to Roy Hargrove with Terrace Martin, Keyon Harrold, êA Swingin’ Sesame Street Celebration—50 Years and Counting: Sunday, October 20 Marcus Strickland, Ben Williams, Justin Tyson, Elena Pinderhughes, Renee Neufville Jazz at Lincoln Center Orchestra with Wynton Marsalis and guests Elmo, Abby, • Simon Jermyn; Chet Doxas 440Gallery 4:40 pm $10 Blue Note 8, 10:30 pm $45 Big Bird, Grover, Oscar the Grouch, Rosita, Bert and Ernie, The Count, Herry Monster, • Eyal Vilner Big Band Birdland 5:30 pm $30 • Andy Farber Big Band Dizzy’s Club 7:30, 9:30 pm $35 Hoots the Owl Rose Theater 7 pm $40-140 • Michael Thomas Quartet Birdland Theater 9:45 pm $20-30 • Joe Block Dizzy’s Club 11:15 pm $5 êAndrew Lamb’s Circadian Spheres of Light Project with Hilliard Greene, Dick Griffin, • Joey Morant and Catfish Stew Blue Note 11:30 am 1:30 pm $39.50 • New Alchemy Jazz Orchestra The Django at The Roxy Hotel 7:30 pm Marvin Bugulu Smith, Lloyd Haber, Newman Taylor Baker, Jose Luis Abreu, Ngoma Hill, • Robert Glasper Stevie Wonder Tribute with Burniss Travis II, Justin Tyson, • Raphael D’lugoff Trio +1; Ned Goold Jam Jimmy James Green, Melanie Dyer, Gwen Laster, Lester St. Louis, Trashina Conner, Michael Severson, DJ Jahi Sundance and guest Luke James Fat Cat 7 pm 12:30 am $10 The Great Olmedini Saint Peter’s Church 7 pm $20 Blue Note 8, 10:30 pm $45 • Kyoko Oyobe Quartet with Troy Roberts, Michael O’Brien, Andrew Atkinson • David Chamberlain’s Band of Bones; Richard Nelson’s Makrokosmos Orchestra êThumbscrew: Mary Halvorson, Michael Formanek, Tomas Fujiwara; Jazz at Kitano 8, 10 pm $18 ShapeShifter Lab 7, 8:15 pm $10 WORKS: Michel Gentile, Daniel Kelly, Rob Garcia • Quiana Lynell Jazz Standard 7:30, 9:30 pm $30 • Joe Pino Quintet Silvana 6 pm Brooklyn Conservatory of Music 8 pm $15 • Maucha Adnet, Guilherme Monteiro, Helio Alves • Michael Weiss Quartet with Eric Alexander, Paul Gill, Peter Van Nostrand; êRufus Reid Big Band with Steve Allee, Vic Juris, Chris Beck, Steve Wilson, Mezzrow 7:30 pm $20 Jason Brown Quintet; Corey Wallace DUBTet Scott Robinson, Anton Denner, Tom Christensen, Carl Maraghi, Frank Greene, • Mark Christian Miller with Ronny Whyte, Boot Maleson, Ray Marchica Smalls 7:30, 10:30 pm 1 am $20 Ingrid Jensen, Tim Hagans, Freddie Hendrix, Ryan Keberle, Dion Tucker, Saint Peter’s Church 1 pm $10 • Elio Villafranca Quintet with Bruce Harris, Greg Tardy, Gregg August, Dion Parson Gina Benalcazar, David Taylor Dizzy’s Club 7:30, 9:30 pm $35 • Anedition: Ben Zucker, Ishmael Ali, Judith Berkson, Josh Davidoff; Laughing Coffin: Smoke 7, 9, 10:30 pm $35 • Tani Tabbal, Michael Bisio, Aron Siegel; Brian Groder, Michael Bisio, Jay Rosen Alec Goldfarb, Steven Crammer, Xavier Del Castillo, Matt Muntz, Nolan Tsang, • Cat Toren’s Human Kind with Xavier Del Castillo, Matt Honor; David Leon Quartet with El Barrio Artspace 8 pm $10 Yuma Uesaka Scholes Street Studio 8 pm $10 Sonya Belaya, Nick Dunston, Stephen Boegehold Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 Sahil Warsi Shrine 6 pm Spectrum 7 pm $15 • • ê êLee Konitz Old Songs New with Ohad Talmor, Caroline Davis, Christof Knoche, êDavid Berkman Quartet with Chris Cheek Assif Tsahar, William Parker, Hamid Drake Peter Hess, Miranda Sielaff, Chris Hoffman, Rubin Kodheli, Jacob Sacks, Chris Tordini, Smalls 7:30 pm $20 The Stone at The New School 8:30 pm $20 George Schuller The Jazz Gallery 2 pm $10 • Carolyn Leonhart and Quintet with Bruce Harris, Myron Walden, Taber Gable, êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Yes! Trio: Aaron Goldberg, Omer Avital, Ali Jackson Rashaan Carter, Rodney Green Smoke 7, 9, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 êOliver Lake Whitney Museum 7 pm $25 Jazz Standard 7:30, 9:30 pm $30 • Assif Tsahar, Mat Maneri, Ches Smith • Victor Gould Mezzrow 7:30 pm $20 The Stone at The New School 8:30 pm $20 êJason Marshall Big Band Minton’s 7:30, 9:30 pm $10 • John Yao Triceratops with Billy Drewes, Jon Irabagon, Peter Brendler, Mark Ferber • Kelsey Jillette Trio with Tony Romano, David Silliman Terraza 7 8 pm $7 North Square Lounge 12:30, 2 pm êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street TONY BIRD QUARTET • Kay Mori, Lucy Galliher, Nobuyuki Yamasaki Village Vanguard 8:30, 10:30 pm $35 Jazz at Kitano Russian Samovar 3 pm • Heart Quartet: Ike Sturm, Melissa Stylianou, Godwin Louis, Chris Dingman Thursday, October 24 October 22 - 8 pm Saint Peter’s Church 6 pm 66 Park Ave @ East 38th | 212-885-7000 | kitano.com • Joe Magnarelli Quartet; Bruce Harris Quintet • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm Smalls 7:30, 10:30 pm $20 êAruán Ortiz Bar Lunàtico 8:30, 10 pm $10 The Tony Bird Quartet presents music that fuses jazz standards êGeorge Coleman Quartet with John Webber, Joe Farnsworth • Yuma Uesaka Trio with Shawn Lovato, Lesly Mok; Vaughn Stoffey Trio with Smoke 7, 9, 10:30 pm $45 with originals and old Parisian traditional music. Bird’s violin takes both Peter Slavov, Ian Froman Bar Next Door 6:30, 8:30, 10:30 pm $12 traditional and modern jazz styles to tell stories of a Parisian childhood. • Hiromi solo Sony Hall 8, 10:30 pm $45 • Adison Evans with Sabeth Pèrez, Eli Menezes, Silvano Monasterios, Hwansu Kang, • Eli Wallace Quartet with Ben Cohen, Kenneth Jimenez, Dan Kurfirst JK Kim Birdland 5:30 pm $30 Spectrum 7 pm $15 Ron Carter Nonet Birdland 8:30, 11 pm $40 • • E.J. Decker Symphony Space Bar Thalia 7 pm êLaszlo Gardony Trio with John Lockwood, Yoron Israel • Donny McCaslin Quintet with Gregoire Maret, Ben Monder, Dezron Douglas, Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 Birdland Theater 7, 9:45 pm $20-30 • Tracie Morris; Mixashawn Trio with William Parker, Pheeroan akLaff • Robert Glasper J Dilla Tribute Blue Note 8, 10:30 pm $45 Weeksville Heritage Center 7 pm êBRIC JazzFest: Ravi Coltrane; Dayramir Gonzalez; Makaya McCraven; Aaron Whitby’s Cousin from Another Planet; Sasha Berliner Azalea; Roxy Coss Quintet; Salami Rose Joe Louis Monday, October 21 BRIC House 7:30 pm $35 êBrandon Seabrook, Brandon Lopez, Gerald Cleaver, Joanna Mattrey • Welf Dorr/Hilliard Greene Brooklyn Cider House 7 pm 244 Rehearsal Studios 8 pm $20 • Dan Furman Duo Cleopatra’s Needle 7 pm • Zach Brock 55Bar 10 pm êMelanie Charles’ Make Jazz Trill Again Project • Pablo Aslan’s Mash-Ish with Rob Curto, Frank London, Richie Barshay David Rubenstein Atrium 7:30 pm Bar Lunàtico 8:30, 10 pm $10 • Andy Farber Big Band Dizzy’s Club 7:30, 9:30 pm $40 • Nick Marziani Trio with Nik Lukassen, Varun Das; Roz Corral Trio with Paul Meyers, • Joe Block Dizzy’s Club 11:15 pm $10 Jay Anderson Bar Next Door 6:30, 8:30, 10:30 pm $12 • Danielle Cordisco Quartet with Jerry Weldon; Ian Hendrickson-Smith êEmmet Cohen Trio Birdland Theater 8:30 pm $20-30 The Django at The Roxy Hotel 7:30, 10:30 pm • Butcher Brown: DJ Harrison, Andrew Randazzo, Morgan Burrs, Marcus Tenney, • The Groove Rally Ginny’s Supper Club 8 pm $15 Corey Fonville Blue Note 8, 10:30 pm $25 • Laila and Smitty: Kenny Warren, Jeremiah Lockwood, Myk Freedman, Adam Hopkins, • Patrick Golden, Daniel Carter, Dustin Carlson; Stephen Gauci, Sandy Ewen, Carlo Costa Happylucky no.1 8 pm Adam Lane, Kevin Shea; Chris McCarthy, David Leon, Sasha Berliner, Dayeon Seok; • Pamela Knowles Quartet with Takaaki Otomo, Norika Ueda, Tim Horner Dario Fariello, Kenneth Jimenez, Jeremy Carlstedt; Jason Mears, Jazz at Kitano 8, 10 pm $18 Bradley William Schirmer Bushwick Public House 7 pm $10 • Abdulrahman Amer The Jazz Gallery 7:30, 9:30 pm $15 êArt Blakey Tribute: Manhattan School of Music Jazz Orchestra led by Jon Faddis êDarcy James Argue’s Secret Society Dizzy’s Club 7:30, 9:30 pm $35 Jazz Standard 7:30, 9:30 pm $30 • Amit Chaterjee; George Braith; Billy Kaye Jam • Ben Paterson, Luke Sellick, Charles Goold Fat Cat 6, 9 pm 12:30 am $10 Mezzrow 7:30 pm $20 • Jazz Foundation of America Jam Session • The Music of Vijay Iyer: The Knights; Jennifer Koh Local 802 6:30 pm Miller Theatre 8 pm $20 • Dominic Lash/Josh Sinton; Talibam!: Matt Motell/Kevin Shea êJazzmobile: Bill Saxton Minton’s 7:30, 9:30 pm Max Fish 8 pm $8 • Rosana Eckert; Peter Eldridge Rockwood Music Hall Stage 3 7, 8:30 pm $12 êAlan Broadbent, Don Falzone, Billy Mintz • Jakob Ebers; The Jade Collective Shrine 6, 7 pm Mezzrow 7:30 pm $20 êJoe Fiedler’s Big Sackbut Silvana 6 pm • Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Joe Farnsworth Quartet • David Berkman Quartet with Chris Cheek; Antonio Ciacca Quartet with JD Allen, Smalls 7:30, 10:30 pm $20 Clovis Nicolas, Peter Van Nostrand; Malick Koly • Andy Bianco Quintet with Glenn White, George Burton, Nathan Peck, Eric Halvorson Smalls 7:30, 10:30 pm 1 am $20 Zinc Bar 7:30, 9 pm $25 • Elio Villafranca Quintet with Bruce Harris, Greg Tardy, Gregg August, Dion Parson Smoke 7, 9, 10:30 pm $35 Tuesday, October 22 • Continuum/ Jazztopad NY: James Brandon Lewis, Uri Caine, Cat Toren, Michael Bates, Andrew Drury, Wacław Zimpel, Ksawery Wojciński, Aga Derlak • Francesca Bertazzo Hart with John Mosca Soup & Sound 7 pm $20 Bar Lunàtico 8:30, 10 pm $10 êAssif Tsahar, Darius Jones, Rob Brown, Yoni Kretzmer, Steve Swell, • Grant Gordy Trio with Aidan O’Donnell, Alwyn Robinson Shanir Ezra Blumenkranz The Stone at The New School 8:30 pm $20 Bar Next Door 8:30, 10:30 pm $12 • Manuel Valera New Cuban Express Big Band • Ron Carter Nonet Birdland 8:30, 11 pm $40 ‘ Terraza 7 8 pm $15 • Matt Baker Birdland Theater 7 pm $20-30 • Hankus Netsky and Eden MacAdam-Somer êRobert Glasper Tribute to Roy Hargrove with Terrace Martin, Keyon Harrold, Town & Village Synagogue 8:30 pm $15 Marcus Strickland, Ben Williams, Justin Tyson, Elena Pinderhughes, Renee Neufville êA Tuba to Cuba: The Preservation Hall Jazz Band with Yusa and guests Blue Note 8, 10:30 pm $45 Town Hall 8 pm $39.50-119 êBill Cole Quartet with Ras Moshe, Larry Roland, Tiffany Chang The Brooklyn Commons 8 pm $10 • Eugene Pugachov Quartet with Chris Wright, Chris Bacas, Evan Hyde • Chloe Perrier with Aki Ishiguro, Jim Robertson, Rodrigo Recabarren, Jon Hunt, Uke Hut 8 pm $20 Gabe Terracciano The Cutting Room 7:30 pm $15-20 êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street êThe Music of Dizzy Reece: Trevor Watkis Band with Byron Wallen, Dezron Douglas, Village Vanguard 8:30, 10:30 pm $35 Willie Jones III Dizzy’s Club 7:30, 9:30 pm $35 • Ian Bostridge/Brad Mehldau Zankel Hall 7:30 pm $56-75 • Joe Block Dizzy’s Club 11:15 pm $5 • Liz Rosa Quartet; Itai Kriss And Gato Gordo Friday, October 25 The Django at The Roxy Hotel 7:30, 10:30 pm • Saul Rubin Zebtet; El Montuno Fat Cat 7, 9 pm $10 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm • Feathery: Lena Bloch, Russ Lossing, Cameron Brown, Billy Mintz; Bruce Barth, • Jeff McLaughlin Trio with Marcos Varela, Rodrigo Recabarren Aidan O’Donnell, Diego Voglino Halyard’s 8, 10 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Lea Bertucci/Amirtha Kidambi Issue Project Room 8 pm $15 • Ron Carter Nonet Birdland 8:30, 11 pm $40 • Tony Bird Quartet Jazz at Kitano 8 pm • Robert Glasper J Dilla Tribute Blue Note 8, 10:30 pm $45 • David Gilmore Band with Jaleel Shaw, Luis Perdomo, Brad Jones, E.J. Strickland • Kenneth Whalum III Blue Note 12:30 am $10 Jazz Standard 7:30, 9:30 pm $30 êBRIC JazzFest: Georgia Anne Muldrow; Amina Claudine Myers’ Generations IV with • Kristina Koller/Willerm Delisfort; Lucy Yeghiazaryan Pyeng Threadgill, Richarda Abrams, Luna Moderbacker; Kneebody: Adam Benjamin, Mezzrow 7:30, 10:30 pm $20 Shane Endsley, Ben Wendel, Nate Wood; Joel Ross’ Good Vibes; María Grand; • Dizzy Gillespie Birthday Celebration: Mike Longo’s NY State of the Art Jazz Ensemble Tosin Aribisala Trio; QNA BRIC House 7:30 pm $35 with Ira Hawkins and guests Annie Ross, Jimmy Owens • Jesse Crawford Trio Cleopatra’s Needle 8 pm New York City Baha’i Center 8 pm $15 êEric Reed’s Mainly Monk Dizzy’s Club 7:30, 9:30 pm $45 • Elise Wood Duo; The Time’s Up Orchestra • Joe Block Dizzy’s Club 11:15 pm $10 Shrine 6, 7 pm • Ken Fowser Quintet; Mike Sailors Big Band • Spike Wilner Trio; Frank Lacy Band Smalls 7:30, 10:30 pm $20 The Django at The Roxy Hotel 7:30, 10:30 pm êDigital Primitives: Assif Tsahar, Cooper-Moore, Chad Taylor • Alphonso Horne and The Gotham Kings The Stone at The New School 8:30 pm $20 Ginny’s Supper Club 8 pm $15 • Almog Sharvit’s Coralition Threes Brewing 8 pm • Kenny Davis Greater Calvary Baptist Church 7 pm $10 êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street êErik Friedlander, Stomu Takeishi, Ches Smith Village Vanguard 8:30, 10:30 pm $35 Happylucky no.1 8 pm $20 • Michael Morreale’s Stories of Recent Vintage with Jon Gordon, Tony Regusis, Wednesday, October 23 Bill Moring, Tim Horner Jazz at Kitano 8, 10 pm $34 • Nir Felder The Jazz Gallery 7:30, 9:30 pm $25 êAdam O’Farrill 55Bar 10 pm êChristian Sands High-Wire Trio with Luques Curtis, Ulysses Owens, Jr. • Jochen Rueckert Quartet with Philip Dizack, Jerome Sabbagh, Matt Penman Jazz Standard 7:30, 9:30 pm $30 Bar Bayeux 8 pm • Mark Sganga/Martin Pizzarelli Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Juan Munguia Trio with Trevor Brown, Josh Roberts • Mike LeDonne/John Webber Mezzrow 7:30 pm $20 Bar Next Door 6:30 pm • Joy Hanson Minton’s 7:30, 9:30 pm $20 • Ron Carter Nonet Birdland 8:30, 11 pm $40 • Sylvia Cuenca Trio Room 623 at B2 Harlem 10 pm $15-20

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 43 Saturday, October 26 Tuesday, October 29 • Erica von Kleist’s BOOBS…and other stories • Jake Richter with Connor Evans, John Koozin; Daniel Eli Weiss Trio with Dave Baron, REU N G Lar E GAGEMENTS 54 Below 11:30 pm $24-49 Aaron Seeber Bar Next Door 6:30, 8:30, 10:30 pm $12 • Alvaro Benavides Group Bar Lunàtico 8:30, 10 pm $10 êFrank Catalano Quartet with Randy Ingram, Julian Smith, Mike Clark MONDAY • Peter Slavov Trio with Mark Small, Diego Ramirez Birdland 8:30, 11 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Kristen Lee Sergeant’s Smolder with guest Ted Nash • Richard Clements/Murray Wall Band êJay Leonhart Birdland 5:30 pm $30 Birdland Theater 7 pm $20-30 11th Street Bar 8 pm êOriginal Robert Glasper Experiment with Derrick Hodge, Chris Dave, Casey Benjamin, • Grove Street Stompers Arthur’s Tavern 7 pm • Ron Carter Nonet Birdland 8:30, 11 pm $40 • Earl Rose Bemelmans Bar 5:30, 9 pm • Robert Glasper J Dilla Tribute Blue Note 8, 10:30 pm $45 DJ Jahi Sundance Blue Note 8, 10:30 pm $45 • Terry Waldo Gotham City Band Black Door 11 pm êBRIC JazzFest: Joe Russo; Ben Perowsky; Josh Kaufman/Stuart Bogie’s Boyfriends; • Samuel Torres’ Alegria with Michael Rodriguez, Alex Norris, Marshall Gilkes, • Jordan Young Bflat 8 pm Kassa Overall with Julius Rodiguez, Paul Wilson; Louis Cole; Roman Filiu, Joel Frahm, Ivan Renta, Luis Perdomo, Ruben Rodriguez, Pablo Bencid • Vince Giordano and The Nighthawks Antonio Sanchez Migration with Chase Baird, Thana Alexa, John Escreet, Dizzy’s Club 7:30, 9:30 pm $35 Iguana 8 pm Orlando le Fleming; Myra Melford’s Snowy Egret with Ron Miles, Liberty Ellman, • Gerardo Contino The Django at The Roxy Hotel 7:30 pm • Iris Ornig Jam Session Jazz at Kitano 8 pm Stomu Takeishi, Ches Smith; Claudia Acuña with Pablo Vergara, Carlos Henderson, • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 Juancho Herrera, Rodrigo Recabarren; Tia Fuller Fat Cat 7, 9 pm 12:30 am $10 • Kyle Colina and Friends Le Rivage 6:30 pm BRIC House 7:30 pm $35 • Glenn Zaleski Quintet with Lucas Pino, Adam O’Farrill, Desmond White, Allan Mednard; • Pasquale Grasso Mezzrow 11 pm $20 Masami Ishikawa Trio Cleopatra’s Needle 8 pm Kyle Nasser Group Halyard’s 8, 10 pm $10 • Stan Killian and Friends Queens Brewery 8 pm • • Gil Defay Red Rooster 8 pm êEric Reed’s Mainly Monk Dizzy’s Club 7:30, 9:30 pm $45 • Elizabeth Tomboulian Quartet Jazz at Kitano 8 pm • Ryan Keberle And Catharsis with Camila Meza, Pedro Giraudo • Misha Tsiganov Russian Vodka Room 7 pm • Joe Block Dizzy’s Club 11:15 pm $20 • Vincent Herring Quartet and Jam Session êErik Friedlander, Guilherme Monteiro, Ben Goldberg The Jazz Gallery 7:30, 9:30 pm $15 Smoke 7, 9, 10:30 pm Happylucky no.1 8 pm $20 • Shai Maestro Trio with Jorge Roeder, Ofri Nehemya and guest Philip Dizack • Swingadelic Swing 46 8:30 pm êImaginary Kraken: Ben Stapp, Sara Schoenbeck, Sam Newsome, Olivia De Prato, Jazz Standard 7:30, 9:30 pm $30 • John Benitez Jam Terraza 7 9:30 pm $7 Lester St. Louis, Stephen Haynes Ibeam Brooklyn 8:30 pm $15 • Rhythm Masters—Nazareth, Gonzaga, Pixinguinha, Joplin and Morton: • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 êMike Clark Trio with Jack Wilkins, Andy McKee Juilliard Jazz Dave Brubeck and Mary Lou Williams Ensembles Jazz at Kitano 8, 10 pm $34 Juilliard School Paul Hall 7:30 pm TUESDAY • Bohemian Trio The Jazz Gallery 7:30, 9:30 pm $25 • Libby York, Michael Kanan, Neal Miner; Vanessa Perea • Michael Kanan Trio The 75 Club at Bogardus Mansion 7 pm êChristian Sands High-Wire Trio with Luques Curtis, Ulysses Owens, Jr. Mezzrow 7:30, 10:30 pm $20 • Aaron Burnett’s Compound Gravity with Peter Evans, Carlos Homs, Nick Jozwiak, • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm Jazz Standard 7:30, 9:30 pm $30 • Art Hirahara Trio Arturo’s 8 pm • Mark Sganga/Martin Pizzarelli Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Kayvon Gordon Roulette 8 pm $25 êJosh Evans Quintet; JD Allen Quartet • David Budway Trio Bemelmans Bar 9:30 pm • Mike LeDonne/John Webber; Anthony Wonsey • Marc Devine Trio Cleopatra’s Needle 8 pm Mezzrow 7:30, 10:30 pm $20 Smalls 7:30, 10:30 pm $20 ê • Diego Voglino Jam Session Halyard’s 10 pm êJC Hopkins Biggish Band with Joy Hanson, Shawn Whitehorn, Vanisha-Arleen Gould, Trio Convulsant: Trevor Dunn, Mary Halvorson, Ches Smith • Vince Giordano and The Nighthawks Nico Sarbanes Minton’s 7:30, 9:30 pm $20 The Stone at The New School 8:30 pm $20 Iguana 8 pm ê • MPT Trio: Francisco Mela, Hery Paz, Jaunma Trujillo; Pearring Sound Trio: Jeff Pearring, John Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen • Joe Graziosi Legacy Jam Minton’s 6 pm Adam Lane, Tim Ford Mirror Tea House 8, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $35 • Mona’s Hot Four Mona’s 11 pm • Brenda Earle Stokes solo Pangea 7 pm $25 • Misha Tsiganov Russian Vodka Room 7 pm ê Wednesday, October 30 • Mike LeDonne Quartet Smoke 7, 9, 10:30 pm A Swingin’ Sesame Street Celebration—50 Years and Counting: • Hayes Greenfield Soapbox 7:30 pm Jazz at Lincoln Center Orchestra with Wynton Marsalis and guests Elmo, Abby, êDezron Douglas Black Lion Quartet • George Gee Orchestra Swing 46 8:30 pm Big Bird, Grover, Oscar the Grouch, Rosita, Bert and Ernie, The Count, Herry Monster, 55Bar 10 pm Hoots the Owl Rose Theater 2, 7 pm $40-140 • Caroline Davis’ Alula with Matt Mitchell, Dan Weiss WEDNESDAY • The Jade Collective Shrine 7 pm Bar Bayeux 8 pm • KGVYK Quartet Silvana 7 pm • Tardo Hammer Jam Session The 75 Club at Bogardus Mansion 7 pm • Spirits Rebellious: Saul Rubin/Arthur Kell • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm êRene McLean’s Music of the Spirit Sistas’ Place 9, 10:30 pm $20 Bar Lunàtico 8:30, 10 pm $10 • Michael Weiss Quartet with Eric Alexander, Paul Gill, Peter Van Nostrand; • Jason Marshall Trio American Legion Post 398 7 pm • Juan Munguia Trio with Ryan Slatko, Josh Roberts • Eve Silber Arthur’s Tavern 7 pm Jason Brown Quintet Smalls 7:30, 10:30 pm $20 Bar Next Door 6:30 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Elio Villafranca Quintet with Bruce Harris, Greg Tardy, Gregg August, Dion Parson êFrank Catalano Quartet with Randy Ingram, Julian Smith, Mike Clark • David Budway Trio Bemelmans Bar 9:30 pm Smoke 7, 9, 10:30 pm $35 Birdland 8:30, 11 pm $40 • Jordan Young Bflat 8:30 pm • Madeleine Peyroux Sony Hall 7:30 pm $55 êChampian Fulton Birdland Theater 7, 9:45 pm $20-30 • David Ostwald’s Louis Armstrong Centennial Band • Sam Weinberg, Henry Fraser, John McCowen êOriginal Robert Glasper Experiment with Derrick Hodge, Chris Dave, Casey Benjamin, Birdland 5:30 pm $20 Spectrum 7 pm $15 DJ Jahi Sundance Blue Note 8, 10:30 pm $45 • Joel Forrester solo Bistro Jules 5:30 pm êAssif Tsahar, William Parker, Hamid Drake • Edmar Castañeda Quartet with guest Andrea Tierra • Les Kurtz Trio Cleopatra’s Needle 7 pm The Stone at The New School 8:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $35 • Pasquale Grasso; Django Jam Session êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street The Django 8:30, 11 pm • Robert Edwards Big Band The Django at The Roxy Hotel 7:30 pm • WaHi Jazz Jam Le Chéile 8 pm Village Vanguard 8:30, 10:30 pm $35 • Raphael D’lugoff Trio +1; Ned Goold Jam êOliver Lake Whitney Museum 4 pm $25 • Noah Garabedian Jam The Nest 9 pm Fat Cat 7 pm 12:30 am $10 • Les Goodson Band Paris Blues 9 pm • Akemi Yamada Quartet with Helio Alves, Michael O’Brien, Alex Kautz • Emmet Cohen Smoke 11:45 pm Sunday, October 27 Jazz at Kitano 8, 10 pm $18 • Stan Rubin Orchestra Swing 46 8:30 pm • Shai Maestro Trio with Jorge Roeder, Ofri Nehemya and guest Philip Dizack • Paul Marinaro Birdland 5:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 THURSDAY êStephane Wrembel and Friends Blue Note 11:30 am 1:30 pm $39.50 • David Stoler, Dennis Marks, Peter Van Nostrand • Robert Glasper J Dilla Tribute Blue Note 8, 10:30 pm $45 Mezzrow 7:30 pm $20 • Ray Blue Organ Quartet American Legion Post 398 7 pm êEric Reed’s Mainly Monk Dizzy’s Club 7:30, 9:30 pm $30 êThe Stone Commissions: Jen Shyu’s Zero Grasses • Eri Yamamoto Trio Arthur’s Tavern 7 pm êDavid Grollman/Kenny Millions; Sean Ali/Sandy Ewen National Sawdust 7 pm $25 • David Budway Trio Bemelmans Bar 9:30 pm Downtown Music Gallery 6, 7 pm • Fran Vielma Venezuelan Jazz Collective • John McNeil/Mike Fahie The Douglass 9 pm • Joel Forrester George’s 6:30 pm • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 Rockwood Music Hall Stage 3 7 pm $15 • Steve Wirts/Joe Cohn Quartet Han Dynasty 6 pm êChristian Sands High-Wire Trio with Luques Curtis, Ulysses Owens, Jr. • Count Basie Tribute: Ron Aprea Big Band with Angela DeNiro • Kyle Colina and Friends Le Rivage 7 pm Jazz Standard 7:30, 9:30 pm $30 Saint Peter’s Church 1 pm $10 • Spike Wilner/Pascal Grasso Mezzrow 11 pm $20 • Fleurine Mezzrow 7:30 pm $20 • The Uptown Guitars Silvana 8 pm • Les Goodson Band Paris Blues 9 pm êJason Marshall Big Band Minton’s 7:30, 9:30 pm $10 • Pete Zimmer Quintet with Stacy Dillard, Peter Bernstein, Miki Yamanaka, • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm • Roz Corral Trio with Josh Richman, Evan Gregor Yasushi Nakamura; George Papageorge Trio with Matt Chertkoff, Brian Floody • Rob Duguay Low Key Trio Turnmill NYC 11 pm North Square Lounge 12:30, 2 pm Smalls 7:30, 10:30 pm $20 • Ms. Marie Special Showcase Uke Hut 8 pm • Patience Higgins, Malik McLaurine, Marcus Persiani, Lynette Washington • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, Russian Samovar 3 pm Joel Mateo Smoke 7, 9, 10:30 pm $20 FRIDAY Heart Quartet: Ike Sturm, Melissa Stylianou, Godwin Louis, Chris Dingman • Amirtha Kidambi, Brian Chase, Brandon Seabrook, Trevor Dunn • • Jostein Gulbrandsen Aretsky’s Patroon 6 pm Saint Peter’s Church 6 pm The Stone at The New School 8:30 pm $20 • Eri Yamamoto Trio Arthur’s Tavern 7 pm • Eric Plaks, Leonid Galaganov, Evan Crane; Dan Blake/Robert Dick; Sandra Sprecher, • Ricardo Gallo’s Horse’s Mouth with Satoshi Takeishi, Vasko Dukovsky, Sam Kulik • Joel Forrester Baker’s Pizza 7 pm Bonnie Kane, John Loggia; Aron Namenwirth, Zach Swanson, Joe Hertenstein Terraza 7 9 pm $10 • The Crooked Trio Barbès 5 pm Scholes Street Studio 7 pm êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen • David Budway Trio Bemelmans Bar 9:30 pm • Asaf Yuria Exorcisms Sextet with Josh Evans, Jonathan Peled, Jeremy Manasia, Village Vanguard 8:30, 10:30 pm $35 • Birdland Big Band Birdland 5:15 pm $25 Ben Meigners, Jason Brown; Tardo Hammer Trio with Lee Hudson, Steve Williams • Bennett Paster Trio Hillstone 6 pm Smalls 7:30, 10:30 pm $20 Thursday, October 31 • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Elio Villafranca Quintet with Bruce Harris, Greg Tardy, Gregg August, Dion Parson Smoke 7, 9, 10:30 pm $35 • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm SATURDAY • Madeleine Peyroux Sony Hall 7:30 pm $55 êBinky Griptite Bar Lunàtico 8:30, 10 pm $10 êJenny Scheinman/Allison Miller’s Parlour Game with Carmen Staaf, Tony Scherr • Eri Yamamoto Trio Arthur’s Tavern 7 pm êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Bill Saxton Bill’s Place 8, 10 pm $20 Village Vanguard 8:30, 10:30 pm $35 Birdland 8:30, 11 pm $40 • Joel Forrester solo Bistro Jules 6 pm êChampian Fulton Birdland Theater 7, 9:45 pm $20-30 • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm Monday, October 28 êOriginal Robert Glasper Experiment with Derrick Hodge, Chris Dave, Casey Benjamin, • Yvonnick Prené Henry’s 12:30 pm DJ Jahi Sundance Blue Note 8, 10:30 pm $45 • Assaf Kehati Duo Il Gattopardo 11:30 am êBrian Charette Trio 55Bar 10 pm • Roland Temple Duo Cleopatra’s Needle 7 pm • Johnny O’Neal Trio Smoke 11:30 pm 12:45 am • Perry Smith Quartet Bar Lunàtico 8:30, 10 pm $10 • Edmar Castañeda Quartet with guest Andrea Tierra • Ryan Hernandez Trio with Griffin Fink, Hank Allen-Barfield; Irina Zubareva Trio with Dizzy’s Club 7:30, 9:30 pm $40 SUNDAY Misha Tsiganov, Dmitri Kolesnik Bar Next Door 6:30, 8:30, 10:30 pm $12 • Steven Feifke Big Band; Rita with Chelsea Baratz • NEXTGEN Quartet: Chris Mondak, Gabriel Feldman, Mario Layne Fabrizio, Ye Huang The Django at The Roxy Hotel 7:30, 10:30 pm • Creole Cooking Jazz Band; Stew Cutler and Friends • Vicki Burns Quartet with Sean Fitzpatrick, Michael O’Brien, Ronen Itzik Arthur’s Tavern 7, 10 pm Birdland Theater 7 pm $20-30 • Matt La Von Jam Session Bā’sik 7 pm • Wayne Tucker and The Bad Mothas Birdland Theater 9:45 pm $20-30 Jazz at Kitano 8, 10 pm $18 Brian Krock And Big Heart Machine with Charlotte Greve, Caroline Davis, Anna Webber, • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Griffin Brown, Mat Muntz, Adam O’Farrill; Stephen Gauci, Adam Lane, Kevin Shea; • • Stephane Wrembel Barbès 9 pm $10 Jeremy Carlstedt, Anders Nilsson, Diallo House; Jessie Cox, Lester St. Louis, Timo Vollbrecht, Jay Rattman, John Lake, Nolan Tsang, Chloe Rowlands, • Arturo O’Farrill Afro Latin Jazz Orchestra Josh Sinton; Welf Dorr, Matt Mottel, Jeong Lim Yang, Kevin Shea; Kenny Warren, Nick Grinder, Sam Blakeslee, Isaac Kaplan, Jennifer Wharton, Birdland 9, 11 pm $30 Chet Doxas/Micah Frank Bushwick Public House 7 pm $10 Olli Hirvonen, Arcoiris Sandoval, Marty Kenney, Nathan Ellman-Bell • Joel Forrester solo Bistro Jules 4 pm êEd Palermo Big Band Iridium 8:30 pm $25 The Jazz Gallery 7:30, 9:30 pm $15 • Renaud Penant Trio Bistro Jules 7:30 pm • Hector Martignon, Gabriel Vivas, Samuel Torres êScott Robinson’s Heliotones with Godwin Louis, Bruce Arnold, Gary Versace, • Steve LaSpina Trio Café Loup 12:30 pm Mezzrow 7:30 pm $20 Julian Thayer, Pheeroan akLaff Jazz Standard 7:30, 9:30 pm $30 • Marc Devine/Hide Tanaka Café Loup 6:30 pm ê • Keith Ingham Cleopatra’s Needle 4 pm • Sammy Miller and The Congregation T.K. Blue’s The Rhythms Continue Minton’s 7:30, 9:30 pm $10 • John Yao Triceratops with Billy Drewes, Jon Irabagon, Peter Brendler, Mark Ferber • Trampelman Dominie’s Astoria 9 pm National Arts Club 9 pm $20 • The EarRegulars The Ear Inn 8 pm • Adam Holzman and Brave New World with Ofer Assaf, Jane Getter, Freddy Cash, Nublu 9 pm $10 • Nicole Connelly Silvana 6 pm • Joel Forrester solo Grace Gospel Church 11 am Gene Lake Nublu 151 8 pm $10 • Sam Taylor The Grange 7 pm Christine Tobin/Phil Robson Trio Rizzoli Bookstore 4:30 pm $30 • Nicholas Payton Trio with Peter Washington, Kenny Washington • Smoke 7, 9, 10:30 pm $35 • Grassroots Jazz Effort Grassroots Tavern 9 pm • Bob Lanzetti Rockwood Music Hall Stage 2 9 pm $10 • Idan Morim Trio Injera 7:30 pm êTim Dahl, Trevor Dunn, Devin Hoff, Brandon Lopez • Tony Middleton Trio Jazz at Kitano 12 pm $40 êMary Halvorson/John Dieterich Roulette 8 pm $25 The Stone at The New School 8:30 pm $20 Takeshi Otani Band; The Scalicis Silvana 6, 7 pm • Christopher McBride Minton’s 7:30 pm $10 • • Michael Winograd Town & Village Synagogue 8:30 pm $15 • Ari Hoenig Trio with Tivon Pennicott, Matt Penman; Joel Frahm Trio • Marjorie Eliot Parlor Entertainment 4 pm • Agustin Grasso Trio with Eric Zolan and guest • Lu Reid Jam Session Shrine 4 pm Smalls 7:30, 10:30 pm $20 Uke Hut 8 pm $20 • Roxy Coss Trio Smoke 10:30 pm

• As Is: Alan and Stacey Schulman Triad Theater 7 pm $25 êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen • John Benitez Jazz Jam Terraza 7 9:30 pm $7 • Kenny Carr Quartet with Danny Walsh, Sam Bevan, Kenny Wollesen Village Vanguard 8:30, 10:30 pm $35 • Sean Smith and guest Walker’s 8 pm Zinc Bar 7:30, 9 pm $25

44 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 5C Café 68 Avenue C • The Grange 1635 Amsterdam Avenue • Park Church 129 Russell Street (212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org (212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com (718-389-0854) Subway: G to Nassau Avenue www.parkchurchcoop.org • 11th Street Bar 510 E. 11th Street • Greater Calvary Baptist Church 55 W. 124th Street • Parlor Entertainment 555 Edgecombe Ave. #3F (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com (404-227-3748) Subway: 2, 3 to 125th Street (212-781-6595) Subway: C to 155th Street • 17 Frost Theater of the Arts 17 Frost Street • Greenwich House Music School 46 Barrow Street • Parnell’s Bar 350 E. 53rd Street #1 (646-389-2017) Subway: L to Bedford Avenue www.17frost.com (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-753-1761) Subway: E, M to Lexington Avenue/53rd Street • 54 Below 254 W. 54th Street • Groove Bar & Grill 125 MacDougal Street www.parnellsny.com (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue (212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street • The Penrose 1590 2nd Avenue www.54below.com www.clubgroovenyc.com (212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com • 55Bar 55 Christopher Street • Halyard’s 406 3rd Avenue, Brooklyn • Performance Space New York 150 First Avenue Subway: F to Second Avenue (212-929-9883) Subway: 1 to Christopher Street www.55bar.com (718-532-8787) Subway: R to 9th Street www.barhalyards.com • Pioneer Works 159 Pioneer Street, Brooklyn • 244 Rehearsal Studios 244 W. 54th Street • Han Dynasty 215 W. 85th Street (718-596-3001) Bus: B61 www.pioneerworks.org (212-586-9056) Subway: C, E to 54th Street (212-858-9060) Subway: 1 to 86th Street www.handynasty.net • Queens Brewery 1539 Covert Street, Ridgewood www.244rehearsalstudiosny.com • Happylucky no.1 734 Nostrand Avenue Subway: L to Halsey Street www.queensbrewery.com • 440Gallery 440 Sixth Avenue, Brooklyn (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • Radegast Hall 113 North 3rd Street (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com www.happyluckyno1.com (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • 1986 Est. Wine Bar & Lounge 43 W. 32nd Street • Hari NYC 140 W. 30th Street, 3rd floor Subway: 1 to 28th Street • Rizzoli Bookstore 1133 Broadway (212-563-1500) Subway: B, D, F, Q, R to 34th Street-Herald Square • Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street (212-759-2424) Subway: R, W to 28th Street www.rizzolibookstore.com www.hotelstanford.com • Hillstone 153 E. 53rd Street • Rockwood Music Hall 196 Allen Street (212-477-4155) • Aaron Davis Hall 133rd Street and Convent Avenue (212-888-3828) Subway: E, M to 53rd Street www.hillstone.com Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-650-7100) Subway: 1 to 137th Street/City College www.adhatccny.org • Holy Trinity Cathedral 337 E. 74th Street • Rose Theater Broadway at 60th Street, 5th floor • American Folk Art Museum 65th Street at Columbis Avenue (212-288-3215) Subway: M, Q, R to 72nd Street www.thecathedralnyc.org (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • Hostos Center 450 Grand Concourse www.jazz.org • American Legion Post 398 248 W. 132nd Street (718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu • Room 623 at B2 Harlem 271 W. 119th Street (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • Hudson Studios 601 W. 26th Street #1330 (212-280-2248) Subway: B, C to 116th Street www.b2harlem.com • An Beal Bocht Café 445 W. 238th Street (212-924-2430) Subway: C, E to 23rd Street www.hudsonstudios.com • Roulette 509 Atlantic Avenue Subway: 1 to 238th Street www.LindasJazzNights.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • The Appel Room Broadway at 60th Street, 5th floor Subway: F to 4th Avenue www.ibeambrooklyn.com • The Roxy Lounge at Roxy Hotel 2 Sixth Avenue (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Iguana 240 West 54th Street (212-765-5454) (212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street www.jazz.org Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com www.roxyhotelnyc.com • Areté Gallery 67 West Street, Brooklyn • Il Gattopardo 13-15 W. 54th Street • Rubin Museum 150 W. 17th Street (929-397-0025) Subway: G to Greenpoint Avenue www.aretevenue.com (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Aretsky’s Patroon 160 E. 46th Street www.ilgattopardonyc.com • Russ & Daughters Café 127 Orchard Street (212-883-7373) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street • Injera 11 Abingdon Square (212-475-4881) Subway: F to Delancey Street www.aretskyspatroon.com (212-206-9330) Subway: 1, 2, 3 to 14th Street www.injeranyc.com www.russanddaughterscafe.com • Aron’s Place 166 N. 12th Street SStreetubway: L to Bedford Avenue • Iridium 1650 Broadway at 51st Street (212-582-2121) • Russian Samovar 256 W. 52nd Street • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1,2 to 50th Street www.theiridium.com (212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com Subway: 1 to Christopher Street www.arthurstavernnyc.com • Irish Arts Center 553 W. 51st Street • Russian Vodka Room 265 W. 52nd Street • Arturo’s 106 W. Houston Street (at Thompson Street) (212-757-3318) Subway: C, E to 50th Street www.irishartscenter.org (212-307-5835) Subway: C, E to 50th Street www.russianvodkaroom.com (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Issue Project Room 22 Boerum Place • Ryan’s Daughter 350 E. 85th Street • Baker’s Pizza 201 Avenue A (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall (212-628-2613) Subway: 4, 5, 6 to 86th Street (212-777-7477) Subway: L to First Avenue www.bakerspizzanyc.com www.issueprojectroom.org www.ryansdaughternyc.com • Bar Bayeux 1066 Nostrand Avenue • Jack 18 Putnam Avenue • St. George Theatre 35 Hyatt Street (347-533-7845) Subway: 2, 5 to Sterling Street (718-388-2251) Subway: A, C to Franklin Avenue www.jackny.org (718-442-2900) Bus: S74 to Bay Street/Borough Place • Bar Lunàtico 486 Halsey Street • Jalopy 315 Columbia Street, Brooklyn www.stgeorgetheatre.com (917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com (718-395-3214) Subway: F to Smith Street www.jalopy.biz • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bar Next Door 129 MacDougal Street (212-529-5945) • Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org • Scandinavia House 58 Park Avenue at 37th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • James Cohan Gallery 48 Walker Street (212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central Subway: F to 7th Avenue www.barbesbrooklyn.com (212-714-9500) Subway: A, C, E to Canal Street www.jamescohan.com www.scandinaviahouse.org • Bā’sik 323 Graham Avenue, Brooklyn • Jazz 966 966 Fulton Street • Scholes Street Studio 375 Lorimer Street (347-889-7597) Subway: L to Graham Avenue www.basikbrooklyn.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com (718-964-8763) Subway: L to Lorimer Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) www.scholesstreetstudio.com Subway: 6 to 77th Street www.thecarlyle.com Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • ShapeShifter Lab 18 Whitwell Place • Bflat 277 Church Street (between Franklin and White Streets) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: 1, 2 to Franklin Streets Subway: N, R to 28th Street www.jazzgallery.org • Showman’s 375 W. 125th Street at Morningside • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox (212-864-8941) Subway: 1 to 125th Street (212-281-0777) Subway: 2, 3 to 135th Street Avenues (212-348-8300) Subway: 6 to 125th Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Birdland and Birdland Theater 315 W. 44th Street (212-581-3080) www.jazzmuseuminharlem.org Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Silvana 300 West 116th Street • Bistro Jules 60 St Marks Place (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.com (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com • Joe’s Pub at the Public Theater 425 Lafayette Street • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Black Door 127 W. 26th Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org (212-645-0215) Subway: R, W to 28th Street www.blackdoornyc.com www.joespub.com • Skirball Center 566 LaGuardia Place at Washington Square • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Juilliard School Peter Jay Sharp Theater 155 W. 65th Street (212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu www.nyuskirball.org • BRIC House 647 Fulton Street • Kingsborough Community College 2001 Oriental Boulevard • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) (718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org (718-368-6686) Subway:Q to Brighton Beach Subway: 1 to Christopher Street www.smallsjazzclub.com • Brooklyn Bowl 61 Wythe Avenue www.onstageatkingsborough.org • Smoke 2751 Broadway between 105th and 106th Streets (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com • Knickerbocker Bar & Grill 33 University Place at 9th Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Brooklyn Cider House 1100 Flushing Avenue (212-228-8490) Subway: N, R to 8th Street-NYU • Soapbox 636 Dean Street Subway: 2, 3 to Bergen Street (347-295-0308) Subway: L to Jefferson Street www.knickerbockerbarandgrill.com • Sony Hall 235 W. 46th Street www.brooklynciderhouse.com • Le Chéile 839 W. 181st Street (212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com • The Brooklyn Commons 388 Atlantic Avenue (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues) Subway: A, C, G to Hoyt/Schermerhorn Streets • Le Poisson Rouge 158 Bleecker Street Subway: 2 to Sterling Street • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street • Spectrum 70 Flushing Avenue Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org www.lepoissonrouge.com Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com • Brooklyn Music School 126 Saint Felix Street • Le Rivage 340 W. 46th Street • The Stone at The New School 55 West 13th Street (718-907-0878) Subway: 4 to Atlantic Avenue-Pacific Street (212-765-7374) Subway: C, E to 50th Street www.lerivagenyc.com (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • The Sultan Room 234 Starr Street Subway: 4, 5, 6 to 42nd Street www.bryantpark.org (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (612-964-1420) Subway: L to Jefferson Street www.thesultanroom.com • Bushwick Public House 1288 Myrtle Avenue • Manhattan School of Music Neidorff-Karpati Hall Broadway and 122nd Street • Swing 46 349 W. 46th Street (646-322-4051) (917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54 (212-749-2802, ext 4428) Subway: 1 to 116th Street www.msmnyc.edu Subway: A, C, E to 42nd Street www.swing46.com www.bushwickpublichouse.com • Max Fish 120 Orchard Street • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and • Café Carlyle 35 E. 76th Street (212-744-1600) (212-529-3959) Subway: B, D to Grand Street www.maxfish.com Bar Thalia 2537 Broadway at 95th Street Subway: 6 to 77th Street www.thecarlyle.com • Metro Baptist Church 410 W. 40th Street (between Ninth and Tenth Avenues) (212-864-5400) Subway: 1, 2, 3 to 96th Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-765-8446) Subway: A, B, C, D, E, F, S, V to 42nd Street www.symphonyspace.org (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Mezzrow 163 W. 10th Street • Terraza 7 40-19 Gleane Street • Carnegie Club 156 W. 56th Street (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue • Michiko Studios 149 W. 46th Street, 3rd Floor • Threes Brewing 333 Douglass Street • Children’s Magical Garden de Carmen Rubio Norfolk and Stanton Streets (212-302-4011) Subway: B, D, F, M to 47-50 Streets (718-522-2110) Subway: R to Union Street www.threesbrewing.com Subway: F to Second Avenue www.michikostudios.com • Tomi Jazz 239 E. 53rd Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Miller Theater 2960 Broadway and 116th Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (212-854-7799) Subway: 1 to 116th Street-Columbia University • Town & Village Synagogue 334 E. 14th Street • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; www.millertheater.com (212-677-8090) Subway: L to First Avenue www.tandv.org E, V to 53rd Street www.clubbonafide.com • Minton’s 206 W. 118th Street (between St. Nicholas Avenue and • Town Hall 123 W. 43rd Street • Consulate General of Argentina 12 W. 56 Street Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park (212-603-0400) Subway: E to Lexington Avenue/53 Street www.mintonsharlem.com www.thetownhall.org www.congenargentinany.com • Mirror Tea House 575 Union Street, #A • Triad Theater 158 W. 72nd Street, 2nd floor • The Cutting Room 44 E. 32nd Street (917-909-0577) Subway: R to Union Street www.mirrorinthewoods.com (212-362-2590) Subway: 1, 2, 3 to 72nd Street www.triadnyc.com (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • MIST 40 W. 116th Street Subway: 2, 3 to 116th Street • Tribeca Performing Arts Center 199 Chambers Street • David Rubenstein Atrium Broadway at 60th Street www.mistharlem.com (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Mona’s 224 Avenue B Subway: L to First Avenue www.tribecapac.org www.atrium.lincolncenter.org • Music Hall of Williamsburg 66 N. 6th Street • Troost 1011 Manhattan Avenue • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (718-486-5400) Subway: L to Bedford Avenue (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org www.musichallofwilliamsburg.com • Turnmill NYC 119 East 27th Street • The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600) • National Arts Club 15 Gramercy Park South (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: A, C, E to Canal Street; 1 to Franklin Street (212-475-3424) Subway: 6 to 23rd Street www.nationalartsclub.org • Uke Hut 36-01 36th Avenue www.thedjangonyc.com • National Sawdust 80 N. 6th Street (347-458-3031) Subway: N, W to 36th Avenue www.ukehut.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org • Village Vanguard 178 Seventh Avenue South (212-255-4037) • The Douglass 149 4th Avenue • Neighborhood Church of Greenwich Village 269 Bleecker Street Subway: 1, 2, 3 to 14th Street www.villagevanguard.com (718-857-4337) Subway: R to Union Street www.thedouglass.com (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net • Walker’s 16 North Moore Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) • The Nest 504 Flatbush Avenue (212-941-0142) Subway: A, C, E to Canal Street Subway: F to East Broadway www.downtownmusicgallery.com (718-484-9494) Subway: B, S, Q to Prospect Park www.thenestbrooklyn.com • Weeksville Heritage Center 1698 Bergen Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • New York City Baha’i Center 53 E. 11th Street (212-222-5159) (718-756-5250) Subway: C to Ralph Avenue www.weeksvillesociety.org Subway: C, E to Spring Street www.earinn.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue • El Barrio Artspace 215 E. 99th Street • Nhà Minh 485 Morgan Avenue (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org Subway: 6 to 96th Street www.artspaceps109.org (718-387-7848) Subway: L to Graham Avenue • Whitney Museum 1845 Madison Avenue at 75th Street • El Taller LatinoAmericano 225 W. 99th Street • North Square Lounge 103 Waverly Place (212-254-1200) (800-944-8639) Subway: 6 to 77th Street www.whitney.org (212-665-9460) Subway: 1, 2, 3 to 96th Street Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Nublu 62 Avenue C between 4th and 5th Streets (718-384-1654) Subway: L to Bedford Avenue Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • Zankel Hall 881 Seventh Avenue at 57th Street • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Nublu 151 151 Avenue C (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-979-9925) Subway: 6 to Astor Place www.nublu.net • Zinc Bar 82 W. 3rd Street (212-477-8337) • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • The Owl Music Parlor 497 Rogers Avenue, Brooklyn Subway: A, B, C, D, E, F, M to W. 4th Street www.zincjazz.com (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc • Zürcher Gallery 33 Bleecker Street • Grace Gospel Church 589 East 164th Street • Pangea 178 Second Avenue (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-995-0900) Subway: L to First Avenue www.pangeanyc.com www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 45 (INTERVIEW CONTINUED FROM PAGE 6) TNYCJR: With all the different types of projects you do, I suppose you don’t want to be labeled as just a first tune “Sunday” was the first of its kind to use jazz guitarist? looping in a singer’s pop tune. Next came the album Reality and The Next Day and additional tracks. Then I DT: I don’t think anyone thinks of me as a jazz player. was involved with a remake of Never Let Me Down, It’s like Tim Berne. When I first heard him with Science an album of his from 1987, which came out on the Friction, I thought, ‘Is this jazz?’ His playing was like boxed set Loving The Alien. Hendrix! When I first heard that band, their playing had all of the energy of punk, rock, the intelligence of TNYCJR: What were your overall impressions of him? new music and jazz and the chops of great players.

DT: I had met him in ‘89 when he was working with TNYCJR: Talk about your production work. Nile Rodgers. There was the possibility of working with him then, but it didn’t pan out. When we finally DT: When I’m mixing, I want the record to reflect the worked together, it was kind of perfect. I really miss his live sound, the true sound of the band. What makes the input, output, insight, humor and support. I met him in band only sound like them? How can I reflect their one of his many turn-around phases that he’d been personality? I did a lot of forensic work with mixes and going through all his life. I consider him to be one of the submastering to try to see what I could do to make greatest musicians I’ve ever known in every way, just things sound truer. Maybe this is too arcane for most impeccable commitment. Even if he was playing games people, but I started finding pathways to make things with music, he still wasn’t messing around. He had an work. The last ten years have been about clarifying openness and he could do anything he wanted with details in written and improvised material without music. I remember one session where I developed an altering it. Making sure you hear every last part, like on

Joe Lovano Courtesy of the Artist idea, built on a multi-track loop and manipulated it to the Matt Mitchell records, if you’re that kind of listener. work harmonically. It took about an hour to get it right. He came back, said ‘that’s great!’ and that was the TNYCJR: Are there projects you still want to do that JOE LOVANO UNIVERSAL beginning of our work together on Heathen. Most of it you haven’t done? OCT was done that way, me reacting to his tunes. It was an JAZZ ENSEMBLE amazing environment to work in. He would raise the DT: Yeah, there are always things. I like to be invited 18–19 Featuring pianist Kenny Werner, bassist hackles on my arms with his singing and I liked him. It by people I don’t expect for co-writing, mixing or John Patitucci, guitarist Liberty Ellman, was incredible. All I had to do was be myself and go. producing. But I don’t want to push anybody. (Laughs). 7PM & 9:30PM drummers Andrew Cyrille and Tyshawn Bill Frisell and I have been talking about working THE APPEL ROOM Sorey, trumpeter Graham Haynes, and TNYCJR: And other people you have worked with? together for years before we both kick it. (Laughs). vocalist Judi Silvano. DT: There are some people that can almost be TNYCJR: What’s coming up for you? intimidating like Tim Berne and Ches Smith in Sun of A SWINGIN’ SESAME STREET Goldfinger, Matt Mitchell, k.d. lang, Meshell DT: I’m planning several records, some of which will be OCT Ndegeocello...I’m in a Swiss minimalist rock band unexpected. There’ll be an interim release of guitar CELEBRATION: 50 YEARS called Sonar, which is a whole other new thing for me solos, different from my previous work. It’ll be a little entirely. I had a great duo with Will Calhoun from weirder, harder, with more guitar. I’m working on 25–26 AND COUNTING Living Colour. I’m in a band called Saudade Music another record with strings, which is in the can. And I’m Collective, which has an EP coming out with Chuck going to do another one with more electronic sounds See some of your favorite feathered 2PM* & 7PM Doom and Randy Blythe from Lamb of God, John similar to my older records. v and furry friends sing classic Sesame ROSE THEATER Medeski playing keys; this is very heavy music. Mackie Street songs alongside the Jazz *2PM performance and occasionally Dr. No from Bad Brains contribute. Torn is at Nublu 151 Oct. 13th with Sun of Goldfinger. Oct 26 only at Lincoln Center Orchestra with All of that is super fun and exciting. I feel pretty lucky. See Calendar. Wynton Marsalis. I wish I could do more film scoring, but to have done Presented in collaboration with Sesame Street Workshop. all these things and to continue to do them is amazing! Recommended Listening: • Everyman Band—Without Warning (ECM, 1984) TNYCJR: How does improvisation work within the • David Torn—Cloud About Mercury (ECM, 1986) ECM RECORDS AT 50 context of a composition, say on a project like Sun of • David Torn—What Means Solid, Traveller? NOV Goldfinger? (CMP, 1995) WITH JACK DEJOHNETTE, • David Torn—Prezens (ECM, 2005) 1–2 DT: On that record, there’s one piece I wrote. The rest • David Torn—Only Sky (ECM, 2014) VIJAY IYER, AND MORE is sort of improv. I sort of set up the rules. Tim is free to • David Torn/Tim Berne/Ches Smith— 8PM Featuring Jack DeJohnette, interpret the melody while the strings [guitar and Sun of Goldfinger (ECM, 2018) ROSE THEATER Vijay Iyer, Meredith Monk, Bill Frisell, piano] are working from written parts. Ches is free to Ethan Iverson, Ravi Coltrane, do what he wants, with the exception of overdubbing Matthew Garrison, and more. one percussive section. At the end of the piece, no one The Huffington Post has described the Loft is guided; we’re all improvising. Party as “the most ecstatic music experience I’ve had since Woodstock.”

Lifetime Achievement Award CHUCHO VALDÉS TNYCJR: You have an astounding range of styles and Honoree: Roy Haynes NOV collaborations. Featuring: WITH SPECIAL GUEST Wyclef Jean, Pharaoah Sanders, DT: You just try to do the things you want to in a 15–16 Cyril Neville, Zigaboo Modeliste, CHICK COREA lifetime. A lot of stuff really got fed by the fact that Davell Crawford, Bertha Hope, 8PM Grammy Award–winning pianist I was doing so many film scores, 20+, which eventually Wallace Roney, John Scofield, Chucho Valdés will play a broad allowed me to get into orchestral music. I got into film Lenny White, Darryl Jones, ROSE THEATER Bernard Wright, Melvin Taylor, spectrum of Latin and jazz styles. because it was super fun and allowed me to make a good living. Sweet Georgia Brown, Pianist Chick Corea will join Valdés for Binky Griptite (DJ Set) and many the second half of the concert in the I’m having fun, doing my thing and working with more with surprises to come pair’s first-ever collaboration. composers who want my creative input. And I’m constantly getting schooled by hanging out with the Individual Tickets $500 countless great musicians. There are super creative Loft Host Packages $12,500 Loft Hero Packages $25,000 VENUE FREDERICK P. ROSE HALL music scenes and bubbling undergrounds in Brooklyn, Portland, OR, Los Angeles, Philly, Baltimore, D.C., https://jazzfoundation.org/ BOX OFFICE BROADWAY AT 60TH ST. loftparty2019/ JAZZ.ORG CENTERCHARGE 212.721.6500 Ashville, North Carolina, Austin, Texas, Montréal and Toronto, it’s all over the place!

46 OCTOBER 2019 | THE NEW YORK CITY JAZZ RECORD (GUSTAFSSON CONTINUED FROM PAGE 13) fabled (if transitory) Hot House held after-hours jams later a duet with drummer Hamid Drake. The two and the west side venue Constellation hosted an quickly found ways to match their vocabularies, Drake innately adaptable and unfettered in this endeavor, inspired set with saxophonists Douglas Ewart and putting beats inside the oscillations of Keravec’s pipes but those qualities are also by design. Such long-form Kidd Jordan, bassist Keefe Jackson and drummer Mike until time and timelessness fused in the crush of beat works have been vehicles for the improvisation at the Reed. Their set was wonderfully unhurried, the band and wailing drone. heart of all Gustafsson’s work. As rewarding and knowing they’d get there in due time and get back The Keravec/Drake duo shared the bill with a duo absorbing as the scores and ephemera were, however, there if they needed. operating at the opposite end of the volume spectrum, the most profound element of the exhibition were a Repertory and revival projected are a big part of the subtle Malcolm Goldstein and Rainer Weins. They series of performances that revealed the ongoing how jazz writes its own history and Reed has made an combined the former’s wisps of violin sound with the potential and elasticity of the scores, nearly all of admirable contribution toward that effort. With the latter’s almost underwater guitar sounds, using a steel which were commissioned for specific performances in trio Artifacts, he played and recorded tunes from the bar and temporary bridges to create eerie wandering the past and rarely, if ever, revisited. Of the four scored history of the AACM. More recently, his The City Was pitches. In another episode Weins’ kalimba presented pieces over the first three nights of the exhibition only Yellow began as a “fakebook” (collecting scores by bright bubbling metallic patterns in a creative contrast Kilroy is (Hidros)—first heard at the Molde Jazz Chicago players from 1980-2010 published to mark the with Goldstein’s wisps of plucked, bowed, scratched Festival in 2009­­—featured the same performers when 50th anniversary of the Jazz Institute of Chicago this and sung sounds. the piece was originally premiered, in this case year) and came to life to open the first day of mainstage The trio of saxophonist Ingrid Laubrock, drummer a smaller complement of singers from Trondheim performances. Along with Reed, the group included Tom Rainey and cellist Hank Roberts had only played Voices. The singers were directed by Gustafsson Chicago MVPs Ari Brown, Steve Berry and Jeff Parker once before, but fortunately Ng was present at the New through an array of terse sounds—pops, grunts, and former Windy City residents Rob Mazurek and York event. Now assembled for a short Canadian tour, shouts, vocal fry, hisses—amid moments of eerie Nicole Mitchell playing their contributions to the book. the three turned in an extraordinary hour of serenity. The singers also returned to a list of imaginary It’s an admirable project that deserves further continuously shifting improvisation, moving through names created in an artwork by Carl Fredrik documentation. dancing rhythmic patterns from Rainey, who at one Reuterswärd and during one section they all operated Mazurek’s return to town also included a project point used a half-full plastic water bottle to combine small analog circuit boards, which they occasionally that was high concept on paper but just good, old- clicks and swishing water sounds while Laubrock filtered with their mouths. fashioned, off-center structured improv in practice. created a quiet, subtly permutating line on tenor, Petter, another Molde commission, from 2015, His ideas can sometimes get the better of him, but with taking it to astonishing lengths of sustained complexity dedicated to Norwegian Olympic cross-country skiing a crackerjack quartet of Håker Flaten, pianist Kris and beauty. Roberts is one of the great neglected talents champion Petter Northug, unfolded in four related Davis and drummer Chad Taylor—and with sparing of jazz, weaving among his partners and divergent sections, each climaxing with vocalist Stine Janvin use of electronics on his trumpet—his Desert Encrypts traditions, from the dramatic minimalism of an erhu to panting with exhaustion following a wheezing, visceral was well-considered and altogether enjoyable. Fellow the swirling complexities of violin raga. race section where the leader’s tenor, Greek bagpipes of trumpeter Ambrose Akinmusire brought a tight quartet Another trio provided extended improvisation of Oluf Dimitri Røe, turntable noise of Dieb13, jerry-rigged with keyboard whiz Sam Harris from his recent Origami comparable brilliance: Argentinian pianist Paula machines of Leif Elggren, rumbling percussion of Kyrre Harvest. Akinmusire has a great sound, almost woody Shocron and drummer Pablo Díaz joined by the émigré Laastad and hectoring voices of Janvin and Sofia Jernberg at times, and the group left more room for the trumpet senior clarinetist Guillermo Gregorio. Together they simulated the agonizing thrill of competition. Victory out front, especially on a final piece dedicated to the seemed to collapse time in a lyric burst, with Shocron was represented with Janvin and Elggren carrying a recently departed Roy Hargrove. playing from one end of the keyboard to the other, silver crown fashioned from a vegetable tin and placing If Mazurek and Akinmusire played for the LCD of constantly weaving new patterns with an oceanic it on a small table covered by a red cloth. Conceptually what can be a fairly MOR fest, they did so without sweep while Diaz created shifting punctuations and the piece was sharp, but the variations weren’t strong lowering their bars. But they were playing to the Gregorio unleashed a multitude of voices, cackling, enough to support four iterations. crowd—an audience open for adventure, but still a singing, soaring, complaining and joking. The strongest performances came on the final night cross section of the populace. The expanded Art While the festival emphasized free improvisation, this reporter attended the exhibition. Plugs Extended (to Ensemble of Chicago, however, made no such there were also groups building their performances on Dror Feiler), commissioned by the BBC Symphony allowances. In any context, it’d be a bold move to open composed materials. Drummer Tomas Fujiwara Orchestra and Tectonics Festival in 2000 and revised in with one of Roscoe Mitchell’s “new music” compositions brought his new trio 7 Poets and his own considerable 2018, began with the musicians from the Trondheim from the new and brilliant We Are on the Edge (Pi fire to a group that fused power trio and chamber Sinfonietta putting in ear plugs and then covering their Recordings) but at a gratis jazz festival it was all the music. With cellist Tomeka Reid and vibraphonist ears with noise-cancelling headphones—which they more so, even with the hometown advantage. But for 50 Patricia Brennan, who’s possessed of a spectacular removed and put back in several times during the years, the Art Ensemble has been a bold band. They four-mallet technique, the group created sparkling, performance—creating a funny visual gimmick while followed the opener with a percussion quartet and a complex music filled with distinctive textures and a also challenging the abilities of the musicians to listen dissolve into dissonance by Mitchell on soprano and special rhythmic élan. to themselves and their cohorts, especially when flutist Mitchell. Later, electronicist and vocalist If there’s a band designed to plumb the mysteries Gustafsson’s score called for quiet playing. In fact, the Christina Wheeler shined delivering the text by the of existence, it’s The Titillators, the latest brainchild of charge of the piece came from players astutely absent Moor Mother, which gave the album its title. The Toronto’s most imaginative musician, Ryan Driver. responding to other sounds created on stage, with progression was a masterful piece of orchestration. While Driver plays streetsweeper bristle bass, Thom especially strong contributions from clarinetist Klaus A few weeks after Mitchell’s 79th birthday, his Art Gill whistles, he and Tania Gill play synthesizers and Holm, saxophonist Eirik Hegdal and French horn Ensemble showed itself as the sum of his life’s work, a percussionists Phil Melanson, Germaine Liu and player Hilde Sofie Tafjord. Hidros 4 (to Sampí) from 2001 powerful and versatile amalgamation that can realize D. Alex Meeks play a multitude of toys and kitchen was just as strong, with layers of scratchy, dissonant the many avenues of his imagination alongside the implements, including frying pan, sifter and slide blurts and pop morphing into slowly descending long Afrocentric explorations of his longtime associate, whistle. The level of percolating joy approaches Perez tones. The opening set up a series of cycling sections drummer and percussion section leader Famoudou Don Prado, their forays into Ellingtonia (“Cotton Tail” and marked by masterful tension and release with extended Moye. They closed as always with “Odwalla” and, as on “Prelude to a Kiss”) provide fresh views and Driver’s improvisations and occasional grooves breaking the album, the added voices and strings made it a “Amusement” achieves mystical calm made more through the din. Although this reporter had never magical bit of melodrama, nothing short of an ascent remarkable by the means employed. heard any of these pieces before—none have been into heaven in an old Dorothy Dandridge musical. It was Tania Gill also played piano in another Toronto played outside of Europe—they all sounded timeless in a fantastic piece of Great Black Music, which has never group, the Brodie West Quintet, the alto saxophonist’s their own way, given new life by the choices, been restricted to the jazz tradition. And the weekend as concentrated exploration of layered, sometimes personalities and combinations of the excellent a whole, with its 20-something stars, made a strong disjunct rhythms with bassist Josh Cole and drummers improvisers that tackled them. One would hope that promise for Great Black Music into the future. v Nick Fraser and Evan Cartwright. The compositions Gustafsson saw their ongoing merit and maybe they and interplay represent the full flowering of West’s won’t have to wait so long to be performed again. v For more information, visit chicagojazzfestival.us studies with Misha Mengelberg and work with Han Bennink and Getatchew Mekuria, extending a tradition For more information, visit nymusikk.no/no/hva-skjer/ of jagged, vigorous jazz composition reaching back to trondheim-partiturutstilling-2019 (GUELPH CONTINUED FROM PAGE 13) Thelonious Monk. There’s enough going on to make Guelph a who created walls of bristling sound and added dense pilgrimage site for devotees of uncompromising music (CHICAGO CONTINUED FROM PAGE 13) swirling scales, those bagpipes a machine for circular visions. v breathing. He turned in a commanding solo punctuate and escalate and then roll the blues. The performance in the resonant St. George’s Church and For more information, visit guelphjazzfestival.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2019 47 nd JAMAICA CENTER FOR ARTS AND LEARNING PRESENTS 2 THURSDAY NIGHT JAZZ

2019-2020

Tivon Pennicott General Admission: $10 All shows start at 8pm (One-Set)

OCTOBER 10, 2019 FEBRUARY 13, 2020 TIVON PENNICOTT LUIS PERDOMO

NOVEMBER 14, 2019 MARCH 12, 2020 MELVIS SANTA ARTA JEKABSONE

DECEMBER 12, 2019 APRIL 9, 2020 ANNA WEBBER SEPTET GIVETON GELIN

JANUARY 9, 2020 MAY 14, 2020 JEREMY DUTTON CHRIS DINGMAN

JUNE 11, 2020 Jamaica Center for Arts & Learning THANA ALEXA

161-04 Jamaica Avenue, Jamaica, NY 11432 (718) 658-7400 • www.jcal.org For full line up, please visit www.jcal.org