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Home , 2012 in Latin music, Alan Shorter, Andy LaVerne, Angel Orensanz Center, Art Baron, At the Village Vanguard

December 2012 | No. 128 Your FREE Guide to the NYC Scene nycjazzrecord.com

CHUCHO IN T E VALDÉS A U Havana - L S IS • MIGUEL • JOE • FESTINA • EVENT BARBIERI ZENÓN BATAAN LENTE CALENDAR 11/29 - 12/2 12/3 & 4

DAVID SANBORN MEDESKI MARTIN & WOOD CHRIS BOTTI 12/5-9 W/ (12/12), (12/13) ANNuAL RESIDENCY & (12/14) 12/17 - 1/6 12/11-16

LATE NIGHT GROOVE SERIES: SuNdAy BRuNcH SERIES: THE Z THREE 12/1 SOPHISTAFuNK 12/15 NYu: 12/2 SONuVO 12/7 RAY ANGRY 12/21 MARK GROSS & BLACKSIDE 12/9 THE FLOWDOWN 12/8 JEF LEE JOHNSON 12/22 AKIKO TSuRuGA 12/16 INTERNATIONAL ORANGE 12/14 QuEEN AAMINAH 12/28 MARLENE VERPLANCK 12/23 SONY HOLLAND 12/30

TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY Much has been made about the term “jazz” throughout this music’s history; some find it to be an inclusive term, encompassing all stripes of styles and players while New York@Night others find it limiting, even demeaning. A topic not often discussed though is the 4 sub-genre “”. It is hard to believe that this term has existed as long as it Interview: Gato Barbieri has, trying ineffectually to cover dozens of cultures under its generic umbrella. For this The Jazz Record’s first Latin issue, we would like to take 6 by Brad Farberman the opportunity to use the term as a starting point for discussion. There is no Artist Feature: Miguel Zenón uniformity between the musics that come out of the various Southern and Central American countries and to imply such is overly simplistic and culturally by Tom Greenland 7 insensitive. Just as “” hardly represents centuries worth of On The Cover: Chucho Valdés composition, Latin jazz should either be broken into its component countries by Russ Musto (would that work?) or just called jazz - in the most expansive sense of the word. 9 To reinforce this notion, you need only leaf through our coverage this month. Encore: Lest We Forget: Cuban legend Chucho Valdés (On The Cover, appearing at both Zankel Hall 10 and Stern Auditorium as part of the Voices from series), famed Willie Bobo Argentinean saxophonist Gato Barbieri (Interview, at Blue Note celebrating his by Marcia Hillman by Donald Elfman 80th birthday) and Puerto Rican cachorro de león Miguel Zenón (Artist Feature, Megaphone VOXNews leading a group at Jazz Standard) are as different as their native countries. Vocalist by Bobby Sanabria by Katie Bull Joe Bataan (Encore) shows that one not even need be of Spanish extraction to play 11 Latin jazz while the late percussionist Willie Bobo (Lest We Forget) comes not from Label Spotlight: Listen Up!: Central or South America but . Colombian imprint Festina Lente (Label Spotlight) will upend anyone’s notions of what Equatorial music should sound 12 Rogerio Boccato Festina Lente like and if anyone can wax prolific on the subject of needing to recognize the by Ken Waxman & Magos Herrera uniqueness of “Latin jazz”, it would be our Megaphone writer, percussionist Bobby Sanabria (just ask the Grammy Awards). And we’ve dedicated the beginning In Memoriam: (1936-2012) of our CD Reviews (pages 16-21) to a wide array of disparate “Latin” artists. 14 Próspero Año Nuevo! CD Reviews: Gonzalo Rubalcaba, David Virelles, Bobby Sanabria, 16 Ondatrópica, Poncho Sanchez, Papo Vazquez, Aruán Ortiz and more Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director On the cover: Chucho Valdés (photo courtesy CAMI MUSIC) 36 Special Feature: Holiday Gift Guide Event Calendar Corrections: In last month’s VOXNews, the poet’s name is Eady. In the 38 Dayna Stephens CD review, Aaron Parks does not play Fender Rhodes. In the In Memoriam, John Tchicai passed away on Oct. 8th. 45 Club Directory Submit Letters to the Editor by emailing [email protected] Miscellany: In Memoriam • Birthdays • On This Day US Subscription rates: 12 issues, $30 (International: 12 issues, $40) 47 For subscription assistance, send check, cash or money order to the address below or email [email protected].

The New York City Jazz Record www.nycjazzrecord.com / twitter: @nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull, New York, NY 10033 Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Brad Farberman, George Kanzler, Suzanne Lorge, Bobby Sanabria Advertising: [email protected] Contributing Photographers Editorial: [email protected] Jim Anness, Scott Friedlander, Alan Nahigian, Jack Vartoogian Calendar: [email protected]

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

THE NEW YORK CITY JAZZ RECORD | December 2012 3 NEW YORK @ NIGHT

Trumpeter Jeremy Pelt’s quintet, arguably one of the It may well have been the well-known complexities of strongest working bands in jazz, has held together ’s music that led vocalists Kyoko at KITANO long enough to record : November, Men of Kitamura and Anne Rhodes to decide to turn a recital JAZZMusic • Restaurant • Bar Honor, The Talented Mr. Pelt and this year’s Soul. There of his music at Downtown Music Gallery (Nov. 11th) “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD LIVE JAZZ EVERY were new faces onstage, however, when Pelt arrived into a workshop. It’s something that some listeners WEDNESDAY - SATURDAY for a special birthday engagement at Smoke (Nov. may wish was a regular part of Braxton concerts (and $10 WED./THUR + $15 Minimum/Set. 11th). Pianist Danny Grissett and bassist Dwayne some, no doubt, are glad is not). The pair discussed $25 FRI./SAT. + $15 Minimum/Set Burno remained in place, bringing characteristic depth aspects of Braxton’s gestural language for conducting 2 SETS 8:00 PM & 10:00 PM and poise to Pelt’s original material. On tenor sax, in and structuring music before leading the room - JAZZ BRUNCH EVERY SUNDAY JD Allen’s stead, was the inspired Roxy Coss, whose abetted by accordionist Adam Catlock, saxophonist TONY MIDDLETON TRIO slow-burning and methodical approach paired well Ras Moshe and bassist Carl Testa - and if it didn’t result 11 AM - 2 PM • GREAT BUFFET - $35 with Pelt’s more incendiary solos. Jonathan Barber, in a concert experience, it still grasped something of OPEN JAM SESSION MONDAY NIGHTS occupying Gerald Cleaver’s spot on drums, swung the jazz revolutionary’s creative process. It seemed, 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG without inhibition and did much to enhance the however, that even explaining what was being SOLO PIANO EVERY TUESDAY IN DECEMBER • 8:00 PM - 11:00 PM DEC. 4 - HELEN SUNG GROUP • DEC. 11 & 18 - BILLY TEST music’s wide dynamic range. Having begun the second explained wasn’t an easy task. “We’re not going to DEC. 25 - CHRISTMAS DAY • NO MUSIC set with the intricate “Dreamcatcher”, Pelt transitioned explain Anthony Braxton’s music but we’re going to SAT. DECEMBER 1 MARK SHERMAN QUARTET immediately to ’s slow and dreamlike explain something about what it’s like to be in a MARK SHERMAN, FRANK KIMBROUGH “Pulse”, which elicited bluesy, carefully placed phrases Braxton ensemble,” Kitamura said while Rhodes RAY DRUMMOND, GREG HUTCHINSON from the leader at maximum volume - as if he were offered that while performing Braxton’s music “you’re $25 COVER + $15 MINIMUM WED. DECEMBER 5 shouting to the streets just outside. On “Second Love”, overwhelmed with information, but you’re just in it.” LAINIE COOKE QUARTET the most straightforwardly lyrical piece, Pelt was They explained Braxton building with such names as LAINIE COOKE, TEDD FIRTH subdued yet just as pointedly expressive. He put “uneven, unbalanced attacks” that could be cued mid- MARTIN WIND, RALPH PETERSON $10 COVER + $15 MINIMUM Barber in the spotlight after a full rotation of solos on performance and the iconography which connotes that THURS. DECEMBER 6 the animated “Milo Hayward” and closed with “What’s a staff can be in either treble or bass clef or that a note BOB MAMET TRIO Wrong Is Right”, a forceful midtempo with no can be either a half step flat or sharp. If the end question BOB MAMET, RICH SYRACUSE JEFF “SIEGE” SIEGEL chordal backing (Grissett soloed with only his right was whether or not a Braxton ensemble can be created $10 COVER + $15 MINIMUM hand). The pacing of the set was superb - Pelt knew in under an hour, the answer was “no”. But the FRI. & SAT. DECEMBER 7 & 8 exactly what he wanted and his band was right there to assemblage still managed moments of the layered and TIM HORNER QUARTET TIM HORNER, JOE LOCKE do it. - David R. Adler translucent Braxtonian beauty. - Kurt Gottschalk JIM RIDL, DEAN JOHNSON $25 COVER + $15.00 MINIMUM WED. DECEMBER 12 MAGOS HERRERA QUARTET MAGOS HERRERA, MIKE MORENO, ALEX KAUTZ $10 COVER + $15 MINIMUM THURS. DECEMBER 13 RUSS NOLAN QUINTET CD RELEASE EVENT “TELL ME” RUSS NOLAN, ZACH BROCK ART HIRAHARA, MICHAEL O’BRIEN, BRIAN FISHLER $10.00 COVER + $15.00 MINIMUM P h o t b y S c F r i e d l a n FRI. DECEMBER 14 o n t R w P h s FRANK KIMBROUGH TRIO CD RELEASE EVENT “LIVE AT KITANO” FRANK KIMBROUGH, , MATT WILSON $25 COVER + $15 MINIMUM

SAT. DECEMBER 15 a r t o g i n / F “ACREAGE” FEATURING STEVE CARDENAS, , MATT WILSON $25 COVER + $15 MINIMUM

WED. DECEMBER 19 © 2 0 1 J a c k V BEAT KAESTLI QUINTET Jeremy Pelt @ Smoke Anne Rhodes & Kyoko Kitamura @ Downtown Music Gallery BEAT KAESTLI, KENNY RAMPTON BEN STIVERS, MATT WIGTON, FRED KENNEDY $10 COVER + $15 MINIMUM THURS. DECEMBER 20 Dormant for years, the Jazz Composers Collective Pianist Fred Van Hove and drummer Lou Grassi have TERI ROIGER QUARTET reunited for a festival at Jazz Standard and closed out played in a trio with trombonist Gunter Heinz for close TERI ROIGER, JAMES WEIDMAN the week with the remarkable Herbie Nichols Project to a decade, but a couple of New York dates during JOHN MENEGON, STEVE WILLIAMS $10 COVER + $15 MINIMUM (Nov. 11th). This sextet’s sole purpose is to showcase Van Hove’s recent tour of the States afforded them FRI. DECEMBER 21 the lost music of pianist/composer Nichols, one of their first opportunity to perform as a duo. And by AARON DIEHL TRIO jazz’ unheralded geniuses. To that end, pianist Frank their second engagement, Nov. 9th at The Firehouse AARON DIEHL, DAVID WONG, PETER VAN NOSTRAND $25 COVER + $15 MINIMUM Kimbrough, bassist Ben Allison and cohorts opened Space in Williamsburg, they were a pair of old hands. SAT DECEMBER 22 with “Wildflower”, encored with “Spinning Song” and The first improvisation started as a serene meditation RONNY WHYTE TRIO got loose mid-set over the blazing tempo of “Crisp and grew in dynamic, ending up as a percussive duet, $25 COVER + $15 MINIMUM WED. DECEMBER 26 Day/Blue Chopsticks” - all from the band’s 1996 debut so it made perfect sense when Grassi started the second ALEX MINASIAN TRIO Love Is Proximity. Since then, however, there’s been a piece with small statements on muted cymbals and ALEX MINASIAN, BRANDI DISTERHEFT, WAYNE "COOK" BROADNAX startling development: an old trunk containing bells before Van Hove joined from inside the piano $10 COVER + $15 MINIMUM THURS. DECEMBER 27 manuscripts for over 160 Nichols compositions, long case. As Grassi switched to mallets and cymbal rolls, MIKARIMBA rumored lost in a flood, was recently located. The Van Hove held the sustain pedal firm and made the W/ MIKA STOLTZMAN • $10 COVER + $15 MINIMUM pieces range from the late ’50s to the early ’60s (Nichols baby grand resonate like a rack of gongs. The pianist FRI. DECEMBER 28 MARLENE VERPLANCK QUARTET died in 1963). “Tell the Birds I Said Hello”, the second moved back toward melody, the music grew full and W/ TEDD FIRTH • $25 COVER + $15 MINIMUM tune of the set, was from this lost batch and it found lush and Grassi adopted a steady clip with the mallets. SAT DECEMBER 29 pondering a simple lyrical melody on It was a thoughtful 20-minute expedition that ended SCOT ALBERTSON GROUP soprano sax before yielding to solos from Kimbrough on instinct, not resolving because there was nothing 8TH ANNUAL PRE NEW YEAR'S EVE EVENT 8 PM: SCOT ALBERTSON, CHRISTOS RAFALIDES, SEAN CONLY and trumpeter Ron Horton. “Games and Codes”, with that needed to be resolved. Having established terrain, 10 PM: SCOT ALBERTSON, MAYU SAEKI, RON JACKSON $25 COVER + $15 MINIMUM Blake and Ted Nash on tenors, was a doleful ballad they began the second set with an easy ballad, growing MON. DECEMBER 31 • NEW YEAR'S EVE with laid-back swing passages and tight orchestration. bold but never forceful, uptempo but unhurried. At JOE LOCKE'S QUARTET “Blues No. 1” also featured dual tenors up front and a length they were positioned for a sound experiment. JAZZ AT KITANO 'S go-for-broke bass solo from Allison as the main focus. Capitalizing on repetition with small variations, Van BRAZILIAN VOYAGE BAND “Van Allen Belt”, a showstopper, inspired a fierce Hove worked the strings with a rubber ball while MEZZANINE outpouring from Nash on alto. While Nichols’ tunes Grassi did exemplary work with brush and cymbals. 9:00 PM TO 1:00 AM • $95 COVER + $25 MINIMUM RESERVATIONS - 212-885-7119 were nothing short of a revelation, the band’s They ended the evening with another improvised VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork www.kitano.com • email: [email protected] interpretive prowess at every step was equally a thing ballad, but it was in the outré piece that they found the 66 Park Avenue @ 38th St. of beauty. (DA) strongest narrative arc. (KG)

4 December 2012 | THE NEW YORK CITY JAZZ RECORD “Music is the Message” sang Kool & the Gang in 1972 The famed team of and Stanley Clarke, but sometimes the message needs more to be properly which helped define the fusion jazz genre with Return WHAT’S NEWS expressed. So it was at St. Mary’s Church (Nov. 15th) To Forever (RTF), revisited their roots in a largely with a benefit organized by the political organization acoustic engagement at the Blue Note with saxophonist Scientific Soul Sessions to free Russell Maroon Shoatz. , guitarist Charles Altura and drummer Just in time for our first Latin issue, Jazz at Lincoln A longtime convict in the Pennsylvania Department of . “Stanley and I kind of grew up here,” Center will be presenting a two-day career Corrections, Shoatz was sentenced to life imprisonment the ageless pianist announced, alluding to time spent retrospective of the legendary pianist over 30 years ago and has been kept in solitary in New York in the ‘60s, as he took the stage for the Dec. 14th-15th. For more information, visit jalc.org. confinement during all that time. The evening was band’s election night second show (Nov. 6th). The set dedicated to raising both awareness and funds to help began wistfully with a ruminative solo piano prelude And conveniently, the winners of the Latin Grammys in his legal defense, so that he may be released into replete with hip harmonic variations, which evolved have been announced. Dear Diz (Every Day I Think general population. Among the evening’s speakers into a fiery straightahead rendition of “How Deep Is Of You) - () won Best were journalist Kanya D’Almeida, activist/author The Ocean” with the entrance of Clarke’s powerful Latin Jazz and Best Engineered Album while Matt Meyer and Shoatz’ daughter Theresa, as well as walking bass and Coltrane’s dark toned tenor Further Explorations - Chick Corea, Eddie Gomez & poet/activist Amiri Baraka. The evening’s musical variations on the well-known melody. Corea responded (Concord Jazz) won Best Instrumental component, interspersed with the speeches, came via with cleverly constructed retorts to Coltrane’s lines Album. For more information, visit latingrammy.com. baritone saxophonist/composer Fred Ho, himself a and then engaged in a rhythmic tête-à-tête with scholar and proponent of numerous revolutionary Gilmore that danced around Clarke’s deep solo. The Panamanian pianist was named a ideologies. He appeared first as one third of a trio with virtuoso bassist opened his own “Topasio” Educational, Scientific and Cultural vocalists Iyanna Jones and Angel Martinez, his unaccompanied, before being joined by Corea on Organization (UNESCO) Artist for Peace in a impassioned honks and shrieks unnervingly electric keyboard to recall the archetypal RTF sound. A ceremony in last month. In addition to his many representational. Later he played in duo with cellist shout from the crowd that Obama’s victory had been achievements of music, Pérez has long Seth Woods, presenting his work “The Fire This Time! proclaimed prompted Clarke to declare, “Well I voted been active in philanthropy and social work. Prepare for a World Revolutionary Matriarchy”. But for Chick”, before introducing Corea’s timely “Pledge his most compelling contribution to the invocational For Peace”. The pianist’s “Planet Shia” followed, Arts for Art, the fine folks who bring you the annual tone of the evening was with his Saxophone Liberation featuring Coltrane’s soprano and Altura’s nylon string Vision Festival, are presenting The Under_Line Front, comprised of himself, James Carter, Darius Jones guitar. The night ended blissfully with an airy encore, Benefit Launch Dec. 4th at Angel Orensanz and Bhinda Keidel, playing three of four selections Gayle Moran Corea singing RTF’s Light As A Feather Foundation, an allstar event to support the founding of from his The Black Nation Suite. - Andrey Henkin classic “You’re Everything”. - Russ Musto a progressive music venue in the . For more information, visit artsforart.org. As part of its 40th Anniversary celebration, the New Conservatory of Music’s Contemporary Improvisation Department gave founding member/ pianist Ran Blake a Lifetime Achievement Award in a ceremony at the school last month. For more information, visit necmusic.edu/ci40.

A tentative schedule for the inaugural Jazz Connect

P h o t b y Conference at APAP | NYC 2013 has been announced. The conference will take place at the Sheraton New York in midtown Jan.

A l a n N h i g 10th-11th. For schedule and ticket registration, visit A n e s eventzilla.net/web/event?eventid=2138967906. Saxophonist is reported to be a guest

P h o t b y J i m in an upcoming The Simpsons’ episode, to be aired Fred Ho Saxophone Liberation Front @ St. Mary’s Church Chick Corea/Stanley Clarke Band @ Blue Note this spring as part of its 24th season. Rollins will be the fourth jazz-related personality to appear after Tony Some two days after the devastation wreaked by Merging its longtime support of Latin jazz with its Bennett (Seasons 2 and 14), (Seasons 6 Hurricane Sandy, a somewhat less destructive (though more recent focus on weekly presentations of large and 7) and (Season 7). not for lack of trying) force also made landfall in the ensembles, Zinc Bar hosted bassist Pedro Giraudo’s city. On Nov. 1st, the American-Dutch trio ‘Expansions’ for a night of exciting sounds, Trumpeter/composer was among Cactus Truck stopped in at Zebulon (seemingly spared smoothly joining the jazz and popular Argentinean 14 composers selected to receive a 2012 commission any damage despite its proximity to the music traditions (Nov. 13th). From the opening notes from Fromm Music Foundation at Harvard University. shoreline) as part of an extensive US tour running of his “Push Gift”, a feature for the bittersweet tenor Smith will write a work commemorating the 50th through mid December (check out the band this month sax of John Ellis, Giraudo’s prodigious abilities as a anniversary of Dr. Martin Luther King, Jr.’s “I Have a at Spectrum and Sycamore Dec. 9th and 10th). A direct composer/arranger were instantly apparent, lush Dream” speech. The work will receive its premiere at line can be drawn backwards to the Peter Brötzmann orchestrations inspiring the soloist’s expansive Roulette in May 2013. Additionally, West Coast Trio of 1967 and many hip Williamsburgers quickly improvisation as his engaging basslines navigated the trombonist Michael Dessen was another recipient. headed for emergency shelters, ironic since what band through both sudden and subtle shifts in tempo For more information, visit music.fas.harvard.edu/ Cactus Truck does shouldn’t be shocking to the parents and rhythm. Prefacing his “Duende del Mate” with a fromm.html#winners. of hipsters, much less the hipsters themselves. This is skillful acappella electric bass solo, Giraudo eased the not a criticism; you don’t get to hear too much brutal ensemble into the playful melody, which featured Miki Jazz at (JALC) is the beneficiary of a free jazz anymore and its effect is oddly soothing, Hirose’s open belled surrounded by his $1 million bequest from The Ammon Foundation to reassuring even. The group’s members are all in their section mates’ muted horns and Ellis, spurred on by name the R. Theodore Ammon Archives and Music 20s but play with remarkable conviction and maturity. Jess Jurkovic’s halting piano chords. The song climaxed Library, in honor of the noted investment banker and Saxist John Dikeman, the lone American, is forceful with an exciting discourse between the leader, Paulo philanthropist who was murdered in 2001 by his wife’s and throaty on both tenor and alto; Jasper Stadhouders Stagnaro’s propulsive cajón and drummer Eric Doob’s lover. This repository contains printed music and varies texture by performing on either (both heavily deft brushwork, encouraged by the band’s rhythmic archival recordings of concert productions from distorted) electric guitar or electric bass and Onno -styled hand-clapping. Songstress Sofia JALC’s 25-year history, recordings from Jazz at Govaert is a fine exemplar of the perpetual motion Tosello joined the group for a stunning reading of Lincoln Center Radio, photos, archival videos and machine school of free drumming. Refreshing though “Cuchi” Leguizamon’s “Juan Panadero”. Giraudo, over 500 jazz and reference books. A ribbon-cutting was how the group operated in short bursts. Its moving to acoustic bass, concluded with his three-part for the new library took place last month. For more 22-minute set (the opening act of a Public Eyesore label “Desconsuelo Suite”, spotlighting Carl Maraghi’s information, visit jalc.org. showcase) was made up of four ‘pieces’, all distinct in baritone, Jonathan Powell‘s trumpet, Nate Mayland’s approach and focused in execution, more like an bass trombone, Alejandro Aviles’ soprano and finally Submit news to [email protected] earthquake than any other natural disaster. (AH) James Hirschfeld’s trombone. (RM)

THE NEW YORK CITY JAZZ RECORD | December 2012 5 INTERVIEW

J a ZZ at lincoln center Gato 25 years of J a ZZ Barbieri dec

P h o t c u r e s y B l N C b by Brad Farberman

It was a prophetic move when, early on, the Argentinean GB: I listened when [Sanders] played with Coltrane in tenor saxophonist Leandro Barbieri took the nickname the Village Vanguard. My mode to play was completely “Gato” (Spanish for cat), as he would go on to live multiple different. He made a big solo. I don’t like to make big lives. Starting off as a member of ’s orchestra solos. I like to have, like, when you play soccer - you in the ‘50s, Barbieri soon turned to the avant garde, give the ball to another one, to make an assist. conjuring up violent but melodic horn hollers and appearing I played a lot of soccer when I was young. It was very on important ‘60s documents like ’s Complete beautiful. Very beautiful. In those days there was a lot Communion and ’s Orgasm. In the ‘70s, of free jazz. Especially in the context of Don Cherry, Barbieri mellowed a bit and began infusing his work with . , obviously. There was a elements of , an experiment that hit its lot of people who played free jazz. Now, I don’t see too commercial peak with the 1972 soundtrack to Last Tango in much people who play free jazz. Some people play Paris. With 1976’s -produced Caliente!, because they want to play. I like to play because I like Barbieri moved into a slick R&B phase, recording songs by to play. Marvin Gaye, , Santana and Ralph MacDonald. And in the late ‘90s, after having stepped away TNYCJR: Your first album as a leader was 1967’s In from music for more than a decade, Barbieri returned with a Search of the Mystery, released on ESP-Disk’. string of smooth jazz albums, the most recent of which was 2002’s The Shadow of the Cat. But he’s not done yet - in GB: Everybody recorded for ESP [laughs]. [ESP 2010, the saxophonist turned yet another corner with New founder ] don’t pay. He don’t pay. York Meeting, his first album of jazz standards. Having Everybody wanted to record. Because in those days, it just turned 80, the Scarved One hits the Blue Note for a was a lot of people who wanted to play. Free jazz, there two-night stand early this month. was a lot of people. Not now. For instance, he calls me

now to make a record and I say, “Listen, I make a eddie palmiere Photo by Frank Stewart The New York City Jazz Record: Can you talk about record with you, like, 40 years ago. Maybe more.” You growing up in and discovering jazz? know, he was a businessman. A businessman. He made dec 7–8 the music of money. We don’t make money. But it’s okay. Life is that 7:30PM nina simone Gato Barbieri: way. You have to be strong. The most important, It was a beautiful time. Not like now, & 9:30 PM Vocalist Kim Nalley with because now, too much music is stupid music. I important thing was to play the beautiful music. saxophonist James Carter understand people want to play, but I am very natural. When I was 12 years old, I listened to the first record of TNYCJR: Your The Third World album, recorded in . For me, something opened. I was 1969, fused elements of Latin music with free jazz. waiting for something and it came. It was incredible. dec 7 Big Band h olidays Orchestra Miles. Monk. So many other people. So many. GB: [Keyboardist] Lonnie Liston [Smith] is an 8 PM with & vocalists incredible person, for instance. He played on [The Third dec 8 René Marie & Gregory Porter TNYCJR: In the ‘60s, you worked with trumpeter Don World] with me and I have to say thank you, Lonnie, 2 PM & 8 PM Cherry and moved to New York at his urging. You then because he was an incredible musician. He moved to appeared on Cherry albums like another place. When I made The Third World...it was and . me, , , d ec 14–15 e ddie Palmieri: and a trombone player. This trombone player played a 8 PM a c areer GB: [Working with] Don Cherry was incredible lot with . Maybe you can look The Third r etrosP ective experience because when I was in Buenos Aires before World up and know who it was. [laughs] He was Eddie Palmieri with his Salsa I went to Italy, I already listened to the quartet with incredible. He was incredible...incredible. [It was Orchestra & Latin Jazz Band Don Cherry, Ornette Coleman, Charlie Haden and Ed .] Blackwell. So I was in Italy and suddenly [Cherry] dec 31 r ing in the s w i n g : comes with Sonny Rollins to play. And I go to his hotel. TNYCJR: Also in 1969, you were on bassist Charlie 8:30PM a n ew y ear’s e v e He told me, “I go to play in Paris after.” I go and he Haden’s debut as a leader, Liberation Music Orchestra. d ance Party was happy. I tell you, it was incredible experience. Don The Harlem Renaissance Cherry, he didn’t write any music. So I write all the GB: The Liberation Orchestra with Charlie Haden was Orchestra, open bar, and more music he had. In 45 minutes, we played 15 tunes. 15! a lot of musicians. Dewey Redman, Carla Bley, Mike Don Cherry - you never know what’s happening. So I Mantler, myself. I dunno, like...12, 13, 15 pieces. It was B o X office Broadway at 60 th started to learn to listen. Very important. To listen with very, very, very, very beautiful. But [Haden] couldn’t Don Cherry and a lot of other people. For instance, continue because it was expensive. To have 15 centercharge 212-721-6500 Carla Bley. I played with [Haden’s] Liberation musicians and you have to pay, you know? But it’s Orchestra. I played with the big orchestra of Mike okay, it’s okay. He did that because he wanted to do it Mantler. Everybody there. and he’s continuing. He played something different jalc.org after. Preferred Card of TNYCJR: On Symphony for Improvisers, the horn section Jazz at Lincoln Center of you and Cherry was augmented by saxophonist TNYCJR: You may perhaps be most famous for . (CONTINUED ON PAGE 46)

6 December 2012 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit miguelzenon.com. Zenón‘s Rayuela is at Jazz Standard Dec. 6th-9th. See Calendar.

Recommended Listening: Miguel • Miguel Zenón - Looking Forward (-New Talent, 2001) • Antonio Sanchez - Live in New York (CAMJazz, 2008) • Miguel Zenón - Esta (Marsalis Music, 2009) • SFJAZZ Collective - Live 2009 (6th Annual Tour: The Works of McCoy Tyner) (SFJAZZ, 2009) Zenón • Miguel Zenón - Alma Adentro: The Puerto Rican Songbook (Marsalis Music, 2011) • Miguel Zenón/Laurent Coq - Rayuela (Sunnyside, 2012)

P h o t b y S c F r i e d l a n by Tom Greenland

Miguel Zenón is a musician’s musician, a fiery yet Zenón’s music, but to call him a Latin jazz musician is cool alto saxophonist with an expansive imagination like calling William Faulkner a “Southern writer”, thus and the technique to express it, an innovative composer overlooking the broader scope of each artist’s output. who combines folkloric and progressive influences and While Zenón states he is “very proud” of his Puerto a dynamic bandleader with seven albums to his name, Rican roots, he finds the “Latin jazz” label problematic, each successive project documenting his rapid partly because, in his estimation, most people development as an artist of singular vision. specifically associate the term with AfroCuban music Growing up in San Juan, , Zenón and in particular the seminal works of , acquired a solid foundation in classical music at the , Mario Bauzá and others. “We’re all an Escuela Libre de Música, matriculated at ’s extension of that, because all of us Latin American in the late ‘90s while gigging musicians would not have been able to do what we do locally with ’ Mozamba and Russ Gershon’s without that music happening,” he explains but Either/Orchestra and then earned a master’s degree suggests that such labels are beginning to disappear: from Manhattan School of Music in 2001. He gained “Jazz music is becoming so global and so infused with valuable professional experience with Guillermo Klein, musicians from all over the place - Latin America, , Charlie Haden, the Village Vanguard Africa, Asia, Europe - and they bring their own music JSnycjr1212 11/15/12 1:24 PM Page 1 Orchestra, Mingus Big Band and, in particular, and their own ideas into jazz… When I listen to the saxophonist David Sánchez, with whom he played for music of Danilo Pérez or David Sánchez or Gonzalo five years, forming deep musical and personal bonds Rubalcaba or musicians of that nature, I think of them with pianist , bassist Hans Glawischnig as jazz musicians, but they’re Latin American jazz and drummer Antonio Sánchez. This developed into a musicians; they bring their own music into what long-standing quartet, recording Zenón’s first six they’re doing and they’re really well-versed in both albums as a leader, the last three with fellow Puerto worlds.” Zenón has explored his cultural lineage on “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best ” NY MAGAZINE+CITYSEARCH WED-SUN NOV 28-DEC 2#NO 11:30PM SET ON FRIDAY Rican Henry Cole on drums replacing Sánchez. In albums dedicated to La Música Jíbara, Plena and these days when jazz artists switch ‘teams’ as often as Puerto Rican popular songwriters and anticipates ’SKENNY DAVIS - KASSA OVERALLTIMELINE - MAURICE CHESTNUT BAND professional baseball’s free agents, the longevity of similar projects in the future. TUE-WED DEC 4-5 Zenón’s quartet is singular: Perdomo and Glawischnig Zenón’s latest project, Rayuela, a collaboration DONNY McCASLIN GROUP have worked with him for 12 years while ‘newcomer’ with pianist Laurent Coq, is named for Argentinean - - MARK GUILIANA THU-SUN DEC 6-9 Cole has logged in seven. “It’s not very common,” author Julio Cortázar’s innovative novel (translated as JS10 Zenón admits. “I consider myself very lucky that I’ve Hopscotch in English), which gives readers an option: MIGUEL ZENÓN CONCERT been able to keep a band together for so long and I either read the book from cover to cover or else zigzag “RAYUELA” & LAURENT COQ DANA LEONG - DAN WEISS think it has a lot to do with us liking each other and back and forth among chapters in a prescribed series of TUE DEC 11 liking to play with each other, but also I just feel I got skips. “It actually changes the plot of the book, ZACH BROCK QUARTET lucky and found the right people.” depending on how you read it,” Zenón explained. AARON GOLDBERG - MATT PENMAN - ERIC HARLAND WED DEC 12 CLOSED FOR PRIVATE EVENT Zenón has gained additional exposure as a “That attracted me, this idea of giving the reader THU-SUN DEC 13-16#7:30PM & 9:30PM ONLY founding member of the SFJAZZ Collective, a group freedom to choose where he wanted to go and the way JS10 CONCERT formed in 2004, which tours and records each year in [Cortázar] was playing with form through the book.” / tribute to a rotating roster of musical icons. His Inspired, Zenón translated some of the novel’s ideas to DUO of ’s “Epistrophy”, music. For example, Rayuela’s closing track, “El Club TUE-WED DEC 18-19 ’s “Armageddon”, McCoy Tyner’s de la Serpiente”, is comprised of three sections, each MATT WILSON’S CHRISTMAS TREE-O JEFF LEDERER - PAUL SIKIVIE WITH SPECIAL GUEST “Four by Five”, ’s “Lonely Woman” and representing different characters from the plot. “When THU DEC 20 CLOSED FOR PRIVATE EVENT Stevie Wonder’s “Superstition”, as well as his original we play it,” says Zenón, “it’s different every time FRI-SUN DEC 21-23 compositions “Lingala”, “2 and 2”, “Orchestral because whoever’s soloing chooses which section will NEW YORK VOICES Overture”, “Life at the End of the Tunnel”, “Frontline”, come next and that keeps it fresh, in the spirit of that KIM NAZARIAN - LAUREN KINHAN - DARMON MEADER - PETER ELDRIDGE “No Filter”, “The Mystery of Water” and “More to part of the book.” Zenón contends that he works most TUE DEC 25 CLOSED. HAPPY HOLIDAY! WED DEC 26 Give”, have been highlights of the group’s repertoire. effectively when he bases his compositions on concrete CHRIS BERGSON WITH HORNS The collective recently completed its annual residency (as opposed to abstract) ideas. As he did for “Grand KENNY RAMPTON - DAVID LUTHER - CHRIS KARLIC - CRAIG DREYER - MATT CLOHESY - TONY LEONE THU-SUN DEC 27-30 and fall tour in support of new works dedicated to Opening”, Zenón drew on numerical formulas to & THE Chick Corea, including Zenón’s of “La generate musical ideas. “Some of the compositions on ‘’ BAND Fiesta” (from Return to Forever’s eponymous debut) Rayuela are direct translations from words to numbers JEREMY PELT - - JAVON JACKSON - LARRY WILLIS - and a brand-new composition, “Grand Opening”, to music using the basic concept of, for example, the SWING IN THE NEW YEAR WITH US! MON DEC 31 dedicated to the SFJAZZ Center, a freestanding jazz- letter A would signify the number 1, which would #A NEW YEAR’S EVE GALA WITH# only venue to be inaugurated this January. Interestingly, signify the note C and then I would build a composition Zenón used architectural drawings of the edifice to using that logic. And then I could turn a whole word MINGUS BIG BAND create a compositional algorithm, “sort of turning into a series of notes or a chord, or I could think about MON DEC 3, 17 & 24 MON DEC 10 MINGUS BIG BAND MINGUS 0RCHESTRA numbers into notes and that kind of stuff”, as he it in terms of rhythms, like all the even letters, for JAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAYAT2PM [EXCEPT12/16, 23 &30]-DIRECTEDBYDAVIDO’ROURKE explained it. Interested fans can hear these works when example, would create a rhythm, etc. - so basically the collective goes back on tour in late spring. using creative systems that will build themselves into The South American connection is strong in music.” v

THE NEW YORK CITY JAZZ RECORD | December 2012 7 723 7th Ave. 3rd Floor New York, NY. 10019 212-730-8138 Store Hours: 11-7 Monday-Friday & 11-6 Saturday Owner: Steve Maxwell Manager: Jess Birch Steve’s cell: 630-865-6849 Email: [email protected] Visit us on the web at: www.maxwelldrums.com COME SEE US IN IN MANHATTAN We celebrated our 1 year anniversary in Manhattan on April 1st. Our shop is located at 723 7th Ave. 3rd floor. We’re right at the corner of 7th Avenue and 48th Street, which is known as “Music Row” in Manhattan. Thanks to all who have stopped by!!! NEW: We have a full service repair facility now open. Willie Martinez, New York's premier craftsman, joins our team heading up our repair shop. We are your one stop shop for new and vintage drums and cymbals, accessories, repairs, lessons and practice space. Our philosophy for the shop is to create an inviting atmosphere where players and collectors alike can visit and see wonderful vintage and custom drums and cymbals that you can’t find anywhere else; enjoy listening to some jazz vinyl while hanging in the drummer’s lounge area of our museum; and exchange ideas and information with friends. We even have sound proof rooms for testing cymbals, drum sets and snare drums. Our sets, snares and cymbals are set up and ready for you to play. We believe in the highest level of personal, professional service and we have the experience you need when considering vintage and custom drums and cymbals. Call Steve on his cell anytime, or email him at [email protected] . He wants to hear from you. Our shop includes: • Craviotto: World’s largest selection of Craviotto one-ply snares and drum sets. We are the largest Craviotto dealer in the world. • Vintage: Extensive inventory of high end vintage snare drums, sets and cymbals. We have vintage Gretsch, Rogers, Slingerland, Ludwig, Leedy, Camco and more! • Player’s Specials: Snares, sets and cymbals focused on the needs of players • Gretsch: USA Custom drums in sizes made famous by the 60s era jazz greats • Leedy: Our Leedy USA Custom Shop drums will debut in NYC later this year • GMS: Great USA made drums built in New York! • George Way: We are your source for Ronn Dunnett’s great new George Way snares • Maxwell: Our Maxwell line of custom drums includes small bebop sets and more. • Heads, hardware, sticks, bags and more Cymbals: We have , Bosphorus, Zildjian, Old As, Old Ks, Spizzichino, Dream and our own Session Cymbals line of hand hammered cymbals made in Turkey. New and vintage cymbals galore. Stop in and see our museum section with items such as: Gene Krupa’s 30s Slingerland Radio King! • Elvin Jones’s Tama brass shell snare used by him from 78-88. Rare Slingerland black beauty snare drum. Recording Studio Support: Enormous selection of vintage and custom drums to suit the needs of any recording studio looking for that special, unique sound. Need that “vintage” drum or cymbal sound? Come see us. We have what you need. Need a versatile but unique custom drum sound? We have that as well with our Craviotto solid shell drums. None finer in the world. NYC DRUMMERS, WE HAVE DRUM SET PRACTICE SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS. CALL JESS AT 212-730-8138 FOR DETAILS. TEACHING STUDIO IS OPEN Ron Tierno has relocated his long standing teaching studio to our shop. Call Ron directly at 646-831-2083 for lesson information and visit his site at www.nydrumlessons.com WE NOW HAVE OUR BRAND NEW VINTAGE STYLE RAIL CONSOLETTE TOM HOLDER IN STOCK. CHECK IT OUT ON OUR WEBSITE AND IN THE SHOP. ON THE COVER P h o t c u r e s y C A M I U S CHUCHO VALDÉS Havana - New York by Russ Musto

“It’s always exciting to return to New York City,“ are AfroCuban Messenger veterans, percussionist him as a reference one way or another.” Rising star pianist Chucho Valdés proclaims eagerly. “To all Yaroldy Abreu Robles and Dreiser Durruthy Bombalé David Virelles, who Valdés calls “an extraordinary people there who love this music, I’m sending out a on bata drums and vocals. talent”, is the latest in that lineage of Cuban-born greeting. And as always, I return to New York with Without the melodic voices of the horns in the pianists to cite Valdés’ influence on his own inventive something different than what I came with last time.” group, emphasis will move away from Valdés’ style. “He is one of ’s most important musical Speaking through a translator from his hotel room in masterful compositional skills impressively displayed figures. His music has touched generations upon , the eight-time Grammy Award winner on Chucho’s Steps, at times recalling his revolutionary generations of musicians to come out of the island. graciously took precious time out from a demanding work with Irakere, the legendary ensemble he And not only so called jazz musicians, as his influence North American touring schedule that has him co-founded in 1973 with Armando de Sequeira Romeu, can be felt beyond that. Over the course of his career he performing 25 concerts in seven weeks, culminating in which introduced trumpeter Arturo Sandoval and has redefined our music and has brought it to audiences two dates this month in , as part of its saxophonist Paquito D’Rivera to international all over the world. He is without a doubt one of the groundbreaking Voices from Latin America festival. audiences. “With Irakere, there was a period of giants and innovators of Cuban music.” Appearing not only as a headline performer, the Cuban experimentation, of finding how to mix Yoruba [tribal At 71 years old Chucho Valdés remains an maestro is also serving as Artistic Advisor to the music of West Africa] rhythms and adapt them to innovative force in AfroCuban music. Currently he is “citywide festival celebrating Latin America’s music Cuban music and jazz,” he observed in a recent preparing for his next pioneering project. “It’s going to and arts”, curating it along with ’s conversation with Fernando González. “Now I have be a tremendous exploration of Afro Flamenco and and Venezuela’s Gustavo Dudamel at the invitation of retaken that storyline, but with a different focus. In indigenous Indio music,” he says. “There have been a composer Osvaldo Golijov, Carnegie Hall’s 2012–2013 Irakere, we treated those rhythms in standard, lot of explorations done with flamenco - a lot of Richard and Barbara Debs Composer’s Chair. conventional [ways]...now, instead of using regular mixtures - but there has not been any exploration of Golijov hails Valdés as “a pioneer...a hugely time signatures, I’m using odd meters - 5/4, 7/8 or flamenco with Yoruba. That has not been done and that important musician in the development of Cuban 11/4. ...You can feel the accents changing. The is something that I’m doing. I’m mixing the flamenco music and in the definition of what Cuba could [rhythmic] sequence might be the same, but it changes and the Yoruba styles of singing - the cante. In terms of contribute to the world as a musical culture.” “It’s an completely with the accents and the different meters. the Native American music, there has always been a honor to have been chosen as an organizer; it’s It’s a deeper work than we used to do.” relationship. Cuba had a native population and it has incredible for me,” proudly says Valdés, who invited With the new group the focal point will be more on its own very own interesting indigenous rhythms that representatives from Carnegie Hall to Cuba to see Valdés’ virtuoso piano playing. He notes, “Playing in have not been explored either. So I’m exploring that as performers that he held in esteem and then worked the quintet, almost all the responsibility is on the well - particularly Comanche rhythms.” closely with the Hall to determine who would be piano, which has to become the ‘orchestra’, so it’s more “Good things always come from the melding of included in the festival. “It’s important - and I don’t complicated work for me, but very exciting! The whole AfroCuban roots and black American music, but its know if this has been done before - that we have a show will have a very different sound because the new something that happened throughout history,” Valdés relationship between the various histories and roots of musicians play differently and think differently explains. “We could start with Jelly Roll Morton, who music from the Caribbean, from South America, from rhythmically. That has completely changed the sound had some Cuban musicians in his band, like the Brazil and Panama. As examples of those various of the quintet. The whole feel is more contemporary.” trumpeter name Manuel Perez, who went to New traditions, to have Danilo [Pérez], Egberto [Gismonti] Valdés’ ever burgeoning sound has always blended Orleans and played with all these people and then took and Gonzalo [Rubalcaba] all playing at the same traditional and modern aspects. Growing up in Cuba, ragtime back to Cuba. Later you had Chano Pozo’s festival, that is very important.” Valdés is speaking his earliest inspirations included his father Bebo influence on Dizzy Gillespie during the age of the bop about his upcoming concert, which will feature him (himself a legend of Cuban music) and other maestros revolution and more recently you have Roy Hargrove with the three aforementioned artists playing piano from the Caribbean, including Pedro “Peruchin” Justiz, with his band Crisol, bringing musicians from Puerto solos, duos and quartets in Stern Auditorium following Frank Emilio and Noro Morales, as well as US jazz Rico, the Caribbean and from Cuba. So this exchange - a Zankel Hall outing with his new quintet. masters , , Thelonious Monk, these musical exchanges have always been important. Valdés’ previous two New York appearances, at Bud Powell and . He also cites the music of Particularly now in the 21st Century it’s equally Carnegie Hall and Jazz at Lincoln Center’s Allen Lennie Tristano and , as well as Ravel significant, because it has an influence on the artistic Room, featured the pianist with his group The and Debussy, as influencing his development. discipline itself, on the musicians and audiences.” v AfroCuban Messengers, the ensemble featured on the These days Valdés himself is an influence to Best Latin Jazz Album Grammy Award-winning CD countless young musicians of Cuban origin. For more information, visit valdeschucho.com. Valdés is at Chucho’s Steps (Four Quarters Entertainment, 2009), a Saxophonist Yosvany Terry says, “Chucho Valdés was Zankel Hall Dec. 1st with his quintet and Stern Auditorium sextet featuring a trumpet-tenor frontline in the one of the greatest inspirations for all of the musicians Dec. 4th with Egberto Gismonti, Danilo Pérez and Gonzalo tradition of the unit from which the of my generation. Irakere became a role model for us Rubalcaba. See Calendar. ensemble takes its name. Valdés describes himself as learning and aspiring to play jazz and other forms of the drummer’s “number one fan” in Cuba. “From the popular music while inspiring us to look deeply into Recommended Listening: time I was a very young man I was a very avid collector our rich cultural legacy in Cuba.” Drummer Dafnis • Irakere - Irakere [1979] (Columbia-Legacy, 1979) of his music.” He goes on to say, “Without me setting Prieto, who counts playing with the pianist for a week • Chucho Valdés - Solo Piano (The Music of Cuba) out to do this, I have in fact been doing what Blakey at the Village Vanguard several years ago as a “truly (Blue Note, 1991) did by introducing talented young musicians. I have great experience”, concurs, asserting, “In Cuba I used • Chucho Valdés -Bele Bele en La Habana with me now the youngest most brilliant bassist from to listen to Irakere constantly and they became a great (Blue Note, 1998) Cuba, Angel Gaston Joya Perellada, who is only 23 source of inspiration, for me and all of the musicians of • Chucho Valdés - Live at the Village Vanguard years old, and the most ‘terrible’ - in the best sense of my generation.“ (Blue Note, 1999) the word - drummer we’ve had, 28-year-old Rodney Young veteran Osmany Paredes affirms the • Bebo Valdés/Chucho Valdés - Juntos para Siempre Yllarza Barreto. Both of these musicians, the drummer pianist’s strong effect on other players of his chosen (Calle 54-Sony, 2007) and the bassist, are being presented to international instrument, asserting “His pianistic legacy is so strong • Chucho Valdés & The Afro-Cuban Messengers - audiences for the first time.” Filling out the new band that you could say that all Latin jazz pianists have had Chucho’s Steps (Four Quarters Entertainment, 2009)

THE NEW YORK CITY JAZZ RECORD | December 2012 9 ENCORE

he did for Salsoul and he later sold his interest in the For more information, visit joebataan.com. Bataan is at Joe Bataan company. Flushing Town Hall Dec. 8th. See Calendar. This last album also marked Bataan’s retirement by Marcia Hillman from music and began the next phase of his life: youth Recommended Listening: counseling. He worked for 25 years at Spofford Juvenile • Joe Bataan - Subway Joe (Fania, 1968) Joe Bataan is a Detention Center, recounting his experiences as a • Joe Bataan - Mr. New York (Fania, 1971) neighborhood guy. teenager and how he managed to turn his life around. • Joe Bataan - Saint Latin Day’s Massacre (Fania, 1972) Born in 1942 of Filipino By 1995, Bataan felt the need to return to the stage • Joe Bataan - Salsoul (Mericana-Salsoul, 1973) and African-American and performed for a benefit. Other performances • Joe Bataan - The Lost Sessions (Ace, 1976) descent in what is followed and by 2005, he had a new recording • Joe Bataan - King of Latin Soul (Vampisoul, 2009) known as New York’s opportunity afforded him by Vampisoul Recording, a Spanish Harlem, this label that usually dealt with reissues of Latin soul soul musician grew up learning from the “university of music, but made a new album with Bataan. Call My the streets”. As to what he learned, Bataan comments: Name uses Bataan’s vintage sound - the clavinet, “There were only two ways to escape poverty. One was Hammond organ, prominent bass, Latin percussion sports and the other was music. I’m too short to play and Bataan’s impassioned singing. This was followed basketball, so I went for the music.” There was singing in 2009 by King of Latin Soul. with the Doo-wop groups on the corners in the ‘50s but In conjunction with his renewed recording career, also the teenage street gangs with which Bataan Bataan launched a performance schedule that has became associated. This eventually led him to a five- taken him all over the world again. “I’ve been traveling year sentence at Coxsackie State Prison at age 15 for to places as far as - to Sydney and Melbourne. riding in a stolen vehicle. However, his musical I’ve worked in with the Japanese All Stars and in Latin Jazz on Dot Time education continued behind bars. “They wouldn’t let the . I have a good following in the us have any instruments,” he recalls, “but I did learn Philippines but I have been well received everywhere. The Greg Diamond Band is a music theory and when I was released I formed my Music is a universal language and I happen to appeal collective of emerging NYC first band, Joe Bataan and the Latin Swingers.” to different cultures because of my openness and my artists that interprets Influenced by two musical styles - the Latin own multi-cultural background,” he comments. Next Latin-infused contemporary jazz. Diamond puts forth a and African-American Doo-wop - Bataan on his schedule is a concert performance at Flushing diverse array of original music was able to combine them. “This country is a melting Town Hall this month, an appearance in and a that is fresh, innovative, and pot and I had listened to the pop singers of my day and return tour of the Philippines. “There are many widely appealing. groups like The Ink Spots and also to . I also talented Filipinos, but they never get off the island. My tried to style my stage presence after Tito Puente and message is for them to share their heritage,” he adds. . So it all came together,” he explains. This Bataan recently was honored by performing in Greg Diamond unique unity brought him to the attention of Fania concert on Oct. 19th at the Smithsonian Asian Pacific Conduit Records and made him the preeminent creator of American Center. “I guess they see me as a bridge. (DT9011) “Latin Soul”. His first record for the label was “Gypsy What a journey - from the barrio all the way to Capitol Portugese Vocalist, Maria Woman”, a hit with the Latin community but also Hill,” he chuckles. He was also presented with a Mendes has engaged a all star crossing over to R&B radio. But “it was my record of Lifetime Achievement Award by the Filipino American line-up of top European ‘Riot’ that went gold in 1968. And then there was National Historical Society at John Jay College here in musicians for her debut CD ‘Ordinary Guy’ and ‘Subway Joe’, which also did very New York City. "Along the Road". Recently well,” Bataan remembers. In total, Back on track and enjoying his reborn career, Quincy Jones stated "I see a released eight Bataan titles before he “had some fallout Bataan once again shares his multi-cultural roots and promising and shining future for this young talented singer". with the record company”. After leaving Fania, he urban background in his singing and his songwriting. We coudn't agree more. helped coin the word “salsoul” and lent the word to And he also shares a message: “Something I used to his next album release in 1973. As a co-founder of the tell my kids when I was a youth counselor. There are Maria Mendes Salsoul label, he recorded three albums and several three ingredients to success. One is spirit. You must Along the road singles. By this time, Latin had begun to believe in a supreme being who is bigger than yourself. (DT9013) fade, replaced by . Bataan anticipated this change The second is health. You must take care of your body. and came out with “Rap-O-Clap”, which turned out to Without your health, you can’t do anything else. And www.dottimerecords.com be a very early hip-hop hit. Although the recording did the third is knowledge. It’s criminal to let a day go by not do well domestically, it went top ten throughout without learning something new.” Joe Bataan is still an Distributed by Europe, adding to his international recognition. His ordinary guy from the neighborhood who tells it from www.premieremusic.net album Bataan II (released in 1981) was the last recording the heart. v

LEST WE FORGET

when, it is said, Mary Lou Williams bestowed it on him guitarist Sonny Henry had written and recorded with Willie Bobo (1934-83) in the early ‘50s. Bobo. In that same year, with his star on the rise, Bobo When the Machito Orchestra played New York in relocated to Los Angeles. by Donald Elfman 1947, Bobo became the bandboy so he could get to hear In California, Bobo became a regular on Bill the music. Sometimes he was able to sit in on bongos Cosby’s weekly television show, got to be a sideman Percussionist Willie Bobo, whose presence graced the and at one point a few years later was tutored by for and recorded albums for Blue Note recordings of Mongo Santamaria, , Herbie Mongo Santamaria. Soon, Latin music percussionists and Columbia. He reunited with Santamaria and Hancock and more and who had a successful career as were in demand as such as the mambo took Tjader for a historic performance at the first annual a leader and composer, once said, “My idea was to hold. In the summer of 1952, Bobo joined the Santamaria Latin Music Festival in 1972. build a bridge between Latin music and jazz.” Bobo band and then, at age 19, was hired for local hero Tito Willie Bobo’s last recording was made for did indeed do just that in his relatively short life. Puente’s band, sometimes playing timbales when the Columbia in 1979 (Bobo) but in 2006, his son Eric Correa Bobo was born William Correa on Feb. 24th, 1934. leader switched to vibes. (also a percussionist) released through Concord Picante A poor family recently moved from Puerto Rico, the In 1957, Bobo joined the band of Capitol recording some demo recordings done between 1970-76 (Lost and Correas settled in New York and turned to music as a artist George Shearing. From there he went to play and Found). These plus Spanish Grease, his phenomenal source of income. Pedro, the father, played guitar to record with Santamaria and with Cal Tjader. The latter work on ’s Inventions and Dimensions supplement his pay in a sugar refinery and young had a huge hit with his Verve album and from 1964, his playing with Chico Hamilton on two Willie accompanied him on bongos fashioned from from his extensive work on that recording, Bobo made mid ‘60s recordings for Impulse (El Chico and The cardboard boxes. He was taken with music and learned the legendary Spanish Grease album for the same label. Further Adventures of El Chico) and the rest of his enough songs to begin a sort of informal music career. A big break occurred in 1969 when guitarist Carlos appealing albums for Verve, reveal a great legacy. Bobo Willie was nicknamed Babalu, which became Bobo Santana got big airplay for “Evil Ways”, a tune that died of cancer on Sep. 15th, 1983. v

10 December 2012 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

neighborhood. Its name was La Moderna and it was period as Webb’s lead trumpeter and Musical Director - Birthplace unique not only for its delicious wares but as the only Bauzá would also record with notable big band leaders place in the United States at that time to buy authentic Noble Sissle, Don Redman and Jimmie Lunceford. In of AfroCuban Jazz AfroCuban percussion instruments, which he would 1938 Bauzá would join the Cab Calloway Orchestra import. Grau would only sell instruments to and bring Dizzy Gillespie to the band. Bauzá and by Bobby Sanabria knowledgeable players, most of whom were Cuban Gillespie would form a lifelong friendship, which immigrants. They would in turn teach the youngsters started the latter’s love affair with all things Latin. Ask anyone where AfroCuban jazz was born and they eager to learn, like New York-born Puerto Rican Ernest By 1939 Bauzá had begun discussing with his would probably answer with the perfunctory, “Cuba”. Anthony “Tito” Puente. brother-in-law, vocalist Francisco “Machito” Grillo, his Little do they know that they would be completely Grau’s La Moderna also had one unique feature - a vision of forming an orchestra combining the harmonic wrong. The answer is a small neighborhood that would backyard patio. Here the sounds of congas, timbales, sophistication of a jazz orchestra, virtuosity of the jazz transform New York City into a place whose pulse is bongo, maracas, claves, guiros and quijas would soloist and intensity of authentic AfroCuban rhythms. defined by a uniquely American-born music. resonate as local players would play rumba. Thus it That same year it would become a reality. The Machito East Harlem at the turn of the century was an was a gathering place for knowledgeable percussionists AfroCubans would debut at Spanish Harlem’s Park ethnically diverse neighborhood with enclaves of and their apprentices. The building’s geography - on Palace Ballroom. The band became the first AfroCuban/ Germans, Italians, Irish and Jews. In 1916, when the border of Black and Spanish Harlem - also reflected Latin jazz orchestra, completing the fusion that had Bernardo Vega, the cigar maker who later wrote his the community and the interaction between African began at the turn of the century. v widely read memoirs, arrived there he recalled there Americans and Latinos. were about 50 Puerto Rican families living in what The Park Palace also benefited from its For more information, visit bobbysanabria.com. Sanabria is later became known as “El Barrio”. Between the two geographical closeness to Black Harlem and one of its at Baruch College Performing Arts Center Dec. 13th with world wars this community grew. By 1926 60% of the residents. Prudencio Mario Bauzá was a child prodigy Eugene Marlow’s Heritage Ensemble and BB King’s Blues Puerto Rican migrant population lived there. The on clarinet born in Cuba and raised in La Habana’s Bar Dec. 21st as part of La Natividad en Jazz. See Calendar. Jewish vendors, who sold their wares at the open-air Pogolloti barrio. Raised with the rumba and son market, began to sell Caribbean products and food for tradition and trained in classical music, he came to Bobby Sanabria is a drummer, percussionist, composer this burgeoning community. Though there were other NYC in 1926, playing clarinet with the flute and string arranger, educator, activist and five-time Grammy nominee Puerto Rican settlements in the city during the ‘20s- () orchestra of pianist Antonio Maria Romeu. as a leader. He was the drummer for Mario Bauzá’s 30s, East Harlem became the largest and most He was exposed to Harlem through his cousin René AfroCuban Jazz Orchestra, recording three Grammy- important. It was here where the emerging Latin Endreira, who played trumpet for the Harlem-based nominated CDs with them. He is on the faculty of the New popular music scene really took off. Santo Domingo Serenaders, whose musicians were of School and the Manhattan School of Music. Sanabria’s In the ‘20s the Jewish hall for hire at 110th Street Cuban, Dominican, African-American and Puerto latest CD with his own big band is entitled Multiverse and Fifth Avenue was rented by political and civic Rican descent. Bauzá fell in love with Harlem’s (Jazzheads). organizations for various affairs. Later the Park Palace nightlife and as he said, “Harlem back then was (named for its elegant decor) featured Latin music incredible. I saw Black people running their own entertainment. Located on the second floor, it was a business, dressed sharp, walking with pride and the large hall which held 1,500 people; downstairs was the music, incredible! I vowed I would return to play jazz. Carlton Club, later renamed the Golden Casino. I was only 15 back then and had to return to Cuba.” By During the ‘30s the Golden Casino often hosted 1930 Bauzá had returned to New York and made a Thank Puerto Rican bandleader Augusto Coen’s orchestra, remarkable switch to trumpet to perform on a recording you for which played , , son (or what was session for Cuban vocalist Antonio Machin as a last- giving us a week in popularly and erroneously called “rumba”) from Cuba, minute replacement. Machin was also part of the June plena from Puerto Rico, from and legendary Don Azpiazu Havana Casino Orchestra who 2011 Swing tunes (what every Latin band at the time had come to NYC the same year to expose US audiences included in their repertoire). The building, standing at to authentic Cuban music through their appearance in NEW CD the crossroads of Black and Spanish Harlem, became a film short and their hit recording of “The Peanut listen to: the focal point of the Latin music scene, so much so Vendor” (El Manisero). that Puerto Rican pianist Noro Morales composed a Bauzá began playing house parties with stride „This is jazz at its best.“-WUMR U92FM song, “110th St. and 5th Ave.”, in tribute. The pianist Lucky Roberts and by 1933 had become the neighborhood was bordered by Lenox Avenue - the lead trumpet player for the acknowledged “King of Wishing Everyone a Happy dividing line between Black and Spanish Harlem. It Swing”, dynamic drummer Chick Webb’s big band. and Safe Holiday Season! was on Lenox that most of the Black Cuban immigrants Bauzá would be partially responsible for bringing took a foothold. Between 115th and 116th and Lenox vocalist to the Webb organization and Avenue, Simon Grau, a white Cuban of Catalan remarkably takes both a clarinet and trumpet solo on descent, had the most popular bakery in the Webb’s hit “Stompin’ At The Savoy”. During this Jan Matthies Music Management

VOXNEWS by Katie Bull art. Veteran free spirited crooner Judi Silvano will sing sponsored by Jazzroots WBGO 88.3 and judged by such as part of an uptown-meets-downtown Who’s Who of legendary singers as Dee Dee Bridgewater and Jon As our city continues to recover from the instrumentalists. Attending this event will be a chance Hendricks. Young soulful talent Jazzmeia Horn won unprecedented effects of Superstorm Sandy, The Jazz to experience the bounty of the united jazz community. Rising Star. Foundation of America’s Wendy Oxenhorn has made a Speaking of uniting, Claudia Acuña, a singer whose Self-assured Argentinean singer, instrumentalist special request for donations to jazz musicians in need. caring energy could make her Mother Theresa’s jazzy and composer Sofia Rei will be winning an award one Contribute by going to jazzfoundation.org/donate. doppelganger, will be featured in the first Spanish- day soon so my inner-oracle whispers. Rei subtly Donations have also yielded, in Oxenhorn’s words, an language production of Jazz Nativity, La Natividad en integrates jazz influences into folk-edged originals. At “avalanche of love and mutual communion”. Jazz, alongside many top-notch Latin musicians such her CD release for De Tierra y Oro (Lili House) at Drom Oxenhorn’s call to action for our jazz family is music to as Ray Vega, Candido, Chembo Corniel and Bobby (Dec. 1st) Rei will weave her South American roots these ears. Sanabria. The earthy Acuña will pour her love into the with improvisational experimentation. Singing all December brings several tremendous large role of Mary at BB Kings (Dec. 21st). originals, with one tribute to Chavela Vargas, she is as community gatherings featuring jazz vocalists. The Focusing on this month’s Latin theme, I was remarkable on recording as she is in performance. Rei’s Arts for Arts organization features jazz singers of all listening to ’s Complete band is multi-national and their combined sound is stripes as part of their Evolving Music Series and will Collection (Columbia-Legacy), which includes Brazilian building something very fresh. present the Under_Line Benefit Launch (Dec. 4th), an Romance, her final album and third recording of As we enter the winter months post-storm, the all-star benefit towards the development of a new Brazilian music. Obsessed with her luscious vocal jazz community will help rebuild New York, Lower East Side underground performing venue, the “Obsession”, I received the exciting news that Cyrille through nourishing shared song and assistance to Under_Line. The new venue, housed at the Angel Aimée just won the first “Sassy” award at the Sarah those in need. “Common” is the root word of Orensanz Center, will support innovative music and Vaughan International Jazz Vocal Competition, community. I guess we’ve got a lot in common-unity. v

THE NEW YORK CITY JAZZ RECORD | December 2012 11 LABEL SPOTLIGHT

copies - like all the label’s CDs - Meleyólamente has sold sound weird, edgy and avant gardish - whatever that Festina Lente out its initial run. means. They couldn’t define me, so they said no. But Vega, who makes Festina Lente’s artistic decisions, Luis Daniel liked the idea; he knows where it comes by Ken Waxman says: “I started the label to record discs that nobody from.” otherwise would have recorded here in Bogotá.” While Festina Lente’s appreciation for all sorts of music “Our idea is to put on record all those sounds that some are previously-recorded sessions, most discs are means that the catalogue is diverse. Releases include can be produced in a city like Bogotá,” explains Luis commissioned by the imprint, which pays all art, the of Asociacion Libre Orkesta’s Daniel Vega, producer and founder of Festina Lente design, pressing and distribution costs and, for the eponymous CD and includes smoother sounds like , a jazz and other musics imprint based in the latter, recording costs as well. “The label is financed guitarist Daniel Pinilla’s Intuiciones, world jazz from Colombian capital. “Bogotá is a city where there’s very through disc sales,” explains Vega. “But in some cases, Tibaguí’s Malandanza as well as the tropical - not “Latin creative music, everything from jazz, in its most Mario and I contribute extra money out of our own jazz” insists Vega - punk-jazz of Los Pirañas’ dissimilar expressions, to salsa, , punk, pockets.” Toma tu jabón Kapax. “Many CDs have elements of jazz electro-acoustic, and classical music. We “When I recorded with Flórez for Festina Lente, it it’s true, but also contain elements of rock, chamber want to show all sides of this musical city.” was going to be my third CD and an experiment,” music and traditional Colombian music,” Vega asserts. Since its founding in 2009, Festina Lente has recalls Gallo, who divides his time between Bogotá “We could say that it’s ‘anywhere music’.” released 15 CDs, reflecting the variety of improvised and New York. “Festina Lente appeared without big “I love the diversity,” declares Botero. “It makes music present in the country’s largest city. All its artists pretensions or aspirations, so we weren’t expecting each release unique and each CD different from the are Colombian, most based in Bogotá, plus a few much; it was like doing the CD independently but with other. Most labels’ catalogues are boring and you expatriates. The label name is an oxymoron adds Vega, financial and press support from Vega. I think it’s might not notice artists because a lot of them sound meaning “more haste, less speed”, a wise motto for really interesting that the label has been noticed similar. It makes me happy to know that my CD is in a many entrepreneurs. outside of Colombia, because it has evolved in a non- whole different world from other releases.” A long-time music fan, Vega’s day job for the past entrepreneurial way, focusing on the music and Adds Gallo: “Festina Lente records projects 10 years has been as a radio journalist and researcher, facilitating new possibilities of what music from without genre barrier, as a reflection of not only jazz in which gives him a unique perspective on the country’s Colombia can be.” Colombia but recent Colombian music in general - lots jazz scene. “I like what has happened in Colombia in Adds bassist Botero, who works in both of people doing interesting stuff in-between-the-lines. the last 15 years,” he notes. “Jazz has attained a new and Bogotá: “I recorded my CD and then I’m also interested in the ‘in-betweens’. Meleyólamente originality.” With an initial investment of 4,000 pesos, Festina Lente was interested in releasing it. It’s an takes a tradition of plucked string instruments from or $2,000, he and José Fernando Perilla, started Festina experiment using melodies based on cumbia and the Andes of Colombia, which is almost always linked Lente by releasing pianist Ricardo Gallo and string Andres Landeros’ accordion music, given a treatment to song forms or instrumental music, and uses those player Alejandro Flórez’ Meleyólamente, which similar to Ornette Coleman or ’s Masada. In elements to improvise. That can be uncomfortable to combines and free improvisation. Since Europe labels weren’t thrilled by the idea. If you’re some Colombian purists of the traditional genre, but then Perilla’s place has been taken by Mario Cubillos, doing Latin music you must have maracas and make that’s what we’re interested in.” another radio colleague. Pressed in an edition of 500 everybody dance and if you’re doing free jazz it must (CONTINUED ON PAGE 46)

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LISTEN UP!

Brazilian percussionist ROGÉRIO BOCCATO plays Did you know? I attended school with my daughter - Teachers: Konstantin Jada, Kevin Lattau, Alejandro in projects led by some of today’s leading jazz players we were even in the same combo for a semester! She Mercado and all the wonderful musicians I have and has also collaborated with top-ranking Brazilian was doing her undergrad and I my master’s degree at played with that have helped me to grow. artists. As a longtime member of the Orquestra Jazz SUNY Purchase. She’s a great pianist, composer and Sinfônica do Estado de São Paulo, he has played with vocalist, by the way. Influences: Betty Carter, Bill Evans, , Brad Antonio Carlos Jobim, Hermeto Pascoal, Milton Mehldau, Dianne Reeves, Kurt Elling, Bobby McFerrin, Nascimento, Egberto Gismonti, João Bosco and Joe For more information, visit rogerioboccato.com. Boccato is Wayne Shorter, Tom Jobim, Edu Lobo, , Zawinul, among many others. Boccato holds teaching at Bar Next Door Dec. 4th with Fabio Gouvea and Cornelia Cassandra Wilson, Danilo Pérez, Miguel Zenón, positions at The Hartt School, the Manhattan School of Street Café Dec. 11th with James Shipp. See Calendar. Guillermo Klein, Maria Schneider, Chico Buarque Music and Montclair State University. Silvio Rodriguez, Pablo Milanes, etc.

Teachers: José Eduardo Gramani, Fulvia Escobar, John Current Projects: A tour in for my new album Riley, Todd Coolman. (Sunnyside). Working for a 2013 project with Javier Limon. Running a weekly radio show for Influences: Keith Jarrett, Herbie Hancock, , Horizonte 107.9 FM Mexican jazz station from New Billy Higgins, Hermeto Pascoal, Nenê. York. A spokeperson for the UN campaign “UNITE” to stop violence against women. Current Projects: Rogério Boccato Quarteto - ‘After Bossa Nova Project’; duo with vocalist Jean Rohe; part By Day: Being thankful.

of the bands of Ben Allison, , Magos R u s e l C o c h r a n Rogério Boccato Magos Herrera Herrera and James Shipp. I knew I wanted to be a musician when... I was walking Born in , MAGOS HERRERA is considered in the sand of the Mexican Pacific coast and had the By Day: Teaching Brazilian music and Ritmica at the one of the most beautiful voices and most active revelation that I wanted to embrace music fully. Manhattan School of Music. vocalists of contemporary Latin American jazz. While living in Mexico she recorded five CDs, two Dream Band: The one I’m playing with right now. I knew I wanted to be a musician when... I looked international compilations for Brazil and Japan and back and realized I was already doing it. was part of the acclaimed Mexican Divas CD series. Did you know? Everyday I learn a new odd thing Herrera has performed at the Montreal International about myself. Dream Band: , John Patitucci, Brian Jazz Festival, Lincoln Center in New York, Millennium Blade and Wayne Shorter, then Egberto Gismonti joins Park in Chicago, Teatro de la Ciudad de Mexico and For more information, visit magosherrera.com. Herrera is at Bar in for the 2nd set. Sala Galileo Galilei in Madrid, among many others. Next Door Dec. 3rd and Jazz at Kitano Dec. 12th. See Calendar.

12 December 2012 | THE NEW YORK CITY JAZZ RECORD Eight Exciting New Releases from America’s Most Listened-To Jazz Labels MY MUSE MY NATURALLY SHIFTING GEARS SHIFTING SAVANT SCD 2123 SCD SAVANT HIGHNOTE HCD 7241 HCD HIGHNOTE HIGHNOTE HCD 7245 HCD HIGHNOTE HIGHNOTE HCD 7244 HCD HIGHNOTE WONDERFUL! WONDERFUL! WONDERFUL!

HOUSTON PERSON asked Pianist has been JOEY DeFRANCESCO established 's tenor sax style legendary pianist Cedar Walton to sit in with one of the most sought-after sidemen in jazz. his credentials with a virtuoso technique and an melds the linear, chromatic approach of such his group on this recording and the collaboration His versatile playing and ability to bring out the innate soulfulness. With great Larry greats as and Wayne Shorter with between these two giants results in some of the best in any group's sound have made Coryell & legendary drummer Jimmy Cobb, the horizontal, chordal techniques of John most genuinely musical playing to come out of the him indispensable to artists like Art Blakey & the Joey imbues the genre with new life, vigor & a Coltrane. Featuring Bruce Barth on piano and famed studio. Jazz Messengers and Sonny Rollins. modern sensibility. Phil Grenadier on trumpet. MR. LUCKY MR. SOUL SHADOWS SOUL ALONE TOGETHER ALONE SAvANT SCD 2117 SCD SAvANT HIGNOTE HCD 7237 HCD HIGNOTE HIGHNOTE HCD 7242 HCD HIGHNOTE HIGHNOTE HCD 7239 HCD HIGHNOTE LOVE LOST & FOUND AGAIN & FOUND LOST LOVE

LAVERNE BUTLER's impressive These recordings from PAT HAROLD MABERN has played with Vocalist DENISE DONATELLI won debut on HighNote Records is a true jazz-vocal MARTINO's personal collection document all the greats and with his long-time colleague, a Grammy nomination with her second Savant CD, record in every sense of the phrase. Featuring the the interplay and chemistry he forged with rhythm Eric Alexander, he romps and stomps through displaying the ability to imbue whatever she sings deeply burnished tenor sax of Houston guitarist Bobby Rose on their first duet tour in an interesting repertoire of songs that convey the with her special warmth, wit and insight. Catch Person LaVerne’s new recording exudes the summer of 1977. We are fortunate to have these conviviality of the session, the player’s mutual Denise in concert with Peter Marshall at the confidence and impeccable taste. superb performances preserved for posterity. respect & their complete joy in making music. Metropolitan Room on January 11-14.

106 West 71st Street, New York, NY 10023 [email protected] • www.jazzdepot.com IN MEMORIAM

It was just about this time in 1963 that I found myself sitting in with John Tchicai at a midtown NYC restaurant. Don Cherry had sent me; he thought John and I would sound good together and he was right: JOHN TCHICAI Thus began a musical partnership that endured until the end of 1965. We worked on getting a sound and gradually the music came. I emphasize sound because John had a very warm, original and instantly o n t R w P h s 1936-2012 recognizable sound. What became The was his idea. We had some colorful musical experiences together, a few of which are documented. I feel I owe much of my musical inspiration at the time to John Tchicai’s vision. His is a heavy loss. a r t o g i n / F - ROSWELL RUDD, TROMBONIST

I think the thing that most people remember John for is his approachability and kindness to younger musicians. I remember John sitting in with the © 2 0 1 J a c k V Either/Orchestra on a gig in Sacramento in 1992. Afterward a bunch of us were gushing to him about how much we loved his playing: his sound, time, articulation...all very special. In that distinctive accent and intonation John said, “You can do that too...you have the capability...there is no mystery to it...you just have to develop.” I told him I was working on transcribing his composition “Exercise 15”. He said, “Don’t bother, I have it in a book.” I drove him to his apartment, under a spectacular lunar eclipse. He gave me a copy of his book, Advice For Improvisers, and said, “maybe someday I’ll play this composition with your group” and, in fact, he did the following year. That was the beginning of many collaborations over the next 15 years. I feel very privileged to have shared in this master musician’s sound world. I’m having a hard time acclimating myself to a world without Master Tchicai.

- CHARLIE KOHLHASE, SAXOPHONIST

John Tchicai had an absolutely fabulous sound on the alto sax. Whatever the setting he played in, his tone would always be very present and recognizable, without being loud. His playing also had a sort of mesmerizing quality. In early photos you can see him playing a Conn “Lady Face” alto saxophone. During the years 1977-82, however, while we had our alto sax and bass clarinet duo, he used to play a Pan American alto. One day I asked him what had happened to the Lady Face. It was broken, he said. During a recording session he wanted to listen to a piece that he had just played. When the recording engineer told him that there was a problem and the piece had not been recorded, John got so furious that he smashed his horn against the wall. He often stayed at our place and showed himself to be a very nice guest. I learned a lot from him about playing the saxophone and developing my personal sound. Thank you, John!

- ANDRE GOUDBEEK, SAXOPHONIST

John Tchicai was a giant. He was one of the strongest people I have ever known. He was an instigator of freedom across the world for more than four decades. I have so many memories of playing music with John, talking to him about small and large topics, watching him eat strawberry jelly and make abstract paintings with the cream, reciting fantastic poems (“I want the big Orgasm - said the small man”), playing louder than any saxophonist I have ever heard, schooling his fellow musicians on stage, scat-singing. His presence was so strong - he was a proud first- generation free musician, a cultural leader, a total prima donna, a very social human being and an eternally curious artist - oh and a brilliant composer.

- KRESTEN OSGOOD, DRUMMER

14 December 2012 | THE NEW YORK CITY JAZZ RECORD I wish you a great journey. From 1966 until 1970 it John and I did many duo shows at a local art gallery John Tchicai is no longer on the scene to create magic was a very intense playing for us. I always will in Davis, CA. One night his son Yolo, who was maybe - changing the agreed course, in chaos - an remember and admire your beautiful sound. six months old at the time, was there. We took a unpredictable adventure. John was a true artist in break, the owner of the place put on some music and improvised music and with his sax placed deeply in - , DRUMMER John put down his horn, ran over to Yolo, picked him the jazz roots he created new captivating musical up and started to dance all across the room with him. journeys. For more than half a century he has been an John was a nomad, a Cosmopo Confused Bird if you This hulking six-foot-plus great Dane holding this invaluable source of inspiration for improvising like, an impressive giant of music, a mystery, a down- tiny little baby! Just dancing around with such joy musicians. As a teacher, he has shown us new ways to-earth person, a dear friend and an icon of modern and such love and devotion. Seeing that much love and inspired young musicians to jump into free music. I consider him my musical mentor, who radiating from him was probably the most inspiring improvisation from the high-diving board. He has guided me into a world of endless possibilities and moment I ever spent with him. He was a truly opened our ears and changed our perception of the challenges. He would play with the greatest artists remarkable man, filled with love and joy and musical language. John lives on inside us - and we on earth and the next day throw all his efforts into an kindness and full of genius. All of it came out in his will constantly meet him in the music, the inspiration unskilled amateur band, with the weirdest lineup, remarkable playing and writing. He was a gift to this he gave us in our body and soul. We will miss John - and make it sound great. planet. We were all fortunate to have him. as a person and as an artist. His presence and When I joined him in the mid ‘70s his main spontaneity was unique. instrument was alto and he had a distinct sound, a - ADAM LANE, BASSIST cry that I think most musicians would hold on to if - PIERRE DØRGE, GUITARIST they had found something like it. But John changed John Tchicai was a giant among men, both figuratively to tenor, soprano, flute and singing, too. He was not and literally. Standing well over six feet tall he I met John Tchicai in April 2003 and our relationship looking for security or shelter. He was not Danish, towered over everyone. I felt sorry for him every and music continued to develop over the ten years nor African, American or European. He would play time he had to bend double to give me a hug. we played together. He had a truly amazing ear, his any song, in any tradition and make it his own. If you Musically, of course, he was a giant among giants. improvisations were a study in motivic abstraction, tried to make him play in a certain way, he would I was blessed to have had the chance to know repetition and development. He could play with probably do something else. He could deconstruct him as a friend and colleague. Having never met more intensity at a low volume than anyone. His the music in the most productive way, shape it into him, I invited him in 2001 to be a guest artist on a sensitivity and pureness of sound were ethereal and something you would never had dreamed of. We recording with my PoBand. I sent him a couple of so perfect in the moment you knew it would never will miss him tremendously. CDs and he quickly agreed to the project. John then happen again that way. invited me to do a trio recording with him and Pierre John wasn’t a man of many words, preferring - PETER DANSTRUP, BASSIST Dørge, but requested that I compose something for to lead by example in the way he lived and played. I it. As the date approached he gave me an ultimatum once asked him about the title of his composition “A When John came to visit us in Afghanistan and in - either I compose something or the date wouldn’t Yogi in Disguise”. He humbly replied, “The Yogi in , where we lived in the ‘70s and ‘80s, my wife happen. Unwilling to lose the opportunity to record Disguise - that’s me, my real ‘self’, a yogi disguised Sigi always had to extend his bed with fruit boxes. again with John I wrote a short theme entitled “Ballad as a musician.” Like a yogi, John’s music contained His height didn’t fit into a normal-sized bed and his of 9/11”. Although I may never be a prolific composer, no compromises. It wasn’t always easy to enter into musical dimensions were too far out to fit into the I do now have 10 compositions that have all been his musical world, but once you were there you mainstream taste of the masses. recorded, some of them several times. John somehow didn’t want to leave. It was wonderful to hike with him in the knew that composing was a dream of mine, even Great music aspires to express the infinite Hindu Kush Mountains. Afghanistan was a very though I didn’t believe I had the ‘gift’ for it. John, as through sound and if anyone touched the infinite peaceful and hospitable country before the only he could, gave me that gift and for this I am through music, it was John. His music reached Westerners destroyed this unique paradise. eternally indebted and grateful. Thank you John! uncommon levels of spirituality, something he had Sometimes in the mountains we reached a remarkable in common with and the basis for the altitude in rarefied air and had to gasp for breath. It - LOU GRASSI, DRUMMER group “Ascension Unending”, a sextet Tchicai was the same during our trio concerts with Famoudou formed in 2010 to explore the revolution in music in West Africa. All three of us were in When I was a young cat in during the following in Coltrane’s footsteps. black Africa for the first time and that was a unique late ‘90s, I wanted to dig into the improvised music It’s been several weeks since my good friend and unforgettable experience of extremely high scene. Everybody talked about a Danish musician John Tchicai made his ultimate “Ascension”. I dearly musical intensity and enigmatic magic. John still had called John Tchicai back then but I did not know who miss his soulful sound, graceful spirit and his pocket loaded with Sierra Leonean cola nuts that man was and I actually thought his last name mischievous laugh. Thank you John. when, after the African tour, we had our final was a kind of nickname meaning ‘’Ten Cay’’ (Ti performance in the biggest concert hall of . means ten in Danish). I got a chance to play with - GARRISON FEWELL, GUITARIST When John was starting his wild and crazy high- John for the first time in Copenhagen in 1997 and I pitched singing, one could see deep into his cola nut- was very surprised that SO many people showed up I had the fortune to work with the great John Tchicai colored, glaring red throat. Requiescat in pace. for the gig. Back then I did not realize who this man over the years, to make three great records and have really was, but AFTER that gig I understood! And him participate on sessions as a sideman. John is one - , PERCUSSIONIST ever since that experience, John Tchicai has continued of the greatest and most original alto saxophonists to grow in my musical awareness and to me he is one since Charlie Parker. Few musicians have such a I met John Tchicai in the early ‘70s, when he first of the - if not the - most interesting musical personal sound, for me it is the “Danish Sound”. came to Zürich in 1971 to play in a workshop band personalities that I’ve ever played with. In 2007 John emailed me. He wrote that he called Wiebelfetzer with a bunch of young local I have so many great memories: when John had been looking through the SteepleChase catalogue musicians including myself. He was a very good taught me the hard way - in front of a live audience and pointed out that there were far too few Tchicai teacher and I have been influenced by his free playing - how to imitate him in a drum/sax-duo section; records and that we should do more. I replied that I ever since. Later on I was invited to play in a quartet when John recited the poem called ‘’Blue Giant’’ found that there were too many Tchicai CDs in the with John, the late German bass player Buschi while taking GIGANTIC steps across the stage in market and that if we should do another recording Niebergall and South African drummer Makaya Montpellier, ; when John got angry at the we needed to discuss the project, which would be Ntshoko at the very first Jazzfest Willisau in audience in Sweden because they requested a piece Monk ballads. We discussed the repertoire and the Switzerland in 1975. Five years later I had the chance by Miles Davis and John told them: ‘’It’s our name on sidemen, decided on a standard sax-piano-bass- to play again with John, Don Cherry and Pierre Favre the poster. Don’t you like us? Miles Davis is dead, drum session and invited the musicians we thought at the Jazzfest Willisau in 1980. These two concerts you know!’’; when John made a legendary recital/ would fit John best. John was a little surprised when with John are among the most important ones in my singing version of ‘’Alice in Wonderland’’ in I demanded that he play alto saxophone on the career. His free playing was very exciting and always - the best version I’ve ever heard of that song/theme. session, but he understood my reasoning and full of surprises - sometimes after a long solo with his His playing was so personal and beautiful accepted. This CD, In Monk’s Mood, is one of the unmistakable sound on the alto saxophone, he would and he has been such a great inspiration for recordings closest to my heart. suddenly start to sing! John was a strong personality everybody around him. John, you will be missed John’s music and his many recordings show and a great musician and I shall always miss him and dearly. Thank you for opening my ears and for his openness and creativity while the Monk ballad his music tremendously. teaching me how to ‘’imitate’’. date reveals the mature, one and only John Tchicai.

- , PIANIST - , DRUMMER - NILS WINTHER, STEEPLECHASE RECORDS

THE NEW YORK CITY JAZZ RECORD | December 2012 15 CD REVIEWS

which also features tenor saxophonist Mark Shim, is end the song. Although running over 11 minutes, the anything but typical. In fact the program, comprised of track does not lose any intensity and excitement. four original pieces, arrangements of four jazz masters’ Other notable selections are Alegría’s “Pucasana” and compositions and a classic , affirms Perdomo’s Leguia’s “Puerto Pimentel”. The former features a inventive spirit. chant-like slow melody over drums beating a double- Beginning with his “The Other Left”, Perdomo time rhythm while the latter captures Leguia’s lyrical demonstrates an ability to move the Latin jazz genre in approach and includes a haunting flugelhorn solo by his own direction, opening with a dissonant montuno Alegría. Also notable is Menares’ bass work on “ Toro after which Shim’s dark-toned tenor takes things out Mata”.

XXI Century before the pianist solos in a manner distinctively his Now that el secreto has been disclosed, all you Gonzalo Rubalcaba (5Passion) own. Even the percussion discussion that follows is need to do is sit back and listen. by Ken Dryden somewhat atypical in its free-flowing meter. “Berimvela” is an easy grooving piece, the composer For more information, visit gabrielalegria.com. This band is Cuban pianist Gonzalo Rubalcaba made a major on electric piano and Shim blowing soft Joe Henderson- at Roger Smith Hotel Dec. 8th. See Calendar. impact with his Blue Note debut in 1990, showing off a inspired tenor. Arrangements of Miles’’ “Solar” and thunderous attack in interpreting the jazz canon. Since Ornette’s “Happy House” combine AfroCuban then, he has evolved as an artist, incorporating many rhythms with daring harmonic explorations. styles into his approach. With XXI Century, a two-disc The pianist evinces a delicate melodicism on his set, Rubalcaba displays his versatility and imagination, trio recital of the beautiful Hector Lavoe-associated joined by bassist Matt Brewer and drummer Marcus “Comedia” then digs in with the quintet on a swinging Gilmore, with a few guests on several tracks. Latinization of Bud Powell’s “Un Poco Loco”. Two Included are familiar pieces by well known more originals, the imposing “Meggido Girl” and pianists taken in new directions. Bill Evans performed impressionistic “Mind And Time” (the latter featuring his bittersweet ballad “Time Remembered” with a Perdomo on Fender Rhodes), showcase the composer’s touch of melancholy yet Rubalcaba takes a different impressive talent. A commanding rendition of Jack path, increasing its spaciousness by slowly working DeJohnette’s “Major General”, appropriately his way into it and having the rhythm section playing showcasing Berroa’s authoritative drums - soloing, in a bit off-center, considerably reducing its emotional duo with Shim and driving the whole band - closes the impact. Rubalcaba’s furious take of Lennie Tristano’s date on a powerful note. “Lennie’s Pennies” (a reworking of “Pennies From Heaven”) disguises the song’s source until it is well For more information, visit crisscrossjazz.com. Perdomo is underway, as the trio launches a tense postbop at Birdland Dec. 6th and ShapeShifter Lab Dec. 14th, both workout. “Moore”, credited to Paul Bley (actually Gary with Gregg August, and Smoke Dec. 12th with EJ Peacock’s “Moor”), has an avant garde air, with darting Strickland. See Calendar. piano and dissonant arco bass.

The pianist’s originals are even more varied. His “Fifty” blends AfroCuban and with a heavy percussive touch, prominent electric bass and judicious use of the electric keyboards. Lionel Loueke adds his RECOMMENDED voice and guitar to Rubalcaba’s intense, percussive “Oshun”, though the primary focus remains on the NEW RELEASES core trio and guest percussionist Pedro “Pedrito” Martinez. Loueke contributed the ominous and • Jeff Davis - Leaf House (Fresh Sound-New Talent) introspective “Alafia”, the leader’s tense solo, • David Gilmore - Numerology: Live at Jazz Standard sporadically adding synthesizer, leaving the most El Secreto del Jazz Afroperuano lasting impression. Enrique Ubieta’s “Son XXI” initially (Evolutionary Music) Gabriel Alegría Afro-Peruvian Sextet (Saponegro) • Frank Kimbrough Trio - Live at Kitano (Palmetto) puts the focus on the long solos by Brewer and by Marcia Hillman Martinez, followed by Rubalcaba’s wild solo blending • Bill McHenry - La Peur du Vide (Sunnyside) Cuban jazz and postbop. XXI Century is easily Gonzalo Recorded live at the Festival Miami in October 2010, • - Star of Jupiter (Wommusic) Rubalcaba’s most diverse and demanding release. El Secreto del Jazz Afroperuano is a high-energy • Jacques Schwarz-Bart Quartet - performance set by the Gabriel Alegría AfroPeruvian The Art of Dreaming (Aztec Musique) For more information, visit 5passion.com. Rubalcaba is at Sextet. Although the concert format makes for lengthy David Adler, New York@Night Columnist Stern Auditorium Dec. 4th. See Calendar. tracks, the energy is sustained and there are no dull moments. The cohesive group features Alegría on • Avishai Cohen - Triveni II (Anzic) trumpet and flugelhorn alongside saxophonist Laura • Jason Kao Hwang - Burning Bridge (Innova) Andrea Leguia, guitarist Yuri Juarez, Freddy “Huevito” • Dave King - I’ve Been Ringing You (Sunnyside) Lobaton on cajón, cajita and quijada, drummers • - Concerts 1964-65 Shirazette Tinnin and Daniel Susnjar, bassist Pablo (Mosaic) Menares and pianist Shelly Berg. The material is • Sam Newsome - The Art of the Soprano, Vol. 1 (s/r) comprised of one standard with the rest originals by • Eve Risser/Benjamin Duboc/Edward Perraud - Alegría and one by Leguia. This group is chock-full of talent. Alegría displays En Corps (Dark Tree) a rich warm tone on both his horns and a talent for Laurence Donohue-Greene

composition and arranging. Leguia’s playing is smooth Managing Editor, The New York City Jazz Record The ‘Infancia’ Project Luis Perdomo (Criss Cross) and flowing and the percussion section contributes by Russ Musto support that is fiery and forceful. Juarez’ guitar playing • Christopher Alpiar Quartet - stands out on all of the tracks, adding color. But what The Jazz Expression (Behip) Notwithstanding his Venezuelan background and this live recording really captures is the passion of all • Albert Mangelsdorff Quintet - Legends Live: tenures with straightahead AfroCuban ensembles led of the members (right down to their intermittent cries) Audimax Freiburg (June 22, 1964) (Jazzhaus) by Ray Barretto and Ralph Irizarry, pianist Luis and the response of their enthusiastic audience. • Ra-Kalam Bob Moses - Perdomo’s playing has always stretched well beyond Gershwin’s “Summertime” is the aforementioned Sacred Exhalations (Ra-Kalam) “Latin jazz” categorization, with an unrestrained standard and an opening track hot as a summer day in • /Georg Graewe - exploratory character marked by audacious harmonic the tropics. Alegría starts, taking the melody with a Dortmund Variations (Nuscope) sophistication. On The ‘Infancia’ Project he presents growling muted trumpet above driving drums and • Pretty Monsters - Eponymous (Public Eyesore) himself in what appears to be a more ‘típico‘ percussion. Leguia’s saxophone provides a cooling • Hal Russell - NRG Ensemble (Nessa) breeze, followed by Berg’s dynamic octave runs. The environment, enlisting the aid of Latino rhythm section Andrey Henkin mates (bassist Andy Gonzalez, drummer Ignacio intensity of this rendition builds to a collective riff Berroa and conguero Mauricio Herrera), but the music, fueled by the polyrhythms of the percussion section to Editorial Director, The New York City Jazz Record

16 December 2012 | THE NEW YORK CITY JAZZ RECORD

influences he has used to forge his dynamic sound. found in studio sessions. Sanabria’s pride and expertise in Latin jazz They take on the encounters with , beat boxers informs every note. Tunes like “Cachita” and “¡Qué and even a clever reprise of Black Sabbath’s “I Ron Viva Candido!” move between robust big band Man” totally in stride and strut their stuff on the more strutting and sole-burning salsa, but the invigorating traditional tunes. Sarmiento’s “Linda Mañana” is singing and chanting gets down to of these impossible to keep still through; “ Trópica” is songs and illuminates their AfroCuban bloodlines. a stellar forum allowing each musician in turn to show There are also shouts to the elders: Wayne Shorter’s their chops while “ Trópica” is delightfully hot “Speak No Evil” includes a spoken word tribute to salsa. A very comprehensive website includes in-depth

Continuum Mario Bauzá (with whom Sanabria played), Tito Puente interviews, a documentary on the making of the project David Virelles (Pi) and Dizzy Gillespie while “AfroCuban Jazz Suite for and other background information for what very well by Clifford Allen Ellington” is a fabulous medley of some of Duke’s may be the Latin party release of the year. finest hours. Film, too, is a source of inspiration. Danny Cuban-born and New York-based pianist David Rivera’s gritty electric baritone sax drives the theme For more information, visit ondatropica.com Virelles’ second disc as a leader, Continuum, presents from The French Connection, shrieking horns, driving the audio component of a multimedia experience that percussion, brooding piano and a didgeridoo capturing reconciles AfroCuban folklore/spiritualism and the pulsating rhythm of New York vividly, from sirens contemporary art. The 12 pieces are at times supplanted to seagulls. And Sanabria’s arrangement of “Over the by poetry (recited by the group’s percussionist Román Rainbow”, with lovely singing by Charenee Wade, is Díaz) and Cuban painter Alberto Lescay produced a spiced with Spanish exclamations. series of 20 paintings in conjunction with the music. In The album’s last tune crystallizes its concept. “The addition to Virelles (who also plays organ and Chicken/From Havana to Harlem/100 Years of Mario harmonium) and Díaz, the group includes bassist Ben Bauzá” is a big band, salsa and funk riot, highlighted Street and veteran drummer , the latter by a fiery slam poem recited by Caridad “La Bruja” De brought in partly because of his place within the la Luz, which expands on the history, forms and AfroCaribbean jali. “Our Birthright” adds trumpeter personages that have made Latin jazz an indispensable Jonathan Finlayson (like Virelles, a fellow acolyte of part of the canon. Multiverse is an album that embodies saxophonist ) and saxophonists Román and honors the traditional while embracing the Filiú and to the group, the latter one of modern. The breadth of Sanabria’s creative vision, as the pianist’s regular collaborators. articulated by his wonderful band, ensures that this Following a spectral and rough invocation for great music will continue to endure and grow. voice, percussion and organ, the quartet moves into disarming quiet on “El Brujo and the Pyramid”, For more information, visit jazzheads.com. Sanabria is at Virelles producing spare, low and mid-register Baruch College Performing Arts Center Dec. 13th with chiaroscuro both weighty and tentative with slight Eugene Marlow and BB King’s Blues Bar Dec. 21st as part romantic flourishes. “The Executioner” is robust at the of La Natividad en Jazz. See Calendar. outset, but against a tough vamp, Virelles is methodical in his minimalism, almost obstinate. Following a rhapsodic shove, Díaz emerges with a recitation that matches well with the ensemble’s muscularity. Papo Vazquez Whether approaching the music with a dense push or disappearing-act eddies, Virelles is consistently an uneasy player, lending tension to every nook of the Mighty Pirates Troubadours compositions. In fragmentary and allusive passages, Papo Vázquez – Trombone / Willie Williams – Tenor Sax such as the bass-piano duet “Unseen Mother”, it’s as Rick Germanson – Piano / Dezron Douglas – Bass Alvester Garnett – Drums / Anthony Carrillo – Perc. though he were hiding a significant amount of the Carlitos Maldonado – Perc. music away from the listener. In the subsequent Eponymous Special Invited Pirates “Royalty”, his attack is face-forward in a way that is Ondatrópica (Soundway) Wynton Marsalis / / Akua Dixon’s Quartette Indigo remarkable and shocking. A fuller example of the latter by Elliott Simon Invited Pirates is the septet piece “Our Birthright”, which pits a bone- Sherman Irby / Andy Farber / Candido Reyes rattling collective wail against Díaz’ poetry. On the surface Ondatrópica is a celebration of Benito Gonzales / John Benitez For a mid-sized ensemble the huge, ‘cumbia’, a musical style that arose from a fusion of with ensemble trills that could rival Mike Mantler’s Spanish, African and Colombian . Reliance Papo Vazquez’ Mighty Pirates Troubadours ensemble is the work with the Jazz Composer’s Orchestra. Continuum on drums and clave as well as flute, accordion and foremost progenitor of the is not easily accessible and nor are the secrets and gifts guitar stems from its hybrid origins. However, below distinctively swinging sound that can best be described of its AfroCuban/AfroCaribbean inspiration. the surface this release is much more. Colombian as Afro-Puerto Rican Jazz. bandleader Mario Galeano and English DJ Will -The New York City Jazz Record For more information, visit pirecordings.com. This project “Quantic” Holland have produced a fathers-and-sons In Oasis Papo Vazquez has is at Drom Dec. 12th. See Calendar. celebration that features old heads and new interacting created a major work; and baiting each other. The result is a showcase of the something that will endure for

music’s symbiotic ability to transform by engaging many years to come. - Latin Jazz Network multiple world genres. But on a more basic level, Ondatrópica is a kick-ass two-CD display of rhythmical expertise, equal parts brassiness and ballsy-ness. Recently modern genres such as techno, ska, hip- hop, rap and apparently pretty much anything you can think of have intermingled with traditional ‘cumbia’ and expanded its reach and scope. Ondatrópica mixes and matches a total of 40+ musicians to surf the music’s

‘tropical wave’ across 26 tunes reflecting tradition and Multiverse Bobby Sanabria Big Band (Jazzheads) its multiple new faces. A lot of great players have been by Terrell Holmes brought together for these sessions and Latin American legends such as timbalero Julio Ernesto “Fruko” The concept of a “multiverse” may be rooted in Estrada, saxophonist Michi Sarmiento, pianist Alfredo astronomy, but for percussionist Bobby Sanabria its Linares, conguero Freddy Colorado, trumpet player origin is en clave, with Latin jazz shining at its Luis Bravo and trombonist Jose Miguel Vega “El Profe” luminous center. Sanabria leads his big band on a are at home in this group performance. The live party vibrant excursion through the musical and cultural production engenders an electric immediacy not often www.papovazquez.com

THE NEW YORK CITY JAZZ RECORD | December 2012 17

general and the jazz music business in particular over GLOBE UNITY: the past three decades. To celebrate this improbable but very welcome anniversary, Sanchez and His Latin Jazz Band have released their 26th Concord album, a live date recorded last summer in Hollywood. The album neatly encapsulates Sanchez’ by-now lengthy career, showcasing his festive, high-energy style and his tight, seasoned octet (three horns, three percussion, bass and keyboards) on a widely varied set

Live at Cubadisco of nine numbers. The disc, like the concert it’s drawn Ninety Miles (Concord Picante) from, opens with “Promenade”, a rousing tune from by Fred Bouchard the pen of Musical Director and arranger Francesco Torres, followed by a 12-minute medley of three The America/Cuba jazz connections never really went Sanchez originals, which features some stirring group Open For Business away during the protracted regime of Fidel Castro, vocals, as well as star turns by tenor saxophonist Rob Pancho Molina/Elias Meister (EMPM) from the Dizzy Gillespie/David Amram/ Hardt, trumpeter Ron Francis Blake and Sanchez Second Cycle Melissa Aldana (Inner Circle) tour of 1977 and eventual ‘90s defections by Irakere himself. Next, he neatly combines two timeless tunes Borderfall Novas Trio (Discos Pendiente) stars Arturo Sandoval and Paquito D’Rivera to lively, in another medley, one the jazz standard “On Green by Tom Greenland near-continuous annual exchanges at Havana’s Jazz Dolphin Street”, the other “Mambo Inn”, the Latin jazz Chile, spanning South America’s southwest coast, Festival. The (still largely) one-way visitations appear classic from Mario Bauzá. supports a thriving jazz scene in Santiago’s to be picking up steam in today’s détente mood under Elsewhere, Sanchez and guest vocalist/guitarist Bellavista neighborhood and has spawned dynamic Fidel’s brother Raul, as we witness this second release George Dez put a Latin spin on some hard-edged blues artists such as those described below. from Ninety Miles, taken from a 2011 appearance at on the RG Ford tune “Crosscut Saw”. Sanchez also Drummer Francisco “Pancho” Molina, from Feria Internacional Cubadisco, a Havana festival. pays tribute to two other mentors, offering a tender Concepción, veteran of supergroup Vibraphonist Stefon Harris contributes the soaring reading of the late pianist/arranger ’s , teams up with Munich-born guitarist Elias modal opener “ And This Too Shall Pass”, which draws tune “Morning” and a fittingly high-octane rendition Meister on the self-produced Open For Business, a tenor saxist David Sanchez and trumpeter Christian of fellow conga master Mongo Santamaria’s “Afro genre-bender delivering postbop with rock attitude. Scott to overlapping impassioned skeins of melody, Blue”. A final highlight is the smoldering salsa of the Joined by tenor saxist , keyboardist followed by “Brown Belle Blues”, a lively mambo with album closer, “Son Son Charari”. Leo Genovese and bassist Ben Street, the group’s Scott’s typically brief trumpet sizzler and Harris’ Throughout, Sanchez and company blend bebop music, all composed by Molina or Meister, is both windmilling solo. Sanchez follows with two of his and Latin rhythms, along with rock and blues intelligent and accessible, recalling Tribal Tech or own. “City Sunrise” opens with a pensive bass solo, influences, seamlessly. This is danceable, irresistible, ’s Eyewitness. Molina’s backbeat is morphing into a simmering vamp and groove laid with exuberant music; a master class in Latin jazz taught by heavier and harder than standard jazz fare yet congas and drumkit over which Harris bubbles and the one of the very best around. retains sensitivity and flow while Meister’s gently horns jostling on the choruses rather than soloing. A overdriven tone chunky strums and edgy but delicate bolero, “The Forgotten Ones”, spreads Harris’ For more information, visit concordmusicgroup.com tasteful leads. Garzone is feisty on “Ulises”, bed of bells for Sanchez’ pretty tenor line. subdued and lyrical on “Bedstuy Facilities” and The two featured Cuban pianists pitch in one each. outward bound on “Samurai Tale” while Genovese’s Rember Duharte’s jaunty “Congo” lays down a fierce fleet, flexible touch effects chameleonic textural vamp for his piano turn, Scott’s broadly gritty chorus, shifts on “Time Traveler”. more ensemble unison and snappy out-chorus with a Santiago-born tenor saxist Melissa Aldana’s little vocalizing. After “Paradise Found”, a subtly Second Cycle, her sophomore release on ’s gliding unison ballad by Scott’s uncle , Inner Circle label, is a piano-less quartet outing that educes feral bleating from Sanchez and Harris’ gives the young (mid 20s) lioness ample freedom sumptuous voice-over malletry, Harold López-Nussa’s (and responsibility) to display a musical maturity “La Fiesta Va” proves a stunning showcase for the well beyond her years. Beginning her solos composer’s agile montuno and daring pianistics. unassumingly, coloring notes with subtle pitch The barn-like acoustics of Amadeo Roldan Hall variations and vibrato, her ‘stories’ develop with an were pretty well tamed in by the engineers, revealing unerring narrative logic, often built on morphing plenty of exquisite ensemble tracery, discernible motifs and shifting sequences that wend and weave especially in interplay between mallets and keyboard, to unexpected places, inviting interaction through often with the [unidentified] bass imitating kalimba pregnant pauses even as they build density and and consistently keen postings between the intensity. The unforced dazzle of “Free Fall”, the [unidentified] congueros and traps drummers. two-minute soliloquy opening “My Own World”, her peppery exchanges with trumpeter Gordon Au For more information, visit concordmusicgroup.com. Stefon on “Polyphemus” and the architectonic elegance of Harris is at Dizzy’s Club Dec. 3rd with NYU Jazz her solo on “I’ll Be Seeing You” all attest to a Orchestra. See Calendar. romantic and highly intelligent musical personality.

Bassist Joseph Lepore and drummer Ross Pederson provide synchronicity and inspiration. The Novas Trio’s Borderfall features two more Santiago progeny, drummer Rodrigo Recabarren and vibraphonist Carlos Vera, with guitarist Jeff Miles. The bass-less combo has an airy aura, anchored by the guitar’s low strings, with Vera’s shimmering arpeggios floating atop. Like the Molina/Meister group, the trio plays jazz with a rock ethos, but here the model is closer to Radiohead, Live in Hollywood with jangly rhythms, spiky harmonies, quirky Poncho Sanchez And His Latin Jazz Band riffing and legato leads. Vera is in fine form over (Concord Picante) “KSR” while Miles hits his peak on “Desorientado” by Joel Roberts with rippling lines and unusual intervallic leaps. Poncho Sanchez joined in 1982 on For more information, visit panchomolina.com, the recommendation of his friend and mentor Cal innercirclemusic.net and discospendiente.com. Aldana is at Tjader. 30 years later, the conguero and bandleader is Smalls Dec. 6th and Bar Next Door Dec. 14th. See Calendar. still with the label, which is an anomaly, if not a miracle, given all the upheaval in the music industry in

18 December 2012 | THE NEW YORK CITY JAZZ RECORD

between acoustic piano and Fender Rhodes in the some originals. Escovedo’s arrangements, full of course of his solo. “Stairway to the Blues” contains a enticing two-part harmonies and forceful percussive stepwise bassline that first descends, then ascends lines, propel the listener to some rousing musical over a bluesy melody. “One for Carlos”, the closing conclusions; by the end of each tune, even the slowest mambo, foregoes a statement of the head melody until among us will just want to get up and move. the very end of the track. Escovedo takes considerable rhythmic support If this music were bottled as hot sauce, it would from his regular bandmates - especially sons Juan on fall somewhere between suave (“mild”) and muy congas/percussion and Peter Michael on drums. picante (“hot”), packing enough zing to prickle the Conga player/vocalist Sheila E., Escovedo’s daughter,

Conquistador tongue without watering one’s eyes. also sits in on two tunes; of these, the pop-inflected Ed Byrne’s Latin Jazz Evolution (Blue Truffle Music) uptempo “Dance” - written by the four family members by Tom Greenland For more information, visit bluetrufflemusic.com - stands out for its happy, infectious vibe. Joe Rotondi (piano), Marc Van Wageningen (bass) and Michael

Latin Jazz Evolution, a Boston-based combo co-led by Angel Alvarado (guitar) round out the rhythm section; trombonist Ed Byrne and conguero/bonguero Carlos Mario Gonzales and Louis Fasman (), Kerry Clinton, straddles the fence between concert and dance Loeschen and Joel Behrman (trombones) and Melecio music, a product of its history playing for both types of Magdaluyo (sax/flute) complete the horn section. audiences. Conquistador, an original set of mambos, Several other guest players fill the solos spots in cha-chas, a rumba, bolero and boogaloo, all composed the repertoire: On “Suenos De Los Torreros”, Arturo and arranged by Byrne, is rendered in classic Nuyorican Sandoval sends up a riveting improv that just touches style with the palpable presence of blues form and the upper limits of the trumpet’s range; saxist Dave feeling. Koz follows Alvarado’s raging Santana-ish guitar solo Byrne, tenor saxist Carl Clements and pianist with his more cerebral, more melodious effort on “True Live From Stern Grove Festival Damian Curtis are the primary soloists, who typically or False”; guitarist Ray Obiedo’s placid groove on Pete Escovedo (Concord Picante) deliver short but compelling choruses while the by Suzanne Lorge Escovedo’s composition “Brasiliero” points to the rhythm team consists of Clinton, timbalero Esteban place where cool and hot can meet in Latin jazz. Arrufatt and bassist Art “Jayko” Clinton (or else Timbale player Pete Escovedo and his son - Concord Picante released the CD in digital format Luques Curtis). Violinist Maureen Choi is heard on the Latin jazz band he leads - headlined at the Stern in September of this year. One of the things missing head arrangements and background figures, briefly Grove Festival’s 75th anniversary concert in San from the download is the CD cover, which features joining a group improvisation during “Passing Fancy”. Francisco earlier this year. This live recording not only Escovedo’s original artwork. The image that Escovedo The arrangements often contain interesting twists. showcases Escovedo’s talents as a genre-defining chose for this album is that of a grey-haired man, half The title track, for example, juxtaposes a standard percussionist but reveals his mastery behind the scenes light-skinned, half dark, holding up his drumsticks. mambo bass line with an 8 + 8 beat structure against a as an arranger, songwriter and inspiring bandleader. The face is expressionless, but the joy in the image is piano montuno with a 9 + 7 structure, creating a On the recording his 10-man ensemble (half horns, palpable. wrinkle in the forward momentum. On “Fenway half rhythm section) moves boldly through eight Funk”, Curtis continually alternates, phrase for phrase, highly charged tunes, some of them Latin classics, For more information, visit concordmusicgroup.com

Flushing Town Hall

THE CAMPBELL BROTHERS SACRED STEEL GUITAR SUN, DEC 2, 4 PM $20/$15 Members/$10 Students with I.D. “The Campbells create a unique, steel-guitar- driven music called “sacred steel” that’s every bit as earth-shattering as Johnson’s music was in the ‘30s...” – National Public Radio Joe Bataan JAZZ JAM SPECIAL GUESTS: WED, DEC 5, 7-10pm $10/FREE for Performers, Members & Students JOE BATAAN TENTET – “KING OF LATIN SOUL” SAT, DEC 8, 8 PM $40/$32 Members/$10 Students with I.D. The originator of New York Latin Soul. Joe Bataan and his band will play his classic hits “Ordinary Guy”, “La Botella”, “Gypsy Woman” and songs from his new CD. Campbell Brothers ORDER TICKETS TODAy! (718) 463-7700 x222 flushingtownhall.org Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY 11354

Supported by National Endowment for the Arts; New York State Council on the Arts, a State Agency; New York City Department of Cultural Affairs; Bloomberg Philanthropies; Con Edison; Macy’s and New York Community Bank Foundation. THE CAMPBELL BROTHERS is also funded through the American Masterpieces program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. THE CAMPBELL BROTHERS is part of The New York State Presenters Network Presenter-Artist Partnership Project made possible through a regrant from the New York State Council on the Arts, a state agency with the support of Governor Andrew Cuomo and the New York State Legislature.

THE NEW YORK CITY JAZZ RECORD | December 2012 19

“Koko”. While remaining true to the theme at head JAZZ AT LINCOLN CENTER and foot, the band stamps its signature on the body by riffing on the song’s harmony and rhythm, stretching its borders and ultimately honoring its pedigree by challenging its structure. Ortiz leads a remarkable quartet with guitarist SWING David Gilmore, bassist Rashaan Carter and drummer Eric McPherson, a band defined by experimental daring and a refreshing spirit of exploration. The song

UNIVERSITY Oasis “Ginga Carioca” exemplifies their interplay. Ortiz Papo Vazquez Mighty Pirates Troubadours (Picaro) muses on the piano as if looking for a melody and soon by Russ Musto the other bandmembers join him in the search. When WINTER 2013 TERM they finally hit on a theme they agree upon, it is Papo Vazquez’ Mighty Pirates Troubadours ensemble discarded at once, a point of improvisational departure is the foremost progenitor of the distinctively swinging to more harmonically free pastures. In fact, throughout sound that can best be described as Afro-Puerto Rican the album there’s free-form playing behind solos jazz, music that finds its rhythmic impetus in the instead of plain mechanical comping. bomba and plena forms native to the US Caribbean The quartet feeds off of Ortiz’ impressive range as island where the Philadelphia-born NEA Latino Master a composer: “The Heir” is a sophisticated tune ignited Award-winning trombonist spent much of his youth. by a Bad Plus-type of vibe; the gradual crescendo of Oasis is an ambitious excursion on which the leader’s the brooding “Numbers” builds toward something septet - fellow Philadelphian saxophonist Willie mysterious and keeps the listener in suspense and the Williams sharing the frontline and a rhythm section of straightahead “Green City” is an old-fashioned burner. dizzy gillespie Photo Courtesy of the Frank Driggs collection Rick Germanson, Dezron Douglas and Alvester Garnett The band is also dynamite on covers, as proven by its plus percussionists Anthony Carillo and Carlos blistering version of Ornette Coleman’s “Wru” and the Maldonado - is joined by guests including violinist tenderness of the chestnut “Alone Together”. Regina Carter and trumpeter Wynton Marsalis. Ortiz’ piano skills are indisputable. He can play The first four pieces on this 12-track disc clearly with a humorous, open-spaced Monk-ish laconism or a demonstrate Vazquez’ allegiance to his Puerto Rican soulfulness both heartwarming and heartbreaking. roots. The opening bomba “Manga Larga”, a rhythmic Although still young, Ortiz has clearly moved past the tour de force, adds Joel Mateo’s brake drum to the ‘apprentice’ phase of his development, forging a percussion section, propelling high-flying trombone, startlingly original voice. Orbiting is the calling card of tenor and piano improvisations while the appealing a group of inventive, daring souls who are unbound by Learn about jazz from the plena “Sol Tropical” displays the leader’s melodic gift, musical boundaries and will push them to their limit. musicians who make with guest pianist Benito Gonzalez’ infectious vamp the music and the scholars driving lyrical frontline solos. “Danzaon Don For more information, visit freshsoundrecords.com who have mastered it Vázquez”, a traditional Puerto Rican form, features Sherman Irby’s flute expanding the rich sonic CLASSES INCLUDE palette. It’s followed by a second bomba, “Que Sabes Tu”, spotlighting African roots that reach into the present with a Spanish language rap by poet Maikol El Mago. The Latin percussionists lay out for two ‘pure’ DISCOGRAPHY with Ed Berger jazz numbers: “Psalm 59”, a potent uptempo waltz, and ”City of Brotherly Love”, a stirringly melancholy ballad. The title track is a grandly episodic expedition, with Boo Frazier DIZZY GILLESPIE employing the string section of Regina Carter plus Akua Dixon’s Quartette Indigo in combination with clarinet, bass clarinet and flutes to craft an exotic setting simultaneously traditional and original. The JAZZ 101 with Ben Young string quartet remains on the affecting plena lament “Redemption” and is heard later in the date with just the leader on his Stravinsky-inspired “Igor’s Mail”. Marsalis, who is heard on three tracks - “San Juan de la JAZZ 201 with Phil Schaap Maguana”, “Verdura de Apio/The Real McCoy” and “Plena Drumline”, proves himself to be more than proficient in the respective merengue, bomba and carnival environments, adding a resounding stamp of JAZZ 301 with Phil Schaap approval to a date that is impressive in its many facets.

For more information, visit papovazquez.com AFTER COLTRANE, BEFORE JAZZ AT LINCOLN CENTER with Larry Ridley

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JALC.ORG / SWINGU Orbiting Aruán Ortiz Quartet (Fresh Sound-New Talent) by Terrell Holmes

Lead Corporate Sponsor The defining moment on Orbiting, the excellent new album by Cuban-born pianist Aruán Ortiz, is the arrangement of Charlie Parker’s watershed classic

20 December 2012 | THE NEW YORK CITY JAZZ RECORD

Armenian folk melody into a seamless inter-cultural but has been part of the New York scene for at least a mini-masterpiece. Cultural dynamics continue to quarter century, playing various keyboards for a intertwine in novel ways as Brazilian percussionist number of Latin artists since the late ‘70s. The Skyline Gilmar Gomes is tapped to provide an infectious Session is a blowing date in the tradition of vintage polyrhythmical floor, allowing Bello and Perdomo to Verve recordings: a setlist of jazz and Great American present an upbeat “Rastro de Luz”, and Diego Songbook standards, plus a couple of originals, no Obregon’s earthy Colombian creates a rehearsal, then ready, set, go. Diaz assembled an charming forum for Bello and French male vocalist allstar cast composed of (trumpet), Rich Gerald Toto to engage in cross-lingual repartee. Perry (tenor sax), Ron McClure (bass) and Lewis Nash

Primero Amarillo Después Malva Bello soars over the achingly beautiful combination (drums) - Perry and McClure were on Diaz’ previous Lara Bello (Granada) of a four-piece string section and Edmar Castañeda’s SteepleChase date Having Fun - and the mood is just by Elliott Simon Colombian harp on “Nana de Chocolate y Leche” what you’d expect: confident and competent while flamenco taps from dancer Luis de Luis inform improvisation that takes just enough chances within Do not let the dreamy idyllic cover photo fool you the fiercely beautiful title cut as changes in floral the mainstream formula to keep curious listeners into thinking that Primero Amarillo Después Malva (First coloration are used to impart metaphorically the occupied. Yellow Then Mauve) is a lilting samba-esque jaunt passage of time and the cycle of life. With Primero Diaz’ piano style consists of halting phrases that through love, peace and harmony. Although a couple Amarillo Después Malva, Bello has shown that she is not build logically, organically, with a few surprises, heard of these 10 tunes lean in that direction, vocalist Lara only a dynamic vocal stylist but also a creative voice to best effect on Thelonious Monk’s “Eronel”, Victor Bello is from Granada, Spain and has very effectively for musical cultural harmony. Young’s “A Weaver of Dreams” (the latter taken at an used her city’s history to present a varied and potent unusually fast clip) and on Diaz’ own samba, “Rosa del contemporary program. NYC-based pianist Luis For more information, visit jazzgranada.es Viento”. Brecker is in fine form throughout, enlivening Perdomo is brilliant throughout, anchoring the sound his lines with half-valvings and pinched tones, creating with guitarist Jean-Christophe Maillard, bassist Jorge fluid, unforced momentum on “You Are My Roeder and drummer Franco Pinna. Perdomo and Everything” and “You Stepped Out of a Dream”. Perry Maillard are both exceptional at keeping up with Bello meanders with a purpose on Diaz’ “Easy Come Easy and the diverse cast of musicians and cultures that she Go”, then bobs and weaves over “Eronel”. McClure throws the band’s way. takes two solos with strong melodic curves on “You Bello’s voice can be quite touching and emotive Are My Everything” and on “Eronel”. Nash, but she grabs your attention most when engaging meanwhile, lives up to his considerable reputation: other cultures and musics head on. She brings an swinging masterfully over Wayne Shorter’s “Black in-depth understanding of her city’s Moorish past to Nile”; trading inspired four-bar phrases on “Black much of the session while guest Syrian singer Lena Nile”, “You Stepped Out of a Dream”, “Just Friends” The Skyline Session Chamamyan has her own powerful vocal style Olegario Diaz Quintet (SteepleChase) and “A Weaver of Dreams” and, in general, playing combining jazz and melismata. On “Horizonte-Yumma by Tom Greenland like he’s having fun. Lala”, Bello adeptly partners with Chamamyan and bandoneonist Hector del Curto to turn the traditional Journeyman jazzer Olegario Diaz hails from Venezuela, For more information, visit steeplechase.dk

THE NEW YORK CITY JAZZ RECORD | December 2012 21 Dave Phillips and his Freedance ensemble has evolved Anyone who wants to be a great traditional jazz a distinctive sound that shows off each member to his singer must convey the feeling of the blues, not a best advantage. But often there is little diversity from problem for Stallings. She is as bluesy on the Walter track to track, making the disc sound like eight Donaldson/Gus Kahn standard “Love Me or Leave variations on a single theme. Me” as she is on Reed’s “Mary’s Blues”, even if the Phillips composed all the tunes here, never shying former isn’t a 12-bar blues but instead a traditional away from the mainstream and emphasizing melodies pop/Tin Pan Alley favorite from the late ‘20s. and clean instrumental interplay. Each of the regular Half a century has passed since Stallings caught quartet members - alto saxophonist John O’Gallagher, the jazz world’s attention with Cal Tjader Plays, Mary Eponymous Releasing Bound Water... guitarist Rez Abbasi and drummer Tony Moreno - Stallings Sings. Don’t Look Back makes it clear that she is Pretty Monsters Katherine Young performs with nothing less than sympathetic still very much on top of her game. (Public Eyesore) (Prom Night) interaction. The most common thematic strategy by Clifford Allen involves blending O’Gallagher’s lyrical patterns with For more information, visit jazzdepot.com. This group is at Abbasi’s power chording as the others periodically Dizzy’s Club Dec. 1st-2nd. See Calendar. Merging populist threads with an experimental decorate the narrative. One would suspect that pianist palette rarely serves either approach well - for every Jon Werking and percussionist Glen Fitten are added to Arthur Russell or Laurie Anderson, there are countless provide more tonal colors, but except in a couple of UNEARTHED GEM artists and composers who come up short. But Chicago- instances, it’s more a case of accentuating the already- based bassoonist Katherine Young luckily finds herself present textures. in the former category with participation in chamber Relaxed and confident and possessing a certain ensembles Till By Turning and Architeuthis Walks on charm in consistency, it still sounds as if no one is Land and off-kilter pop group The Fancy. raising a sweat during the performances. This Pretty Monsters is a hybrid quartet bringing regularity soon hardens into formula though, with together noise-rock, chamber music and free improv; very little outside of a slight tempo change on say, in addition to Young, the group consists of violinist “RT”, or Phillips’ moderated pizzicato lines on Erica Dicker, drummer and guitarist Owen “Mistral”, to distinguish one tune from another. That Stewart-Robinson. The cyclical “Patricia Highsmith” way when Fitten’s tambourine smacks move to (a highlight of Young’s solo disc Further Secret Origins) foreground on “Tanchjaz” or the hint of a Latin beat is rendered with slinky undertow, lunkheaded beats appears during the exposition of “Cricket Song”, the First Date (Live at the third annual Vision Festival) The Joe McPhee Trio (CjR Records) colliding with fractured and skittering guitar (Stewart- variances appear monumental. by Marc Medwin Robinson is a no-wave blues revelation here) and “Cricket Song” and “Gathering Rain” come across mated with swooping ponticello bowing and low, as the most memorable performances. On the former, “I’d like to introduce a very beautiful trio,” the reedy blats. Young’s bassoon is not always in the alongside conga bounces, staccato acoustic guitar lines voice at the 1998 Vision Festival announced. So foreground; frequently, she supports higher-pitched are notably dexterous when paired with bass strings opened the first gig by a group whose concerts are statements from guitar and violin with droning warble snaps and smooth sax runs. On the latter, a soupçon of loved worldwide, though, if these and other notes or a patchwork of live electronics and loops. “For tension is initially advanced, with rapid strumming ring true, they were all but ignored at the start. Autonauts, For Travelers” is an opportunity to hear from both string players creating an underlying buzz. At this inaugural outing, the trio had not yet her carve out a broad instrumental section as a soloist Soon, however, rapid guitar picking and arching bass developed the unique approach encompassing with an agitated supporting atmosphere. A solid bow work downshift to a more moderated theme improvisation and quotation that would become so vehicle for collective structure and Young’s statement. Confluence has little trouble reflecting the integral to the group aesthetic. Despite this, their compositional ideas, this is an impressive debut. ‘dance’ portion of the band’s name. The ‘free’ approach to collective music making is remarkably Releasing Bound Water from Green Material is a suite designation is more problematic. similar in terms of listening and communication. for three percussionists (playing notated music) and Already, they demonstrate the spot-on reflexes and improvising ensemble, generated collaboratively with For more information, visit innova.mu. This band is at intuitive dialogue that their fans have come to filmmaker Michael Kenney. Fluttering brass and reeds ShapeShifter Lab Dec. 1st. See Calendar. expect. McPhee’s trumpet playing is especially good swirl around a plaintive synthesizer progression, with and one could be forgiven for believing that it was

Young’s bassoon gurgle and trumpeter Jacob Wick’s his main instrument. Nonetheless, what would disembodied chuffs and kisses. Both ensemble become Trio X also traversed musical plains in those improvisations are short and bookend “Capacity”, the early days that would not be explored again, such as longer percussion piece - though Young doesn’t play the sounds on the four-minute second track “Second on it, the composer’s hand is quite clear. A dark of Three”. Despite this, as the third part of the suite shimmer is pervasive, fluttering tonal modulations jangles in on Jay Rosen’s percussion and Joe pierced by incisive actions at seemingly loose intervals. McPhee’s heavily vibrated tenor, bassist Dominic Kenney’s grainy, striated shots of a swimming turtle Duval fully supporting every gesture, the unified mirror the movement of the percussionists, small flecks vibe could not be stronger. It is not merely the 20/20 appearing amidst lingering slabs gradually developing hindsight afforded by technology, as in a very real Don’t Look Back (featuring Eric Reed) into an intricate web of actions. It will be interesting to sense the group’s interactive playing has only Mary Stallings (HighNote) see how Young develops as a composer in addition to by Alex Henderson deepened rather than improved. her already clear improvising/bandleading mettle. Perhaps even more fascinating is the only -based jazz vocalist Mary Stallings was studio recording made outside of their normal For more information, visit publiceyesore.com and 72 when, in November 2011, she recorded Don’t Look haunt, CIMP’s Spirit Room. Rediscovered and promnightrecords.com. Pretty Monsters is at Douglass Back after finishing a weeklong engagement at Dizzy’s presented here as a bonus track, the 2004 sound is Street Music Collective Dec. 1st. See Calendar. Club joined by the cohesive trio of pianist Eric Reed, quite different than that on any other Trio X disc. It’s bassist and drummer Carl Allen. Don’t somehow fuller but without the huge dynamic

Look Back was produced by Reed and also uses his range afforded by CIMP, a recording philosophy tasteful bop arrangements. that is especially detrimental to Rosen’s huge By their 70s, many singers are past their prime, arsenal of timbres. That said, there’s some lacking the vocal power they once had. But the Carmen astonishing music on offer, some of it approaching a McRae-influenced Stallings hasn’t lost any of her volcanic eruption. Duval is absolutely on fire, fairly vitality, vocal power or charisma. She is in fine form on far afield from his introspective arco and pizzicato an interesting mixture of songs, ranging from Gordon of recent years. Parks’ “Don’t Misunderstand” and ’s This is an excellent slab of music, but as a “Soul Eyes” to no less than three staples document of a birth in progress, it is invaluable. (“When Lights Are Low”, “Key Largo” and “People Confluence For more information, visit cadencebuilding.com. Dave Phillips & Freedance (Innova) Time”). Another highlight is the six-minute “Goodbye by Ken Waxman Medley”, which finds Stallings uniting ’s McPhee is at Angel Orensanz Center Dec. 4th as part of “Every Time We Say Goodbye” and Gordon Jenkins’ Under_Line Benefit Launch. See Calendar. After over a decade of recording together, bassist “Goodbye”, recalling Jimmy Scott’s torchy melancholy.

22 December 2012 | THE NEW YORK CITY JAZZ RECORD

‘Round Midnight is a testament to the enduring The continuous performance exists in a state of appeal of swing, of that steady, uplifting, lilting, mostly constant change. The music is often quite dense, as it is 4/4 feel that imbues the jazz mainstream with rare that fewer than three of the four players are exhilarating momentum. All but the ballad title tune playing at a given moment. That said, it is hard to are swingers here, ranging from barnburner to elevated imagine a more astute level of interaction, listening, heartbeat tempo and the negotiate the and responding. The near-constant shifts in texture swing with élan and gusto. They are also very convivial and mood are possible mainly because the players throughout, trading phrases and leads, weaving in have such an amazing ability not only to anticipate solo tandem and expanding and complementing each each other’s ideas, but make room for it without any

Pound Cake other’s lines, phrases and solo turns. Their mutual discernible shift in momentum. Ted Brown/Kirk Knuffke (SteepleChase) inspiration is the mirror quintet of tenors and by Duck Baker and like those, it is sometimes hard here to For more information, visit leorecords.com. Léandre is at distinguish one tenor from another, especially in the Angel Orensanz Center Dec. 4th as part of Under_Line This record stands out from the solid fare that heat of fast exchanges. “The Opener”, a tune Bill Potts Benefit Launch and Roulette Dec. 5th. See Calendar. SteepleChase is known for, owing to the presence of wrote for Cohn and Sims, is a highlight, as is Eddie the great Ted Brown on . Now in his “Lockjaw” Davis’ “Hey Lock!”, a piece he wrote for the eighth decade as a professional musician, Brown looks mirror quintet he co-led with . There’s and sounds ready to work for at least a couple more. also the irresistible, easy swaying swing of the unjustly Brown’s frontline partner here is cornetist Kirk neglected “How Am I To Know” and a lesson in how to Knuffke, a well-grounded player whose style is a little swing bossa on “Baubles, Bangles and Beads”. hotter than cool and a little cooler than hardbop and The mainstream vibe on Greg Abate’s CD tilts who can also evoke earlier stylists like toward bop, as might be expected when half the album and such modernists as . Knuffke favors features one of the last of the original Charlie Parker long melodic lines that he breaks up with double-time acolytes in Woods. Unlike the tenors, there’s not much bursts or punctuates with smears and he also displays give and take between the altos here, with each soloing an impish sense of humor. It’s a joy to hear the cornet and little trading, except at the end of “Roger Over and on tunes like Brown’s “Jazz of Two Cities” and Out” and “Carmel by the Sea”. An altos high-point is “Featherbed”, long twisty lines in the Lennie Tristano- the recorded debut of Woods’ “Goodbye Mr. Pepper”, school tradition, because, for whatever reason, brass a dedication to Art Pepper with a Latin feel and fine players have not often been heard playing in this style. emoting from both saxophonists. Woods indulges in If we think of early records by Tristano-ites, it was some witty swoops on “Rocco’s Place”, with Abate on usually all saxes, as it was when and baritone, a sax he also plays to advantage on John Brown first recorded “Jazz of Two Cities” in 1956. At Patrick’s ballad, “Marny”. Woods is paired with that point, Brown’s style represented a sort of middle Abate’s flute on a winning, fast bossa, “J.A.G.” and ground between that of Marsh and Lester Young’s Abate features that, as well as soprano, alto and cool-school disciples and this remains true. The baritone saxes on his various quartet tracks. influence of Young seems even stronger than before and Brown has developed a tendency to ride over and For more information, visit challengerecords.com and around the rhythm that is subtle and very attractive. rhombus-records.com. is at Birdland Dec. New Release The two horns complement each other well and 4th-8th. See Calendar. 2012 the piano-less quartet leaves things nice and open. Drummer Matt Wilson uses all the shades on his The first performance of timbral palette to color the background and bassist the trio that became Trio X John Hébert holds the bottom down admirably, filling up the void left by the absence of chordal The Joe McPhee Trio accompaniment without overdoing it.

For more information, visit steeplechase.dk. This project is FIRST DATE at The Drawing Room Dec. 2nd. See Calendar. Live at the third annual Vision Festival

MMM (Live at the Metz’ Arsenal) Joëlle Léandre/Fred Frith/Alvin Curran/ Urs Leimgruber (Leo) by Wilbur MacKenzie It is a special moment when a meeting of distinguished and very creative individuals can assemble and from the first moment produce results that completely transcend even the highest of expectations. Such is the case with MMM, convened by renowned bassist Joëlle ‘Round Midnight Featuring Phil Woods Léandre and including pioneering electronic musician /Scott Greg Abate Quintet Hamilton (Challenge) (Rhombus) Alvin Curran, genre-crossing guitarist Fred Frith and saxophonist Urs Leimgruber. by George Kanzler Leimgruber and Léandre, whose virtuosic bass Mirror quintets featuring two musicians playing the playing is on constant display, have the most experience same instrument with a rhythm section were working together; it is profoundly evident how much Joe McPhee popularized in jazz in the ‘50s, but their appeal still these artists comprehend each other’s vocabularies. tenor and soprano saxophones and pocket trumpet beckons today. Two tenor saxophonists in the swing Curran, veteran of groundbreaking ‘60s ensemble tradition of Lester Young and the Four Brothers, Harry Musica Elettronica Viva, on both sampler and piano Dominic Duval bass Allen and Scott Hamilton, share the frontline on ‘Round here, conjures everything from delicate Erik Satie- Midnight while Phil Woods, an alto saxophonist who esque delicacy to expertly placed snippets of werewolf Jay Rosen was in the vanguard of mirror quintets with fellow alto calls, car crashes, orchestral quotes, even hip-hop. drums Gene Quill a half century ago, pairs up with Greg Frith’s history is as diverse as Curran’s arsenal of Abate on five of the ten tracks of his CD (although only samples. His work in the ‘70s with Henry Cow and in North Country Distributors three are alto duets), a quartet session for the remainder. the late ‘80s with Tom Cora and John Zorn leaves little Cadence Building, Redwood, NY 13679-3104 Aside from an Allen original, ‘Round Midnight sticks to musical ground uncovered, yet he has filled the last Tel: 315-287-2852 s Fax: 315-287-2860 standards and tunes written for mirror quintets while quarter century with all manner of new musical Email: [email protected] Abate’s album consists of originals, all but two by him. concepts.

THE NEW YORK CITY JAZZ RECORD | December 2012 23

down a shifting backbeat recalling Tower of Power’s David Garibaldi, adding fills that push and pull on the pocket. On “Alpha & Omega”, in contrast, McCaslin’s bounce-echoed tenor sets up a rave-beat loop, suddenly interrupted by prog-metal power riffs, while “Bend” has a limping hocket pattern that sounds as if the bass and drums are playing in a parallel rhythmic reality. There are fine moments: McCaslin’s soloing on “Tension”, “Praia Grande” and “Henry” are up to

Hippin’ anyone’s standards, combustive yet cohesive Connie Crothers & Alexis Parsons (New Artists) statements rife with intelligence and intensity, by Kurt Gottschalk cascading sequences and double-decker melodies crowned by swooping runs, peppery bursts and subtle Vocalist Alexis Parsons is well seated in the jazz tone shading; while the latter half of “Love Song for an tradition. Her previous record was a set of wide- Echo” is a paragon of group simpatico, Lindner’s ranging takes on standards accompanied by pianist acoustic piano solo a welcome respite from the Star Frank Kimbrough. One can sense the influence of Wars sound effects in orbit elsewhere. McCaslin is theatrical and art songs and perhaps even the phonetics casting for something truly anthemic here, a jazz sound of her Greek and Swedish heritage. unbound by the bare brick walls of intimate clubs. Her second recording is another duo with a pianist and her playing partner couldn’t be a better choice. For more information, visit greenleafmusic.com. This Like Parsons, Connie Crothers has a unique way of project is at Jazz Standard Dec. 4th-5th. See Calendar. extending the jazz language without abandoning it,

often recalling romantic elegance of Chopin, Elgar or Schumann but with the punctuated underpinnings of her mentor Lennie Tristano. Together they have crafted a spirited and inventive record. There is a throwback feeling to their duets at times; Parson’s wordless vocals would not have been out of place alongside the avant garde art songs of the ‘70s. But she’s able to go there and come back again. She nicely borrows snatches of “It Ain’t Necessarily So” (from Porgy and Bess) in “Stranger” and the pair Questionable Creatures resolves the record with a wonderful take on “Wild is Matthew Silberman (DeSoto Sound Factory) the Wind”, a song that already bears the fingerprints of by Sharon Mizrahi Johnny Mathis, Nina Simone and David Bowie. But the two find their own way through it with Crothers’ Matthew Silberman captures a saga as sound in simply elegant phrasing and the most vulnerable Questionable Creatures. The tenor saxist and his four vocals Parsons delivers in the set, focusing on the bandmates traverse across several distinct themes poetry of the words and almost whispering the melody. throughout the record, exploring both harmony and Singer-with-piano-accompaniment isn’t often a discord in eight provocative compositions. pairing of equals, but Parsons and Crothers approach Dark sparks fly between Silberman and guitarist it as a couple of instrumentalists, moving in and out of Ryan Ferreira in “Ghost of the Prairie”, as they jolt into themes, playing together and apart with ease. Hippin’ a tense dialogue augmented by electronic knocks and is a fresh setting of jazz classicism. screeches. Long, jagged sequences follow low, repetitive refrains, until Silberman interjects. His For more information, visit newartistsrecords.com. Parsons changes in pitch occur with hypnotic regularity, akin is at Metropolitan Room Dec. 5th. Crothers is at Angel to an aural zigzag between two compelling extremes. Orensanz Center Dec. 4th as part of Under_Line Benefit The intensity heightens as drummer Tommy Crane sets Launch. See Calendar. a vibrant rhythm into motion. Following the bout of musical fireworks,

Christopher Tordini preps the band for “The Battle at Dawn” with his pensive opening bass sequence. Crane spares a few stray cymbal wisps in the distant background before tumbling into an understated yet resonant rhythm. And just as subtly, Greg Ruggiero fades in on electric guitar, conjuring a cool jazz vibe with a touch of serene bossa nova undertones. Between the guitarist’s solos, Silberman opens fire in the form of outspoken brassiness. But Ruggiero joins him on the

frontlines, echoing the tenor saxist’s energetic streams Casting for Gravity Donny McCaslin (Greenleaf Music) of thought. by Tom Greenland Though guitar and tenor sax also trail one another in “Dream Machine”, silence and space serve as the Casting for Gravity is a benchmark in tenor saxophonist groundwork for this airy piece. Crane brushes across Donny McCaslin’s career, his tenth date as a leader and his cymbals and scatters the aural dust while Silberman third for Dave Douglas’ Greenleaf label with David explores rich intricacies. The tune resembles an aural Binney producing, a more-than-able-bodied effort nest, comprised of twigs of sound. “The Process” also from a master of his craft but somehow lacking the ‘it resembles the piecing together of musical parts - yet factor’. Returning from his previous outing, Perpetual the band’s result appears more concrete this time, Motion, are electric bassist Tim Lefebvre and drummer evolving into a complex conversation among Ruggiero, Mark Guiliana, with Jason Lindner sitting in on the Ferreira and Silberman. Most intriguingly, however, keyboard stool and this effort follows form in its Crane and Tordini also slip into a reflective dialogue, exploration of electricity and electronica, layering complementing the brass-guitar trio with their own repetitive tune structures with synthesized pads. subtle brand of dynamism. Cuts like “Says Who”, “Losing Track of Daytime”, the title track and “Tension” sound like Herbie For more information, visit desotoinc.com. Silberman is at Hancock’s Thrust-era funkathons, Guiliana laying Dec. 4th. See Calendar.

24 December 2012 | THE NEW YORK CITY JAZZ RECORD

greasy blues bar, it’s evident from titles like the following that the instrument is a vital element in innovative modern music. Though very different in approach, these younger practitioners all demonstrate that their instrument is not to be taken for granted. Funky sax and organ music from a Japanese woman? You bet your life. Akiko Tsuruga is the real deal and she breathes fresh yet familiar life into this popular format with Sakura.

I Don’t Hear Nothin’ But The Blues, Vol. 2: Reunion: Live in New York What better way to demonstrate a comfort zone Appalachian Haze (Irrabagast) /Dave Holland/Barry Altschul (Pi) with her adopted home in New York than by opening Unhinged Jon Irabagon’s Outright! (Irrabagast) by Stuart Broomer with a blues? It’s “Sweet Yam Potato”, down-home by Jeff Stockton slow cooking. When first hearing Tsuruga, it is clear In 2007, WKCR presented a week-long tribute to Sam immediately why people such as and Almost everything you read about tenor/alto/ Rivers, culminating in a reunion concert at the Miller Dr. Lonnie Smith are so high on her talents. She’s all soprano saxophonist Jon Irabagon mentions that in Theatre by River’s greatest band, the trio with bassist over her instrument with show-stopping bravura that 2008 he won the Thelonious Monk Saxophone Dave Holland and drummer Barry Altschul that had finds her digging into the tradition but making it fresh Competition. This tells you that he has a great played together from 1972-78. As annotator Brent and engaging. There’s so much music on this disc - command of and facility with his instrument. What it Hayes Edwards points out, the recorded evidence of originals by the organist including the lovely title doesn’t quite prepare you for is how far his playing, the trio was scant, just two LPs - The Quest and Paragon track, standards and pop tunes. Highlights are the composing and concept range across the musical - as well as Holland’s extraordinary Conference of the briskly swinging take on ’s “S.O.S.” spectrum. He plays straightahead as well as free. His Birds from 1972 with Anthony Braxton added, uniting and Tsuruga’s supremely grooving “Showman’s tunes incorporate elements of hardbop, avant garde, the trio with the Braxton Quartet of which Holland and Boogaloo”, in which guitarist Bob DeVos rocks out jazz balladry, Latin jazz, hip-hop, and even Altschul were also members. against Tsuruga’s full-powered organ show. And dashes of metal. He’s young, he’s energetic, he’s filled Rivers was 83 years old at the time of this there’s even a nod to an early Japanese hit song in the with ideas and he’s busy. In addition to his own bands, recording, but you wouldn’t guess it from the vigor of USA, “Sukiyaki”, on which Tsuruga rocks with an even he’s a member of guitarist ’s highly his performance. Each CD is devoted to a continuous happier bounce than the 1961 Kyu Sakamoto original. regarded quintet as well as a key member of Mostly free improvisation. Typical of the trio’s earlier practice, Celebration is truly an ambitious undertaking, two Other People Do the Killing, arguably the hottest band each set ranges through different tempos and harmonic discs of organ music by ’s Tony Monaco. It’s got on the New York scene. In many respects, Irabagon approaches with Rivers cycling through his instruments ballads, blues, cookers and even a spiritual tune with represents the future of jazz. A man who lives in his as well, from tenor saxophone to soprano to flute. The three choirs. Monaco brings along drummer Jason times, he blends his eclectic tastes and massive first set opens with Rivers on tenor, creating dense Brown from employer ’s band and together technique into an exciting and accessible mixture. lines of harmonic and rhythmic information, filled with guitarist Derek DiCenzo, saxophonist Ken Fowser The first volume of I Don’t Hear Nothin’ But The with sudden interval leaps, each of them charged with and drummer Reggie Jackson thrusts the classic organ- Blues was a 47-minute uninterrupted improvised duet significance. Before long he slips into a warm and and-tenor group to the forefront. with drummer Mike Pride, which gave the pair the lyrical approach, a sudden tenor ballad. Holland and An intriguing treat is the piece for choirs, “Just opportunity to test some of the motifs they had been Altschul are engaged with Rivers in a three-way Give Thanks and Praise”. It’s a rollicking song of joy working on together. And since the sax/drum duo is a dialogue in which each one’s input continuously all the way, with Monaco prodding the Columbus form familiar to jazz listeners, the disc served as a directs the shape of the unfolding music. It’s especially Choir Singers, Tuscia in Jazz Vocal Singers and The showcase for Irabagon’s style and attack, as well as a good to hear Holland improvising and soloing at School at Church Farm High School Music Choir to do forum for Pride’s impressive stick work. Volume 2, length. He’s a great bass player yet seldom in the as the title suggests. “I’ll Remember Jimmy” is a subtitled Appalachian Haze, is a “follow-up in every foreground in projects that emphasize his compositions. moving and soulful tribute to and it way”, according to Irabagon. This time, however, tenor While the first set contains long solos, the shorter shows Monaco has learned lessons from the masters and drums are joined by electric guitarist Mick Barr, second set emphasizes sustained group interplay. yet brought his own sensibility to them. The second who shreds and melts faces for the majority of the Rivers’ initial choice of flute emphasizes both Holland’s disc is a collection of highlights from Monaco’s program while Irabagon keeps pace alongside and developed lyricism and Altschul’s subtle exploration recordings and includes a large handful of players and Pride bashes away in the background. Without let-up, of pitch. However, when Rivers turns to tenor - always guests like Joey DeFrancesco, Adam Nussbaum, Donny it makes for a challenging listen. his most distinctive voice, whether blistering, cajoling McCaslin and Kenny Rampton. Monaco is a force of With Unhinged we get the bandleader and musician or pensive - the performance reaches its most nature, a talented and dynamic writer, leader and we know and love. Here Irabagon is joined by his core concentrated levels of interplay and creativity: they’re performer who comes at you with all burners. quintet, rounded out by on a variety of as engaged in moments of quiet reflection and Brian Charette’s Music for Organ Sextette is yet keyboards, the great John Hébert on bass, drummer transition as they are in the gathering storms. This set another step in finding different settings for the Tom Rainey and, most notably, trumpeter , is a fitting tribute to Rivers, one of the great improvisers. Hammond B3. The music is smart and diverse - all the who serves as the key performer in many of this disc’s tunes are by the organist - and the combination of most bracing moments. On the Latinized “Lola For more information, visit pirecordings.com. Barry organ, drums and four reeds expressively gives voice Pastillas”, the band states the melody, Irabagon solos Altschul is at Cornelia Street Café Dec. 6th with Jon to fresh sounds. Charette has a tight, controlled and Alessi leads a free-for-all to the finish line. “Charles Irabagon. Dave Holland is at Jazz Standard Dec. 13th-16th approach to his instrument and also a terrific sense, Barkley” is a feature for Alessi in Miles Davis-mode, in duo with Kenny Barron. See Calendar. sometimes rare in an organist, of space and even when supported by a walking bass, plinking piano and and what not to play. rolling drums before the performance turns back to The music has soul, humor, warmth and a sense of Irabagon, like a honking Wayne Shorter. The Zappa- adventure, clearly written with the four horns in mind esque “Krem2eek!” features a scalding electric guitar (Jay Collins: flute, baritone saxophone, tambourine; solo from Glenn Alexander while Paul Desmond’s Mike DiRubbo: alto saxophone, soprano saxophone; “Take Five” is rendered unrecognizable via waves of Joel Frahm: tenor saxophone; John Ellis: bass clarinet). Coltrane-inspired arpeggios, cascading piano and On “Late Night TV”, for example, he pays funky roiling malleted percussion and cymbal crashes. “Silent homage to players who earn a living by playing for Smile” begins with Hébert in the spotlight and its television. And on “Fugue for Kathleen Anne” Charette Outright! Jazz Orchestra balladry brings Charlie opens with a paean to Bach, a personal hero; the horns Haden to mind, a half-remembered melody gradually plays a gorgeous ensemble fugue and then each soloist resolving into a , with Alessi and Irabagon plays variations. Charette also pays tribute to Olivier in counterpoint bursting through. Finally, “Parker Messiaen, gospel hymns (though for an agnostic) and Sakura Akiko Tsuruga (American Showplace Music) Posey” brings the program to a rousing finish, its brash more. Charette, as a composer, player and thinker, has Celebration Tony Monaco (Chicken Coup) ‘40s swagger layered with a millennial sensibility. Music for Organ Sextette delivered a gem. Brian Charette (SteepleChase) For more information, visit jonirabagon.com. The inaugural by Donald Elfman For more information, visit showplacerecordingstudionj.com, Irrabagast Records Festival is at Cornelia Street Café Dec. summitrecords.com and steeplechase.dk. Tsuruga is at The 6th-7th, with Jon Irabagon/Mike Pride/Mick Barr Dec. 6th Though the jazz organ is still often unfairly viewed as Garage Dec. 8th and Blue Note Dec. 16th. Charette is at Smalls and Jon Irabagon’s Outright! Dec. 7th. See Calendar. a novelty instrument fit either for a skating rink or a Dec. 28th-29th with Mike DiRubbo. See Calendar.

THE NEW YORK CITY JAZZ RECORD | December 2012 25

by the warm brass and reed voicings on “Wichita refers to pianist George Cables, bassist Cecil McBee, Lineman” (a stunning track and perfect opener). But drummer , saxophonist Billy Harper and Hollenbeck’s vision isn’t merely imitative, frequently trumpeter Eddie Henderson as “damn near jazz handling the songs in unexpected ways. “Man Of royalty”. How modest. These men are kings though Constant Sorrow” is given a driving rhythm track with and what is so refreshing about this album (their third blaring horns and dual tenor sax solos. “Bicycle Race” release as a unit) is how they play with the force of has a bicycle solo (naturally) by the leader. One of the musicians nearly half their age. most intriguing tracks is Takemura’s “Falls Lake” with As a sort-of hardbop Expendables, this septet has its wah-wahing horns, distorted vocals and the clarinet the grizzled life experience to imbue any tune with a

Songs I Like A lot of Oliver Leicht laced throughout. The singers are well meaty sense of swing. The group is rounded out by a John Hollenbeck (Sunnyside) chosen, with Kate McGarry’s unusual mixture of folk- couple action stars in their own right but with a little by Robert Iannapollo ish timbre and jazz phrasing working well, especially less grey. Trumpeter David Weiss brought the group on the Webb songs, while Bleckmann seems to have a together while alto saxist Craig Handy lends a little In the ten years he’s been issuing recordings under his way of getting into a song and taking it in an unexpected fire and mid-range honk. own name, percussionist John Hollenbeck’s outlets direction. They also blend wonderfully. The album, except for a brisk and faithful reading have included The Claudia Quintet, an unusual hybrid Hollenbeck has delivered a gem, building on of Wayne Shorter’s Messengers-era “Free For All”, is of jazz/chamber music/, The John Hollenbeck previous successes and pointing towards the future. entirely penned by the band. Harper contributes two Large Ensemble, boasting some of New York’s finest, tunes, including the dense album opener “Believe, For and major works recorded with European big bands. For more information, visit sunnysiderecords.com. It Is True”. The four horns swing a breathless line as The disarmingly titled Songs I Like A Lot was Hollenbeck’s Big Band with Theo Bleckmann and Kate Cables pulses with a Hancock-esque mid ‘60s nautical recorded with the Frankfurt Radio Big Band, McGarry is at Roulette Dec. 10th. See Calendar. vibe. Cables also provides a pair of originals including augmented by pianist/keyboardist Gary Versace and “Ebony Moonbeams”. Not to be left out, McBee singers Theo Bleckmann (who with Hollenbeck and provides two of his own lines; “Tight Squeeze” is a Versace form The Refuge Trio) and Kate McGarry. The brisk, off-kilter tune that gives Hart a nice chance to songs are a varied group: two by Jimmy Webb, shine. The band goes out with Hart’s lone contribution, traditional folk song “Man Of Constant Sorrow”, “Naaj”, as an upbeat jaunt that best embodies the Ornette Coleman’s “All My Life”, Queen’s “Bicycle band’s name. Race” and songs by electronic pop artists Imogen Heap The final product is a comforting slice of hardbop and Nobukazu Takemura. The arrangements are that delivers on its expectations. This isn’t just a lengthy (half are near the ten minute mark or above) blowing session but a working band with a great book and intricately structured without being overly fussy. of original tunes. These men have formed a solid Hollenbeck conducts and limits himself to mallet ensemble, which provides a lot of space for solo voices, Believe percussion and bicycle. Drummer Jean-Paul all who make the most of it. The Cookers (Motéma Music) Hochstadter fills the main percussionist role admirably. by Sean O’Connell Having been mentored by the late Bob Brookmeyer, For more information, visit motema.com. This band is at Hollenbeck has learned his lessons well, as made clear The liner notes to the newest release from The Cookers 92YTribeca Dec. 12th. See Calendar.

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26 December 2012 | THE NEW YORK CITY JAZZ RECORD

Ellington’s beautiful “The ” is Stevens’ ensembles back in the ‘80s and have renewed overplayed by many interpreters, but Kimbrough their acquaintance at regular intervals ever since, chooses to stay somewhat in the background by largely documented on the bassist’s Loose Torque playing a shimmering improvised line, with Anderson imprint, Different Times their second duo disc. carrying its theme. And it would seem that there would While some of the titles might suggest lyricism, be no new territory to explore on “Lover Man” yet any melodies are of the most offhand kind, brief Kimbrough’s lyrical, slightly obtuse rendition proves allusions surfacing during a stream of highly abstracted otherwise. The leader’s originals are just as but focused give and take. Even though recorded over invigorating, particularly his joyful “Falling Waltz” a two-year period, there is no discernible difference in

Live at Kitano and the lumbering “Hymn”, which combines elements the commitment to a totally improvised approach, Frank Kimbrough Trio (Palmetto) of blues and gospel in a jagged, playful setting. using whatever tools and techniques they need to by Ken Dryden make the exchange work. Not only do they transcend For more information, visit palmetto-records.com. This trio the conventional range of their instruments, but also A veteran of over three decades on the jazz scene, is at Jazz at Kitano Dec. 14th. See Calendar. their traditional roles in a display of mercurial interplay Frank Kimbrough has created a style that draws from and shifting moods. In a meeting of minds, both men many influences, among them Bill Evans, Andrew Hill demonstrate a keen appreciation of light and shade - and Paul Bley, to name just a few. This live recording they know when to affirm and when to counter. from the Kitano Hotel features the pianist with bassist Stephens is spiky, energetic and springy, inventive Jay Anderson and the in-demand drummer Matt with the bow, veering from the abrasive to the Wilson, recorded over two nights in 2011. The Kitano querulous and even the percussive while on clarinets, is a listener’s space, with the combination of a first- Gjerstad essays a cascade of barking fragments, his rate piano, excellent acoustics and attentive, quiet dog-bothering whistle register used sparingly. Though audiences helping bands focus on their music. on occasion breathily diaphanous, at the other extreme Kimbrough’s preference is to play sets without a he deploys split tones and a vocalized edge, most prepared setlist, with only minimal discussion of notably on “Everything Must Change”. Different Times possible songs. His delicate, whimsical take of bassist Frode Gjerstad/Nick Stephens (Loose Torque) There is little to differentiate the eight tracks from ’s “Blues in the Closet” features great by John Sharpe one another, except for some particularly felicitous interplay, Anderson given plenty of space to show off. sound or conjugation, such as delicate clarinet crooning The trio’s superb interpretation of Paul Motian’s The combination of reeds and bass first achieved over the bounding bass calisthenics at the conclusion moody ballad “Arabesque” has a sense of longing, prominence in the jazz consciousness thanks to three of “Nothing Stays The Same”. Nevertheless, there with Kimbrough’s poignant playing buoyed by duets waxed by and in remains a sense of narrative and propulsion to the Anderson’s conversational lines and Wilson’s soft 1963. While sounding nothing like that, the convergence conversations and a clear devotion to uncompromising percussion. Andrew Hill’s “Dusk”, which blends a between the clarinets of Norwegian reedman Frode and unvarnished communication. quirky, repetitious theme with an infectious Caribbean Gjerstad and the acoustic bass of Englishman Nick rhythm, is a masterful selection, the trio gradually Stephens forms part of the same lineage of intimate For more information, visit loosetorque.com. Gjerstad is at unveiling an increasing complex improvisation. Duke exchanges. The pair first met as part of drummer John I-Beam Dec. 15th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | December 2012 27

improvisations within the compositional structure, piano-drum pieces were fresh and unexpected. King itself deceptively open-sounding. also played some piano on his 2011 quintet follow-up The eight pieces range from the long exploratory Good Old Light by the Dave King Trucking Company. opener “Bad Lucid” and martial ballad “No’s No” to There’s one other obscure piano item in King’s slow-burning-then-exploding “Calendar Song” and oeuvre, a 2005 Fresh Sound trio date under pianist Bill Elfin dance “Ghost Practice” (lovely miniature “Arc- Carrothers’ name called Shine Ball, with bassist Gordon En-Ciel” was co-written with pianist Johnson. Wholly improvised, the session catches King from Twines of Colesion). Attias’ voice is rarely the and Carrothers in moments of volatility and moody first (or second or third) one heard, demonstrating the reflection. On I’ve Been Ringing You, they reunite (with

Spun Tree intense faith he has in the music he has conceived and Billy Peterson on bass) to play repertoire of a very Michaël Attias (Clean Feed) the players he has chosen to deliver it. different kind, along the lines of “So In Love”, “If I by Andrey Henkin Should Lose You”, “People Will Say We’re In Love” For more information, visit cleanfeed-records.com. This and “This Nearly Was Mine”. Carrothers makes the Very often the term “composer” is amended to a project is at Cornelia Street Café Dec. 19th. See Calendar. melodies sing out, pure and distinct, but somehow musician’s name, meaning simply they write their own transforms each song into a ghostly unresolved riddle. material. But in some cases, it is a defining classification. The opener is Gordon Jenkins’ “Goodbye”, a dark So it is with saxophonist Michaël Attias, who always ballad, stretched into a slow and hazy rubato maintains his aesthetic construction - often appealingly meditation. The transition to Ornette Coleman’s impenetrable - no matter the group, whether it be for “Lonely Woman” is natural - open and spacious to his Credo sextet, the cooperative trio Renku, his Twines start, more aggressive as it develops. The closing title of Colesion quintet or now his new group Spun Tree. track is an original trio improvisation marked by And the more one listens to Attias the player, the more Carrothers’ steady block chords, King’s slow brush it seems that his musicianship is, contrary to usual patterns and Peterson’s perfectly timed ascending practice, informed by his composing. notes in response. Spun Tree brings together new and old recording King’s subtle shifts of timbre and momentum are I’ve Been Ringing You associations, the former represented by trumpeter all the more engrossing for being so beautifully Dave King (Sunnyside) Ralph Alessi, pianist Matt Mitchell and drummer Tom by David R. Adler captured (the album was recorded at “a little church in Rainey, the latter bassist Sean Conly, the equivalent of Minnesota”, per the album credits). We can hear the a teddy bear for the first summer at sleep-away camp. Trios loom large in drummer Dave King’s career: leader shift in his seat, flick on his snares, swipe his With repeated listens to the group’s debut, a recollection consider two of his best-known musical endeavors, hands or other objects across the skins and create forms: the first time this reviewer heard Andrew Hill’s The Bad Plus and Happy Apple. The piano, too, is worlds of intimate detail. The big piano sound brings Point of Departure. Spun Tree may be a tenor sax or bass central to King’s identity as a player and composer and every lingering nuance of Carrothers’ harmonies into clarinet short of that monumental recording but there it’s not just his hookup with The Bad Plus’ Ethan striking relief. is the same easy density and oblique movement. The Iverson that bears this out. Indelicate (2010), King’s players don’t stack upon one another but instead nestle debut under his own name, revealed the drummer to For more information, visit sunnysiderecords.com. King is at in each other’s folds, making for remarkably organic be a pianist himself and the resulting overdubbed Village Vanguard Dec. 31st with The Bad Plus. See Calendar.

28 December 2012 | THE NEW YORK CITY JAZZ RECORD Wick and pianist Marc Riordan and Where My Dreams Go To Die is their debut. A program of five collective improvisations, Tres Hongos present a worldview that is spiky and unsettled, Rosaly moving through selected and unselected drums and cymbals as Riordan deconstructs boppish and stride-like phrases, echoing Jaki Byard and Alexander von Schlippenbach in robust, terse motifs. Wick (who splits his allegiances between Chicago and the coasts) is an incredibly bright and kaleidoscopic improviser, utilizing subtones and disassembled breath with as much rigor as he does when approaching brittle, Monkish fragments (check the spare “God’s Girlfriend”). The nearly 20-minute “Champagne Bayside” is an epic example of the group’s interplay; triangulated around Riordan’s jagged regularity, Rosaly shifting from damped patter Sat, Dec 1 AMANDA BAISINGER 9PM & 10:30PM There Now Josh Berman & His Gang (Delmark) to pulsing waves as Wick threads his lanky, mocking Ben Monder, Pete Rende, Matt Brewer, Tommy Crane Where My Dreams Go To Die Tres Hongos (Molk) statements. A powerful trio with minimal means, Tres Centering and Displacement Frank Rosaly (Utech) Sun, Dec 2 PETER EPSTEIN QUARTET 8:30PM Hongos is not to be missed. At the Hideout Ralph Alessi, , Mark Ferber Centering and Displacement is Rosaly’s second solo Jeb Bishop/Jaap Blonk/Lou Mallozzi/Frank Rosaly Mon, Dec 3 AMRAM & CO 8:30PM (Kontrans) percussion LP, following 2010’s excellent Milkwork David Amram, Kevin Twigg, John de Witt, Adam Amram Live at Jazzfestival Willisau (Contraphonic). Both are built around manipulating Wed, Dec 5 VOXIFY: MARIA NECKAM 8:30PM The Luzern-Chicago Connection (Veto-Records) the solo language through rerecording and studio Mike Moreno, Fabian Almazan, Joe Martin, Colin Stranahan by Clifford Allen alteration; the present pieces each span a side and are VOXIFY: SARA SERPA: CROSSING OCEANS 10PM composed from chance-selected improvised fragments, Samuel Blaser, Bill McHenry, André Matos, Linda Oh Nicky Schrire, host Chicago’s musical environment has always seemed to which generally retain their identities even as they’ve encourage cross-pollination between scenes and been heavily processed. The results were mixed as a Thu, Dec 6 IRABBAGAST RECORDS FESTIVAL 9PM Jon Irabagon, , Barry Altschul players. That goes beyond the interpolation of semi- six-channel sound installation, though the released IRABBAGAST RECORDS FESTIVAL 10:30PM traditional musicians and the avant garde into the version is two-channel stereo. In a sense, it’s hard to Jon Irabagon, Mick Barr, Mike Pride interaction of improvisers, experimental and new- place this work within Rosaly’s breadth as an Fri, Dec 7 IRABBAGAST RECORDS FESTIVAL 9PM music composers and rock musicians that Chicago improviser, but the intuitiveness and naturalness with Jon Irabagon, Ralph Alessi, Jacob Sacks, posits today. Percussionist Frank Rosaly is among its which he approaches sounds (both in isolation and as , Tom Rainey most diverse improvisers, working in jazz, free improv, an aggregation) make this environmental composition Sat, Dec 8 BEN ALLISON BAND 9PM & 10:30PM noisy rock and locally and internationally. stand out from other electro-acoustic work. The last Steve Cardenas, Brandon Seabrook, Allison Miller

If swinging credentials are necessary for any section of the second side has a Darkwave quality to it, Sun, Dec 9 SEUNG-HEE QUINTET, drummer in this music, one can look no further than which, if not entirely fit for minimal-wave DJs, still CD RELEASE OF ‘SKETCHES ON THE SKY 8:30PM Rosaly’s work in the “Gang” of cornetist Josh Berman proves that Rosaly’s oeuvre is far from limited. Adam Kolker, Toru Dodo, Ike Sturn, Mark Ferber on the excellent There Now. Rosaly hooks up brilliantly Drawing from both sound art/new music and free Tue, Dec 11 NÓS NOVO 8:30PM with the chunky and deft lines of bassist Josh Abrams improvisation is At the Hideout, a live quartet recording James Shipp:, Becca Stevens, Jean Rohe, , Rogério Boccato to fill out the rhythm section; the rest of the ensemble featuring Dutch voice artist Jaap Blonk and the Chicago includes Windy City stalwarts Jason Stein (bass sound/new media artist Lou Mallozzi along with Wed, Dec 12 SHAI MAESTRO TRIO 8:30PM clarinet), Keefe Jackson (tenor), Guillermo Gregorio Rosaly and trombonist Jeb Bishop. Blonk and Bishop Scott Colley, Henry Cole (clarinet), Jeb Bishop (trombone) and Jason Adasiewicz make a particularly nice pair, chortling, yammering Thu, Dec 13 NICKY SCHRIRE 8:30PM (vibes). The program includes three Berman originals and squawking in both highly extroverted fashion and Fabian Almazan, Desmond White, Otis Brown III in addition to five pre-war standards. Of course, pieces in cooler, more laconic interplay. Rosaly provides heft Fri, Dec 14 LORA-FAYE AND like “Sugar”, “Liza” and “I’ve Found a New Baby” are as well as sensitivity, pushing the music when it is in THE STRAIGHT MAN BAND 9PM & 10:30PM Sasha Hirsch, Andrew Sheron, Brett Chalfin rendered with distinct modernism, even if Berman’s danger of losing focus or dropping out, allowing fat cornet sound, Gregorio’s woody delicacy and Blonk, Mallozzi and Bishop to explore a range of Sat, Dec 15 MERGER 9PM & 10:30PM Rosaly’s softshoe brushwork are traditional signposts. technical absurdities. While his gentle brushwork Andrew D’Angelo, , Ben Street,

The rousing collective theme and close-hued riffs of behind sputtering trombone, glitchy no-input mixer Sun, Dec 16 NEW BRAZILIAN PERSPECTIVES: ALEX KAUTZ 8:30PM “Sugar” are pure Dixieland inspiration even as the and drawling voice might seem incongruous, Rosaly Helio Alves, Mike Moreno, Peter Slavov, Magos Herrera Billy Newman, host musicianship is contemporary in tone and phraseology. nudges the quartet into spirited and disconcerting Although there are certainly other instances of such density. Tue, Dec 18 SARA GAZAREK/DAN TEPFER DUO 8:30PM fascinating discontinuity in modern creative music, Another live disc presents Rosaly and Bishop as Wed, Dec 19 MICHAËL ATTIAS SPUN TREE 8:30PM Josh Berman & His Gang are rare pre-Birds indeed. part of The Luzern-Chicago Connection, a group that Ralph Alessi, Matt Mitchell, Sean Conly, Tom Rainey Tres Hongos is the trio of Rosaly, trumpeter Jacob also features bassist Jason Roebke, pianist Hans-Peter Thu, Dec 20 PILC MOUTIN HOENIG 8:30PM Pfammatter, vocalist Isa Weiss and tubaist Marc Jean-Michel Pilc, Francois Moutin, Ari Hoenig Unternährer. Live at Jazzfestival Willisau consists of a Fri, Dec 21 ADAM KOLKER TRIO 9PM & 10:30PM 2010 performance of the sextet on seven compositions John Hébert, Billy Hart including Rosaly’s “Apples/Tree Structures”. A stately Sat, Dec 22 OPEN LOOSE: CD RELEASE, ballad initiated by bowed bass and long tones from EXPLICIT - LIVE AT THE SUNSET 9PM & 10:30PM brass and voice, the ensemble splays out into spatial Mark Helias, , Tom Rainey ricochets before returning to initial mass. The piece Thu, Dec 27 PETROS KLAMPANIS: CONTEXTUAL 8:30PM nearly segues into Bishop’s jaunty and modal “Third Gilad Hekselman, Jean-Michel Pilc, John Hadfield, Spin”, the composer exuberant atop Pfammatter’s Maria Im, Maria Manousaki, Ljova Zhurbin, Julia MacLaine, pointillist comping as the ensemble increases in Fri, Dec 28 HEAVY METAL DUO 9PM & 10:30PM density. There are some surprisingly straightahead Sat, Dec 29 , moments as well, evident in the gently shuffling Sun, Dec 30 TOM RAINEY TRIO 8:30PM Roebke-Weiss collaboration “Willisau Thing/Poor Mary Halvorson, Feathers”. A curious unit, The Luzern-Chicago Connection eloquently bridges contemporary improvisation and modern jazz.

For more information, visit delmark.com, molkrecords. blogspot.com, utechrecords.com, jaapblonk.com and veto-records.ch. Rosaly is at ShapeShifter Lab Dec. 11th, JACK Dec. 12th and Terraza 7 Dec. 13th, all with Ingebrigt Håker Flaten. See Calendar.

THE NEW YORK CITY JAZZ RECORD | December 2012 29

concert or live set, that it exists as another, and unique, inspired set of compositions for improvisers. facet of the jazz artist’s oeuvre. It’s a realization that Carrier Records is a logical pairing for the band’s informs drummer Reggie Quinerly’s debut as a debut record, as the label is known as much for fiercely bandleader, an album he says, in his spoken declaration DIY avant garde new music as it is for abstract free on the track “Freedmantown Interlude”, tries to improvisation and electronic noise. “Aeons of Decay” capture the “certain soulfulness of the music and the opens the disc, the initial drone of feedback fading in people” of Freedman Town, a black neighborhood in so gradually that by the time the foreboding tones Houston’s Fourth Ward founded shortly after make themselves fully known, they are immediately Emancipation and the Civil War. engulfed amidst the din of the band’s sudden arrival,

Synchronicity As a drummer, Quinerly is not part of the with Peck and Blancarte trudging along to Osborne’s /Dom Minasi (Re: Konstrukt-Nacht) dominant, assertive school of younger drummers for death-march. The music gradually falls completely off- by Ken Waxman whom more is more, but a team player emphasizing kilter, drums growing more frenetic as the initially taut restraint and taste, as well as a penchant for crisp sound of the tuba and bass unravel into chaotic noise Highlighting his skills on both piano and , cymbals and second-line rhythms. He leads through by the end of this 10-minute track. this unpresumptuous yet arresting duo session could his compositions, conception and arrangements. On “Frozen Gods” opens with an orgy of noise, which be subtitled: Two Sides of Karl Berger. Yet the “Freedmantown”, the centerpiece of the album, a after four minutes recedes to reveal another seven impression that resonates after digesting the dozen sextet with three horns, organ and a vocal by B3 player minutes of droning arco bass, before progressing to a improvisations that make up this meeting with Enoch Smith Jr., Quinerly channels the rhythms of the glacial pizzicato pulse over which the rest of the band guitarist Dom Minasi is how seamlessly both are able black church and New Orleans with his deft brush floats in a sea of morose, with the eventual transition to balance inside-outside sensibilities. work. That sextet, with Gerald Clayton’s piano rather to solo percussion gradually building up to the brief, Throughout their careers, Berger and Minasi have than Smith’s organ, also appears on “A Portrait of a pianissimo coda just before the 23rd minute. individually walked that sonic tightrope. An innovator Southern Frame”, an evocation of a New Orleans dirge, “Buried Blasphemy” calls to mind some of the who founded ’s Creative Music Studio and replete with the rising optimism of that genre. more deliberate rhythmic drone of British industrial was active playing with Don Cherry and other jazz Clayton is actually on 9 of the 11 tracks, most often metal band Godflesh. Peck’s wailing tuba soars over experimenters, Berger also incorporates so-called in a quartet or quintet setting (seven tracks) with tenor the bass and drums as only a bass-heavy amplified into his sound and has arranged sessions saxophonist Tim Warfield and/or guitarist Mike instrument could. The deliberate, driving tempo feels for popsters such as and Better Than Moreno. They are the most open, solos-heavy tracks, almost upbeat in comparison to the lugubrious opener Ezra. Author of several books on jazz theory, chord although often much more than frames for blowing. and the true drone of the epic middle track. One of the substitution and improvising, Minasi not only plays in For instance, “Live from the Last Row”, a quartet with truly fascinating details of the band is the actual sound the abstract music realm with violinist Jason Kao Moreno, divides into a samba-inflected first section to, of the instruments: kudos to engineer Colin Marston, Hwang and bassist among others, but after a brief pause, a darker piano solo with sighing who took some essentially acoustic instruments and frequently accompanies singers and specializes in guitar and 4/4 rhythm. A driving shuffle beat and captured the punishing live sound this trio creates drastic reinterpretations of Ellington and American swaggering tenor sax power “#13 A Corner View from when amplified to such extreme levels. songbook classics. Robin Street” while “#2Xylent Letters” is a slippery Not that there are any standards here. But a swing waltz with shades of Wayne Shorter and Thelonious For more information, visit carrierrecords.com. This band is undercurrent is maintained, no matter how prickly the Monk. “The Virginia Gentleman”, dedicated to an at JACK Dec. 7th and Spectrum Dec. 10th. See Calendar. melodies or how provocatively the tunes are early freedman settler, draws from the deep well of constructed. Tracks such as “Dancing on the Stars” and New Orleans/Gulf jazz traditions while remaining “Waterfall” find Berger’s tremolo mallet shimmers resolutely contemporary and the two final standards - suggesting ; Minasi is more percussive “I’m Old Fashioned” and “Sentimental Journey” - Jacob Anderskov - Agnostic Revelations than Jackson partners like yet he and Berger show how everything old can be new again. Granular Alchemy operate with the same sense of purpose. Through (ILK195CD) variations in phrasing, they play catch-and-release For more information, visit reggiequinerly.com. Quinerly is with the theme, but never lose the connective thread. at Smoke Dec. 5th. See Calendar. Chris Speed - Sax + clarinet Jacob Anderskov - Piano Piano-centric tunes such as “Prophesy” and Michael Formanek - Bass “Goodbye” are more methodical and impressionistic, Gerald Cleaver - Drums but paradoxically more jazz-like as well. On the first, unhurried patterns unspooled by Berger are delicately decorated by the guitarist, as if the partners were ...the results are superb. Granular Alchemy is an interpretation of Kenny Barron and Jim Hall. More expressive still, what we see, hear, touch, smell, and feel, but it may also be the sound interpretation of us. Only in sound can it be this simple, and “Goodbye” is almost lush, especially when warm, low- yet it sounds anything but simple. - www.thisisbooksmusic.com voiced plucks from Minasi sympathetically harmonize Jacob Anderskov is a Genius at the piano. - www.ragazzi-music.de with Berger’s legato pumps. Enough piano key clips and sharp guitar string snaps remain though to keep the result mercurial. Destruction of Darkness Mark Solborg - Featuring veterans playing at the height of their Solborg 4+4+1 The Gate (Carrier) S/T (ILK191CD) craft, Synchronicity proves that abstract improvising by Wilbur MacKenzie can be as notably advanced by inference as swagger. Anders Banke - Reeds A long-overdue development in recent years in Mark Solborg - Guitar For more information, visit nachtrecords.com. Berger is at improvised music is a resurgence of works quite Jeppe Skovbakke - Bass Bjørn Heebøll - Drums ShapeShifter Lab Dec. 3rd and El Taller LatinoAmericano directly referencing developments in heavy metal. + Gunnar Halle - Trumpet Dec. 13th. See Calendar. Despite some over-intellectualization of the percussive Laura Toxværd - Alto sax intricacies in more mixed-meter-prone math metal Torben Snekkestad - Reeds

bands, it is only more recently that some have Jakob Munck - Tuba/trb. + Chris Speed - Reeds responded to the intensity and abrasiveness found in the more drone-doom area of metal. Solborgs 4+4+1 nonet moves like a proud ship with all sails up For the last couple years, tubaist Dan Peck’s trio into the wind, carrying a valuable treasure delivered with great trust and loving care. It is set ashore on the pier of this years most The Gate has been honing a sound that owes much to exquisite . - Bjarne Søltoft, Jazznytt, Seattle mixed-metal band Sunn O))) or (going back 20 …and when it gets there, it would be an understandable impulse years) ‘90s groups like John Zorn’s Painkiller with to hit the play button and start it again from the top. bassist and Napalm Death drummer Mick - www.bird istheworm.com Harris and Washington State’s Earth, with Peck’s amplified, overdriven tuba spraying giant steel girders Music Inspired By Freedman Town Distributed by Stateside across the landscape laid out by Tom Blancarte’s Reggie Quinerly (Redefinition Music) 2013: 10 years of by George Kanzler droning bowed bass and Brian Osborne’s punishing uncompromising music drums. Destruction of Darkness is the band’s second Among the many facets of Miles Davis’ genius and album and its three long tracks offer visions of the perspicacity was his realization that an album is not a abyss while at the same time being essentially a truly

30 December 2012 | THE NEW YORK CITY JAZZ RECORD the players it’s no surprise. The quintet is fronted by Swell, Ken Vandermark (tenor sax and Bb clarinet), whose dedication to jazz discipline has extended to numerous homages and dedications, and trumpeter Magnus Broo, who has played with Vandermark before - notably in the exceptional 4 Corners - and is a part of the vital scene. Backing them is the wonderfully on-point drummer Michael Vatcher and the fine Swedish-by-way-of-Canada bassist Joe The Business of Here ... Takes Off Williamson. All but Vatcher contribute compositions to Nation of We Platform 1 this fine collection and all show a respect for the (Cadence Jazz) (Clean Feed) proceedings. It’s that sort of stoking flames, rather by Kurt Gottschalk than dumping lighter fluid on them, which makes fiery jazz like these two records so exciting. Steve Swell is a hard one to put a finger on. His playing is so pure it’s hard to see him in it - what a trombone For more information, visit cadencejazzrecords.com and would want to be if it didn’t need human assistance. cleanfeed-records.com. Swell is at Roulette Dec. 6th and The Such clarity of vision isn’t easily sustained in a Firehouse Space Dec. 16th. See Calendar. band two-dozen strong, at least not while keeping the flame of the Downtown jazz scene Swell has been associated with for close to 40 years. But on The Business of Here … Live at Roulette he lets the big band unleash its power at times while retaining a delicate control over much of the proceedings. The result is an uncompromising 70 minutes that breaks into some lovely moments, including a violin duo (Rosi Hertlein and Jason Kao Hwang) that dissolves into a sax-with- strings in miniature upon the entrance of Giuseppe Logan. From that point, about 20 minutes in, Swell Cement Snakelust deftly rebuilds the band, slowly bringing in players Double Tandem (to Kenji Nakagami) and earning the momentum of a free jazz explosion but (PNL) Hairybones (Clean Feed) not before a convincing beat invocation by bassist/ by Stuart Broomer poet Albey Balgochian. It’s a fun ride all around and shows the freedom to be found in discipline. Over the past decade Paal Nilssen-Love has become Platform 1’s Takes Off is a smaller ensemble, which the percussionist of choice for a range of free jazz and similarly benefits from judicious restraint and given improvising musicians from his home country of Norway to the rest of northern Europe and beyond. Many of those roles call on the sheer force of his drumming, but Nilssen-Love has far more to offer than that. He’s a resourceful percussionist, able at will to call on the jazz traditions as well as adroitly exploring texture and sound. Double Tandem is Nilssen-Love joined by the two saxophonist/clarinetists Ken Vandermark and Ab Baars, whose styles might seem initially incompatible. The heated blowing one immediately associates with Vandermark and Nilssen-Love is only one dimension of Cement though and the distinctive qualities that link the three musicians lie elsewhere. Baars and Vandermark share affinities as traditional tenor players and beyond that there’s their empathy as clarinetists, connoisseurs of the instrument’s quirky woodiness. Much of what characterizes Cement is a subtle exploratory quality and Nilssen-Love’s ability to fit in, reducing his work to the clearest rhythmic impetus, often armed with brushes rather than sticks. Peter Brötzmann’s name may not be in front of Hairy Bones, but there’s no question who is the leader. Snakelust is an enduring testimony to the galvanizing power of his work. The band is a direct outgrowth of the earlier Die Like a Dog quartet, retaining Toshinori Kondo on trumpet and electronics but with the amplified and machine-like team of Nilssen-Love and electric bassist Massimo Pupillo replacing and William Parker. Kondo is an ideal foil for Brötzmann, his trumpet lines often minimal blasts and sputters that swirl off into space whereas Brötzmann is as expressive as any tenor saxophonist has ever been. The intensity never flags but it does shift direction frequently, including sustained three-way inventions between Pupillo’s pulsing bass, Kondo’s soaring electronics and Nilssen-Love’s shifting rhythmic patterns, all three reaching toward clarity in the midst of the very sonic maelstrom that they create.

For more information, visit paalnilssen-love.com and cleanfeed-records.com. Paal Nilssen-Love is at I-Beam Dec. 15th with Frode Gjerstad. See Calendar.

THE NEW YORK CITY JAZZ RECORD | December 2012 31

Halle, trombonist/tubaist Jakob Munck, saxists Laura long-toned horns, continuing under and around a Toxværd, Torben Snekkestad plus Speed joining the piano solo, a dropout ushering in a brooding tenor guitarist’s basic quartet of saxophonist/clarinetist statement followed by a bass solo gradually joined by Anders Banke, bassist Jeppe Skovbakke and drummer the horns in a thematic reprise. Flexible tempos inform Bjørn Heebøl - acquits him or herself admirably, with “Bandolim”, as the band accelerates and decelerates contributions ranging from harsh and squawking to behind solos from the three horns. “Relative Obscurity” smooth and swinging. “The Whispers”, for instance, is features counterpoint between the rhythm section and an atmospheric study that relies on unison sound horns, with two-beat interjections, solos from trumpet modulations rather than groove or flashy solos. and bass and a finale pitting bass against horns. “For

Burning Bridge Throughout the disc, sympathetic polyphony is the Miles” features alto over a slow, processional theme. Jason Kao Hwang (Innova) compositions’ main component as balanced textures by Robert Iannapollo are subtly added and quickly subtracted. For more information, visit greggaugust.com. This project If Solborg’s CD impresses due to formal balance, is at Birdland Dec. 6th and ShapeShifter Lab Dec. 14th. See Violinist Jason Kao Hwang has written some then Anderskov’s Granular Alchemy, his second CD Calendar. substantial compositions: a chamber opera; a piece for with the quartet of Speed, bassist Michael Formanek 37 strings and percussionist and a tribute called “50 and drummer Gerald Cleaver, does so because of its Strings For Leroy Jenkins”. Burning Bridge, scored for looseness. Whether playing lyrical clarinet lines or IN PRINT strings (both Eastern and Western), brass and vibrating rugged tenor fills, Speed maintains his percussion, is a genre-straddling work taking into individuality. With equivalent high energy, he often account traditional Chinese music, jazz in its many parallels the pianist’s staccato improvisations. This manifestations and a Protestant church hymn reaches a climax with the final “Suite: Wind/Skin”. deconstructed for good measure. Dramatically set up with passing chords from Hwang had been working on the piece for years Anderskov, Cleaver’s unvarying thumps and Speed’s but the death of his mother spurred him on to complete pressurized clarinet chirps, the narrative tension only it. One of the things he did was to incorporate certain dissipates when the pianist’s patterning halves the aspects of her speech patterns into the piece. Another tempo to introduce the second theme. As Anderskov key feature is the interplay between Chinese and piles tremolo chords on top of one other, Speed’s theme Western instruments. Hwang frequently plays them off variations shrilly wheeze for emphasis. Exhibiting his against each other, such as a duet between erhu and most abstract work here, the reedist stretches the Princess Noire: The Tumultuous Reign of Nina Simone tuba or violin and pipa. But rather than displaying an textures with strident glossolalia, until the pianist Nadine Cohodas (University of North Carolina Press) opposition or contrast, it’s amazing how the two redirects the final section to moderated motion. by Sean O’Connell complement each other. This is also true of ensemble Whether you prefer your jazz free-form and passages, where the blend can be invigorating and energetic or stunningly built up from a palette of tonal Nina Simone was known publicly as the High intoxicating. The incorporation of “Doxology” (aka colors, each of these mostly Danish CDs will satisfy. Priestess of Soul but Nadine Cohodas’ biography “Praise God From Whom All Blessings Flow”), a places her in a more pampered light that in many Protestant hymn, appears twice, initially in the second For more information, visit ilkmusic.com. Chris Speed is at ways feels appropriate. Simone has always had a movement as a brass chorale and then in the fifth The Stone Dec. 14th, ShapeShifter Lab Dec. 15th and Barbès curious place in the jazz world. Her music was filled movement played on the Eastern instruments. Dec. 26th. See Calendar. with improvisation and swing but she more often The ensemble is stacked with excellent players. than not fell into the realm of pop interpretation,

Joe Daley’s tuba is a prominent feature throughout and putting her stamp on Tin Pan Alley classics while he carries off some difficult passages with aplomb. The also honing a catalogue of personal rage and same is true of cornetist Taylor Ho Bynum and empowerment. Her humming vibrato and strident trombonist Steve Swell. Special mention has to be piano style are unmistakable but her personality made of Sun Li on pipa (a Chinese lute-like instrument) seems to loom largest. and Wang Guowei on erhu (a two-stringed violin). Cohodas’ nearly 400-page biography of Nina Both are classically trained players and this type of Simone is both concise and circular, depending on ensemble playing is not common for them but they rise the sentence. Over the course of 28 exacting chapters, to the occasion, making their instruments sound both Cohodas gets down and dirty with the story of the ancient and modern. The rhythm section of Ken Filiano reluctant, classical-aspiring Eunice Waymon and her Four By Six and Andrew Drury ties everything together. Hwang’s Gregg August (Iacuessa) late-night, nicotine-scented alter-ego Nina Simone. composition, while epic in scope, conveys the intimacy by George Kanzler Cohodas chronicles Simone’s early career as moving of a lives lived in a foreign culture. without a hitch. She grew up in a supportive family In the tradition of bassist leader-composers like and community who went out of their way to For more information, visit innova.mu. Hwang is at The Charles Mingus and Dave Holland, Gregg August encourage her musical skills. After a failed audition Stone Dec. 20th. See Calendar. creates challenging works for his ensembles. No mere for the Curtis School of Music (3 students were tunesmith, he is a composer/arranger who creates accepted out of 72 applicants) she moonlighted as a complex, even convoluted pieces that can be flinty as cabaret act in Atlantic City. She became a singer well as multi-faceted. On this album he convenes two because she was told to by a nightclub owner. She groups, a quartet and a sextet - sharing only his bass became Nina Simone because the same owner asked and the piano of Luis Perdomo - with each playing on how she wanted to be billed. Her paychecks steadily four numbers, groups alternating every two tracks. rose through the years. From there the book goes on The quartet features Sam Newsome (soprano sax) and to document her rise and decline with an emphasis EJ Strickland (drums) while the sextet has John Bailey on the details: the tantrums, politics, lost loves and, (trumpet), JD Allen (tenor saxophone), Yosvany Terry naturally, the music. (alto saxophone) and Rudy Royston (drums). The resulting doorstopper is an unapologetic The quartet tracks are more rhythmically open examination of one the most outspoken and 4+4+1 Granular Alchemy Mark Solborg Jacob Anderskov and adventurous, all but one featuring faster tempos. challenging artists of her generation. Cohodas has (ILK Music) (ILK Music) “Affirmation” has a staccato step melody, piano and clearly put in a massive amount of research and soprano climbing in unison in a Monk-like manner. there is an interesting anecdote on nearly every by Ken Waxman “For Calle Picota” is a spirited round of exchanges and page. Nearly ten years after Simone’s passing, she is These CDs from two veterans of the Danish improv chases between Newsome and Perdomo while “Strange still a fascinating puzzle (a remix album from a few scene present differing versions of contemporary Street” is all rolling momentum. A ceremonial feel years ago cast her music in a new light while an Scandinavian music and the talents of tenor saxist/ pervades “A Ballad for MV”, a semi-rubato opening upcoming biopic is already awash in controversy). clarinetist Chris Speed, featured on both discs. rising to a climax with vamping under a soprano solo. Princess Noire painstakingly helps to point out why. Guitarist Mark Solborg’s 4+4+1 is distinctly group On the sextet tracks, August makes full use of the music, exposure of complex harmonies or contrapuntal tonal, contrapuntal and harmonic possibilities of the For more information, visit uncpress.unc.edu. The Music of patterns more important than individual solos. That ensemble. “For Max” begins with a fast drum solo and Nina Simone is at Allen Room Dec. 7th-8th. See Calendar. said, each of the reed soloists - trumpeter Gunnar rhythm counterbalanced by slower bass vamps and

32 December 2012 | THE NEW YORK CITY JAZZ RECORD

Monk during his lifetime. The musical leader and Louis Woman. And as her own producer/A&R ‘man’ on arranger is tenor saxophonist Gunnar Mossblad, a Lea/In Love (Prestige), she delved deep into the hidden/ lifelong jazz academic-musician. Rounding out the forgotten treasure trove of American songs, from “Am sextet are pianist Jim Ridl and bassist Tony Marino. I In Love?” and “A Straw Hat Full of Lilacs” Although the solo improvisers are capable, even (accompanied only by harp) to “Sleep Peaceful, Mr. scintillating in the case of Brecker and Ridl, the real Used-To-Be”, delivered by a woman to the man she star of the CD is Monk’s music and the creative charts just shot dead, also from St. Louis Woman. Lea also put Mossblad has devised for most of the tunes. It all gets her own insouciant stamp on more familiar songs like off to a rather pedestrian start with an oddly backbeat- “Ain’t Misbehavin’”, including the long, obscure verse;

The Art of the Soprano, Vol. 1 dominated version of “Teo”, propelled into a rocking “Autumn Leaves”, an early instance of an American Sam Newsome (s/r) swinger by Cobb that is mainly a frame for solos from singing the French lyric and, also including the verse, by Kurt Gottschalk the horns and Ridl. But “Evidence”, that melodically Cole Porter’s “You’d Be So Nice to Come Home To”. spare gem, sprouts enriching counterpoint from By the age of 25, saxophonist Sam Newsome had baritone versus the other horns and diminishing solo For more information, visit freshsoundrecords.com toured with and been a regular in Terence exchanges between Brecker and Scheer, the latter’s Blanchard’s band. But 10 years later he was best work here. A rolling drum solo and infectious odd determinedly reinventing himself. He gave up the meter accents enliven “Green Chimneys”, along with ON DVD tenor for the soprano and started a new band, Globe jangly piano and catchy trumpet and tenor solos. Unity. But even that wasn’t enough of an upheaval; in Abstracted horns, sans rhythm section, introduce 2005 Newsome, then 40, shifted his focus toward solo “Little Rootie Tootie”, fragmenting into a polyphony of performance and began an intensive study of some of simultaneous solos. Brecker’s trumpet leads a sonorous the masters of the form. His studies of may horn choir into “Ask Me Now”, solos following in a have been evidenced in his first solo record, Monk lean, high key. Cobb’s patented shuffle invigorates Abstractions, but Newsome’s listening was also taking “Balue Bolivar Blues”, distinguished by a solo order of him into the deep waters of Anthony Braxton, Evan trumpet-tenor sax tandems trading bars with piano. A Parker and Sonny Rollins. The second release in what baritone vamp provides counterpoint to the other he saw as a trilogy of unaccompanied albums, 2010’s horns on “Criss Cross”, notable for Ridl and Marino’s Blue Soliloquy, revisited Monk and drew from his deep groove solos. Easter Suite studies of international styles. (Art Haus Musik) The Art of the Soprano would have completed the For more information, visit jazznarts.com. Randy Brecker is by Ken Dryden set but instead it’s beginning a new one. Upon at Iridium Dec. 1st-2nd and 27th-31st with . completing his admirable new album he decided that Jimmy Cobb is at Jazz Standard Dec. 27th-30th. See Calendar. With a vast discography in a career that spanned he had more to explore and tacked the “Vol. 1” onto the the late ‘40s into the 21st century, pianist Oscar title, he says, to commit himself to further investigation. Peterson left a considerable legacy following his Rarely have the ‘extended’ techniques he uses been death in December 2007. But his Easter Suite, employed with such discipline. The album opens with commissioned and performed for BBC-TV in 1984, is two reed-popping workouts, first in Ellington’s “In a an obscurity. First aired on Good Friday, it became Mellow Tone” and then in a Burkino-Faso-inspired an annual broadcast for many years, opening with a song. Each in its own way demands a kind of groove discussion of the work by host Melvin Bragg with and Newsome’s timing - even while pushing the Peterson and his band (bassist Niels-Henning soprano against its natural tendencies - is exquisite. Ørsted Pedersen and drummer Martin Drew), His interpretation of Coltrane’s is though the discussion is sequenced after the bold and impassioned, full of rich, overblown performance on this previously unavailable DVD. A Woman in Love - - Lea/In Love tonalities. The three parts of Coltrane’s suite are oddly Barbara Lea (Riverside/Prestige - Fresh Sound) The pianist’s initial response to the commission interspersed - like the “Ellington Medley” and the by George Kanzler was trepidation, as he explains in the discussion, “Soprano de Africana” selections - across the 45-minute because Jesus Christ’s arrest, trial, torture and playing time. In his liner notes, Newsome says that the Barbara Lea, who died last December at 82, had a execution is a tragic story until the purpose of his arrangement of tracks was intended to keep it from strong revival as a singer of the American Popular suffering is revealed. Yet Peterson was no stranger seeming like a “tribute disc”. On this point he fails: the Song from the mid ‘70s through the ‘90s. But Lea to religious music, having played classical music music is the music regardless of the sequencing but made her mark in the ‘50s while in her 20s, and spirituals in his church while he also mentions that’s a small matter. The playing is fantastic however winning the DownBeat Critics poll for best new singer enjoying the religious approach to harmonics. The the setlist is constructed. in 1956. This two-CD album brings together the three suite has nine movements of varying length and LPs she made in the mid ‘50s, plus both sides of a moods, starting with the brief, meditative “The Last For more information, visit samnewsome.com. Newsome single that was her 1954 debut. Lea was a fully assured Supper”. The lovely “The Garden of Gethsemane” plays solo at ABC No-Rio Dec. 30th. See Calendar. and confident talent at 25, a singer with a firm grasp of showcases the glistening bass work of Ørsted meaning, nuance and, on the faster tunes, an Pedersen, a virtuoso who rivaled as the

impeccable, laid back sense of swing. She also had a top bassist to work with the pianist. “Denial”, fine affinity with jazz players, especially the warm- representing the Apostles’ refusal to admit to the toned trumpeter Johnny Windhurst, who appears on Romans that they know Christ, is a surprisingly most of these sides. conversational bop piece. The sorrowful “Why Have The first eight tracks are from her debut 10” You Betrayed Me” is a touching ballad, confronting Riverside album A Woman in Love and include three Judas for his treacherous behavior. Drew’s military classics: “Come Rain or Come Shine”, a warm embers cadence is prominent in “The Trial”, Peterson’s torch song delivered with long, understated legato dramatic theme serving to level the charges that phrases; “As Long As We Live”, demonstrating her Jesus faces. “Why Hast Thou Forsaken Me” ability to personalize a melody by raising end syllables represents Jesus’ anguish through torture and a MONK: A NYC Tribute feat. Jimmy Cobb a half step and the Ellington gem, little recorded until slow, cruel execution yet Peterson’s interpretation is & Randy Brecker (Jazz ‘n Arts) by George Kanzler then, “I Didn’t Know About You”. Windhurst is joined a delicate, romantic ballad. The reverent requiem by Dick Cary’s alto horn on the Prestige album Barbara “Jesus Christ Lies Here Tonight” leads into the This Monk tribute is something of a vanity project, Lea, which includes tributes to Bix Beiderbecke (“I’m uptempo Gospel celebration “He Has Risen”. made possible through the support of the August- Coming Virginia”) and Pee Wee Russell (“My Honey’s The camera work and editing is first-rate, with Wilhelm Scheer Foundation for Science and Art. The Lovin’ Arms”), a “Baltimore Oriole” with atmospheric, many closeups of the musicians’ hands. It is unclear eponymous bankroller of the foundation, “a renowned mournful alto horn and a gently swinging “Blue Skies” whether Peterson played any of the movements business thought leader, entrepreneur - and a with muted and open trumpet. from his Easter Suite in concert after this performance, passionate jazz musician” is also the album’s baritone Even while in her 20s, Lea was a keen connoisseur though the songs deserved further exploration. saxophonist. He joins a sextet boasting two genuine and conservator. She gave us such obscurities as jazz legends, drummer Jimmy Cobb and trumpeter “Honey in the Honeycomb” from Cabin in the Sky and For more information, visit arthaus-musik.com Randy Brecker, neither of whom were associated with Mercer-Arlen’s “I Had Myself A True Love” from St.

THE NEW YORK CITY JAZZ RECORD | December 2012 33 cover art for albums that never found financing. groups, as well as Parker’s work with vocalists in BOXED SET Singers sang and dancers choreographed and varying configurations. The Big Moon Ensemble (a performed, all of which is covered in the wonderfully double quartet inspired by Ornette Coleman’s Free informative booklet containing Ed Hazell’s liner Jazz) included Carter, altoist , notes, Parker’s personal reflections, recording trumpeter Roy Campbell, a second bassist in Jay information and old photographs of the musicians Oliver and Charles and Rashid Bakr double and other ephemera. The music, more than seven drumming. They stir the stew relentlessly, ratcheting hours spread over six CDs, provides something of an and releasing tension, propelling the music forward alternate history of Parker’s career, too. Always a with mind-blowing power until the band settles busy sideman, playing live and appearing in (small down to let Parker have his solo say. The Centering label) album credits, the sheer scope of this work Big Band adds baritone saxist along suggests Parker has always been a tornadic creative with Alex LoDico and Masahiko Kono on trombones, Centering (Unreleased Early Recordings 1976-1987) force on the Downtown scene. among others. This expanded group and these William Parker (NoBusiness) The box begins with almost an hour’s worth of extended written/improvised pieces presage the by Jeff Stockton serene duets from 1980 with alto saxist/trumpeter assembly of Parker’s Little Huey Creative Orchestra Daniel Carter, a die-hard of the scene to this day and in the ‘90s and the integration of voice ultimately Bassist William Parker’s Centering (Unreleased Early an exemplar of the fierce asceticism and street that found its fruition in the Double Sunrise Over Recordings 1976-1987) portrays an alternate universe aesthetic coursing through this circle of kindred Neptune orchestra from 2007. to the New York City Loft Scene as documented by spirits. Later in the set, Parker duets with tenor There’s more. It’s a remarkable, inspirational the Wildflowers boxed released on CD about a decade saxist in 1987, typically fiery, archive, as if the listener were to discover a new cave ago. The musicians featured on that set - Sam Rivers, unbridled and very nearly unhinged. Finding where Cézanne painted his early work on the walls. , Julius Hemphill, Anthony Braxton, middle ground between the two reed players is a set Parker seemed to turn a corner financially when he et al - were relative stars in the free jazz firmament, by the Centering Dance Music Ensemble, featuring got the call from Cecil Taylor and his own however marginal the category. The players featured drummer Denis Charles (a veteran of Cecil Taylor’s opportunities expanded after awareness began to on these recordings, however, had been marginalized early years) and tenor saxist David S. Ware (who surround the David S. Ware Quartet. “Art is the even further, yet somehow managed to keep body took Parker with him to Columbia Records). The trio process of living” stands as the booklet’s epigram and soul together without means of support - visible could play as reflective as the music from Carter or and almost every piece overflows with spiritualism, or otherwise. From Parker’s inability to pay his as out as Gayle, but it’s the interaction that pulls you uncompromising commitment and a love of bandmates to his lack of carfare to the Bronx for his in, the rhythms prompted by their silent fourth language, often wordless. Parker demonstrates that father’s funeral to the photo of his duct-taped bass, partner, dancer (and Parker’s wife) Patricia staying true to your art is as serious as life itself. the specter of poverty hangs over Centering. Nicholson. Ware would go on to patent his signature In spite of this, Parker and his crew managed to style and tone, but here his playing draws explicitly For more information, visit nobusinessrecords.com. stay remarkably creative. Musicians worked on on hardbop and the dialogue between music and Parker is at Angel Orensanz Center Dec. 4th as part of mastering their instruments. They wrote poetry. dance is articulated in sound, meter and tempo. Under_Line Benefit Launch, I-Beam Dec. 14th and The They penned philosophical manifestos. They painted Deeper into the box the focus turns to larger Stone Dec. 15th. See Calendar.

D E c 1–2 DEc 17

Mary Stalling S & Eric rEEd t r io d o U g wa M B l E t r io: h oliday Swing with Joshua Crumbly and Kevin Kanner with Morgan James, Roy Dunlap, and Jeff Hanley

DEc 3 | Monday n i ghts with w B g o D E c 18–23

nyU J azz o r chE S t r a dUd U ka d a f onS E c a with St E f on h a rriS & hEl io a lvES: Jazz Samba c hristmas with Maucha Adnet, Anat Cohen, , D E c 4 –9 and Hans Glawischnig

B U c ky Pizzar E l li / kEn P E P l owS k i D E c 2 4–25 Q U i ntE t: a merican classics with Derek Smith, Greg Cohen, and Chuck Redd c l o S E d f or c h riS t M a S

D E c 1 0 D E c 26–31 ny yo U t h Sy MPh ony Jazz c l a S S i c w y nton Mar S ali S with Wycliffe Gordon the continuum:

Music of the h ot five’s and Seven’s D E c 11–16

kEn ny g a rrE t t Q U i ntE t with Benito Gonzalez, Corcoran Holt, McClenty Hunter, and Rudy Bird

l I VE j A z z NIg h T l y RESERVATIONS 212-258-9595 / 9795 jalc.org/dizzys

34 December 2012 | THE NEW YORK CITY JAZZ RECORD

HOLIDAY GIFT GUIDE

50TH ANNIVERSARY COLLECTION PRESERVATION HALL JAZZ BAND

Preservation Hall, the performance venue located in New Orleans’ French Quarter, is a national treasure, crucial in preserving the Crescent City style of early jazz. For its 50th anniversary, a four-CD, 58-track boxed set (including five previously unissued tracks) has been released, culling material from nearly 20 albums recorded from 1962-2010 by the astonishing array of musicians who have been participants in the band. LEGACYRECORDINGS.COM, $45 MILES DAVIS: THE COMPLETE ILLUSTRATED HISTORY Trumpeter Miles Davis wasn’t just a legendary musician, he was one of the most visually arresting artists in jazz HAND-CRAFTED history. So what better way to celebrate INSTRUMENT his life and career than with this 224- page tome, filled with wonderful archival LAMPS images and essays written by Sonny Rollins, Bill Cosby, Herbie Hancock, Made from vintage trumpets, George Wein and many others. MUSICAL cornets, clarinets and flutes, INSTRUMENT these one-of-a-kind creations VOYAGEURPRESS.COM, $40 COOKIE CUTTERS will shed some light on a friend Nothing says Happy Holidays or relative’s love of jazz. more than cookies. This year, THE ORCHESTRION PROJECT fatten up your loved ones with cute musical shapes like piano, ETSY.COM/SHOP/ In a career full of ambitious projects, guitarist guitar, French horn, cello and Pat Metheny’s Orchestrion, a virtual band of musical notes. JAZZYMOONZ $250-400 dozens of mechanically-controlled BIGCATPARTY.COM, $9.75 instruments, may be his most remarkable. This 173-minute film on two DVDs presents Metheny playing a suite written for and/or interpreted by the Orchestrion as well as MR. P.C.: THE LIFE AND interview and “Making Of” featurettes. MUSIC OF EAGLEROCKENT.COM, $24.98 Bassist Paul Chambers was a crucial member of Miles Davis’ groups from 1955-62, part of the trumpeter’s “First Great Quintet”. But Chambers was also a compelling leader in his own right, with albums for Blue Note and Vee-Jay. This exhaustively researched book by Rob Palmer traces Mr. P.C.’s career from his early days in and move to New York, working with a wide array of players, to his time with Miles and very active career after leaving the trumpeter’s group. Chambers died in 1969 at the tragic age of 33, diminishing his legacy somewhat. Palmer’s book, which includes a complete discography, will reestablish Chambers among the greats on the instrument.

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36 December 2012 | THE NEW YORK CITY JAZZ RECORD

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Christmas Time is Here Knoxville Jazz Orchestra (Shade Street) CHARLES MINGUS The Nutcracker Suite Tim Sparks (Tonewood) Christmas Stomp The Grand St. Stompers (s/r) THE JAZZ Song of Simeon Will Scruggs Jazz Fellowship (s/r) by Andrey Henkin

WORKSHOP Lest one think Christmas spirit requires snow, four albums for the upcoming holiday season all come from CONCERTS the country’s southern region, where winter precipitation is uncommon but merry music is in ample supply. 1964-65 The Knoxville Jazz Orchestra’s Christmas Time is Here represents the traditional model of holiday album As with those of Miles Davis (arrangements by trumpeter Vance Thompson, tenor and John Coltrane, bassist saxophonist Greg Tardy as a principle soloist): faithful Charles Mingus’ groups of the readings of classic themes like “Have Yourself a Merry ‘60s were among the most Little Christmas”, “Jingle Bells” or the Vince Guaraldi- groundbeaking in jazz, though penned title track, played with the intensity of a crackling perhaps underappreciated. fireplace. A vocalist is on board for “O Little Town of That should change with this Bethlehem” and a pair of local choirs join the band for Boxed Set, seven CDs of the traditional “Children Go Where I Send Thee”. But the highlight of the disc is a rollicking take on “Russian concert recordings from New Dance” from Tchaikovsky’s The Nutcracker. York, Amsterdam, Monterey From a bit up north (North Carolina), guitarist Tim and Minneapolis, all but one Sparks tackles “Russian Dance” plus other pieces from receiving previous official The Nutcracker arranged for solo guitar. This album, release and featuring such receiving a 20th anniversary reissue this year, was players as Eric Dolphy, Jaki recorded just before Sparks won the 1993 National Byard, and Fingerstyle Guitar Championship and it is clear Sparks Lonnie Hillyer on some of must have asked Santa for virtuosic technique. Well, Mingus’ finest compositions. the jolly fellow sure obliged. The readings of the various dances from the ballet are expertly interpreted, with “Chinese Dance” liberally frosted with down-home MOSAICRECORDS.COM, $119 flourishes. The second half of the album is a suite JACQUES inspired by the works of Belá Bartók, himself a composer of Christmas carols. COURSIL: Party time in New Orleans traditionally comes a PHOTOGRAMMES couple of months after Christmas but that doesn’t stop The Grand St. Stompers, led by trumpeter Gordon Au, for their Christmas Stomp album. The eight-piece Jacques Coursil ensemble (two vocalists, drums, , upright bass, has led a double clarinet and trumpet) is made up of modern traditionalists and the album’s repertoire reflects that, life. The trumpeter with expected fare like “Winter Wonderland”, “Santa was a big part of Claus is Coming to Town” and “O Holy Night” performed the ‘60s avant with a puckish insouciance. But the inclusion of “March of the Toys”, Satchmo’s “’Zat you, Santa Claus” and a garde jazz scene in both New York short Christmas theme medley are unexpected gifts. and Europe but then left music Atlanta’s Will Scruggs is perhaps the most ambitious of the group, using his Song of Simeon to behind for decades to become a explore the more liturgical and inspirational themes respected academic in the field of associated with Christmas. The tenor/soprano saxist linguistics. He returned to music last leads a typical jazz sextet but adds a horn ensemble to LP FRAME flesh out his arrangements as needed. Only a few of decade with critically-acclaimed these pieces are well known (check out a slinky “God albums for Tzadik and Universal. These classy, top-loading Rest Ye Merry, Gentlemen” or a postboppish “We Three This 43-minute film by Guillaume (no need to take them off the wall!) Kings”) but Scruggs has woven them all together into a cohesive suite, representing in music the spirituality Dero investigates Coursil’s LP-sized frames are perfect for often lacking in what was once a solemn holiday. But fascinating life through footage of displaying treasured selections solemnity doesn’t mean somnolence and Song of performances, interviews and from record collections. Simeon is perfect for celebration. readings of poetry. For more information, visit knoxjazz.org, timsparks.com, ACOUSTICSOUNDS.COM, grandststompers.com and willscruggs.com. The Grand $52.50 (3 FOR $139.95) St. Stompers are at Nathan Bugh Diana Center at LAHUIT.COM, €16 Barnard College Dec. 1st. See Calendar.

THE NEW YORK CITY JAZZ RECORD | December 2012 37 CALENDAR

Saturday, December 1 • Old Time Musketry: Adam Schneit, JP Schlegelmilch, Phil Rowan, Max Goldman • Mark Rapp/Derek Lee Bronston’s The Song Project with guest James Genus Caffe Vivaldi 9:30 pm Fordham University Butler Commons 8 pm êChucho Valdés Quintet with Yaroldy Abreu Robles, Rodney Yllarza Barreto, • Out of Your Head: Jacob Teichroew, Greg Chudzik, Jesse Stacken, Nathan Ellman-Bell; • Elizabeth Shepherd with Gordon Mowat, Colin Kingsworth; Angel Gaston Joya Perellada, Dreiser Durruthy Bombalé Jasmine Lovell-Smith, Owen Stewart-Robertson, David Grollman Water Wins: Matthew Silberman, Carlos Homs, Simon Jermyn, Tommy Crane Zankel Hall 9 pm The Backroom 9:30, 11 pm Rockwood Music Hall 6, 11 pm • Ballet Hispanico with Paquito D’Rivera Ensemble • Human Equivalent: Leah Gough-Cooper, Andrew Baird, Sean McCluskey, • Mark Miller Band with Cliff Lyons, Anton Denner, Sean Harkness, Nicki Denner, Apollo Theater 7:30 pm $33 Bryan Percivall, Bob Edinger; Tim Armacost, Harvie S, Christian Finger Gary Wang, William “Beaver” Bausch • Cassandra Wilson with Brandon Ross, Gregoire Maret, Lonnie Plaxico, Jon Cowherd, Somethin’ Jazz Club 7, 9 pm $5-15 Iridium 8, 10 pm $25 John Davis Blue Note 8, 10:30 pm $55 • The Shrine Big Band Shrine 8 pm • Fabio Gouvea Trio with Felipe Brisola, Rogerio Boccato êBilly Harper + 60 Voices with Francesca Tanksley, Freddie Hendrix, Aaron Scott, • Randy Napoleon Eats Restaurant 7:30 pm Bar Next Door 8:30, 10:30 pm $12 Michael Dease, Santiago Vazquez-Vinas, Daniel Dor, Joel Kruzic, Neil Clarke • Cassandra Wilson with Brandon Ross, Gregoire Maret, Lonnie Plaxico, Jon Cowherd, • Ron Dabney Metropolitan Room 7 pm $20 Saint Peter’s 8 pm $35 John Davis Blue Note 8, 10:30 pm $55 • Geoffrey Loomis/Theo Regan Rue B 9 pm êJoe Lovano/Dave Douglas with Lawrence Fields, Linda Oh, Joey Baron êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Joey Baron • Catherine Dupuis/Russ Kassoff Duo Village Vanguard 9, 11 pm $25 Village Vanguard 9, 11 pm $25 Somethin’ Jazz Club 7 pm $10 • Geri Allen’s Timeline Band with Kenny Davis, Kassa Overall, Maurice Chestnut • Geri Allen’s Timeline Band with Kenny Davis, Kassa Overall, Maurice Chestnut • Kyle Athayde Big Band; Andrew Atkinson and Friends Jazz Standard 7:30, 9:30, 11:30 pm $30 Jazz Standard 7:30, 9:30 pm $25 The Garage 7, 10:30 pm • and with Rafael Barata, Rubens de La Corte êLords of the Trumpet play Dizzy Gillespie: Randy Brecker, Brian Lynch, Jeremy Pelt, • Megumi Hakuba Shrine 7 pm Birdland 8:30, 11 pm $30-40 James Weidman, Lonnie Plaxico, Billy Drummond êGato Barbieri 80th Birthday Celebration with Eddie Martinez, Lincoln Goines, êLords of the Trumpet play Dizzy Gillespie: Randy Brecker, Brian Lynch, Jeremy Pelt, Iridium 8, 10 pm $30 Vince Cherico, Luisito Quintero Blue Note 8, 10:30 pm $45 James Weidman, Lonnie Plaxico, Billy Drummond êMary Stallings and Eric Reed Trio with Joshua Crumbly, Kevin Kanner Iridium 8, 10 pm $30 Dizzy’s Club 7:30, 9:30 pm $35 êMary Stallings and Eric Reed Trio with Joshua Crumbly, Kevin Kanner • Isaac Darche, Haim Peskoff, Nick Jost; Jesse Dulman/Jason Candler Dizzy’s Club 7:30, 9:30 pm $35 Downtown Music Gallery 6 pm • Victor Bailey’s V-BOP with Alex Foster, Monte Croft, • Seung-Hee with Adam Kolker, Toru Dodo, Ike Sturm, Mark Ferber Smoke 8, 10, 11:30 pm $35 Saint Peter’s 5 pm êScott Amendola Trio with Nels Cline, John Shifflett; Scott Amendola Quartet with êBrooklyn Jazz Orchestra Play Duke Ellington/’s The Nutcracker Suite: Ben Goldberg, Josh Smith, John Shifflett and guest Nels Cline Steve Kortyka, Chris Bacas, Mark Lopeman, Dan Pratt, Paul Nedzela, John Yao, The Stone 8, 10 pm $10 Max Seigel; John Eckert, Kerry Mackillop, Bruce Harris, Todd Stoll, Alex Smith, êDarcy James Argue and Secret Society Daniel Foose, Paul Francis and guests Carla Cook, Vincent Gardner The Jazz Gallery 9, 10:30 pm $20 Lafayette Avenue Presbyterian Church 5 pm $20 êJoanne Brackeen/Cecil McBee Knickerbocker Bar and Grill 9:45 pm $5 • NYU Jazz Brunch: Billy Drummond • The Manhattan Burn Unit: Mickey Bass, Bryan Carrott, Charles Davis Jr., Mark Johnson Blue Note 12:30, 2:30 pm $29.50 Sistas’ Place 9, 10:30 pm $25 • Jane Irving Trio with Ron Affif, Kevin Hailey • John Yao Quintet with Jon Irabagon, Randy Ingram, Leon Boykins, Will Clark; North Square Lounge 12:30, 2 pm Dave Phillips’ Confluence with Rez Abbasi, John O’Gallagher, Tony Moreno • Ben Healy Trio; David Coss Quartet; Mauricio de Souza Trio ShapeShifter Lab 8 pm $10 The Garage 11:30 am 7, 11:30 pm • NY3: Anat Cohen, Martin Wind, Matt Wilson Greenwich School 8 pm $20 Monday, December 3 • Sleep Song: Mike Ladd, Ahmed Abdul Hussein, Maurice Decaul, Vijay Iyer, Serge Teyssot-Gay, Ahmed Mukhtar êGato Barbieri 80th Birthday Celebration with Eddie Martinez, Lincoln Goines, Harlem Stage Gatehouse 7:30 pm $30 Vince Cherico, Luisito Quintero Blue Note 8, 10:30 pm $45 êGrand St. Stompers: Tamar Korn, Molly Ryan, Gordon Au, Dennis Lichtman, • Quartet with Steve Nelson, , Matt Musselman, Nick Russo, Rob Adkins, Kevin Dorn Baruch College Performing Arts Center 7:30 pm $25-30 Nathan Bugh Diana Center at Barnard College 8 pm $12 • NYU Jazz Orchestra directed by Rich Shemaria with guest Stefon Harris • Mark Sherman Quartet with Frank Kimbrough, Ray Drummond, Greg Hutchinson Dizzy’s Club 7:30, 9:30 pm $20 Jazz at Kitano 8, 10 pm $25 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Dwayne Clemons; Andy Farber Group; Ian Hendrickson-Smith Quintet • Freddie Redd; Billy Kaye Jam Fat Cat 7 pm 12:30 am Smalls 4, 7:30, 10:30 pm $20 • Karl Berger’s Improvisers Orchestra • David Schnitter Quartet; Steve Carrington Quintet ShapeShifter Lab 9 pm $10 Fat Cat 7, 10 pm • David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram • East West Guitar Trio: John Stowell, , Paul Meyers Cornelia Street Café 8:30 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Warren Walker Quartet; Ari Hoenig Group; Spencer Murphy Jam • Sofia Rei Drom 9:30 pm $15 Smalls 7:30, 9:30 pm 12 am $20 • Pete Robbins’ Silent Z with Jesse Neuman, Mike Gamble, Simon Jermyn, • Melissa Hamilton; Allan Harris Band ; Jesse Neuman’s Wolf Face with Loren Stillman, Simon Jermyn, Zinc Bar 7, 9 pm Rob Jost, Jeff Davis I-Beam 8:30 pm $10 • Magos Herrera Trio with Mike Moreno, Hans Glawischnig • Amanda Baisinger with Pete Rende, Matt Brewer, Tommy Crane Bar Next Door 8:30, 10:30 pm $12 Cornelia Street Café 9, 10:30 pm $15 • Alix Paige Metropolitan Room 7 pm $20 • Banana Puddin’ Jazz: Arnold Lee Band with Rashaan Carter, Kush Abadey, Theo Hill, • Asuka Kakitani Jazz Orchestra Tea Lounge 9, 10:30 pm Ben Eunson and guest Bazaar Royale • KW&Krew: Kevin Wang, Andrew Gould, Andrew Freedman, Jerad Lippi, Devin Starks Nuyorican Poets Café 9 pm $10 Somethin’ Jazz Club 7 pm • HAG: Brad Henkel, Sean Ali, David Grollman and guest Dan Peck; Twins of El Dorado: • Howard Williams Jazz Orchestra; Ben Cliness Trio Kristin Slipp/Joe Moffett; Pretty Monsters: Katherine Young, Owen Stewart-Robertson, The Garage 7, 10:30 pm Mike Pride Douglass Street Music Collective 8 pm $10 • Matt Snow Group Shrine 8 pm • Collide-O-Scope Music: Augustus Arnone, Lou Bunk, Conrad Harris, Pauline Kim The Firehouse Space 8 pm $10 Tuesday, December 4 • Randy Napoleon Eats Restaurant 7:30 pm • Masami Ishikawa Quartet Cleopatra’s Needle 8 pm êChucho Valdés, Egberto Gismonti, Danilo Pérez, Gonzalo Rubalcaba • Ross Kratter Big Band; Hiromi Kasuga Band with Joe Magnarelli, Marco Panascia, Stern Auditorium 8 pm $15-75 Mark Taylor; Trio with Marc Medwin, Tyshawn Sorey; êUnder_Line Benefit Launch with William Parker, John Forté, Jim Jarmusch, John Zorn, James Robbins Quintet with Christoph Huber, Nat Janoff, Sharik Hassan, DJ Spooky, Christian McBride, , , Matthew Shipp, Charles Goold Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15 , Miya Masaoka, Meredith Monk, Kamau Patton, Roy Campbell, , • Oceana Restaurant 9 pm Dave Burrell, Gerald Cleaver, , , Charles Gayle, Qasim Naqvi, • Mademoiselle Fleur Shrine 8 pm Tony Malaby, Ingrid Laubrock, Joe McPhee, Yoshiko Chuma, Sally Silvers, Judi Silvano, • Brynn Stanley Metropolitan Room 4 pm $20 Ben Gerstein, Hamid Drake, Mary Halvorson, Joëlle Léandre, Connie Crothers, • Astoria Big Band: Stan Bielski, Alvin Pall, Keith Gurland, Charles Lee, Carol Sudhalter, Marc Ribot Angel Orensanz Center 6:30 pm $150 Brian Woodruff, Rick Stone, Doug Jordon, John Lieto, Glenn Mills, Wayne Johnson, • Free The Slaves Benefit Concert: Esperanza Spalding and guests Bobby McFerrin, Jack Davis, James Smith, Mark McGowan, Charlie Franklin Gretchen Parlato City Winery 8 pm $75-250 Steinway Reformed Church 1 pm êPhil Woods Quintet with Brian Lynch, Bill Mays, Steve Gilmore, Bill Goodwin • Larry Newcomb Trio; Catherine Toren; Virginia Mayhew Quartet Birdland 8:30, 11 pm $30-40 The Garage 12, 6:15, 10:45 pm êBucky Pizzarelli/ Quintet with Derek Smith, David Finck, Chuck Redd Dizzy’s Club 7:30, 9:30 pm $30 Sunday, December 2 • Bryan Carter Trio Dizzy’s Club 11 pm $10 êSteve Wilson Trio with Renee Rosnes, Peter Washington êGeorge Wein and the Newport All Stars with , , Village Vanguard 9, 11 pm $25 Jon-Erik Kellso, Jay Leonhart, Rossano Sportiello, , Joel Forbes êDonny McCaslin Group with Jason Lindner, Tim Lefebvre, Mark Guiliana Feinstein’s at Loews Regency 7 pm $25 Jazz Standard 7:30, 9:30 pm $20 êTed Brown/Kirk Knuffke Quartet The Drawing Room 7:30 pm $10 êHelen Sung Group Jazz at Kitano 8, 10 pm $10 êNew Trick: Ted Chubb, Mike Lee, Kellen Harrison, Shawn Baltazor; êLarry Ochs/Don Robinson Duo; Rob Sudduth 40twenty: Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza; The Stone 8, 10 pm $10 Francois Houle 5 + 1 with Taylor Ho Bynum, Samuel Blaser, Michael Bates, • Richard Boukas Quarteto Moderno with Chris Stover, Gustavo Amarante, Benoît Delbecq ShapeShifter Lab 7:30, 8:30, 9:30 pm $10 Maurício Zottarelli NYC Baha’i Center 8, 9:30 pm $15 êCharlie Hunter/Scott Amendola Duo; Comedies For The Young: Mathias Bossi, • Jack Jeffers and the New York Classics with Antoinette Montague Scott Amendola and guests Nels Cline, Charlie Hunter Zinc Bar 8, 10 pm The Stone 8, 10 pm $10 • Spike Wilner solo; Will Vinson Quartet; Frank Lacy, Theo Hill, Josh Evans • Peter Epstein Quartet with Ralph Alessi, Scott Colley, Mark Ferber Smalls 7:30, 9:30 pm 12 am $20 Cornelia Street Café 8:30 pm $10 êJames Carney Group with Peter Epstein, Ralph Alessi, Tony Malaby, Josh Roseman, • Peter Mazza Trio Bar Next Door 8, 10 pm $12 , Mark Ferber; , Baikida Carroll, Ryan Ferreira, Ches Smith • Duo; Johnny O’Neal Trio; Spike Wilner Jam Korzo 9, 10:30 pm $5 Smalls 7:30, 9:30, 11:30 pm $20 • Composers Concordance Ensemble: David Soldier, Kinan Azmeh, Franz Hackl, • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band with John Clark, Milica Paranosic, Patrik Grant, Gene Pritsker, Dan Cooper, Peter Jarvis; Jon Irabagon; Brandon Lewis Jam Fat Cat 6, 8:30 pm 1 am Mike Baggetta Quartet with Jason Rigby, Eivind Opsvik, ; • St. Helena: , Grey McMurray, Rick Parker, Ryan Ferreira, Joshua Valleau, Youngjoo Song Trio with Vicente Archer, Marcus Gilmore Chris Morrissey; Gregory Stovetop The Living Theatre 8 pm ShapeShifter Lab 7:30, 8:30, 9:30 pm $10 • Janinah Burnett Metropolitan Room 9:30 pm $20 êOliver Nelson’s Blues and the Abstract Truth: Manhattan School of Music • Stairway to Nowhere: Ras Moshe, Ken Kobayashi, Jochem van Dijk; Eli Asher, Chamber Jazz Ensemble Borden Auditorium 7:30 pm $7-12 Andrew Smiley, Greg Chudzik, Carlo Costa • Saul Rubin Zebtet; Máximo Bacháta Y Meréngue; Greg Glassman Jam ABC No-Rio 7 pm $5 Fat Cat 7, 9 pm 12:30 am

38 December 2012 | THE NEW YORK CITY JAZZ RECORD Wednesday, December 5 • Brooklyn Djangology Festival with Swing 30, Titi Bamberger and Friends; Freddie Bryant and Kaleidoscope ShapeShifter Lab 7:30, 9:30 pm $10 êJöelle Léandre Hommage à with Dominique Boivin • Myriad 3: Chris Donnelly, Dan Fortin, Ernesto Cervini Roulette 8 pm $15 55Bar 7 pm • with Ricky Peterson, Nicky Moroch, Richard Patterson, Gene Lake • Elizabeth Shepherd with Gordon Mowat, Colin Kingsworth Blue Note 8, 10:30 pm $45 Two Moon Café 7 pm êBen Goldberg’s Unfold Ordinary Mind with , Nels Cline, Ches Smith; • The Restrictor: Damien Olsen, Adam Dym, Anthony Delio, Kevin Rozza Dougie Bowne The Stone 8, 10 pm $10 Spectrum 8 pm êTony Malaby Tuba Trio with Dan Peck, John Hollenbeck • Tyler Blanton Trio with Matt Clohesy, Obed Calvaire BEN Barbès 8 pm $10 Bar Next Door 8:30, 10:30 pm $12 êValery Ponomarev “Our Father Who Art Blakey” Big Band • Sean Harkness Duos; Scot Albertson Trio with Christos Rafalides, Sean Conly Zinc Bar 8 pm Metropolitan Room 9:30, 11:30 pm $20 • Eric Alexander Quartet with Harold Mabern, Gerald Cannon, Joe Farnsworth • Fukushi Tainaka Trio Cleopatra’s Needle 7 pm An Beal Bocht Café 8, 9:30 pm $15 • Sapphire Adizes Great Time! with Lucas Del Calvo, Daid Williams, Zack Hartmann, • Reggie Quinerly with Brandon Wright, John di Martino, Hans Glawischnig, Donnie Spackman and guests; Scott Kulick 6 with Atsushi Ouchi, Jackson Hardaker, Sebastien Ammann, Evan Jagels, Nico Dann; Straight Street: Sam Dillon, Nick Mauro, HOLMES EJ Strickland Smoke 7, 9, 10:30 pm • Nico Dan 5tet; Oscar Noriega, Brandon Seabrook, Tom Rainey Shinya Yonezawa, Steven Mooney, Paris Wright Seeds 8, 10 pm $10 Somethin’ Jazz Club 7, 9, 11 pm $5-10 • Brad Shepik/Tom Beckham Duo Grotto 8:30, 9:30 pm • Rick Stone Trio; Yaacov Mayman Quartet • Gretchen Parlato Rockwood Music Hall 7 pm The Garage 6, 10:30 pm • Maria Neckam with Mike Moreno, Fabian Almazan, Joe Martin, Colin Stranahan; • David Sanborn with Ricky Peterson, Nicky Moroch, Richard Patterson, Gene Lake Sara Serpa with Samuel Blaser, Bill McHenry, André Matos, Linda Oh Blue Note 8, 10:30 pm $45 QUARTET Cornelia Street Café 8:30 pm $10 • Gretchen Parlato Rockwood Music Hall 7 pm • Lainie Cooke Quartet with Tedd Firth, Martin Wind, Ralph Peterson • Gregg August Group with John Bailey, Yosvany Terry, JD Allen, Luis Perdomo, Jazz at Kitano 8, 10 pm $10 EJ Strickland Birdland 6 pm $20 • Alexis Parsons/Frank Kimbrough Metropolitan Room 7 pm $20 êPhil Woods Quintet with Brian Lynch, Bill Mays, Steve Gilmore, Bill Goodwin NEW ALBUM • Raphael D’Lugoff Trio; The Groover Trio; Ned Goold Jam Birdland 8:30, 11 pm $30-40 “ANVIL OF THE LORD” Fat Cat 7, 9 pm 12:30 am êBucky Pizzarelli/Ken Peplowski Quintet with Derek Smith, David Finck, Chuck Redd • Roger Davidson; Joe Alterman Caffe Vivaldi 7:15, 9:30 pm Dizzy’s Club 7:30, 9:30 pm $30 • Christine Vaindirlis with Atn Stadwijk, Jordan Scanella, John Caban, Harvey Wirht, êSteve Wilson Trio with Renee Rosnes, Peter Washington Dave Mullen; Jay Rodriguez ShapeShifter Lab 8 pm $10 Village Vanguard 9, 11 pm $25 • Jamie Baum Quintet with Zack Lober, ; NYU Mingus Ensemble: • Harlem Speaks: Richard Wyands Jazz Museum in Harlem 6:30 pm , Michael Sarian, Christian Anderson, Karl Lynden, Lee Meadvin, • Joa Guimares Band Shrine 6 pm Manuel Schmiede, Ross Kratter, Ellery Russell Somethin’ Jazz Club 7, 9 pm $5-10 Friday, December 7 • Marc Devine Trio; Anderson Brothers The Garage 6, 10:30 pm êNew Languages Presents Music Factory: Aaron Ali Shaikh, Adam Hopkins, êPhil Woods Quintet with Brian Lynch, Bill Mays, Steve Gilmore, Bill Goodwin Alan Sondheim, Amelia Marzec, Andrea Parkins, Andrew D’Angelo, Andrew Lafkas, Birdland 8:30, 11 pm $30-40 Anne Hege, Azure Nicole Carter, Barry Weisblat, Ben Gerstein, Benjamin Miller, êBucky Pizzarelli/Ken Peplowski Quintet with Derek Smith, David Finck, Chuck Redd Brett Sroka, Brian Chase, Cameron Wisch, Chris Diasparra, Chris Funkhouser, Dizzy’s Club 7:30, 9:30 pm $30 Chris McIntyre, Chuck Bettis, Constance Cooper, Dan Blake, Dave Ruder, • Bryan Carter Trio Dizzy’s Club 11 pm $10 Dave Sewelson, Denman Maroney, Edward Schneider, Ginger Dolden, êSteve Wilson Trio with Renee Rosnes, Peter Washington Gregory Sogorka, Jackson Moore, Jacob Teichroew, James Ilgenfritz, Village Vanguard 9, 11 pm $25 Jamie Paul Lamb, Jay Rozen, Joe Merolla, John Cacciatore, John Mark Rozendaal, êDonny McCaslin Group with Jason Lindner, Tim Lefebvre, Mark Guiliana John Speck, Jonathan Chen, Jonathan Moritz, Jonathan Wood Vincent, Jazz Standard 7:30, 9:30 pm $20 Josh Roseman, Josh Rutner, Josh Sinton, , Mara Mayer, Matt Silberman, • Will Vinson Quartet; Marco DiGennero Miguel Frasconi, Mike Pride, Myk Freedman, Patrick Holmes, Pete Lanctot, Peter Krag, Smalls 9:30 pm 12 am $20 Peter Zummo, Ras Moshe, Russ Flynn, Ryan Sawyer, Sam Morrison, Stephen Dydo, • Black Yorks Shrine 6 pm Tina Chancey, Tomoko Sugawara, Travis Just, Wendy Ultan, Yuko Pepe, Yuri Suzuki • Chris Gillespie, Keith Loftis, Dmitri Kolesnik Eyebeam Art+Technology Center 12 am NOW AVAILABLE ON SKIRL RECORDS Saint Peter’s 1 pm $10 êBig Band Holidays: Jazz at Lincoln Center with guests René Marie, Gregory Porter Rose Hall 8 pm $30-120 Thursday, December 6 • The Music of Nina Simone: Kim Nalley with Tammy Hally, Michael Zisman, Kent Bryson, Greg Skaff and guest James Carter êMiguel Zenón Rayuela with Laurent Coq, Dana Leong, Dan Weiss Allen Room 7:30, 9:30 pm $55-65 Jazz Standard 7:30, 9:30 pm $25 êPeter Bernstein Trio with , Bill Stewart “Nine originals capture the improvisational êIrrabagast Records Festival: Jon Irabagon, Mark Helias, Barry Altschul; Jon Irabagon, Smoke 8, 10, 11:30 pm $35 magic and sonic cohesion rarely heard Mike Pride, Mick Barr Cornelia Street Café 8:30 pm $10 êHal Galper Trio; Billy Drummond Group; Jeremy Manasia from a quartet” - BRENT BLACK, CRITICAL JAZZ êInterpretations: Steve Swell/Omar Tamez Group with Darius Jones, Jonathan Golove, Smalls 7:30, 10:30 pm 1 am $20 James Ilgenfritz; Douglas R. Ewart Inventions Ensemble with JD Parran, Ni’ja Whitson êFausto Sierakowski/Nigel Taylor; The Gate: Dan Peck, Tom Blancarte, Brian Osborne; Roulette 8 pm $15 Pulverize the Sound: , Tim Dahl, Mike Pride “On just his second release as a leader, êKris Davis/Tim Berne Greenwich House Music School 8 pm $15 JACK 8 pm $10 êMarco Cappelli/ The Firehouse Space 8 pm $10 êFIG: /Nels Cline; Erik Deutsch, Allison Miller, Rene Hart Holmes establishes himself as a performer • Miho Hatori; Josh Smith Group The Stone 8, 10 pm $10 The Stone 8, 10 pm $10 and composer to note, craftily expressing • Ryan Keberle and Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob êIrrabagast Records Festival: Jon Irabagon’s Outright! with Ralph Alessi, Jacob Sacks, The Jazz Gallery 9, 10:30 pm $15 Eivind Opsvik, Tom Rainey Cornelia Street Café 9, 10:30 pm $15 a range of emotion and influence” • Dalton Ridenhour solo; Melissa Aldana Group; Carlos Abadie Group • Justin Brown Standards Quartet with Greg Osby, Vijay Iyer, Harish Rahgavan -SEAN FITZELL, THE NEW YORK CITY JAZZ RECORD Smalls 7:30, 9:30 pm 12 am $20 The Jazz Gallery 9, 10:30 pm $20 • Bob Mamet Trio with Rich Syracuse, Jeff “Siege” Siegel • Tim Horner Quartet with Joe Locke, Jim Ridl, Dean Johnson Jazz at Kitano 8, 10 pm $10 Jazz at Kitano 8, 10 pm $25 Deluxe audio CD package with artwork by ê40Twenty: Vinnie Sperrazza, Jacob Garchik, Jacob Sacks, Dave Ambrosio; • Now vs. Now: Jason Lindner, Mark Guiliana, Panagiotis Andreou; Stix Beiderbecke karlssonwilker available at skirlrecords.com Jesse Stacken Trio + 1 with Michaël Attias, Eivind Opsvik, Jeff Davis Drom 7:15 pm $15 I-Beam 8:30, 10 pm $10 • John King’s Kosmos Roulette 8 pm $15 Download available on iTunes & Amazon • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am • Michael McNeill, Phil Haynes, êGato Loco Barbès 10 pm $10 The Firehouse Space 8, 9:30 pm $10 • The Ohnos: Dan Blake, Jef Lee Johnson, Leo Genovese, Dmitry Ishenko, Lukas Ligeti; • Vinnie Knight Quintet Jazz 966 8 pm $20 Sketches: Matt Holman, Jeremy Udden, Jarrett Cherner, Martin Nevin, Ziv Ravitz êProtestMusic: Yoni Kretzmer, Pascal Niggenkemper, ; FEATURING BEN HOLMES trumpet Douglass Street Music Collective 8, 9:30 pm $10 Adam Hopkins Trio with Anna Weber, Nathan Elman-Bell • Grant Stewart Quartet; Saul Rubin Zebtet; Behn Gillece Jam I-Beam 8:30, 9:30 pm $10 CURTIS HASSELBRING trombone Fat Cat 7, 10 pm 1:30 am • New School Brazilian Choro Ensemble directed by Richard Boukas • Greg Chudzik solo; Trismegistus: Joe Moffett, Sean Ali, Dan Blacksberg New School Arnhold Hall 7 pm MATT PAVOLKA bass Lark Café 8 pm • Dmitry Baevsky Quartet; Dave Gibson/Jared Gold B3 Quintet; Josh Evans Jam Fat Cat 6, 10 pm 1:30 am VINNIE SPERRAZZA drums • Tom Dempsey/Tim Ferguson Duo Eats Restaurant 7:30 pm • Jocelyn Medina Quartet with Pete McCann, Sean Smith, Paul Wiltgen Tea Lounge 10 pm The Quartet’s Barbès Residency continues on • Andrea Veneziani Trio with Kenny Wessell, Mark Ferber …Jazz pianist Bar Next Door 7:30, 9:30, 11:30 pm $12 • Brooklyn Djangology Festival: Roklarom; Hot Club of the Lower East Side; TH Hidé Tanaka…Bassist Jason Anick/Olli Soikkeli; Franglais; Titi Bamberger/Juan Arenales; TUESDAY DECEMBER 18 7PM Michi Fuji...violinist Dallas Vietty’s Musette Project ShapeShifter Lab 7:30 pm $10 & 2ND Tuesdays of every month in 2013 • Mike Serrano Band with Stephen C. Josephs at University of the Streets 8 pm $10 Corner of 6TH Ave. & 9TH Street in Park Slope • Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm Café Loup • Hye-Jeung with David Sheetrit, Chris McGee, Byoung-sub Kim; Lisa Kalil/ barbesbrooklyn.com EVERY SUNDAY Rubens Salles; The Grautet: Andrew Grau, Austin Day, Alessandro Fadini, Luke Markham Somethin’ Jazz Club 7, 9, 11 pm $10 6:30 - 9:30 pm • Hide Tanaka Trio; Hot House The Garage 6:15, 10:45 pm êMiguel Zenón Rayuela with Laurent Coq, Dana Leong, Dan Weiss Jazz Standard 7:30, 9:30, 11:30 pm $30 • David Sanborn with Ricky Peterson, Nicky Moroch, Richard Patterson, Gene Lake Blue Note 8, 10:30 pm $45 • SoNuvo: Marie Martin, Seth Johnson, Jerome Jennings Blue Note 12:30 am $10 êPhil Woods Quintet with Brian Lynch, Bill Mays, Steve Gilmore, Bill Goodwin NO COVER, JUST AWARD Birdland 8:30, 11 pm $30-40 êBucky Pizzarelli/Ken Peplowski Quintet with Derek Smith, David Finck, Chuck Redd WINNING JAZZ AND FOOD Dizzy’s Club 7:30, 9:30, 11:30 pm $35 105 West 13th Street 212-255-4746 • Bryan Carter Trio Dizzy’s Club 12:45 am $20 FOR MORE INFORMATION VISIT êSteve Wilson Trio with Renee Rosnes, Peter Washington Village Vanguard 9, 11 pm $25 ben-holmes.com skirlrecords.com www.juniormance.com • Rakiem Walker Project Shrine 6 pm

THE NEW YORK CITY JAZZ RECORD | December 2012 39 Saturday, December 8 êMiguel Zenón Rayuela with Laurent Coq, Dana Leong, Dan Weiss • Matt Lavelle solo; James Brandon Lewis, Max Johnson, Wes Reid Jazz Standard 7:30, 9:30, 11:30 pm $30 Downtown Music Gallery 6 pm êJoe Bataan Tentet Flushing Town Hall 8 pm $10-40 • David Sanborn with Ricky Peterson, Nicky Moroch, Richard Patterson, Gene Lake • Ike Sturm Ensemble Saint Peter’s 5 pm êCecil Bridgewater Trio Sistas’ Place 9, 10:30 pm $25 Blue Note 8, 10:30 pm $45 • Eugene Marlow’s Heritage Ensemble with guest Shira Lissek êBen Allison Band with Steve Cardenas, Brandon Seabrook, Allison Miller êPhil Woods Quintet with Brian Lynch, Bill Mays, Steve Gilmore, Bill Goodwin Congregation Mount Sinai 4 pm $8-20 Cornelia Street Café 9, 10:30 pm $15 Birdland 8:30, 11 pm $30-40 • Donn Trenner/Shaynee Rainbolt Metropolitan Room 4 pm $20 êRahn Burton Trio Cleopatra’s Needle 8 pm êBucky Pizzarelli/Ken Peplowski Quintet with Derek Smith, David Finck, Chuck Redd • Mark Gross and Blackside Blue Note 12:30, 2:30 pm $29.50 êGabriel Alegría Afro-Peruvian Sextet Dizzy’s Club 7:30, 9:30 pm $35 • Roz Corral Trio with Roni Ben-Hur, Alex Gressel Roger Smith Hotel 8 pm $30 êSteve Wilson Trio with Renee Rosnes, Peter Washington North Square Lounge 12:30, 2 pm • Rashied Ali Tribute Band with Lawrence Clark, Josh Evans, Greg Murphy, Joris Teepe, Village Vanguard 9, 11 pm $25 • Lou Caputo Quartet; David Coss Quartet; Abe Ovadia Trio Eric McPherson; Jean-Michel Pilc ShapeShifter Lab 7:30, 8:30 pm $10 • Wade Barnes’ Unit Structures: , Tulivu-Donna Cumberbatch, Julian Pressley, The Garage 11:30 am 7, 11:30 pm êWill Connell Quartet with Chris Forbes, Larry Roland, Thurman Barker Gene Ghee, Marshall Sealy, Bertha Hope, Yoshiki Miura, Saadi Zain, Jaime Affoumado Brecht Forum 8 pm $15 Roulette 1 pm $5 • Swim Team: Casey Berman, Elliot Berman, Tim Merle, Mike Sink; Julian Pollack Quartet • Marsha Heydt Quartet; Champian Fulton Trio; Akiko Tsuruga Trio Monday, December 10 with Nir Felder, Martin Nevin, Evan Hughes The Garage 12, 6:15, 10:45 pm I-Beam 8:30 pm $10 êJohn Hollenbeck Big Band with Ben Kono, Jeremy Viner, Tony Malaby, Dan Willis, • Justin Peake’s Beautiful Bells with Dave LeBleu, Eivind Opsvik; Jim Campilongo and Sunday, Bohdan Hilash, Mark Patterson, Mike Christenson, Jacob Garchik, Alan Ferber, High Space with Erik Deutsch, Jeff Hill, Tony Mason Tony Kadleck, John Bailey, Dave Ballou, Laurie Frink, Kermit Driscoll, Matt Mitchell, The Stone 8, 10 pm $10 • Chico Hamilton with Nick Demopoulos, Paul Ramsey, Evan Schwam, Mayu Saeki, Patricia Franceshy, Theo Bleckmann, JC Sanford and guest Kate McGarry • Tim Byrnes/C. Spencer Yeh Exapno 8 pm $5 Jeremy Carlstedt and guests Drom 7:15 pm $15 Roulette 8 pm $15 • Patrick Cornelius Trio with Hans Glawischnig, Luca Santanielo • Brandon Ross’ Yet Another Plane with Stomu Takeishi, Stephanie Richards, Hardedge; êCindy Blackman-Santana Trio with Marc Cary, Rashaan Carter Bar Next Door 7:30, 9:30, 11:30 pm $12 Mike Kanan/Peter Bernstein The Stone 8, 10 pm $10 Baruch College Performing Arts Center 7:30 pm $25-30 • Lina Orfanos and Quartet with Daniel Kelly, Spiros Exaras, Lonnie Plaxico, êWeasel Walter, Peter Evans, Mary Halvorson êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 Richie Morales Drom 7:15 pm $20 Death By Audio 8 pm • NY Youth Symphony Jazz Classic with Wycliffe Gordon • Ben Meigners Band; Fabio Morgera New York Cats êLage Lund 4 with Ed Simon, Ben Street, Bill Stewart Dizzy’s Club 7:30, 9:30 pm $20 Fat Cat 7, 10 pm The Jazz Gallery 9, 10:30 pm $20 • Laura Brunner; Jowee Omicil and the Core êPascAli: Sean Ali/Pascal Niggenkemper • Tony Hewitt; Johnny O’Neal Trio; David Schnitter Quartet Zinc Bar 7, 9 pm 109 Gallery 8 pm Smalls 7:30, 9:30, 11:30 pm $20 êThe Gate: Dan Peck, Tom Blancarte, Brian Osborne; Cactus Truck: John Dikeman, • The Inbetweens: Mike Gamble, Noah Jarrett, Conor Elmes • Translucent Explorations: Lena Bloch, Dan Tepfer, Dave Miller, Billy Mintz Jasper Stadhouders, Onno Govaert; The Home of Easy Credit: Brooklyn Conservatory of Music 8 pm $10 The Firehouse Space 8 pm $10 Louise Dam Eckardt Jensen/Tom Blancarte • Carmen Intorre Jr. Oceana Restaurant 9 pm • Seung-Hee with Adam Kolker, Toru Dodo, Ike Sturm, Mark Ferber Spectrum 9 pm • Elsa Nilsson Quartet with Yuka Tadano, Cody Rahn; Nick Di Maria Quartet with Cornelia Street Café 8:30 pm $10 • Cyrille Aimee Duet; Ari Hoenig Group; Spencer Murphy Jam Andrew Kosiba, Andrew Zwart, Michael Dick; Brett Sandler Trio with Peter Longofono, • Jane Getter Trio with Andy McKee, Mike Clark Smalls 7:30, 9:30 pm 12 am $20 Adam Pin Somethin’ Jazz Club 7, 9, 11 pm $5-10 Bar Next Door 8, 10 pm $12 • Travis Sullivan’s Casual Sextet ShapeShifter Lab 8:30 pm $10 • Tunk Trio: Chris Tunkel, Anders Nilsson, Curt Sydnor • Devin Bing Metropolitan Room 9:30 pm $20 • Kyle Saulnier’s Awakening Orchestra with Jesse Lewis Branded Saloon 12:30 am • Unique: Steven Fowler, Ranzel Merrit, Dylan Meek, Alexander Claffy, Owen Erickson; Saint Peter’s 7 pm êBig Band Holidays: Jazz at Lincoln Center with guests René Marie, Gregory Porter Lluis Capdevila Trio with Joonsam Lee, Eliot Zigmund • Red Thread: Sarah Bernstein, Anders Nilsson, Stuart Popejoy, Pete Nelson Rose Hall 2, 8 pm $30-120 Somethin’ Jazz Club 7, 9 pm $7-10 Cornelia Street Café 8:30 pm $10 • The Music of Nina Simone: Kim Nalley with Tammy Hally, Michael Zisman, Kent Bryson, • Quentin Angus Quartet Shrine 8 pm • Stephanie Hacker Band with Pete McCann, Dan Fabricatore, Mark Ferber Greg Skaff and guest James Carter • Tom Dempsey/Tim Ferguson Duo Eats Restaurant 7:30 pm Austrian Cultural Forum 7:30 pm Allen Room 7:30, 9:30 pm $55-65 êMiguel Zenón Rayuela with Laurent Coq, Dana Leong, Dan Weiss • Mika Harry Trio with Gilad Hekselman, Jorge Roeder êPeter Bernstein Trio with Larry Goldings, Bill Stewart Jazz Standard 7:30, 9:30 pm $25 Bar Next Door 8:30, 10:30 pm $12 Smoke 8, 10, 11:30 pm $35 • David Sanborn with Ricky Peterson, Nicky Moroch, Richard Patterson, Gene Lake • Cecilia Coleman Big Band Tea Lounge 9, 10:30 pm • Dwayne Clemons; David Berkman Trio; Billy Drummond Group Blue Note 8, 10:30 pm $45 • Juilliard Jazz Ensembles Paul Hall 8 pm Smalls 4, 7:30, 10:30 pm $20 êBucky Pizzarelli/Ken Peplowski Quintet with Derek Smith, David Finck, Chuck Redd • Elan Asch Trio with Corcoran Holt, Jr. • Tim Horner Quartet with Joe Locke, Jim Ridl, Dean Johnson Dizzy’s Club 7:30, 9:30 pm $30 Somethin’ Jazz Club 9 pm $5 Jazz at Kitano 8, 10 pm $25 êSteve Wilson Trio with Renee Rosnes, Peter Washington • Howard Williams Jazz Orchestra; Stan Killian Quartet • Tom Dempsey/Tim Ferguson Duo Eats Restaurant 7:30 pm Village Vanguard 9, 11 pm $25 The Garage 7, 10:30 pm

Paulette McWilliams Friday, December 14, 7pm & 9pm She sang with Quincy Jones, Marvin Gaye and Luther Vandross. Experience her sultry jazz vocals in this rare NY appearance!

Telling Stories with The Jr. Quartet Nat Adderley, Music Director & Piano Vincent Herring, Reeds Vince Ector, Drums Trifon Dimitrov, Bass Produced by GJ Productions

*Use Discount Code ADH1212 for $20 ticket by Dec 10 General admission $25* www.adhatccny.org | Call 212-650-6900 AARON DAVIS HALL IS LOCATED AT W. 135TH ST. & CONVENT AVE. ON THE CAMPUS OF THE CITY COLLEGE OF NEW YORK

40 December 2012 | THE NEW YORK CITY JAZZ RECORD Tuesday, December 11 êDavid Virelles’ Continuum with Ben Street, Andrew Cyrille, Roman Diaz, Roman Filiu êTrevor Dunn solo; Endangered Blood: Chris Speed, Oscar Noriega, , Drom 9:30 pm $15 Jim Black The Stone 8, 10 pm $10 êRoy Haynes Quartet Birdland 8:30, 11 pm $30-40 êIngebrigt Håker Flaten’s The Young Mothers with Jawwaad Taylor, Jason Jackson, êGregg August Group with Sam Newsome, Luis Perdomo, EJ Strickland; / êMedeski Martin & Wood Blue Note 8, 10:30 pm $40 Jonathan Horne, Stefan Gonzalez, Frank Rosaly; Cactus Truck: John Dikeman, James Weidman Duo; Marty Ehrlich Rites Quartet with James Zollar, , êKenny Garrett Quintet with Benito Gonzalez, Corcoran Holt, McClenty Hunter, Jasper Stadhouders, Onno Govaert; Zombi Jazz: Michael Foster, Alex Hood, Michael Sarin ShapeShifter Lab 7:30, 9:30 pm $10 Rudy Bird Dizzy’s Club 7:30, 9:30 pm $30 Eric Silberberg, Dan Stern JACK 8 pm • Joel Harrison 7 with Donny McCaslin, Zach Brock, Dave Eggar, Jacob Sacks, • Paul Sikivie Quartet with Grant Stewart • EJ Strickland Quintet with Godwin Louis, Marcus Strickland, Luis Perdomo, Linda Oh Drew Gress, Jordan Perlson; Brandon Ross’ Pendulum with Kevin Ross, Dizzy’s Club 11 pm $10 Smoke 7, 9, 10:30 pm Chris Eddleton, Hardedge 92YTribeca 8, 9:30 pm $20 êChristian McBride Trio with Christian Sands, Ulysses Owens êAngelica Sanchez Trio; Ingrid Laubrock, Ralph Alessi, Kris Davis, Tom Rainey êLast Jam at 290 Hudson hosted by Marcus Strickland Village Vanguard 9, 11 pm $25 The Stone 8, 10 pm $10 The Jazz Gallery 8 pm • Zach Brock Quartet with Aaron Goldberg, Matt Penman, Eric Harland • Tyshawn Sorey Barbès 8 pm $10 • Eliot Zigmund Trio; Walt Weiskopf Quartet Jazz Standard 7:30, 9:30 pm $20 • Magos Herrera Quintet with Helio Alves, Mike Moreno, Alex Kautz Smalls 7:30, 10:30 pm $20 • Bria Skonberg with Ehud Asherie, Sean Cronin, Colleen Clark, Ronnie Magri and guest Jazz at Kitano 8, 10 pm $10 • Paulette McWilliams and Nat Adderley Jr. Quartet with Vincent Herring, Trifon Dimitrov, Iridium 8, 10 pm $25 • Aaron Goldberg Quartet; David Gibson Quartet Vince Ector Aaron Davis Hall 7, 9 pm $25 êChristopher Alpiar Quartet with Pete Rende, Matt Pavolka, Bob Meyer; Smalls 9:30 pm 12 am $20 • Allison Miller and Big Molasses; Marika Hughes and Bottom Heavy Ingebrigt Håker Flaten’s The Young Mothers with Jawwaad Taylor, Jason Jackson, • Shai Maestro Trio with Scott Colley, Henry Cole Littlefield 8 pm $12-15 Jonathan Horne, Stefan Gonzalez, Frank Rosaly; Eivind Opsvik’s Overseas with Cornelia Street Café 8:30 pm $10 • Melissa Aldana Trio with Pablo Valle, Rodney Green Tony Malaby, , Brandon Seabrook, Jacob Sacks êSamuel Blaser group with Michael Blake, Russ Lossing, Michael Bates, Jeff Davis; Bar Next Door 7:30, 9:30, 11:30 pm $12 ShapeShifter Lab 7, 8:30, 9:30 pm $10 George Schuller, Thomas Heberer, Anders Nilsson, Joe Fonda • Max Johnson’s Grayscale with Angelica Sanchez, Kenny Wollesen êPhantom Orchard: Zeena Parkins; Ikue Mori; Pet Bottle Ningen Seeds 8, 10 pm $10 The Firehouse Space 8:30, 10 pm $10 Roulette 8 pm $15 • Hildegunn Gjedrem Group Expanded with David Cook, Ben Stivers, Bob Lanzetti, • Banda Magda: Magda Giannikou, Petros Klampanis, Marcelo Woloski, Mika Mimura, • Richard Andersson Quintet with Ralph Alessi, , Tony Malaby, Michael League, Jordan Perlson, Nate Werth, Alison Wedding, Sarah Tolar, Katya Diaz Ignacio Hernandez Drom 11:30 pm $10 Nasheet Waits I-Beam 8:30 pm $10 ShapeShifter Lab 8:30 pm $10 • Joe Alterman Eats Restaurant 7:30 pm • Spike Wilner solo; Sharel Cassity Group; Frank Lacy, Theo Hill, Josh Evans • Jonathan Batiste and the Stay Human Band • Douglas Bradford Trio with Pascal Niggenkemper, Nick Anderson Smalls 7:30, 9:30 pm 12 am $20 Metropolitan Community Church 7 pm Turtle Bay Music School 7 pm • Dan Rieser; Marika Hughes solo The Stone 8, 10 pm $10 • David White Jazz Orchestra with Andrew Gould, Omar Daniels, , Sam Dillon, • Lara-Faye and the Straight Man Band with Sasha Hirsch, Andrew Sheron, Brett Chalfin êGordon Beeferman; Ideal Bread: Josh Sinton, Kirk Knuffke, Richard Giddens, Stephen Plekan, Miki Hirose, Volker Goetze, Alicia Rau, Pablo Masis, Deborah Weisz, Cornelia Street Café 9, 10:30 pm $15 Tomas Fujiwara Korzo 9, 10:30 pm $5 Dan Reitz, Alaina Alster, Robert Stattel, Nick Consol, Doug Drewes, Ryan Cavan • Alston Jack Quintet Jazz 966 8 pm $20 • James Shipp’s Nos Novo with Becca Stevens, Jean Rohe, Gilad Hekselman, Studios 353 7:30 pm $5 • Larry Newcomb Quartet Cleopatra’s Needle 8 pm Rogério Boccato Cornelia Street Café 8:30 pm $10 • Roger Davidson; Equilibrium Caffe Vivaldi 7:15, 8:30 pm • Primordial Jazz Funktet: Maya Azucena, Dan Furman, Miki Hirose, Arun Luthra, • Donn Trenner/Shaynee Rainbolt Metropolitan Room 7 pm $20 • Cristina Morrison Metropolitan Room 9:30 pm $20 Ariel de la Portilla, Luciana Padmore; Alex Bosworth; Sapphire Adizes Quintet with • Stan Killian Quintet with Mike Moreno, Bryan Copeland, Darrell Green • Terry Vakirtzoglou/Tuomo Uusitalo; Hiro Momoi Identified Strangers with Lucas Del Calvo, Jochem Le Cointre, Zack Hartmann, Donnie Spackman 55Bar 7 pm Chad Lefkowitz-Brown, Nir Felder, Julian Shore, Sam Minaie, Hiro Momoi Somethin’ Jazz Club 7, 9, 11 pm $5-15 • Javier Moreno Trio with George Dulin, Tony Moreno Somethin’ Jazz Club 7, 9 pm $7 • Dave Kain Group; Kevin Dorn and the BIG 72 Bar Next Door 8:30, 10:30 pm $12 • Carl Bartlett Jr. Quartet; Mauricio de Souza’s Bossa Brasil The Garage 6:15, 10:45 pm • Billy Test solo Jazz at Kitano 8, 10 pm $10 The Garage 6, 10:30 pm êKenny Barron/Dave Holland Duo Jazz Standard 7:30, 9:30 pm $30 • Geoffrey Loomis/Theo Regan Rue B 9 pm êRoy Haynes Quartet Birdland 8:30, 11 pm $30-40 • Songs in the Key of Life - with Questlove, Derrick Hodge, • Jose Luis Armengot Quintet with Yosuke Sato, Lluis Capdevila, Yuta Tanaka, êMedeski Martin & Wood with guest Nels Cline Lalah Hathaway, Stokley, , Jun Nishijima; Sarah Kervin Somethin’ Jazz Club 7, 9 pm $5-10 Blue Note 8, 10:30 pm $40 Harlem Stage Gatehouse 7:30 pm $20-45 • Mike Dease Big Band; Chris Carroll Trio êKenny Garrett Quintet with Benito Gonzalez, Corcoran Holt, McClenty Hunter, êRoy Haynes Quartet Birdland 8:30, 11 pm $30-40 The Garage 7, 10:30 pm Rudy Bird Dizzy’s Club 7:30, 9:30 pm $30 êMedeski Martin & Wood with guest Bill Evans • Isaac Darche Shrine 6 pm • Paul Sikivie Quartet with Grant Stewart Blue Note 8, 10:30 pm $40 Dizzy’s Club 11 pm $10 • International Orange: Dave Phelps, Todd Isler, Gaku Takanashi Wednesday, December 12 êChristian McBride Trio with Christian Sands, Ulysses Owens Blue Note 12:30 am $10 Village Vanguard 9, 11 pm $25 êKenny Garrett Quintet with Benito Gonzalez, Corcoran Holt, McClenty Hunter, ê2012 Jazz Interlude honoring with , Jason Moran and the • Terese Genecco, Shaynee Rainbolt and the Little Big Band Rudy Bird Dizzy’s Club 7:30, 9:30, 11:30 pm $35 Bandwagon with Tarus Mateen, Nasheet Waits and guest Ravi Coltrane Saint Peter’s 1 pm $10 • Paul Sikivie Quartet with Grant Stewart Museum of Modern Art 6:30 pm $125-1,000 Dizzy’s Club 12:45 am $20 êThe Cookers: Billy Harper, Eddie Henderson, David Weiss, Craig Handy, Thursday, December 13 êChristian McBride Trio with Christian Sands, Ulysses Owens George Cables, Cecil McBee, Billy Hart; Geri Allen’s Timeline with Kenny Davis, Village Vanguard 9, 11 pm $25 Maurice Chestnut, Kassa Overall 92YTribeca 8, 9:15 pm $12 êKenny Barron/Dave Holland Duo Jazz Standard 7:30, 9:30 pm $30 • Rakiem Walker Project Shrine 6 pm • Janis Siegel Drom 7:15 pm $20 • Songs in the Key of Life - Robert Glasper with Questlove, Derrick Hodge, Lalah Hathaway, Stokley, Eric Roberson, Harlem Stage Gatehouse 7:30 pm $20-45 êGrass Roots: Darius Jones, Alex Harding, Sean Conly, Chad Taylor Barbès 7, 8:30 pm $10 êAlexis Cuadrado Group; Steven Bernstein The Stone 8, 10 pm $10 • Sam Harris Group with Roman Filiu, Martin Nevin, Craig Weinrib The Jazz Gallery 9, 10:30 pm $15 êIngebrigt Håker Flaten’s The Young Mothers with Jawwaad Taylor, Jason Jackson, Jonathan Horne, Stefan Gonzalez, Frank Rosaly; The Home of Easy Credit: Louise Dam Eckardt Jensen/Tom Blancarte Terraza 7 9 pm $5 • Russ Nolan Group with Art Hirahara, Michael O’Brien, Brian Fishler and guest Zach Brock Jazz at Kitano 8, 10 pm $10 • Ehud Asherie Trio; Steve Slagle Group; Bruce Harris/Alex Hoffman Group Smalls 7:30, 9:30 pm 12 am $20 êGabriel Alegría/Badal Roy Nuyorican Poets Café 9 pm • Michael Feinberg; Harish Raghavan Trio with Ben Wendel, Clarence Penn; Ronnie Burrage ShapeShifter Lab 8, 9, 10 pm $10 • Will Mason Band with Terrence McManus, Rafiq Bhatia, Stuart Breczinski, Danny Fisher-Locchead, Dan Stein; Josh Sinton’s Caput Sufferre with Brad Henkel, Liz Kosack, Landon Knoblock, Adam Hopkins, Simon Jermyn, Devin Gray Douglass Street Music Collective 9 pm $10 • Eli Keszler/Ashley Paul The Firehouse Space 8 pm $10 • Nicky Schrire with Fabian Almazan, Desmond White, Otis Brown III Cornelia Street Café 8:30 pm $10 • Karl Berger’s Improvisers Orchestra El Taller LatinoAmericano 9 pm • Eugene Marlow’s Heritage Ensemble with Bobby Sanabria, Michael Hashim, Frank Wagner, Obanilu Allende Baruch College Performing Arts Center 7:30 pm $25-30 • Minerva: JP Schlegelmilch, Pascal Niggenkemper, Carlo Costa I-Beam 9 pm $10 inner circle music photo Janis Wilkins • Jacam Manricks Trio with Chris Tordini, Ross Pederson Bar Next Door 8:30, 10:30 pm $12 • Chris Welcome Quartet Goodbye Blue Monday 9 pm JAZZ AT KITANO • Marchelle Jackson Metropolitan Room 11:30 pm $20 • Justin Lees Trio Cleopatra’s Needle 7 pm December 20 (shows at 8 & 10 pm) • Bob Arthurs Quintet with Ted Brown, Jon Easton, Joe Solomon, Barbara Merjan; Dan DeChellis Trio with Mitch Shelly, Zack Martin 66 Park Ave @ E 38 St, New York City Somethin’ Jazz Club 7, 9 pm $5-10 • Dre Barnes Project; Andrew Hadro Quartet res 212-885-7119 The Garage 6, 10:30 pm Teri Roiger (voice) James Weidman (piano) êRoy Haynes Quartet Birdland 8:30, 11 pm $30-40 êMedeski Martin & Wood with guest Marc Ribot John Menegon (bass) Steve Williams (drums) Blue Note 8, 10:30 pm $40 êKenny Garrett Quintet with Benito Gonzalez, Corcoran Holt, McClenty Hunter, Rudy Bird Dizzy’s Club 7:30, 9:30 pm $30 DEAR ABBEY: THE MUSIC OF ABBEY LINCOLN êChristian McBride Trio with Christian Sands, Ulysses Owens was chosen as a favorite new release in Sept 2012 by Laurence Village Vanguard 9, 11 pm $25 Donohue-Greene, Managing Editor of NYC Jazz Record • Harlem Speaks: Jean-Michel Pilc Jazz Museum in Harlem 6:30 pm

On Dear Abbey, Roiger delivers a joyous, deeply felt vocal Friday, December 14 tribute that gives Lincoln’s material fresh consideration...a êEddie Palmieri - A Career Retrospective: Eddie Palmieri Latin Jazz Band; vocalist who wraps Lincoln’s complex songs around her finger. Eddie Palmieri Salsa Orchestra Rose Hall 8 pm $30-120 -Marc Myers, www.jazzwax.com êBuster Williams Quartet with Mark Gross, Renee Rosnes, Lenny White Smoke 8, 10, 11:30 pm $35 êFrank Kimbrough Trio with Jay Anderson, Matt Wilson Jazz at Kitano 8, 10 pm $25 • The Dream: Daniel Carter, William Parker, Federico Ughi www.teriroiger.com I-Beam 8:30 pm $10

THE NEW YORK CITY JAZZ RECORD | December 2012 41 Saturday, December 15 Monday, December 17 • Tony Lustig Quintet Dizzy’s Club 11 pm $10 • Chris Botti Blue Note 8, 10:30 pm $65 êLouis and Gerald Hayes Band Sistas’ Place 9, 10:30 pm $25 êEddie Bert Memorial Saint Peter’s 7 pm êFreddy Cole Trio Saint Peter’s 1 pm $10 êBrooklyn Jazz Wide Open: WORKS: Michel Gentile, Daniel Kelly, Rob Garcia with êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 guests , Scott Colley Brooklyn Conservatory of Music 8 pm $15 • Chris Botti Blue Note 8, 10:30 pm $65 Thursday, December 20 êWycliffe Gordon Quintet with Zach Brock, Aaron Diehl, Yasushi Nakamura, êBQE Jazz Fest: Jazz Overground: Josh Deutsch, Amanda Monaco, Alvin Atkinson, Jr. Miller Theatre 8 pm $25-30 Mark Wade, Brian Woodruff and Brooklyn Jazz Underground: David Smith, êJoe Fiedler’s Big Sackbut with Josh Roseman, Luis Bonilla, Marcus Rojas êMin Xiao-Fen’s Dim Sum with Satoshi Takeishi; William Parker’s Winter Music for Adam Kolker, Tammy Scheffer, David Cook, Rob Garcia, Owen Howard The Firehouse Space 8 pm $10 Mixed Ensemble with Dave Hofstra, JD Parran, Justin Fryer, Keith Park, ShapeShifter Lab 7:30 pm $10 êPhilip Harper; Will Calhoun Trio Zinc Bar 8, 10 pm 12 am Kyoko Kitamura, Miya Masoka The Stone 8, 10 pm $10 • Matt Pavolka Band with Ben Monder, Pete Rende, Ted Poor • John Coltrane Festival: Autumn Serenade - Johnny Hartman and John Coltrane êEndangered Blood: Jim Black, Oscar Noriega, Trevor Dunn, Chris Speed ShapeShifter Lab 10 pm $10 Revisited: Gregory Generet Quintet with Mark Gross ShapeShifter Lab 8 pm $10 • Holiday Swing: Doug Wamble Trio with Morgan James Smoke 7, 9, 10:30 pm êAcreage: Uri Caine, Steve Cardenas, Lonnie Plaxico, Matt Wilson Dizzy’s Club 7:30, 9:30 pm $20 êDarius Jones Quartet with Matt Mitchell, Trevor Dunn, Ches Smith Jazz at Kitano 8, 10 pm $25 • Colin Stranahan Trio; Ari Hoenig Group; Spencer Murphy Jam Greenwich House Music School 8 pm $15 • Travis Laplante Quartet with , Michael Formanek, Randy Peterson; Smalls 7:30, 9:30 pm 12 am $20 êJean-Michel Pilc, Francois Moutin, Ari Hoenig Frode Gjerstad Trio with Jon Rune Strom, Paal Nilssen-Love • Lisa Mezzacappa Trio with Chris Welcome, Mike Pride; James Brandon Lewis/ Cornelia Street Café 8:30 pm $10 I-Beam 8:30 pm $10 Haim Peskoff Duo; Shayna Dulberger Quartet with Yoni Kretzmer, Chris Welcome, êJane Ira Bloom’s Trio with Mark Helias, ; Jason Kao Hwang’s EDGE with êMichael Bisio/Ken Filiano The Firehouse Space 8, 9:30 pm $10 Carlo Costa Legion 8:30 pm Taylor Ho Bynum, Andrew Drury, Ken Filiano • Merger: Andrew D’Angelo, Josh Roseman, Ben Street, Nasheet Waits • Julie Eigenberg, Yaron Gershovsky, Conrad Korsch The Stone 8, 10 pm $10 Cornelia Street Café 9, 10:30 pm $15 Drom 7:30 pm $20 êTeri Roiger Quartet with James Weidman, John Menegon, Steve Williams • Patrick Breiner/Cathlene Pineda; Minerva: JP Schlegelmilch, Pascal Niggenkemper, • Charles Brewer Trio with Douglas Bradford, Nicolas Letman-Burtinovic Jazz at Kitano 8, 10 pm $10 Carlo Costa; Noah Kaplan, Pascal Niggenkemper, Devin Gray Sycamore 9:30 pm $5 • Deanna Kirk Duet; Adam Brenner/David Hazeltine Group; Carlos Abadie Group Douglass Street Music Collective 8 pm $10 • Stan Killian Trio with Zack Lober, Darrell Green Smalls 7:30, 9:30 pm 12 am $20 êMikarimba and Richard Stoltzman with , Anthony Jackson, Duke Gadd Ave D 9 pm • Christopher Jentsch Group No Net with Michel Gentile, Mike McGinnis, Jason Rigby, Drom 7 pm $15 • Zinc Bar 7 pm David Smith, Brian Drye, Jacob Sacks, Jim Whitney, John Mettam; • Bill Cole, Ras Moshe, Shayna Dulberger; Lisa Mezzacappa, Daniel Carter, Fay Victor, • Camila Meza Trio with Sam Anning, Colin Stranahan Adelante: J. Jody Janetta, Jack Jez, Steve Testa Adam Lane; D3: Bruce Ditmas, Matt Lavelle, Tony Diccico, Jack Desalvo; Bar Next Door 8:30, 10:30 pm $12 ShapeShifter Lab 8 pm $10 Send Out Signals: Thomas DeSteno, Ras Moshe, Tom Zlabinger • Steve Newcomb Orchestra Tea Lounge 9, 10:30 pm • Eugene Marlow’s Heritage Ensemble Brecht Forum 7 pm $10 • Amadis Dunkel Big Band Somethin’ Jazz Club 7 pm Bronx Music Heritage Center 8 pm $5 • Yotam Silberstein Trio with Matt Penman, Jochen Rueckert • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Stan Killian Trio with Bryan Copeland, McClenty Hunter Bar Next Door 7:30, 9:30, 11:30 pm $12 The Garage 7, 10:30 pm Bar Next Door 8:30, 10:30 pm $12 • Tarek Yamani Trio with Carlo De Rosa, John Davis • Josh Sinton/Aryeh Kobrinsky Noella Brew Bar 7 pm Alwan for the Arts 8 pm $20 Tuesday, December 18 • Simon Jermyn/Dan Tepfer; Jonathan Moritz’s Secret Tempo Trio with • Craig Brann Group The Stoop 8 pm Shayna Dulberger, Mike Pride Lark Café 8, 9 pm $10 • Tony Purrone Trio Oceana Restaurant 9 pm êMatt Wilson’s Christmas Tree ‘O with Jeff Lederer, Paul Sikivie and guest Bill Frisell • Joelle and The Pinehurst Trio; Nick Finzer/Joe McDonough Quintet with Chris Ziemba, • Nobody’s Business Trio: Cadden Jones, Alecia Evans, Linda Sue Moshier; Stix Bones Jazz Standard 7:30, 9:30 pm $25 Dave Baron, Jimmy Macbride Metropolitan Room 9:30, 11:30 pm $20 Metropolitan Room 9:30, 11:30 pm $20 êChristian McBride and Inside Straight with Steve Wilson, Warren Wolf, Peter Martin, • Mamiko Watanabe Trio Cleopatra’s Needle 7 pm • Satchmo Mannan Holiday Celebration: John “Satchmo” McRae, Vinnie Knight, Carl Allen Village Vanguard 9, 11 pm $25 • Eliane Amherd; Alex Levine with Danny Fisher-Lochhead, Julian Smith, Jay Sawyer Alvin Flythe, Brian McKenzie, Chuck Ferruggia, Rahn Burton, Yayoi Ikawa, Kim Clark êFreddy Cole Birdland 8:30, 11 pm $30-40 Somethin’ Jazz Club 7, 9 pm $10 Cleopatra’s Needle 8 pm • Jazz Samba Christmas: , Helio Alves, Maucha Adnet, Anat Cohen, • George Weldon Trio; Will Terrill Trio • Luiz Simas with Itaiguara, Adriano Santos; Charles Sibirsky with Bonnie Goodman, Romero Lubambo, Hans Glawischnig The Garage 6, 10:30 pm Alexa Fila, Joe Solomon; Olli Soikkeli with Luke Hendon, James Robbins Dizzy’s Club 7:30, 9:30 pm $30 • L’Image: , , , , Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Tony Lustig Quintet Dizzy’s Club 11 pm $10 Iridium 8, 10 pm $35 êEddie Palmieri - A Career Retrospective: Eddie Palmieri Latin Jazz Band; êJason Robinson Tiresian Symmetry with JD Parran, Marty Ehrlich, Bill Lowe, êChristian McBride and Inside Straight with Steve Wilson, Warren Wolf, Peter Martin, Eddie Palmieri Salsa Orchestra Rose Hall 8 pm $30-120 Marcus Rojas, , Drew Gress, George Schuller, Ches Smith Carl Allen Village Vanguard 9, 11 pm $25 êBuster Williams Quartet with Mark Gross, Renee Rosnes, Lenny White ShapeShifter Lab 8 pm $10 êFreddy Cole Birdland 8:30, 11 pm $30-40 Smoke 8, 10, 11:30 pm $35 êJoe Fiedler’s Big Sackbut with Josh Roseman, Ryan Keberle, Marcus Rojas; • Jazz Samba Christmas: Duduka Da Fonseca, Helio Alves, Maucha Adnet, Anat Cohen, êLast Jam at 290 Hudson hosted by Marcus Strickland The Inbetweens: Mike Gamble, Noah Jarrett, Conor Elmes Romero Lubambo, Hans Glawischnig The Jazz Gallery 8 pm Korzo 9, 10:30 pm $5 Dizzy’s Club 7:30, 9:30 pm $30 • Dwayne Clemons; Ralph LaLama and Bop Juice; Walt Weiskopf Quartet • Spike Wilner solo; David Kikoski Trio; Frank Lacy, Theo Hill, Josh Evans • Chris Botti Blue Note 8, 10:30 pm $65 Smalls 4, 7:30, 10:30 pm $20 Smalls 7:30, 9:30 pm 12 am $20 • Joe Alterman Eats Restaurant 7:30 pm • Terese Genecco Little Big Band Iridium 8, 10 pm $25 êKenny Barron/Dave Holland Duo Jazz Standard 7:30, 9:30 pm $30 • Sara Gazarek/Dan Tepfer Cornelia Street Café 8:30 pm $10 êRoy Haynes Quartet Birdland 8:30, 11 pm $30-40 • Yoon Sun Choi’s The E-String Band with Jacob Sacks, Khabu Doug Young, êMedeski Martin & Wood with guest Nels Cline , Vinnie Sperrazza; Steve Salerno Trio with Dean Johnson, Blue Note 8, 10:30 pm $40 Frank Bellucci The Stone 8, 10 pm $10 êKenny Garrett Quintet with Benito Gonzalez, Corcoran Holt, McClenty Hunter, êBen Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Rudy Bird Dizzy’s Club 7:30, 9:30 pm $35 Barbès 7 pm $10 êChristian McBride Trio with Christian Sands, Ulysses Owens • Paul Carlon Trio with Paul Bollenback, Trifon Dimitrov Village Vanguard 9, 11 pm $25 Bar Next Door 8:30, 10:30 pm $12 • Nick Di Maria Shrine 6 pm • Billy Test solo Jazz at Kitano 8, 10 pm $10 • Donn Trenner/Shaynee Rainbolt Metropolitan Room 4 pm $20 • Geoffrey Loomis/Theo Regan Rue B 9 pm • Fukushi Tainaka Trio; Mark Marino Trio; Iris Ornig Quartet • James Robbins Quintet with Christoph Huber, Nat Janoff, Sharik Hassan, The Garage 12, 6:15, 10:45 pm Charles Goold; Dorian Wallace Big Band with Cam Collins, Lynn Ligammari, Tim McDonald, Zach Mayer, Frank London, Wayne Tucker, Alphonso Horne, Sunday, December 16 John Raymond, Andy Hunter, Frank Niemeyer, Joe McDonough, Frank Cohen, Tim Basom, Dmitri Kolesnik, Mike Campenni, Madison Cano êJohn Hébert Trinity Project with Benoît Delbecq, Gerald Cleaver Somethin’ Jazz Club 7, 9 pm $10 Joe’s Pub 7 pm $15 • Lou Caputo Not So Big Band; David Baron Trio êBucky Pizzarelli/Ed Laub Duet; Johnny O’Neal Trio; Spike Wilner Jam The Garage 7, 10:30 pm Smalls 7:30, 9:30, 11:30 pm $20 • Chris Botti Blue Note 8, 10:30 pm $65 • Momenta Quartet and Ensemble FIRE; Matthias Müller Trio • Elise Wood Duo Shrine 6 pm The Stone 8, 10 pm $10 êMinerva: Carlo Costa, Pascal Niggenkemper, JP Schlegelmilch; Steve Swell Band with Wednesday, December 19 Rob Brown, Chris Forbes, Hill Greene, Michael TA Thompson The Firehouse Space 8, 9 pm $10 • L’Image: Mike Mainieri, Warren Bernhardt, David Spinozza, Tony Levin, Steve Gadd • Andrea Wood Iridium 8, 10 pm $25 Iridium 8, 10 pm $35 • Reggie Young/Camille Gainer Explorations; Uri Gurvich Group with Asen Doykin, êMichaël Attias’ Spun Tree with Ralph Alessi, Matt Mitchell, Sean Conly, Tom Rainey Peter Slavov, Eric Doob; Daniel Ori Quintet with Jean Caze, Oz Noy, Glenn Zaleski, Cornelia Street Café 8:30 pm $10 Ross Pederson ShapeShifter Lab 8 pm $10 êDan Weiss Trio with Jacob Sacks, Thomas Morgan • Alex Kautz with Helio Alves, Mike Moreno, Hans Glawischnig, Magos Herrera Barbès 8 pm $10 Cornelia Street Café 8:30 pm $10 • Marcus Miller; Wallace Roney Zinc Bar 8, 9:30, 11:30 pm 1 am • Mike Rood Trio with Rick Rosato, Colin Stranahan • George Schuller’s Circle Wide with , Brad Shepik, Tom Beckham, Bar Next Door 8, 10 pm $12 Dave Ambrosio; Instant Strangers: Tim Berne, Mary Halvorson, Stephan Crump, • Out of Your Head: Jake Henry, Brad Henkel, Darius C. Jones, Matt Plummer; Tomas Fujiwara Shapeshifter Lab 8:30, 9:30 pm $15 Nathaniel Morgan, Ed Rosenberg, Dave Miller, Adam Hopkins, Martin Urbach • John Coltrane Festival: Bruce Harris Sextet with Jerry Weldon, Julius Tolentino, The Backroom 9:30, 11 pm Jeb Patton, David Wong, Pete van Nostrand • Linda Presgrave Quartet with Stan Chovnick, Fred Weidenhammer, Seiji Ochiai; Smoke 7, 9, 10:30 pm Hyuna Park Quintet with David Bertrand, Amadis Dunkel, Joseph Han, Spiro Sinigos; • Oded Tzur Quartet with Shai Maestro, Petros Klampanis, Ziv Ravitz; Damon Banks’ Ehud Ettun Quartet with Tal Gur, Kevin Harris, Jorge Perez Albela Travelguides with The Stone 8, 10 pm $10 Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Beat Kaestli with Ben Stivers, Matt Wigton, Fred Kennedy and guest Kenny Rampton • Joe Alterman Eats Restaurant 7:30 pm Jazz at Kitano 8, 10 pm $10 êKenny Barron/Dave Holland Duo Jazz Standard 7:30, 9:30 pm $30 • Randy Johnston Trio; Noah Jackson êMedeski Martin & Wood with guest Nels Cline Smalls 9:30 pm 12 am $20 Blue Note 8, 10:30 pm $40 • Curtis Macdonald Trio with Chris Tordini, Adam Jackson; Steve Gorn/Eric Fraser êKenny Garrett Quintet with Benito Gonzalez, Corcoran Holt, McClenty Hunter, Seeds 8:30 pm Rudy Bird Dizzy’s Club 7:30, 9:30 pm $30 • Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber êChristian McBride Trio with Christian Sands, Ulysses Owens 55Bar 7, 8:15 pm Village Vanguard 9, 11 pm $25 • The New York Bakery Connection: Antonello Parisi, Joseph Han, Luiz Ebert • George Schuller Circle Wide with Brad Shepik, Peter Apfelbaum; Lisa Mezzacappa, Somethin’ Jazz Club 9 pm $10 Matt Nelson, Jonathan Goldberger Downtown Music Gallery 6 pm • Bobby Porcelli Quartet; John Raymond Quartet • Sean Smith Trio with John Ellis, Russell Meissner The Garage 6, 10:30 pm 55Bar 6 pm • Teriver Cheung Shrine 7 pm • Andy Ezrin Trio Saint Peter’s 5 pm êMatt Wilson’s Christmas Tree ‘O with Jeff Lederer, Paul Sikivie and guest Bill Frisell • Donn Trenner/Shaynee Rainbolt Metropolitan Room 4 pm $20 Jazz Standard 7:30, 9:30 pm $25 • Akiko Tsuruga with Jerry Weldon, Joe Magnarelli, Bob DeVos, Rudy Petschauer êChristian McBride and Inside Straight with Steve Wilson, Warren Wolf, Peter Martin, Blue Note 12:30, 2:30 pm $29.50 Carl Allen Village Vanguard 9, 11 pm $25 • Roz Corral Trio with Paul Meyers North Square Lounge 12:30, 2 pm êFreddy Cole Birdland 8:30, 11 pm $30-40 • Iris Ornig Quartet; David Coss Quartet; Jacob Deaton Trio • Jazz Samba Christmas: Duduka Da Fonseca, Helio Alves, Maucha Adnet, Anat Cohen, The Garage 11:30 am 7, 11:30 pm Romero Lubambo, Hans Glawischnig Dizzy’s Club 7:30, 9:30 pm $30

42 December 2012 | THE NEW YORK CITY JAZZ RECORD Friday, December 21 • The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew • Mihoko Trio Plus One with Waldron Ricks, Larry Roland, Vince Ector; BB King’s Blues Bar 12 pm $25 Sam Mortellaro Trio with Peter Yuskauskas, Dan Kleffmann êLa Natividad en Jazz: Steve Turre, Ray Vega, Max Pollak, Brenda Feliciano, • Roz Corral Trio with Freddie Bryant, Paul Gill Somethin’ Jazz Club 7, 9 pm $10-15 Claudia Acuña, Mauricio Trejo, Jorge Ocasio, David DeJesus, Daniel Rodriguez, North Square Lounge 12:30, 2 pm • Mark Marino Trio; Joey Morant Trio Franshees Richardo, Candido, Chembo Corniel, Bobby Sanabria, Enrique Sanchez, • Evan Schwam Quartet; David Coss Quartet; Joel Perry Trio The Garage 6:15, 10:45 pm Alex Brown, Shadia Almasri, Elise Hernandez, Bert Dovo, Edwin David Vargas, The Garage 11:30 am 7, 11:30 pm êJimmy Cobb and The ‘Kind of Blue’ Band with Jeremy Pelt, Vincent Herring, Michael Mossman, Jon Gordon, Bob Kindred, , Adam Asarnow, Javon Jackson, Larry Willis, Buster Williams Dean Johnson, Tim Horner BB King’s Blues Bar 7:30 pm $35-70 Monday, December 24 Jazz Standard 7:30, 9:30, 11:30 pm $30 êMarion Cowings; Sam Newsome Group • Mike Stern Band with Randy Brecker, Anthony Jackson, Dave Weckl Smalls 7:30, 10:30 pm $20 êJohn Coltrane Festival: Black Pearls with Harold Mabern Quartet with Iridium 8, 10 pm $40 êThe Respect Sextet - Respect In Yule Eric Alexander Smoke 7, 9, 10:30 pm êJohn Coltrane Festival: In Chicago - Cannonball & Coltrane: Steve Wilson, Joe’s Pub 7:30 pm $15 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Eric Alexander, Harold Mabern, Joe Farnsworth • Lonnie Youngblood Jazz 966 8 pm $20 • The Magic Trio: Chris McNulty, Paul Bollenback, Ugonna Okegwo Smoke 8, 10, 11:30 pm $35 • Adam Kolker with John Hébert, Billy Hart Bar Next Door 8:30, 10:30 pm $12 • Birdland Big Band directed by Tommy Igoe Cornelia Street Café 9, 10:30 pm • Carol Sudhalter with Martha J., Francesco Chebat, Lorenzo Sandi Birdland 8:30, 11 pm $30-40 • John Coltrane Festival: Javon Jackson Quartet with Joel Holmes, Corcoran Holt, Metropolitan Room 7 pm $20 êWynton Marsalis: The Louis Armstrong Continuum – Music of the Hot Five’s McClenty Hunter Smoke 8, 10, 11:30 pm $35 • Chris Botti Blue Note 8, 10:30 pm $65 and Seven’s Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • New York Voices: Kim Nazarian, Lauren Kinhan, Darmon Meader, Peter Eldridge • Tomoyasu Ikuta; Duke Bantu X Shrine 6, 8 pm êCedar Walton Trio with David Williams, Willie Jones III Jazz Standard 7:30, 9:30, 11:30 pm $30 • Alex Hoffman Quartet The Garage 5:30 pm Village Vanguard 9, 11 pm $25 • Aaron Diehl Jazz at Kitano 8, 10 pm $25 • Chris Botti Blue Note 8, 10:30 pm $65 • Schubert Uncorked: David Taylor/William; Alan Chan’s Winter News Project with Tuesday, December 25 • Rakiem Walker Project Shrine 6 pm Brittany Aujou, Gregory Chudzik, Joe Hertenstein, Sean Sonderegger, Kristin Page Stuart, Harvey Valdes The Stone 8, 10 pm $10 • Spike Wilner solo; Eli Digibri Group; Frank Lacy, Theo Hill, Josh Evans • Barry Greene Trio with Marco Panascia, Adam Nussbaum Smalls 7:30, 9:30 pm 12 am $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 êJohn Coltrane Festival: Louis Hayes Black Pearls with Harold Mabern Quartet with • Marianne Solivan Metropolitan Room 9:30 pm $20 Eric Alexander Smoke 7, 9, 10:30 pm • Justin Purtill Eats Restaurant 7:30 pm êCedar Walton Trio with David Williams, Willie Jones III • Jun Miyake Quartet Cleopatra’s Needle 8 pm Village Vanguard 9, 11 pm $25 • jazzXpression: Debbie Goodrige Quinn, Tom Caldin, Robert Mwamba, Sergio Pereira, • Chris Botti Blue Note 8, 10:30 pm $65 Olivier Rambeloson, Bruno Razafindrakoto, Derrick Mbatha; Mind Open: • Cecilia Coleman Trio; Evan Schwam Quartet Andrew Ahr, Chris Covais, Dave Pellegrino, Hugo Lopez; Gianni Gagliardi Nomadic The Garage 1:30, 6 pm Nature Project Somethin’ Jazz Club 7, 9, 11 pm $5-10 • Tom Tallitsch Quartet; Kevin Dorn and the BIG 72 Wednesday, December 26 The Garage 6:15, 10:45 pm • L’Image: Mike Mainieri, Warren Bernhardt, David Spinozza, Tony Levin, Steve Gadd êWynton Marsalis: The Louis Armstrong Continuum – Music of the Hot Five’s Iridium 8, 10 pm $35 and Seven’s Dizzy’s Club 7:30, 9:30 pm $30 êChristian McBride and Inside Straight with Steve Wilson, Warren Wolf, Peter Martin, êLas Rositas: Chris Speed, Brandon Seabrook, Trevor Dunn, Oscar Noriega BROOKYLN JAZZ UNDERGROUND Carl Allen Village Vanguard 9, 11 pm $25 Barbès 8 pm $10 (David Smith, Adam Kolker, Tammy Scheffer, êFreddy Cole Birdland 8:30, 11 pm $30-40 • Chris Bergson Band with Jay Collins, Kenny Rampton, Chris Karlic, Craig Dreyer, David Cook, Rob Garcia, Owen Howard) • Jazz Samba Christmas: Duduka Da Fonseca, Helio Alves, Maucha Adnet, Anat Cohen, Matt Clohesy, Tony Leone Jazz Standard 7:30, 9:30 pm $20 meets Romero Lubambo, Hans Glawischnig • Birdland Big Band directed by Tommy Igoe Dizzy’s Club 7:30, 9:30, 11:30 pm $35 Birdland 8:30, 11 pm $30-40 QUEENS JAZZ OVERGROUND • Tony Lustig Quintet Dizzy’s Club 12:45 am $20 • Alex Minasian Trio with Dwayne “Cook” Broadnax (Josh Deutsch, Amanda Monaco, • Chris Botti Blue Note 8, 10:30 pm $65 Jazz at Kitano 8, 10 pm $10 Mark Wade, Brian Woodruff) • Phill Niblock Winter Solstice Concert • JC Hopkins Biggish Band Iridium 8, 10 pm $25 Roulette 6 pm $15 • Eli Digibri Group Smalls 9:30 pm $20 • A Charlie Brown Christmas: John Lander Trio • Carol Sudhalter with Martha J., Francesco Chebat, Lorenzo Sandi SHAPESHIFTER LAB Caffe Vivaldi 6 pm Metropolitan Room 7 pm $20 DECEMBER 17TH - 7 PM $10 • Rakiem Walker Project Shrine 6 pm • Josh Lawrence Quartet; Paul Francis Trio 18 WHITWELL PLACE, BROOKLYN The Garage 6, 10:30 pm Saturday, December 22 êJohn Coltrane Festival: Louis Hayes Black Pearls with Harold Mabern Quartet with Eric Alexander Smoke 7, 9, 10:30 pm brooklynjazz.org - queensjazz.org êMark Helias’ Open Loose with Tony Malaby, Tom Rainey êCedar Walton Trio with David Williams, Willie Jones III Cornelia Street Café 9, 10:30 pm $15 Village Vanguard 9, 11 pm $25 • Jin Hi Kim’s KNOT with David Wallace, Richard Carrick, James Ilgenfritz; • Chris Botti Blue Note 8, 10:30 pm $65 Sarah Weaver”s Cycles of Awakening with Robert Dick, Jane Ira Bloom, , Min Xiao-Fen, , Miya Masaoka, Ursel Schlicht Thursday, December 27 The Stone 8, 10 pm $10 • Eric Vloeimans, Kinan Azmeh, Florian Weber; Loren Stillman and Bad Touch with êJimmy Cobb and The ‘Kind of Blue’ Band with Jeremy Pelt, Vincent Herring, Nate Radley, Gary Versace, Ted Poor; Javon Jackson, Larry Willis, Buster Williams ShapeShifter Lab 7:30, 9, 10 pm $10 Jazz Standard 7:30, 9:30 pm $30 • Ronny Whyte Trio Jazz at Kitano 8, 10 pm $25 • Mike Stern Band with Randy Brecker, Anthony Jackson, Dave Weckl • Gilad Hekselman Trio with Joe Martin, Justin Brown Iridium 8, 10 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12 êJohn Coltrane Festival: In Chicago - Cannonball & Coltrane: Steve Wilson, • Joonsam Lee Trio Cleopatra’s Needle 8 pm Eric Alexander, Harold Mabern, Joe Farnsworth • Emilie Weibel; Ralph Lalama; Tomoyasu Ikuta Group with Atsushi Ouchi, Hyuna Park Smoke 8, 10, 11:30 pm $35 Somethin’ Jazz Club 5, 7, 9 pm $10 • Ehud Asherie Trio; Yotam Silberstein Quartet; Bruce Harris/Alex Hoffman Group • Dwayne Clemons; Pete Brainin and Native Soul; Sam Newsome Group Smalls 7:30, 9:30 pm 12 am $20 Smalls 4, 7:30, 10:30 pm $20 êFay Victor with Anders Nilsson, Ratzo Harris, Jason Nazary • John Coltrane Festival: Javon Jackson Quartet with Joel Holmes, Corcoran Holt, 55Bar 7 pm McClenty Hunter Smoke 8, 10, 11:30 pm $35 • Du Yun Quartet with Zhou Yi, Gareth Flowers, Theo Metz; Trio Tritticali: Helen Yee, • New York Voices: Kim Nazarian, Lauren Kinhan, Darmon Meader, Peter Eldridge Leanne Darling, Loren Kiyoshi Dempster Jazz Standard 7:30, 9:30, 11:30 pm $30 The Stone 8, 10 pm $10 • Justin Purtill Eats Restaurant 7:30 pm êLage Lund Trio with Orlando Le Fleming, Johnathan Blake • L’Image: Mike Mainieri, Warren Bernhardt, David Spinozza, Tony Levin, Steve Gadd Bar Next Door 8:30, 10:30 pm $12 Iridium 8, 10 pm $35 êMikarimba Jazz at Kitano 8, 10 pm $10 êChristian McBride and Inside Straight with Steve Wilson, Warren Wolf, Peter Martin, • Petros Klampanis’ Contextual with Gilad Hekselman, Jean-Michel Pilc, John Hadfield, Carl Allen Village Vanguard 9, 11 pm $25 Maria Im, Maria Manousaki, Ljova Zhurbin, Julia MacLaine êFreddy Cole Birdland 8:30, 11 pm $30-40 Cornelia Street Café 8:30 pm $10 • Jazz Samba Christmas: Duduka Da Fonseca, Helio Alves, Maucha Adnet, Anat Cohen, • Yaron Gershovsky Trio with David Finck, Buddy Williams Romero Lubambo, Hans Glawischnig Metropolitan Room 9:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $35 • Michika Fukumori Trio Cleopatra’s Needle 7 pm • Chris Botti Blue Note 8, 10:30 pm $65 • The Verge: Jon Hanser, Kenny Shanker, Brian Fishler, Danny Conga; • Roz Corral Quartet with John Hart, Boris Kozlov, Eric Halvorson Carol Sudhalter, Martha J., Francesco Chebat, Saadi Zain, Doug Richardson 55Bar 6 pm Somethin’ Jazz Club 7, 9 pm $10 • Brown Girl Blue Jazzage; Russel Brown and his G-Slinger Band • Champian Fulton Trio; Stan Killian Quartet Metropolitan Room 4, 11:30 pm $20 The Garage 6, 10:30 pm • Rob Edwards Quartet; Michika Fukumori; Jason Prover Quartet • Birdland Big Band directed by Tommy Igoe The Garage 12, 6:15, 10:45 pm Birdland 8:30, 11 pm $30-40 êWynton Marsalis: The Louis Armstrong Continuum – Music of the Hot Five’s Sunday, December 23 and Seven’s Dizzy’s Club 7:30, 9:30 pm $30 êCedar Walton Trio with David Williams, Willie Jones III • Terry Waldo Duo; Johnny O’Neal Trio; Grant Stewart Quartet Village Vanguard 9, 11 pm $25 Smalls 7:30, 9:30, 11:30 pm $20 • Chris Botti Blue Note 8, 10:30 pm $65 • Mimi Jong’s AppalAsia with Jeff Berman, Susan Powers; Le Zhang Quintet with Sebastien Ammann, Russ Flynn, Max Jaffe, Jacob Teichroew Friday, December 28 The Stone 8, 10 pm $10 • Carol Sudhalter with Martha J., Francesco Chebat, Lorenzo Sandi êPete LaRoca Sims Celebration Saint Peter’s 7 pm Metropolitan Room 7 pm $20 êHeavy Metal Duo: Bob Stewart/Ray Anderson • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Cornelia Street Café 9, 10:30 pm $15 • Samantha Carlson Jazz’tet with George Cotten, Steve Kaiser êTardo Hammer Trio; Mike DiRubbo Quartet with Brian Charette Somethin’ Jazz Club 7 pm $10 Smalls 7:30, 10:30 pm $20 • John Coltrane Festival: Javon Jackson Quartet with Joel Holmes, Corcoran Holt, • Marlene VerPlanck Quartet with Tedd Firth McClenty Hunter Smoke 8, 10, 11:30 pm $35 Jazz at Kitano 8, 10 pm $25 • New York Voices: Kim Nazarian, Lauren Kinhan, Darmon Meader, Peter Eldridge • Shoko Nagai/Satoshi Takeishi; Howie Kenty with Adrianna Mateo, Joe Fee, Jazz Standard 7:30, 9:30 pm $30 Vasudevan Panicker, Elzbieta Polak, Fred Trumpy • Justin Purtill Eats Restaurant 7:30 pm The Stone 8, 10 pm $10 êChristian McBride and Inside Straight with Steve Wilson, Warren Wolf, Peter Martin, • Grupo Los Santos: Paul Carlon, David Ambrosio, Pete Smith, William Bausch, Carl Allen Village Vanguard 9, 11 pm $25 Max Pollak and guest Kaori Fuji ShapeShifter Lab 8, 10 pm $10 • Jazz Samba Christmas: Duduka Da Fonseca, Helio Alves, Maucha Adnet, Anat Cohen, êUnderground Horns Nublu 11:45 pm Romero Lubambo, Hans Glawischnig • Paul Bollenback Trio with Joseph Lepore, Roberto Gatto Dizzy’s Club 7:30, 9:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Chris Botti Blue Note 8, 10:30 pm $65 • Mike Moreno Eats Restaurant 7:30 pm • Alex Brown Band Saint Peter’s 5 pm • Sa Ron Crenshaw Quartet Jazz 966 8 pm $20 • Marlene VerPlanck Blue Note 12:30, 2:30 pm $29.50 • Masami Ishikawa Quartet Cleopatra’s Needle 8 pm

THE NEW YORK CITY JAZZ RECORD | December 2012 43 Saturday, December 29 êJohn Zorn End of the Year Improv Festival with guests REGULAR ENGAGEMENTS The Stone 8, 10 pm $20 MONDAYS êDavid Tronzo Trio with Stomu Takeshi, Ben Perowsky; Spanish Fly: Steven Bernstein, êJohn Coltrane Festival: Blue Train: Steve Turre, Eric Alexander, Harold Mabern, • Tom Abbott Big Bang Big Band Swing 46 8:30 pm , Marcus Rojas and guest Joe Farnsworth Smoke 8, 10, 11:30 pm $35 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am ShapeShifter Lab 8 pm $10 • Mike Moreno Eats Restaurant 7:30 pm • /Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 êJohn Zorn End of the Year Improv Festival with guests êJimmy Cobb and The ‘Kind of Blue’ Band with Jeremy Pelt, Vincent Herring, • SMOKE or Captain Black Big Band; John Farnsworth Smoke 7, 9, 10:30 pm Javon Jackson, Larry Willis, Buster Williams • Tribute with Dan Barman The Counting Room 8 pm The Stone 8, 10 pm $20 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm êCyro Baptista’s Beat The Donkey with guests Jennifer Hartswick, Natalie Cressman and Jazz Standard 7:30, 9:30 pm $30 • Mike Stern Band with Randy Brecker, Anthony Jackson, Dave Weckl • Pete Davenport/ Jam Session Frank’s Cocktail Lounge 9 pm James Casey Le Poisson Rouge 11:15 pm $20 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) êJohn Coltrane Festival: Blue Train: Steve Turre, Eric Alexander, Harold Mabern, Iridium 8, 10 pm $40 • Joel Forrester solo Brandy Library 8 pm Joe Farnsworth Smoke 8, 10, 11:30 pm $35 • Birdland Big Band directed by Tommy Igoe • Gato Loco ZirZamin 10 pm êEri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi Birdland 8:30, 11 pm $30-40 • George Gee Swing Orchestra Gospel Uptown 8 pm Klavierhaus 7:30 pm êWynton Marsalis: The Louis Armstrong Continuum – Music of the Hot Five’s • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) • Kaleidoscope Trio: Freddie Bryant, Patrice Blanchard, Willard Dyson and Seven’s Dizzy’s Club 7:30, 9:30 pm $30 • Grove Street Stompers Arthur’s Tavern 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 êCedar Walton Trio with David Williams, Willie Jones III • JFA Jazz Jam Local 802 7 pm • Scot Albertson Trio with Christos Rafalides, Sean Conly; Scot Albertson Trio with Village Vanguard 9, 11 pm $25 • Roger Lent Trio Jam Cleopatra’s Needle 8 pm • Chris Botti Blue Note 8, 10:30 pm $65 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 Mayu Saeki, Ron Jackson Jazz at Kitano 8, 10 pm $25 • Iris Ornig Jam Session The Kitano 8 pm • Dave Kain Quartet with , Thomson Kneeland, Joe Abba • Glenn White Quintet Saint Peter’s 5 pm Antoinette Silicato Metropolitan Room 4 pm $20 • Trio with guests Iridium 8, 10 pm $35 I-Beam 8:30 pm $10 • • Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm • William Spaulding Quartet Cleopatra’s Needle 8 pm • Sony Holland Blue Note 12:30, 2:30 pm $29.50 • Stan Rubin All-Stars Charley O’s 8:30 pm • Zach Resnick Quintet with Mitch Guido, Gianni Bianchini, Ross Kratter, • The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 Steve Picataggio; Yuko Kimura/Sebastien Ammann; Steve Kaiser Quartet with BB King’s Blues Bar 12 pm $25 • Rakiem Walker Project Red Rooster 7:30 pm Kevin Golden, George Cotten, Matt Garrity • Nicole Pasternak Trio with Gene Bertoncini, Sean Smith • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Somethin’ Jazz Club 5, 7, 9 pm $10 North Square Lounge 12:30, 2 pm TUESDAYS êHeavy Metal Duo: Bob Stewart/Ray Anderson • Mayu Saeki Trio; David Coss Quartet; Tsutomu Naki Trio • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) Cornelia Street Café 9, 10:30 pm $15 The Garage 11:30 am 7, 11:30 pm • Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI) • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Dwayne Clemons; Chris Byars Octet; Mike DiRubbo Quartet with Brian Charette • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) Smalls 4, 7:30, 10:30 pm $20 New Year’s Eve 2012 • George Gee Swing Orchestra Swing 46 8:30 pm • Mike Moreno Eats Restaurant 7:30 pm êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) êJimmy Cobb and The ‘Kind of Blue’ Band with Jeremy Pelt, Vincent Herring, • Art Hirahara Trio Arturo’s 8 pm Javon Jackson, Larry Willis, Buster Williams Village Vanguard 9:30, 11:30 pm $150 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 êMingus Big Band: , Tatum Greenblatt, Philip Harper, , • Sandy Jordan and Larry Luger Trio Notaro 8 pm • Mike Stern Band with Randy Brecker, Anthony Jackson, Dave Weckl Abraham Burton, Alex Foster, Scott Robinson, Lauren Sevian, Ku-umba Frank Lacy, • Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm Iridium 8, 10 pm $40 , Dave Taylor, Helen Sung, Boris Kozlov, Donald Edwards • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm • Birdland Big Band directed by Tommy Igoe Jazz Standard 7:30, 10:30 pm $125-195 • Iris Ornig Quartet Crooked Knife 7 pm Birdland 8:30, 11 pm $30-40 • Ring In The Swing: Harlem Renaissance Orchestra • Annie Ross The Metropolitan Room 9:30 pm $25 ê Allen Room 10 pm $325 • Robert Rucker Trio Jam Cleopatra’s Needle 8 pm Wynton Marsalis: The Louis Armstrong Continuum – Music of the Hot Five’s • Slavic Soul Party Barbès 9 pm $10 and Seven’s Dizzy’s Club 7:30, 9:30, 11:30 pm $35 êJohn Coltrane Festival: Harold Mabern/Eric Alexander Quartet with guest Vivian Sessoms Smoke 6:30, 9:45 pm $112-289 • Ed Vodicka Trio with guests Pier 9 8 pm (ALSO WED-THU; FRI-SAT 9 PM) êCedar Walton Trio with David Williams, Willie Jones III WEDNESDAYS Village Vanguard 9, 11 pm $25 êRalph Peterson Zinc Bar 11 pm Joe Locke Quartet; Nilson Matta’s Brazilian Voyage Band • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • Chris Botti Blue Note 8, 10:30 pm $65 • • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Marsha Heydt Quartet; Alex Layne Trio Jazz at Kitano 9 pm $95 • Roxy Coss Smoke 11:30 pm The Garage 12, 6:15 pm • Lennie Cuje Group Smalls 8 pm $20 • Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm • Nick Moran Trio Bar Next Door 7, 10 pm $70 • Walter Fischbacher Trio Water Street Restaurant 8 pm Sunday, December 30 • Ryan Hayden Quintet with Stacy Dillard, Marianne Solivan • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm Oceana Restaurant 9 pm • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm êTom Rainey Trio with Ingrid Laubrock, Mary Halvorson • David Coss Quintet The Garage 7 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Cornelia Street Café 9, 10:30 pm $15 • Mike Stern Band with Randy Brecker, Anthony Jackson, Dave Weckl • Guillaume Laurent Trio Bar Tabac 7 pm Iridium 7, 10:30 pm $50-175 • Jake K. Leckie Trio Kif Bistro 8 pm êSam Newsome solo; Masahiko Kono, Stan Nishimura, Michael Evans • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) ABC No-Rio 7 pm $5 • Birdland Big Band directed by Tommy Igoe Birdland 8, 11 pm $50-100 • Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm • Lezlie Harrison; Johnny O’Neal Trio; Joe Magnarelli Quartet • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) Smalls 7:30, 9:30, 11:30 pm $20 êWynton Marsalis: The Louis Armstrong Continuum – Music of the Hot Five’s • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 and Seven’s Dizzy’s Club 7:30, 9:30 pm $30 • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) • Chris Botti Blue Note 7, 10 pm $75-150 • Alex Obert’s Hollow Bones Via Della Pace 10 pm • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Stan Rubin Orchestra Swing 46 8:30 pm USED • David Schnug Papa’s Gino’s Restaurant 8:30 pm • Alex Terrier Trio Antibes Bistro 7:30 pm • Justin Wert/Corcoran Holt Benoit 7 pm NEW • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm • Bill Wurtzel Duo Velour Lounge 6:30 pm THURSDAYS • Rahn Burton 449 Lounge 1 pm (ALSO SAT) • Jason Campbell Trio Perk’s 8 pm • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Jazz Open Mic Perk’s 8 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm • Michael Mwenso and Friends Dizzy’s Club 11 pm (ALSO SAT 11:30 pm) • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) FRIDAYS • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Deep Pedestrian Sintir 8 pm • Charles Downs’ Centipede The Complete Music Studio 7 pm 236 West 26 Street, Room 804 • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm New York, NY 10001 • Patience Higgins & The Sugar Hill Quartet Smoke 11:30 pm • Kengo Nakamura Trio Club A Steakhouse 11 pm • Brian Newman Quartet Duane Park 10:30 pm • Frank Owens Open Mic The Local 802 6 pm Monday-Saturday, 10:00-6:00 • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) • Bill Saxton and Friends Bill’s Place 9, 11 pm $15 Tel: 212-675-4480 SATURDAYS • Cyrille Aimee The Cupping Room 8:30 pm Fax: 212-675-4504 • Candy Shop Boys Duane Park 8, 10:30 pm • Jesse Elder/Greg RuggieroRothmann’s 6 pm • Joel Forrester solo Indian Road Café 11 am • Guillaume Laurent/Luke Franco Casaville 1 pm Email: [email protected] • Johnny O’Neal Smoke 12:30 am Web: jazzrecordcenter.com • Skye Jazz Trio Jack 8:30 pm • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) • Michelle Walker/Nick Russo Anyway Café 9 pm • Bill Wurtzel Duo Henry’s 12 pm LP’s, CD, Videos (DVD/VHS), SUNDAYS Books, Magazines, Posters, • Birdland Birdland 6 pm $25 • Bill Cantrall Trio Crescent and Vine 8 pm Postcards, T-shirts, • Barbara Carroll 54Below 1 pm $30-40 • Marc Devine Trio TGIFriday’s 6 pm Calendars, Ephemera • JaRon Eames/Emme Kemp Eats 6 pm • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm Buy, Sell, Trade • Gene Ess Jam Session ShapeShifter Lab 3 pm $3 • Sean Fitzpatrick and Friends Ra Café 1 pm • Joel Forrester solo Grace Gospel Church 11 am • Nancy Goudinaki’s Trio Kellari Taverna 12 pm Collections bought • Enrico Granafei solo Sora Lella 7 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm and/or appraised • Annette St. John; Allan Harris; Cynthia Soriano Smoke 11:30 am, 7, 11:30 pm • Bob Kindred Group Café Loup 12:30 pm • Nate Lucas All Stars Ginny’s Supper Club 7 pm Also carrying specialist labels • Alexander McCabe Trio CJ Cullens Tavern 5 pm • Junior Mance Trio Café Loup 6:30 pm e.g. Fresh Sound, Criss Cross, • Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 • Lu Reid Jam Session Shrine 4 pm Ayler, Silkheart, AUM Fidelity, • Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm Nagel Heyer, Eremite, Venus, • Secret Architecture Caffe Vivaldi 9:45 pm Clean Feed, Enja and many more • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm • Cidinho Teixeira Zinc Bar 10, 11:30 1 am • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm • Brian Woodruff Jam Blackbird’s 9 pm

44 December 2012 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 109 Gallery 109 Broadway Subway: 4, 5 to Wall Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Nathan Bugh Diana Center at Barnard College 3009 Broadway • 449 Lounge 449 Lenox Avenue Subway: 2, 3 to 135th Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org (212-854-5262) Subway: 1 to 116th Street www.barnard.edu • 54 Below 254 W. 54th Street (646-476-3551) Subway: N, Q, R to 57th • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • New School Arnhold Hall 55 West 13th Street Street; B, D, E to Seventh Avenue www.54below.com • Douglass Street Music Collective 295 Douglass Street (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • 55Bar 55 Christopher Street (212-929-9883) Subway: R to Union Street www.295douglass.org • Noella Brew Bar 72 Seventh Avenue, Brooklyn Subway: 1 to Christopher Street www.55bar.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) (718-636-0424) Subway: B, Q to Seventh Avenue www.noellabrewbar.com • 92YTribeca 200 Hudson Street Subway: F to East Broadway www.downtownmusicgallery.com • Night of the Cookers 767 Fulton Street, Brooklyn (212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org • The Drawing Room 70 Willoughby Street Subway: A, C to High Street (718-797-1197) Subway: C to Lafayette Avenue • Aaron Davis Hall 133rd Street and Convent Avenue (212-650-7100) • Drom 85 Avenue A (212-777-1157) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1 to 137th Street/City College www.aarondavishall.org Subway: F to Second Avenue www.dromnyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • ABC No-Rio 156 (212-254-3697) • Duane Park 157 Duane Street (212-732-5555) • North Square Lounge 103 Waverly Place (212-254-1200) Subway: J,M,Z to www.abcnorio.org Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com Subway: A, B, C, E, F to West 4th Street www.northsquarejazz.com • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: C, E to Spring Street www.earinn.com Subway: 6 to 33rd Street • Alwan for the Arts 16 Beaver Street, 4th floor • Eats Restaurant 1055 Lexington Avenue • Nublu 62 Avenue C between 4th and 5th Streets (646-732-3261) Subway: 4, 5 to Bowling Green www.alwanforthearts.org (212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com (212-979-9925) Subway: F, M to Second Avenue www.nublu.net • American Folk Art Museum 45 W 53rd Street (212-265-1040) • El Taller LatinoAmericano 2710 Broadway (at 104th Street - 3rd floor) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C Subway: E to 53rd Street www.folkartmuseum.org (212-665-9460) Subway: 1 to 103rd Street (212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org • An Beal Bocht Café 445 W. 238th Street • Exapno 33 Flatbush Avenue Subway: 2, 3, 4, 5 to Nevins Street • Oceana Restaurant 120 W. 49th Street (212-759-5941) Subway: 1 to 238th Street www.anbealbochtcafe.com • Eyebeam Art+Technology Center 540 W. 21st Street Subway: B, D, F, M to 47-50 Streets - Rockefeller Center • Angel Orsensanz Center for the Arts 172 Norfolk Street (between Houston (212-937-6580) Subway: C, E to 23rd Street www.eyebeam.org www.oceanarestaurant.com & Stanton) Subway: F, V to Second Avenue, J, M, Z to Delancey • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • Antibes Bistro 112 Suffolk Street (212-533-6088) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org 160th Streets (212-781-6595) Subway: C to 155th Street Subway: J, Z to www.antibesbistro.com • Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) www.parlorentertainment.com • Anyway Café 34 E. 2nd Street (212-533-3412) Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com • Paul Hall 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street Subway: F to Second Avenue • The Firehouse Space 246 Frost Street www.juilliard.edu • Apollo Theater & Music Café 253 W. 125th Street (212-531-5305) Subway: L to Graham Avenue www.thefirehousespace.org • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Ardesia Wine Bar 510 W. 52nd Street (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Rockwood Music Hall 196 (212-477-4155) (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com • For My Sweet Restaurant 1103 Fulton Street at Claver Place Subway: F, M to Second Avenue www.rockwoodmusichall.com • Arthur’s Tavern 57 Grove Street (212-675-6879) (718-857-1427) Subway: C to Franklin Avenue • Roger Smith Hotel 501 Lexington Avenue at 47th Street (212-755-1400) Subway: 1 to Christopher Street www.arthurstavernnyc.com • Fordham University Butler Commons Subway: D to Fordham Road Subway: 4, 5, 6 to 42nd Street/Grand Central • Arturo’s 106 W. (at Thompson Street) • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (718-625-9339) Subway: G to Fulton Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue • The Garage 99 Seventh Avenue South (212-645-0600) • Roulette 509 Atlantic Avenue (212-319-5300) Subway: 6 to 51st Street www.acfny.org Subway: 1 to Christopher Street www.garagerest.com (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue • Garden Café 4961 Broadway at 207 Street • Rubin Museum 150 W. 17th Street (212-620-5000) • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) (212-544-9480) Subway: A to 207th Street-Inwood Subway: A, C, E to 14th Street www.rmanyc.org Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • Rue B 188 Avenue B (212-358-1700) Subway: L to First Avenue • Baruch College PAC 17 Lexington Avenue at 23rd Street (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street (646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Bflat 277 Church Street (between Franklin and White Streets) Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com • Sapphire NYC 333 E. 60th Street (212-421-3600) Subway: 1, 2 to Franklin Streets • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com • The Backroom 627 5th Avenue (718-768-0131) (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com • Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza Subway: D, N, R to Prospect Avenue www.freddysbar.com • Grace Gospel Church 589 E. 164th Street www.seedsbrooklyn.org • Bar 4 15th Street and 7th Avenue (718-832-9800) Subway: F to 7th Avenue, (718-328-0166) Subway: 2, 5 to Prospect Avenue • ShapeShifter Lab 18 Whitwell Place N, M, R, D to Prospect Avenue www.bar4brooklyn.com • Greenwich House Music School 46 Barrow Street (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Bar Next Door 129 MacDougal Street (212-529-5945) (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Grotto 100 (212-625-3444) Subway: B, D to Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • The Bar on Fifth 400 Fifth Avenue (212-695-4005) Subway: 6 to 33rd Street www.grotto-nyc.com • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) www.capellahotels.com/newyork/bar-on-fifth-en.html • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org • Sintir 424 E. 9th Street between Avenue A and First Avenue Subway: F to 7th Avenue www.barbesbrooklyn.com • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street (212-477-4333) Subway: 6 to • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street • I-Beam 168 7th Street between Second and Third Avenues • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Benoit 60 W. 55th Street Subway: F to 4th Avenue www.ibeambrooklyn.com (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: F to 57th Street, N, Q, R,W to 57th Street • Indian Road Café 600 W. 218th Street @ Indian Road • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com (212-281-0777) Subway: 2, 3 to 125th Street • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling • Smoke 2751 Broadway between 105th and 106th Streets • Birdland 315 W. 44th Street (212-581-3080) Subway: 5 to Sterling Street www.plgarts.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street • Blackbird’s 41-19 30th Avenue (718-943-6898) Subway: 1,2 to 50th Street www.theiridium.com • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: R to Steinway Street www.blackbirdsbar.com • Issue Project Room 22 Boerum Place Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall; A, C, F, N, R to Jay Street www.somethinjazz.com/ny Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com www.issueprojectroom.org • Sora Lella 300 Spring Street (212-366-4749) • Borden Auditorium Broadway and 122nd Street (212-749-2802 ext. 4428) • JACK 505 Waverly Avenue Subway: C, E to Spring Street www.soralellanyc.com Subway: 1 to 116th Street www.msmnyc.edu (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue • Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • Steinway Reformed Church 21-65 41 Street at Ditmars Boulevard Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com • Jazz 966 966 Fulton Street Subway: N to Ditmars Blvd-Astoria • Brandy Library 25 N. Moore Street (718-638-6910) Subway: C to Clinton Street www.jazz966.com • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) (212-226-5545) Subway: 1 to Franklin Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org • Brecht Forum 451 W. Street (212-242-4201) Subway: 4, 5, 6 to Grand Central www.kitano.com • The Stone Avenue C and 2nd Street Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org • The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: F to Second Avenue www.thestonenyc.com • Bronx Music Heritage Center 1303 Louis Niñe Boulevard Subway: C, E, to Spring Street www.jazzgallery.org • The Stoop 417 West 57th Street between Ninth and Tenth Avenues Subway: 2, 5 to Freeman • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) (212-333-5583) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: 6 to 125th Street www.jazzmuseuminharlem.org www.thestoopny.com Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Studios 353 353 W. 48th Street, 2nd Floor • Brooklyn Lyceum 227 4th Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212-757-2539) Subway: A, C, E, to 42nd Street www.studios353.com (718-857-4816) Subway: R to Union Street www.brooklynlyceum.com • Joe G’s 244 W. 56th Street (212-765-3160) • Swing 46 349 W. 46th Street (646-322-4051) • CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: A, C, E to 42nd Street www.swing46.com Subway: 2 to Nereid Avenue/238th Street • Joe’s Pub 425 Lafayette Street (212-539-8770) • Sycamore 1118 Cortelyou Road (347-240-5850) • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com Subway: 6 to 77th Street www.thecarlyle.com • Kellari Taverna 19 W. 44th Street (212-221-0144) • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us 2537 Broadway at 95th Street (212-864-5400) (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Klavierhaus 211 West 58th Street (212-245-4535) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Caffe Vivaldi 32 Jones Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com • Knickerbocker Bar & Grill 33 University Place (212-228-8490) Subway: N, R to Union Street www.tealoungeNY.com • Casaville 633 Second Avenue Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com • Terraza 7 40-19 Gleane Street (718-803-9602) (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com • Korzo 667 5th Avenue, Brooklyn (718-285-9425) Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace Subway: R to Prospect Avenue www.korzorestaurant.com • Triad 158 West 72nd Street, 2nd floor (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com • Lafayette Avenue Presbyterian Church 85 South Oxford Street (212-787-7921) Subway: B, C to 72nd Street www.triadnyc.com • Charley O’s 1611 Broadway at 49th Street (212-246-1960) (718-625-7515) Subway: G to Fulton Street; C to Lafayette Avenue • Turtle Bay Music School 244 East 52nd Street Subway: 6 to 51st Street Subway: N, R, W to 49th Street • Lark Café 1007 Church Avenue, Brooklyn • Two Moon Art House and Café 315 4th Avenue, Brooklyn • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) (718-469-0140) Subway: Q to Beverly Road www.larkcafe.com (718-499-0460) Subway: R to 9th Street www.twomoonbklyn.com Subway: C to Clinton-Washington Avenues www.bistrolola.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • University of the Streets 130 E. 7th Street • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org Subway: C to Lafayette Avenue www.chezoskar.com • Legion Bar 790 Metropolitan Avenue • Velour Lounge 297 10th Avenue • City Winery 155 Varick Street (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets • Via Della Pace 48 E. 7th Street and Second Avenue • Cleopatra’s Needle 2485 Broadway (212-769-6969) (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com (212-253-5803) Subway: 6 to Astor Place Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Littlefield 622 Degraw Street • The Village Trattoria 135 W. 3rd Street (212-598-0011) • Club A Steakhouse 240 E. 58th Street (212-618-4190) (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com Subway: 4, 5, 6 to 59th Street www.clubasteak.com • The Living Theatre 21 Clinton Street below Houston Street • Village Vanguard 178 Seventh Avenue South at 11th Street • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue Subway: F to Second Avenue www.livingtheatre.org (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (718-721-3010) Subway: N to Ditmars Blvd-Astoria • Congregation Mount Sinai 250 Cadman Plaza West (718-875-9124) • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) • Walker’s 16 North Moore Street (212-941-0142) Subway: 2, 3 to Clark Street www.congregationmountsinai.org Subway: 1 to 145th Street www.londelsrestaurant.com Subway: A, C, E to Canal Street • Cornelia Street Café 29 Cornelia Street (212-989-9319) • L’ybane 709 8th Avenue (212-582-2012) • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • The Counting Room 44 Berry Street (718-599-1860) • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Water Street Restaurant 66 Water Street (718-625-9352) Subway: L to Bedford Avenue www.thecountingroombk.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com Subway: F to York Street, A, C to High Street • Creole 2167 3rd Avenue at 118th Street • Metropolitan Comm. Church 1975 Madison Avenue at 126th Street • Williamsburg Music Center 367 Bedford Avenue (212-876-8838) Subway: 6 th 116th Street www.creolenyc.com Subway: 4, 5, 6 to 125th Street (718-384-1654) Subway: L to Bedford Avenue • Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Zankel Hall 881 Seventh Avenue at 57th Street (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria Subway: N, R to 23rd Street www.metropolitanroom.com (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org • Crooked Knife 29 E. 30th Street (212-696-2593) • Miller Theatre 2960 Broadway and 116th Street (212-854-7799) • Zeb’s 223 W. 28th Street Subway: 6 to 33rd Street www.thecrookedknife.com Subway: 1 to 116th Street-Columbia University www.millertheater.com 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • The Cupping Room 359 West Broadway between Broome and Grand Street • Museum of Modern Art 11 West 53rd Street (212-708-9400) • Zinc Bar 82 W. 3rd Street (212-477-8337) (212-925-2898) Subway: A, C, E to Canal Street Subway: E, V train to Fifth Avenue/53rd Street www.moma.org Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com • Death By Audio 49 S. 2nd St between Wythe and Kent • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • ZirZamin 90 West Houston Street (646-823-9617) Subway: L to Bedford www.myspace.com/deathbyaudioshows Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: B, D, F, M to Broadway-Lafayette Street www.zirzaminnyc.com

THE NEW YORK CITY JAZZ RECORD | December 2012 45 visitors center: (INTERVIEW CONTINUED FROM PAGE 6) OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #4D, New York, NY 10035 composing and playing on the soundtrack to the film (Take the 2/3/4/5/6 train) in 1972. WWW.JMIH.ORG GB: In Europe, I made a lot of music for small films. I THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS was a friend of [Last Tango in Paris director] . And he knew I made a lot of records...some records I do some tango. Different tangos. And one day he called me and he said, “It’s time to write a beautiful melody, because I want you to make the music of Last Tango in Paris.” And this started like that. I see Last Harlem Speaks Tango, which was [originally] four hours, and after, cut to two hours. And I see the cuts many times. It was a A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ really good experience. Bernardo told me, “I don’t want like a Hitchcock movie. I don’t like, like, European 12/69/20:: Richard Roy Eaton Wyands 9/27:12/13 George: Jean-Michel Gee Pilc music. No. I want in between”. So what I did was that. Pianist Pianist BandleaderPianist TNYCJR: In 1976, you released the Herb Alpert- produced Caliente!, which features a pair of pop songs.

GB: Time: 6:30 --- 8:30 pm Price: Free LocaTion: The NJMH Visitors Center, 104 E. 126th Street, #4D [All of the music] was mine except “Europa” [by Santana] and “I Want You” by Marvin Gaye. One day I played in Los Angeles and Marvin Gaye came to see me. He said, “I’ve never listened to something so beautiful as your recording of ‘I Want You’.” “Europa” was Carlos Santana. I had to do something different. v

For more information, visit gatobarbierimusic.com. Barbieri’s 80th Birthday Celebration is at Blue Note Dec. 3rd-4th. See Calendar.

Recommended Listening: • Don Cherry - Complete Communion (Blue Note, 1965) Jazz for Curious Listeners • Gato Barbieri - In Search of Mystery (ESP-Disk’, 1967) • Gato Barbieri/Dollar Brand - Jazz Duo (Confluence) (Togetherness/Arista, 1968) Tuesdays 7:00 - 8:30 p.m. • Alan Shorter - Orgasm (Verve, 1968-69) • Gato Barbieri - Fenix (Flying Dutchman, 1971) The NJMH Visitors Center, 104 E. 126th Street, #4D • Gato Barbieri - The Shadow of the Cat (Peak, 2002) Free classes celebrating Harlem and its legacy. Attend any individual class.

(LABEL CONTINUED FROM PAGE 12)

The Savory Collection: An Update Another characteristic of Festina Lente CDs is that few are recorded in professional studios. Instead unconventional spaces including halls, farms and, December 4: Basie Ellington : The Big Band more frequently, bars such as Bogotá’s well-known / + Matik-Matik, are the sites of choice. “In a studio, we December 11: Jam Sessions with Lester Young and friends would have all the amenities, but studios are expensive and cold,” notes Vega. “But now it’s easy and effective December 17: Odds and Ends: + to record at home or at a bar. Budgets are reduced. And if you change the setting, the music flows differently.” As for the sound quality of these CDs, “we have nothing to envy from studio sessions,” he asserts. 12 PM – What of the future? Many projects are on tap, saturday panels 4 PM FREE divulges Vega. “Soon an unprecedented meeting between Jacobo Velez, one of the best saxophonists of Jazz Is Now Colombia, and Edson Velandia, an insane singer, December 15: Hosted by Jonathan Batiste guitarist and songwriter who lives on the outskirts of and the STAY HUMAN band Bogotá. With Velandia we’ll also be recording Municipal Symphonies, an improvised session he’s conducting Savory Jam - Contemporary reactions that combines jazz, rock, symphonic music and rasqa, December 12th 7:00-8:30pm an indefinable genre he invented. We’re also editing to the glories of the Savory Collection the debut CD by Botero’s group Mula, as well as Los New Location: Pirañas’ second disc.” Metropolitan Community United Methodist Church “In general Festina Lente feels fresh,” adds Botero. NE Corner of 126th Street and Madison Avenue, “It’s not a label of musicians for musicians. It’s a label from a bunch of music lovers to get out the music they (enter on 126th) NJMH Visitors Center, 104 E. 126th St. #4D would like to see in record stores. I knew Luis Daniel FREE | For more information: 212-348-8300 before he started Festina Lente. He doesn’t underestimate the audience. He feels that anybody can listen to a non-commercial-music concert and appreciate it as much as something supported by the mainstream media.” v Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the For more information, visit festinalentediscos.com

46 December 2012 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM By Andrey Henkin BORAH BERGMAN - The pianist, who came late to the instrument, - The trumpeter was a key member of Charles Mingus’ ERIK MOSEHOLM - The 1958 Danish Jazz Musician of the Year, upended the notion of left- and right-hand technique during his long groups in 1960, participating in such albums as Pre-Bird and bassist Erik Moseholm led the Danish Radio Big Band in the ‘60s, was career. He also came late to recording, making his first albums (all solo Reincarnation Of A Love Bird as well as appearing on discs by fellow a soloist with the Copenhagen Symphony Orchestra, the principal of affairs) only in his late 40s. Bergman worked primarily as a leader but Mingus sideman Eric Dolphy the next year. But it was in cooperative the Rhythmic Music Conservatory in Copenhagen during the ‘90s and did have the occasional ‘sideman’ credit with Roscoe Mitchell, Thomas groups with tenor saxist that Curson made his mark from still found time to record with Eric Dolphy and Clifford Brown during Chapin and George Haslam. When he did release his own albums, he 1961-65, releasing three wonderful sessions. He continued making the ‘50s-60s. Moseholm died Oct. 11th at 82. tended towards small groups - duos with Chapin or Evan Parker, a albums into the last decade, often in Europe, featuring his bluesy trio with Peter Brötzmann and Andrew Cyrille - playing his own originals in groups of varying sizes. Curson died Nov. 4th at 77. DAVID S. WARE - The saxist was the logical extension of two New lengthy, discursive pieces or free improvisations. Bergman died Oct. York City musical scenes: ‘60s New Thing and ‘70s Loft jazz. His early 18th at 85. EDDIE HARVEY - The British trombonist came up during the height work with Cecil Taylor and Andrew Cyrille cemented his reputation of England’s trad-jazz era but went on to participate in more modern but it was his own ‘90s quartet that made him as much of a superstar BILL BRIMFIELD - The trumpeter was one of the first participants in settings after meeting such figures as saxophonists and as avant garde jazz artists may be. Ware’s emotional intensity belied the nascent Association for the Advancement of Creative Musicians Johnny Dankworth. He was part of the latter’s groups in the early his instrumental facility; he was a nuanced musician even at top (AACM) in ‘60s Chicago. He was on Joseph Jarman’s 1966 album Song ‘50s, worked with bandleader in the late ‘50s, later volume. Among his last sessions were two solo albums for AUM For, worked with Windy City sax icon Fred Anderson in the ‘70s-80s played with and eventually settled into a Fidelity, his musical home of the last decade, featuring not just tenor and later Famadou Don Moye. A stroke at the turn of the century teaching career at the London and Royal Colleges of Music. Harvey but also saxello and stritch. Ware died Oct. 18th at 62 after curtailed his musical endeavors and Brimfield died Oct. 9th at 74. died Oct. 9th at 86. complications from a 2009 kidney transplant. BIRTHDAYS December 1 Jay Leonhart b.1940 Bob Dorough b.1923 †Joe Farrell 1937-86 Quinsin Nachoff b.1973 December 27 †Ike Isaacs 1919-96 Miroslav Vitous b.1947 †Dodo Marmarosa 1925-2002 Radu Malfatti b.1943 †Bunk Johnson 1889-1949 †DickJohnson 1925-2010 Harvie S b.1948 b.1929 John Abercrombie b.1944 December 22 † 1919-87 Ted Brown b.1927 Steve Swell b.1954 Juhani Aaltonen b.1935 † 1927-84 Bill Crow b.1927 †Hadley Caliman 1932-2010 Jason Stein b.1976 Michael Carvin b.1944 December 17 † 1935-2011 †Walter Norris 1931-2011 †Jimmy Lyons 1933-86 †Tony Williams 1945-97 †Ray Noble 1903-78 †Nick Ceroli 1939-85 TS Monk b.1949 Carlos Garnett b.1938 December 7 Bruce Ditmas b.1946 †Sonny Red 1932-81 John Patitucci b.1959 Pablo Held b.1986 †Jaco Pastorius 1951-87 †Teddy Hill 1909-78 † 1933-2006 Sonny Phillips b.1936 December 13 John Ore b.1933 December 23 December 28 December 2 Mads Vinding b.1948 † 1895-1982 Vyacheslav Ganelin b.1944 † 1929-88 †Earl “Fatha” Hines 1903-83 †Charlie Ventura 1916-92 Matthew Shipp b.1960 Ben Tucker b.1930 Chris Welcome b.1980 † 1933-2007 †Al Klink 1915-91 BOB CRANSHAW † 1921-2010 †Borah Bergman 1933-2012 John McAll b.1960 †Moe Koffman 1928-2001 †Wynton Kelly 1931-71 December 8 Reggie Johnson b.1940 December 18 †Ed Thigpen 1930-2010 December 10th, 1932 †Ronnie Mathews 1935-2008 Sol Yaged b.1922 †Fletcher Henderson December 24 Bob Cunningham b.1934 How many people can say Jason Rigby b.1974 †Jimmy Smith 1928-2005 December 14 1897-1952 †Baby Dodds 1898-1959 †Dick Sudhalter 1938-2008 they’ve played with both Tal Wilkenfeld b.1986 Tim Armacost b. 1962 † 1910-84 †Willis Conover 1920-96 †Jabbo Smith 1908-91 Ted Nash b.1960 Sonny Rollins and Big Bird? †Spike Jones 1911-64 † 1928-2001 †Henry Coker 1919-79 Only one: bassist Bob December 3 December 9 b.1920 †Nick Stabulas 1929-73 † 1931-2011 December 29 Cranshaw. He started working †Corky Cornelius 1914-43 †Matty Malneck 1903-81 †Cecil Payne 1922-2007 Wadada Leo Smith b.1941 †Chris McGregor 1936-90 †Cutty Cutshall 1911-68 with Rollins on 1962’s †Herbie Nichols 1919-63 †Bob Scobey 1916-63 †Phineas Newborn 1931-89 † 1944-89 †Irving Ashby 1920-87 legendary The Bridge and is a Donald Byrd b.1932 † 1933-91 December 19 Ralph Moore b.1956 Jan Konopasek b.1931 current member of the saxist’s December 4 Jimmy Owens b.1943 b.1946 †Erskine Tate 1895-1978 Paal Nilssen-Love b.1974 Joe Lovano b.1952 group while being the only †Eddie Heywood 1915-89 †Bob Brookmeyer 1929-2011 George Schuller b.1958 bassist for the Children’s Frank Tiberi b.1928 December 10 December 15 †Bobby Timmons 1935-74 December 25 Danilo Pérez b.1960 Television Workshop during Jim Hall b.1930 †Irving Fazola 1912-49 † 1911-79 Milcho Leviev b.1937 †Louis Cottrell 1878-1927 Reuben Radding b.1966 composer Joe Raposo’s tenure †Denis Charles 1933-98 † 1913-76 †Jimmy Nottingham 1925-78 Lenny White b.1949 †Kid Ory 1886-1973 George Colligan b.1969 in the late ‘60-70s. But Andy Laverne b.1947 †George Tucker 1927-65 †Gene Quill b.1927-89 Kuni Mikami b.1954 †Big Jim Robinson 1892-1976 Cranshaw’s resumé, originally Cassandra Wilson b.1955 Bob Cranshaw b.1932 b.1929 †Cab Calloway 1907-94 December 30 as an upright player but then Andrew Drury b.1964 Ernst-Ludwig Petrowsky Curtis Fuller b.1934 December 20 †Oscar Moore 1912-81 †Jimmy Jones 1918-82 on electric bass after a car b.1933 †Dannie Richmond 1935-88 †John Hardee 1918-84 †Pete Rugolo 1915-2011 †Jack Montrose 1928-2006 accident, also includes prolific December 5 Eddie Palmieri b.1936 Sam Falzone b.1933 †Eddie Safranski 1918-74 Wolfgang Dauner b.1935 sideman work with Grant †Art Davis 1934-2007 December 11 Toshinori Kondo b.1948 Larry Willis b.1940 †Don Pullen 1941-95 Jerry Granelli b.1940 Green, , Enrico Pieranunzu b.1949 †Perez Prado 1916-89 Kris Tiner b.1977 Ehud Asherie b.1979 Ronnie Cuber b.1941 Lewis Nash b.1958 Milt Jackson, , Anders Bergkrantz b.1961 McCoy Tyner b.1938 Frank Vignola b.1965 Shirley Scott, Stanley Mara Rosenbloom b.1984 December 16 December 21 December 26 Turrentine and a host of December 6 †Andy Razaf 1905-73 †Marshall Brown 1920-83 † 1917-2011 December 31 others, most often on Blue December 12 †Ira Gershwin 1896-1985 †Turk Murphy 1915-87 Rita Reys b.1924 †Monty Budwig 1929-92 †John Kirby 1908-52 Note Records, from the late Dave Brubeck b.1920 †Eddie Barefield 1909-91 † 1921-2000 †Hank Crawford 1934-2009 †Billy Bean 1933-2012 †Jonah Jones 1909-2000 ‘50s on, yet without a single †Bob Cooper 1925-93 † 1915-98 †Johnny “Hammond” Smith † 1941-2006 Brooks Kerr b.1951 †Peter Herbolzheimer album as a leader. -AH Frankie Dunlop b.1928 †Joe Williams 1918-99 1933-97 Cameron Brown b.1945 b.1951 1935-2010 ON THIS DAY by Andrey Henkin

The Forward Look Primitivo Soul! Manhattan Cycles Beyond the Purple Star Zone Common Ground Red Norvo (Reference) (Prestige) The (India Nav.) (Saturn) Mike LeDonne (Criss Cross) December 31st, 1957 December 31st, 1963 December 31st, 1972 December 31st, 1980 December 31st, 1990 Reference Records’ mission is as Alto saxist Sonny Stitt has unfairly The name of this band is not bluster. This recording, originally released on Pianist/organist Mike LeDonne’s much about the sound of the music it been undervalued because of his Violinist/violist Leroy Jenkins, Sun Ra’s personal imprint Saturn but career came squarely out of the jazz releases as the music itself. Label affinity for the style of Charlie Parker bassist/cellist and drummer/ later reissued by the British Art Yard tradition, initially through his father engineer “Professor” Keith O. Johnson but that didn’t stop him from having a pianist Jerome Cooper created a label, was taken from the final concert and then later by work with Milt made this Ultra High Quality prolific recording career as a leader heady style - later dubbed chamber of a six-day New Year’s Eve run at the Jackson and others. LeDonne became Recording 45-rpm LP of vibist Red for a number of labels. Primitivo Soul! jazz and inspiring many subsequent Detroit Jazz Center. This incarnation a leader right after New Year’s Day in Norvo’s quintet live at an unknown was one of several records Stitt made groups like the String Trio of NY - of Ra’s Arkestra included usual 1990 and followed up that album with club on New Year’s Eve 1957. Joining for Prestige over the years and is still from disparate pieces and influences suspects like Marshall Allen, John this New Year’s Eve recording at the Norvo, one of the first players of his unavailable on CD. On this New across five albums in the ‘70s (and Gilmore, Danny Ray Thompson and end of the same year. Joining him are instrument in jazz, for six short tunes Year’s Eve studio date, Stitt leads a two after a 2004 reunion). As with June Tyson alongside ‘new’ members the late bassist and including the title track and “Between typical jazz quartet with pianist their debut , Manhattan Cycles like . This excerpted drummer Kenny Washington for a The Devil And The Deep Blue Sea” Ronnie Mathews, bassist Leonard is a single piece across two LP sides, concert contains four new pieces, nine-tune program of three originals are Jimmy Wyble (guitar), Jerry Gaskin and drummer Herbie Lovelle, composed by Leo Smith, recorded live including the title track and subtitular and a collection of standards of Dodgion (reeds), Red Wooten (bass) plus percussionists Marcelino Valdez at an unknown location (presumably “Immortal Being”, and one Ra various repute, including then- and John Markham (drums). and Osvaldo “Chihuahua” Martinez. in Manhattan) on New Year’s Eve. ‘standard’, “Rocket Number Nine”. employer Jackson’s “Blues for Edith”. NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE! • EXCLUSIVE CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY • COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] • SUBSCRIPTIONS AND GENERAL INFO: [email protected] FOLLOW US ON TWITTER: @NYCJAZZRECORD WWW.NYCJAZZRECORD.COM

THE NEW YORK CITY JAZZ RECORD | December 2012 47