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June 2012 | No. 122 Your FREE Guide to the NYC Scene nycjazzrecord.com THE MAN WITH THE HORN

CHARLIE • DARIUS • TERJE • POTLATCH • EVENT WATTS JONES RYPDAL RECORDS CALENDAR

There are a few icons in jazz history who can be identified solely by a single name: Sonny, Trane, Ornette, Cecil and, perhaps most famous of all, Miles. The trumpeter (1926-99) was both an innovator and a household name (1959’s Kind of Blue is jazz’ @Night answer to Michael Jackson’s Thriller as to be found in most record 4 collections). Much has been made of Davis’ many groups (who else has a first and second classic quintet?), his skill as a talent scout, even his gruff public persona Interview: Charlie Watts and indefatigable style. But lost in these discussions is an analysis of Miles Davis 6 by Sean O’Connell the musician and what he brought to the lineage in his nearly 50-year Artist Feature: Darius Jones career. On The Cover this month we speak with a number of Davis’ colleagues and stylistic heirs for their thoughts on Miles’ musical legacy. Tributes to Miles for 7 by Sharon Mizrahi what would have been his 86th birthday are at from late May through June. On The Cover: Miles Davis In our other features, drummer Charlie Watts (Interview) has spent his own almost-50 years as part of an iconic group (you may have heard of them...the by Terrell Holmes 9 Rolling Stones) but his other love is jazz and he has led big bands and released Encore: Lest We Forget: fêting legendary jazz drummers. Watts’ new group, The ABC&D of Boogie Woogie, appears at ’s Midsummer Night Swing and Iridium Jazz 10 Jackie Club in its American debut performances. And while alto saxophonist Darius by Tom Conrad by Andrew Vélez Jones (Artist Feature) has many decades to go before reaching the status of our Megaphone VOXNews other features, his leader debut triptych on AUM Fidelity (2012’s Book of Mæ’bul; 2011’s Big Gurl and 2009’s Man’ish Boy) is a very good start. This month, Jones by Matt Garrison/Fortuna Sung by Katie Bull 11 leads a quartet at and co-leads a quintet at The Jazz Gallery. Label Spotlight: Listen Up!: Filling out our coverage are spotlights on Norwegian guitarist Terje Rypdal (Encore) in a very rare stateside appearance at Le Poisson Rouge, the late vocalist 12 Potlatch Records Vitaly Golovnev Jackie Paris (Lest We Forget), celebrated at Tribeca Performing Arts Center’s Lost by Ken Waxman & Benjamin Barson Jazz Shrines, and French record label Potlatch, as well as festival reports from Holland and . 13 Festival Report: dOek Festival • Enjoy the beginning of summer and we’ll see you out there. CD Reviews: , Stéphane Grappelli, Nate Wooley, Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 14 , Linda Oh, Spectrum Road, Charles Gayle and more On the cover: Miles Davis (photo by Lee Tanner, courtesy of ) Event Calendar 38 Corrections: In last month’s NY@Night on Randy Weston, the poet who collaborated with Weston was not Sonia Sanchez but Jayne Cortez, In last Club Directory month’s interview, the pedigree of the DVD was 45 incorrect; it was released on TDK and recorded at the Umbria Jazz Festival in 1976.

Miscellany: In Memoriam • Birthdays • On This Day Submit Letters to the Editor by emailing [email protected] 47 US Subscription rates: 12 issues, $30 (International: 12 issues, $40) For subscription assistance, send check, cash or money order to the address below or email [email protected].

The 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, Laurel Gross, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Sharon Mizrahi, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon, [email protected] Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Matt Garrison, George Kanzler, Advertising: [email protected] Matthew Kassel, Sean J. O’Connell, Michael Steinman Editorial: [email protected] Contributing Photographers Calendar: [email protected] Scott Friedlander, Peter Gannushkin, Max Keppler, Phillipe Marchin, Anthony Merced, Alan Nahigian, Susan O’Connor, Jan Persson, Lee Tanner, Jack Vartoogian

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

Jazz musicians often develop uncanny systems of There may be no pianist - no musician, even - who nonverbal communication. But tenor saxophonist should be called upon to pay homage to the great Cecil Jimmy Heath, 85, and drummer Albert “Tootie” Heath, Taylor, which is what made the “Celebrating Cecil” 76, share a closer and longer bond than most and the concert at the Harlem Stage Gatehouse May 9th so playful onstage code they’ve evolved seems to guide nonintuitively perfect. Vijay Iyer, Amina Claudine every performance by the Heath Brothers Quartet. Myers and are three of the strongest Kicking off a late set at Birdland with Jimmy’s pianists around and if none of them quite work in the midtempo “Sound for Sore Ears” (May 3rd), they intense multi-linearity of Taylor’s attack, all brought greeted improvised ideas with shouts, dances, double something to a program of solos and duets that also takes or just little shifts of posture that somehow fed included a short and bitingly funny reading by poet into the music itself. During a pause Jimmy referred to Amiri Baraka. Iyer encapsulated Taylor’s particular his cohorts as “young men” and, indeed, rock-solid language, even seeming to quote phrases from the David Wong couldn’t help underlining that this honoree’s early records. Myers worked the extreme was once a three-brother band (Percy, the eldest Heath, ends of the keyboard before finding her way toward a died in 2005). In terms of soloing prominence and prayer in song, which worked into a sort of singing in harmonic game plan, much rested on the shoulders of tongues, bringing to mind Taylor’s own sound poetry. pianist Jeb Patton, a confident master of the bop-and- Taborn played a determinedly gradual progression, beyond milieu handed down by prior pianists with the sticking with an opening quietude for a considerable group such as and Stanley Cowell. Even time before moving toward onslaught with a repeating Patton’s more restrained solos delivered a jolt, single-note motif that dramatically punctuated the something to push at the boundaries of the idiom. whirlwind. A panel talk led by George Lewis after the There was unplanned audience participation during concert stressed that Taylor’s music isn’t unstructured “Bluesville”, a greasy Sonny Red shuffle, and some but deeply structured, full of (as Iyer put it) “detail, choice tambourine from Tootie on the closing “Winter complexity, specificity and order.” If there was to be Sleeves”, based on “Autumn Leaves”. Jimmy fashioned something Cecil-esque about the night, it was perhaps a warm and complex soprano tone on the in the use of the whole of the keyboard, the flight to far first half of “’Round Midnight” and Tootie’s funky left and far right and maybe in a sense that, at least reading of the famous coda was pure individuality. some of the time, all the notes were equal. - David R. Adler - Kurt Gottschalk A n t h o y M e r c e d / H a r l m S t g A l a n N h i g P h o t b y Heath Brothers Quartet @ Birdland Craig Taborn @ Harlem Stage Gatehouse

Watching the Undead ’s night of Trumpeter Amir ElSaffar’s heritage is never far from improvised duets at 92YTribeca (May 12th), it was hard his music. The Middle Eastern origins might be more to miss the element of ritual. 17 players came and went, apparent on his most recent CD (Inana, Pi Recordings) speaking only through their instruments, observing a than they were at The Jazz Gallery May 4th, if nothing well-defined ‘round robin’ protocol. Drummer Amir else by virtue of the instrumentation, but even with a Ziv played solo until saxophonist John Ellis emerged traditional jazz quintet (sax, , bass, drums), the to stir up the first duet. Then keyboardist Matt Mottel complex rhythms and long melodic lines didn’t just of Talibam! began to engage Ellis as Ziv walked off. evoke his Iraqi heritage, they embodied it. With the And so it went: electric and acoustic sounds mingling; easy yet outstretched sound of Tony Malaby’s tenor it noisy abstractions offset by controlled virtuosic was open but not unscripted jazz with touches of displays; older and younger players from different middle period Coltrane spirituality - not the volcanic circles, thrust into unfamiliar situations and moving but the oceanic. But ElSaffar’s compositions for the toward a goal. There were echoes of the ’70s new group were grounded in the musical prayers of loft scene, perhaps most clearly in the / the maqam, the ancient microtonal ishtarum mode and drum dialogue of Loren Stillman and . centuries-old Sumerian scales. Key to the reframing of There was the fascination of Brandon Seabrook’s banjo tradition was drummer Dan Weiss. With his deft and Bob Stewart’s , two instruments of early and delivery on a standard kit, the luxurious, elongated proto-jazz aligned in a wildly experimental spirit. horn melodies, John Escreet’s piano (retuned to an Linda Oh and Mark Helias brought out timbres far Arabic scale) and Francois Moutin’s bass counterpoints more varied than one would expect from two upright fell into place. And at center, of course, was ElSaffar’s basses. Bill McHenry and John Hollenbeck took flight own exemplary technique. Opening the second set, in a /percussion episode of unrelenting ElSaffar offered a procedural explanation “We’re going energy and tonal brilliance. Cooper-Moore summoned to slowly take the intonation apart and stretch the huge sub-bass notes on diddly-bow while playing with chords a little bit.” This was, in a sense, the jazz in the Stillman, then switched to homemade quasi-banjo for a music. It was in the solos, the whole of the attack really, bluesy romp with guitarist Miles Okazaki. Solo cornet but this is what anyone worth their salt does with and strange manipulated feedback from Graham “Chelsea Bridge” as well. ElSaffar infused the music Haynes made for a stark, unresolved, almost defiant with that particular kind of deconstruction, which, conclusion. (DA) regardless of parentage, makes jazz vibrant. (KG)

4 June 2012 | THE NEW YORK CITY JAZZ RECORD One of this correspondent’s Top 10 albums of 2011 was “This is the place. The spirits are here,” The Veil (Cryptogramophone) by the trio of alto saxist proclaimed to the SRO crowd at Minton’s Playhouse WHAT’S NEWS Tim Berne, drummer Jim Black and guitarist Nels Cline, (May 11th) who came to hear the professor dubbed BB&C. One imagines no intended relationship celebrate the music of during the to the British Broadcasting Corporation (they could historic room’s Legends of the Bandstand series as part Jazz at Lincoln Center (JALC) has announced that just have easily referenced the Central Bank of of the Harlem Jazz Shrines Festival. Seated at the well- Robert J. Appel will succeed Lisa Schiff as Chairman Barbados). Since the 2009 live recording, the group had worn piano, in front of the iconic mural purportedly of the Board of Directors, a position she has held played only three times until bringing its particular depicting in a brass bed sleeping one off since 2002. Additionally, Greg Scholl has been amalgamation of and rock energy to the new while a quartet jams, Harris told tales of Monk’s tenure named the Executive Director of JALC in conjunction ShapeShifter Lab - one of the finest new rooms to open there in the ‘40s when he was house pianist making his with the organization’s upcoming 25th anniversary in recent memory - for two nights last month (May distinctive contributions to the birthing of bebop. during the 2012-2013 season. Both Appel and Scholl 7th-8th). Unlike many improvising ensembles, BB&C Harris opened the set with an original solo piano will work closely with JALC Artistic Director Wynton have eclecticism in their corner: Berne is far more introduction to Monk’s “Ruby My Dear” that shone a Marsalis. For more information, visit jalc.org. nuanced than your average shrieker; Cline has proven light on his creative mastery of the bebop language, definitively he can play anything and Black moves blending aspects of Monk and ’s vocabulary The winners of the 2012 Essentially Ellington High from to to John Bonham to into his own swinging style. Accompanied by bassist School Jazz Band Competition have been named Bruce Slesinger with no seams showing. The first piece Ray Drummond and drummer Leroy Williams, the trio after the three-day event held last month. Winners of the first set on May 7th was merely an amuse- laid down a slow and easy tempo over which tenor are: 1st Place - Dillard Center for the Arts (Fort bouche, though in its 10 minutes it amazingly fused saxophonist Charles Davis blew flowing melodic lines. Lauderdale, FL); 2nd Place - Roosevelt High School ‘70s-style arena rock with grungy punk enthusiasm The quartet upped the ante on “Epistrophy”, Harris (Seattle, WA) and 3rd Place - New World School of and jazz intricacy, mostly going wherever Black took setting up the song with a solid left-hand vamp that the Arts (Miami, FL), with an Honorable Mention for it. The second piece, 35 mighty minutes, revealed more led the trio into a brisk uptempo that had Davis Rio Americano High School (Sacramento, CA). For about the band: the valleys were less deep, the peaks pushing out tough tenor lines over Drummond’s more information, visit jalc.org/essentiallyellington. higher and more frequent. Berne often stood to the side walking bass, as Williams dropped Art Blakey-ish while Cline and Black worked John McLaughlin-Billy bombs into the mix. The quartet pushed even harder In an odd bit of research conducted by Albany Cobham style, goading each other, the guitarist always on a wildly swinging “Hackensack”, then mellowed Medical College, rodent specimens seemed to prefer remaining musical even when futzing with a dozen the mood with a moving “Pannonica” before gradually classical music to jazz (Beethoven’s “Für Elise” effects pedals. When Berne reentered it was like the reigniting the fire on “Nutty”, “Blue Monk” and a versus Miles Davis’ “Four”) until given doses of firing of the second stage of a rocket. - Andrey Henkin burning hot “Evidence”. - Russ Musto cocaine. With the 2012 edition, the will

Photograph © 2012 Jack Vartoogian/FrontRowPhotos enter into a three-year sponsorship agreement with Natixis Global Asset Management (NGAM), bringing the Rhode Island Music Educators Association (RIMEA) Jazz Band to perform at this year’s festival as well as the Global Jazz Ambassadors. NGAM is a sponsor of Berklee College of Music’s Summer in the City program and the Berklee Beantown Jazz Festival. For more information, visit newportjazzfest.net. The 2012 Jazz Journalists Association Jazz Awards Party will be held at Blue Note Jun. 20th at 4 pm. The New York City Jazz Record is among the nominees, in the category of Best Periodical. For more information, visit jazzhouse.org. Photo by Scott Friedlander BB&C @ ShapeShifter Lab Barry Harris Quartet @ Minton’s Playhouse Bassist Christian McBride has been named the Artistic Director of the NJPAC/James Moody Jazz Another entry into the Top 10 list was Upcoming In town for the inaugural International Jazz Day Festival, taking place this year in Newark, NJ Oct. Hurricane, the trio of bassist Pascal Niggenkemper, festivities at the United Nations, Hugh Masekela made 15th-21st. For more information, visit njpac.com. pianist Simon Nabatov and drummer Gerald Cleaver a rare New York club appearance at Jazz Standard (NN&C!). Nabatov was making a rare visit to the city (May 2nd) to celebrate the release of his four-CD set of Pianist Pete Malinverni has been named the new where he lived during the ‘80s and Brooklyn’s Korzo duets with pianist , the fittingly titled Director of Jazz Studies at Purchase College hosted what was effectively the release party for the Friends. The two have made music together since the (SUNY), replacing the departing Todd Coolman. For NoBusiness disc. Collectively, this trio also has a days when the trumpeter first came here from South more information, visit purchase.edu. number of influences upon which to draw: Nabatov’s Africa to study at the School of Music more alternately classical or free style, Niggenkemper’s than 50 years ago, humorously recounted in stories A benefit concert for flutist Dave Valentin was held at thick -esque plucking or Barre from their school days with the likes of fellow students Le Poisson Rouge last month to raise funds to aid in Phillips-ian extended techniques and Cleaver’s and . Opening with Randy his recovery from a stroke. Since Mar. 3rd, Valentin inherent groove no matter to what abstraction his Weston’s “Hi-Fly” and following with “Monk’s Mood” has not been able to perform. The concert raised playing veers. An uninterrupted, hour-long set was the pair set a conversational tone that testified to their several thousand dollars but donors can still presented to a refreshingly full house and the group’s half-century friendship, with Willis smiling broadly as contribute by sending checks to: The Jazz Foundation name became prescient. Skittering drums, sharply his partner, an engaging raconteur, entertained the of America, 322 West 48th Street, New York, NY bowed prepared bass and inside piano were the first audience with amusing anecdotes. One of the music’s 10036. All checks or money orders should note Dave signs of the imminent storm. Later an odd drone was first successful crossover artists, Masekela mined the Valentin in the memo line. flavored by Nabatov’s rising squall and then an depth and breadth of the Great American Songbook insistent pulse from Niggenkemper and Cleaver was during a set comprised of selections from the new Pianist Myra Melford is the 2012 winner of the answered by classical flourishes. Piano trios throughout release, from jazz classics like ’s Alpert Award in the Arts, presented annually by The history were obliquely referenced, such as Cecil Taylor, “Daydream” to the Stylistics soul standard “You Make Foundation and Institute of the and , demonstrating an impressive Me Feel Brand New”, crediting Willis for teaching him Arts (CalArts). Melford will receive $75,000. The range of moods and textures. The term “instant all the music. On “Until The Real Thing Comes Along” award recognizes “past performance and future composing” is often misused in discussing aimless and “Dear Old Southland” he paid tribute to Louis promise” of artists working in five disciplines: dance, improvising but Upcoming Hurricane worked with Armstrong with unabashed replication of the film/video, music, theatre and visual arts. For more definite structure and purpose in mind, covering a trumpeter’s gravelly tone and scatting phraseology. information, visit alpertawards.org. remarkable amount of territory, eventually moving to Closing with Hancock’s “Cantaloupe Island” the pair close the set with a composed theme, Niggenkemper’s were joined by vocalist for an Submit news to [email protected] “MEM”, classical étude meeting jazz waltz. (AH) exciting finish. (RM)

THE NEW YORK CITY JAZZ RECORD | June 2012 5 INTERVIEW

They’re just lovely things to have.

TNYCJR: When you would tour the States did you make a point of sneaking away and hearing live jazz? Charlie Do you spend a lot of time in New York?

CW: Oh yeah. Always did when I first came here. My shaggy dog period. That was the first thing I did in New York. Me and [Rolling Stones co-founder] Ian Stewart would go to Birdland and the Hickory House. Watts Then I went to the Metropole. I saw Gene Krupa there with a quartet. We hit all the clubs really. I first saw somewhere like that. c h i n (CONTINUED ON PAGE 37) © P h i l p e M a r by Sean O’Connell …Jazz pianist Charlie Watts is one of the most famous rock and roll Hamilton. I’ve always loved what he does. From Hidé Tanaka…Bassist drummers of all time but his first love was jazz. In the early records, you know. Davey Tough, Big Sid Catlett. The Michi Fuji...violinist ‘80s Watts returned to his first passion with an allstar big man I used to see in Paris was who I at band and, when the Rolling Stones’ schedule permits, really loved but the ambassador of jazz drumming Café Loup organizes a new project a little more swinging than his day throughout his life is Roy Haynes. I think Roy Haynes EVERY SUNDAY job. This month he appears at Lincoln Center with his is the most amazing man to be playing like he does at 6:30 - 9:30 pm newest project, the The ABC&D of Boogie Woogie, which his age with his skill and everything. He’s never played has him swinging behind a modern day Meade Lux Lewis/ in a bad band. Every artist that has asked him to play Albert Ammons duo consisting of pianists Axel has been for one of their great bands, from Lester Zwingenberger and Ben Waters. Young to , . The band he played in with Stan Getz was one of the greats. Haynes is The New York City Jazz Record: The scene someone everyone should admire. NO COVER, JUST AWARD was thriving when you were musically growing up in There were a lot of guys when I was a kid that I WINNING JAZZ AND FOOD the late ‘50s and as an early 20-year old in the early was lucky to meet. They’ve been very friendly to me 105 West 13th Street 212-255-4746 ‘60s. Which British jazz musicians influenced you? like Jake Hanna. Jake was fabulous and Stan Levey. Stan Levey was one of those real admirable guys. He Charlie Watts: Phil Seaman, …there’s a was something else really. www.juniormance.com whole crowd of people. Half of them were in an was a great influence as well. One of I had, a big band I brought over to New York the guys I used to see in London was Joe Morello. Elvin [in the mid ‘80s]. But there were many of them. The Jones and Chico Hamilton came to see me play a jazz guy [Dave Green] who is playing bass with me was my gig once. They’re just having a good time and you have childhood neighbor and we used to listen to jazz. He to play. used to play with a lot of those people. TNYCJR: In 1964 you released a children’s book about TNYCJR: How close were you to trying to make a Charlie Parker, Ode to a Highflying Bird. Did you have career out of being a jazz musician yourself? any idea that copies would eventually sell for $3,000?

CW: Not very. I used to play the drums and the only CW: During the early ‘60s I used to work in a studio. drumming I knew was jazz drumming. Eventually I To get a job you had to have a CV - a folder with all was asked to play with various R&B bands but it’s not your work. That was just me making an excuse to draw an easy adventure trying to be a jazz musician. You and write a thing so that I could show it to people. live on the end of a telephone. I was pleased to be in a That’s what I do. About two years after the Rolling band. I’m not really a virtuoso. I prefer to be a band Stones started going John Lennon brought A Spaniard member. in the Works out. They asked if I wanted to put it out [Ode] and I told them, “If you do it exactly like I did it TNYCJR: Does your approach to the drums change then yes.” And it sold. And then about 20 years after when you are in front of 200 people rather than 20,000? that a guy called Mark Hayward wanted to put it out and he said put some music with it. And I said “no, no, CW: Only volume, really. It’s about the only difference no, I’m not going to do that” but we got a quintet for me. I play exactly the same either way. You just fit together anyway. Quite a good replica actually. in with what’s going on. You hope. I’ve got the original original and the reprint that Mark Hayward did and it’s copied exactly. Difficult to TNYCJR: You’ve expressed a distaste for touring but tell the difference. I hope the one that sold was an does your interest change when you are leading your original one. band? Or is a hotel room a hotel room? It’s for children. It’s to help children learn about Charlie Parker. I didn’t realize about all those sorts of CW: I never had time to do anything outside of the things but given time. I have programs signed by Stones things. Touring was constant and it got on your - they’re worth a 1,000 pounds nerves really. I never had time to do anything at home. today but for you to say to Coleman Hawkins in 1942 I’m so used to it. It seems easier now than it used to be. that this would be worth that he would have laughed. Our tours used to go on so long. They would become It’s a bit like painting. The artist sells it for 10 quid an epic on its own but it’s turned to naught now. and then ten years later they sell for 4,000 dollars. The painter doesn’t get the other 3,990. It’s all collectors TNYCJR: What jazz drummers influenced you and, as really and I’m one of them. I collect jazz records and I you were growing up, what American jazz drummers pay a fortune for some of them. do you recall hearing live? And who left the biggest I collect drums too. I have lots of guys’ drums. I impression? have one of Joe Morello’s drum kits. Sonny Greer. I have some things of Stan Levey. I got Jake’s snare CW: The first guy I ever heard play was Chico drum. Big Sid Catlett’s cymbals are recently obtained.

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

For more information, visit aumfidelity.com/darius_jones.html. Jones is at Roulette Jun. 12th as part of Vision Festival and The Jazz Gallery Jun. 17th. See Calendar.

Darius Recommended Listening: • Shayna Dulberger - TheKillMeTrio (s/r, 2006) • Darius Jones - Man’ish Boy (AUM Fidelity, 2009) • Little Women - Throat (AUM Fidelity, 2009) • /Darius Jones -

O W N M U S I C . E T Cosmic Lieder (AUM Fidelity, 2010) Jones • Darius Jones - Big Gurl (Smell My Dream) (AUM Fidelity, 2011) • Darius Jones - Book of Mae’bul (Another Kind of Sunrise) (AUM Fidelity, 2011)

P e t r G a n u s h k i / D O W N T by Sharon Mizrahi IT’S HERE!!!

In a laidback pose on a restaurant chair, he frankly aural catharsis. Along the way, Jones also seeks honesty The 6th Annual says, “My thing is to be so me. So me, unapologetically.” and purity: “It’s about being able to tap in and bring Whether he’s recording the latest release on AUM [written music] to life. I want to put [myself] far inside “Rhythm in the Kitchen” Fidelity, playing with his spectrum of bands or caught of it.” Music Festival in his signature closed-eye trance on stage, this alto sax Book of Mae’bul marks the latest milestone on his Friday - Saturday, innovator is Darius Jones. Behind the name lies a tenacious road, released last month as the final pioneer of a new kind of soul who, for seven years and installment of his Man’ish Boy trilogy launched in 2009. June 1 and 2, 2012, 7-11 PM counting, has crafted some of the most jarring, eccentric In quartet with pianist Matt Mitchell, bassist Trevor Church For All Nations, NYC and downright earth-defying pieces in contemporary Dunn and drummer Ches Smith, Jones sparks a melting 417 West 57th Street (9th & 10th Aves.) 212.333.5583 jazz. But Jones’ uncanny artistry plants its roots in a pot of styles and emotions. On “You Have Me Seeing history south of the New York City clubs, back in his Red”, he exudes an effusive momentum one minute native Virginia. and classic-tinged reflection the next. The first few Presented by the Hell’s Kitchen Cultural Center, Inc. “My grandparents had a farm, so I grew up around seconds of “My Baby” hint at a sultry lullaby, but one hkculturalcenter.org chickens, dogs and cows,” he says. It was on this farm belly-deep sax bellow veers the vibe into yearning and through his family’s diverse love of music that exploration. That expressive unpredictability courses Facebook.com/rhythminthekitchen Jones stepped onto the creative path. Fueled by his through each work of his triptych. uncle’s saxophone playing, his father’s love of reggae While Man’ish Boy prods the psyche with gurgles indiegogo.com/ritk and even his grandparents’ religious spirituals, Jones and echoes, Big Gurl jolts to life in angular blurts of first channeled his baritone into vocal studies, brass. Book of Mae’bul lies somewhere in between, performing and working as a choir director at a local capturing both Jones’ roaring transformation and church. Throughout high school, he explored the devotion to his roots. He trades prods for assertions brassier realm, playing the saxophone when not and embarks on otherworldly threads of thought, crooning gospel melodies. “I was very connected climbing to the highest throes of throttling bliss. Yet spiritually to what [the sax] was about,” Jones explains. his inspiration stems from a humble source. “Women,” “But it wasn’t encouraged to play outside of church.” he chuckles. “They’re fascinating, fascinating... In As his teenage years whittled to a close, Jones took good ways, bad ways, neutral ways.” Each track on the a step back to reflect on his personal identity: “I was new record was inspired by the unique women in trying to figure out what I wanted to do with my life. Jones’ life, poignantly “Winkie”, a texturally exhilarating At first I was thinking, ‘I want to be a marketing tune titled after his sister’s childhood nickname. executive.’...I was afraid to [be a musician]. Playing the Since the start of his three-year journey, Jones saxophone wasn’t the multi-million dollar thing, reached emboldened heights, emerging with a unless you wanted to be cheesy.” One decisive moment confident but down-to-earth vision. “In my trilogy changed everything. “I remember going to the altar [at work, I don’t want you to sit there and try to figure out church] and asking God, ‘What should I do?’” he what I’m doing. I’m not going to let you figure it out,” recalls. “And he gave me an answer. That’s what I he laughs. And more intensely: “I want you to feel like picked and have been trying to follow since. It’s really you’re experiencing something spiritual, no matter why I do it.” what the sound. I want you to take that chance to be Five releases and hundreds of concerts later, that more open.” scene resonates through every vein of Jones’ brazen Jones, too, will expand his horizons in the near craft. From his albums as a leader to his inventive future. He plans on uniting his methodical chaos with creations with Matthew Shipp or Little Women, he the world of synths and electronics. The move won’t be channels passion through every whine, slur and stream too far a jump - Jones already integrates electronic of sax. Jones composes all of his pieces from the bottom textures into his acoustic compositions. He also looks up, wiping away his prior experiences and forward to bringing his new work to the city’s diverse preconceptions before putting his lips on the performance spaces and beyond. Above all, however, mouthpiece. “I believe in having rules,” he elaborates. Jones will stay true to the series that started everything: “But if you can’t extend your rules for new ideas, how “There will definitely be more Man’ish Boy records,” he can you find something beautiful? The overarching says, voice rich with ambition. “We’ll start on a new [concept] is about being soulful and organic.” Equipped chapter.” only with his “sonic foundations” from music school, That chapter is bound to be a thriller. But what Jones proceeds in a different direction every time he Jones illustrates without words is most telling of all. sets flight, soaring alongside collaborators like Shipp, When he picks up his alto sax and gives his band the Jason Nazary, Rakalam , Cooper-Moore, signal, he soars to bare emotion and never looks back. Adam Lane, Travis LaPlante and many more. Jones is so immersed in his message - so immersed in The method behind Jones’ potent energy rests its the act of creation - that listeners can’t help but be foundations in the realm he calls “freedom within immersed in it too. Every wide-eyed stare, brow- structure.” Within that creative hotspot, he manipulates furrowed nod and body-billowing tumble sends the traditional styles like AABA and the 12-bar blues, ears tumbling into Jones’ raw wavelength. Perhaps a transcending the bounds of musical structure to reach few of his words will do here, after all: “I am me.” v

THE NEW YORK CITY JAZZ RECORD | June 2012 7

ON THE COVER MILES DAVIS THE MAN WITH THE HORN by Terrell Holmes P h o t b y J a n e r s ( c u f S M i )

Although he played his final notes over 20 years ago, “Hearing him did, however, motivate me to become a you’re not the best, you can’t play his music.” Miles Dewey Davis III (May 26th, 1926-Sep. 28th, 1991) jazz trumpeter. Almost immediately!” His take on The driving force behind “Dreaming In Blue” is remains as timeless as ever. He was the blueprint for Miles’ sound is rather unique. “His sound has always Paul Stache, co-owner of Smoke. “The Birthday cool, a paradigm of black masculinity, irascible, been masculine, but retained a bit of femininity and Celebration has been going on for seven or eight years generous, nurturing, genius. This month at Smoke I’ve always found that to be an interesting dichotomy.” now,” Stache explained. “The first one came about “Dreaming in Blue: Miles Davis Festival 2012”, will Pelt also shares Harrell’s observation about Miles’ from me meeting Jimmy Cobb [drummer on 1959’s celebrate the life and music of a man whose career steadfastness. “He was so uncompromising. It’s an Kind of Blue who, in a 2007 interview with this reporter, spanned everything from bebop to hiphop. Playing ongoing lesson: You can’t please everybody!” said, “ Listening to Miles play, well not only did Miles throughout the celebration will be a phalanx of “When I was about 23 I started getting into Cookin’ play great every night but everybody played great trumpeters who, in various contexts, will pay homage and Relaxin’, Steamin’ [Prestige, 1956] and then every night. That’s a hell of a thing. That doesn’t to a true American classic. Milestones [Columbia 1958], you know, that period,” happen all the time with everybody.”] So it was a “I think I first heard Miles Davis when I was in Joe Magnarelli remembered. “There was just a warmth natural choice to book a band with Jimmy to celebrate middle school,” recalled. “I heard a that attracted me, his phrasing, his sound with the Miles. The festival evolved out of that. There are quite recording called ‘Sid’s Ahead’ and I was very Harmon mute, I loved it. I saw him in ’88 in Nice, a few cats who come through Smoke who are associated favorably impressed. It sounded bohemian.” When because I was touring with . It was a with Miles. Some who played with him and others Harrell met Miles a little later he received an unusual three-artist bill: Lionel Hampton, and who indirectly worked with him. So we really had too compliment. “When I was 13 years old I went to the Miles. One time Miles walked through the hotel with many great choices for a Miles Celebration to fit them Blackhawk in San Francisco where he was playing his entourage and everybody stopped what they were all in one weekend. That’s how we ended up with a with his group. He was very friendly. He said I had doing to watch him walk through. Everybody was just five-week-long festival. Besides the headliners, I am good teeth.” totally mesmerized. Miles was a genius. When I heard very proud to have a great lineup of great young Harrell also had some thoughts on what has made Miles play I said, ‘Wow! Okay, I get it. That’s the real trumpeters as part of the festival as well. Trumpet is Miles’ music so appealing. “The immediacy of his sound.’” probably my favorite instrument in jazz so I’m always sound communicates to everyone - you can hear that , who wrote and produced Miles’ looking at what the younger cats are up to.” cry. Also, if you want to be analytical, you could Grammy-winning album Aura (Columbia, 1985), had Since Stache believes that it’s important to transcribe his solos and analyze them the same way some misgivings about working with Miles. “I thought approach Miles from other angles, a play, Beyond Blue you would analyze Bach or Beethoven or John Coltrane ‘Okay, do I dare to write a piece for this man who has a Light, is part of the celebration. “My business partner or Mozart, because the subtlety is at the highest level reputation for being so weird, so strange and arguing at Smoke, Frank Christopher, is a great playwright. of musical creativity. In a sense he’s like a Zen master; with everybody? So I worked for a year on this piece, Like so many people, he listened to Kind of Blue over he perfected himself on all levels. He didn’t compromise which later on became Aura. I was nervous to hear and over again. It inspired him to write Beyond Blue himself.” what he thought about the music. We went to the Light. It’s a great play!” Freddie Hendrix has a similar admiration. “I think concert hall and we rehearsed with the big band that “Miles was always cutting edge and always Miles’ playing just stands out tremendously because I’d put together. And we played the whole piece for pushing the envelope,” Stache said. “People of all he had the lyricism but then he also could play some him. I looked back in the hall and Miles had gone. And walks of life, not just musicians should be reminded of complex things as well. He was the epitome of jazz. He I said to myself, ‘All right, he didn’t like it but I did my just how hip Miles was by simply listening to his large just had a way to get inside people’s aura and their best.’ We [took] a 15-minute break and I went to the body of work in terms of musical diversity. The musical personality and just shake them up a little bit. He toilet and there was Miles. And he looked at me and he journey from Birth of the Cool [Capitol, 1949-50] to We understood that music was not meant to stay the same. said, ‘Palle, it’s a motherfucker!’ Want Miles [CBS, 1981] touches so many different sounds And that’s the way Miles was in his music. This was a “One night, a couple of months later, the phone it’s hard to believe it’s the work of one person.” v man about change. He went with the times and didn’t rang in the middle of the night. And I took it and I hear wait for the industry to dictate ‘this is what it’s gonna this voice ‘This is Miles.’ And he said he was coming For more information, visit milesdavis.com. “Dreaming in be’.” over in two weeks to record the piece. He came over Blue: Miles Davis Festival 2012” is at Smoke from May Bill Mobley has led the Smoke Big Band for three and he was so sweet to all of us. He inspired us all and 25th throughout June, featuring Jimmy Cobb, Freddie years. “I grew up in Memphis and I was a friend of [the made us very, very happy. I said ‘Miles, you are like a Hendrix, Eddie Henderson, Allan Harris, Joe Magnarelli, late] James Williams, who was a pianist and we went Zen master. Sometimes I don’t know what you’re Antoine Drye, , Bruce Harris, , to the same high school. I remember being over at saying, I just know you’re right.’” , Phillip Harper and Tom Harrell. See James’ house and we would jam a lot and he had all of “Miles was the coolest person on Earth,” Wallace Calendar. Miles’ stuff. I think the first album I bought was Seven Roney declared. “He was like a . We’d walk into Steps to Heaven [Columbia, 1963]. I remember one night a room and he didn’t have to say nothing. And he had Recommended Listening: Miles was playing at the Memphis Coliseum, with all the charisma without trying.” Roney had an • Miles Davis - Chronicle: The Complete Prestige , around 1969-70,” Mobley recalled. “I enviable perspective on Miles, being one of the few Recordings (1951-56) (Prestige, 1951-56) think he was playing In A Silent Way [Columbia, 1969], trumpeters whom Miles actually mentored. “He said I • Miles Davis - The Complete Live at the Plugged Nickel he was doing that kind of stuff, like long, drawn-out reminded him of him,” Roney said. “I looked at him 1965 (Columbia-Legacy, 1965) pieces; one piece would last 30 minutes and it was like he looked at Dizzy. I idolized him from when I was • Miles Davis - The Complete Columbia Studio pretty free. I was having trouble with it and I was deep a kid.” Roney played with Miles during the latter part Recordings (1965-68) (Columbia-Legacy, 1965-68) into music! But as I’ve gotten older I just appreciate of Davis’ life and his tonal similarity has drawn both • Miles Davis - The Complete In a Silent Way Sessions Miles more and more. He set an example for how you praise and brickbats. “What they don’t hear is that, as (Columbia-Legacy, 1968-69) can assert your individuality [and] not to be afraid to much as I play like Miles, I try to take it further and • Miles Davis - The Complete Bitches Brew Sessions sound the way you sound. That should be the goal of a that is what my sensibility is. Miles didn’t think I (Columbia-Legacy, 1969-70) jazz musician.” cloned him. He said ‘I hear what you’re doing. You • Miles Davis - Live at Montreux: The Definitive Miles Although had been playing trumpet keep doing it.’ He showed me so much harmonically Davis at Montreux (1973-1991) for several years before discovering Miles, he says, and melodically. Miles is an uncompromising artist. If (Eagle Rock Entertainment, 1973-91)

THE NEW YORK CITY JAZZ RECORD | June 2012 9 ENCORE

abstraction, ethereal ECM atmospheres, symphonies Recommended Listening: Terje Rypdal and choral and chamber works. (After Hendrix, • George Russell - Electronic Sonata for Souls Loved By Rypdal’s most lasting influences are the 20th century Nature (Strata East-Soul Note, 1969) by Tom Conrad composers György Ligeti and Krzysztof Penderecki.) • - Eponymous (Flying Dutchman, 1969) The best single overview of Rypdal’s music is his • //Terje Rypdal/ There are many ways Selected Recordings, the seventh volume of ECM’s / - SART (ECM, 1971) of understanding Terje 20-volume :rarum series. It contains touchpoints in a • Terje Rypdal - Odyssey (ECM, 1975) Rypdal. He has 27-year period from 1971-98. Rypdal’s power trio with • Terje Rypdal//Jack DeJohnette - recorded prolifically, bassist Bjørn Kjellemyr and drummer is To Be Continued (ECM, 1981) mostly on ECM, for 44 well represented, with pieces from recordings that • Terje Rypdal - Crime Scene (ECM, 2009) years, was early in changed jazz , like Blue, Chaser and If Mountains bringing electronics to Could Sing. It was a power trio capable of haunting jazz and is a seminal figure in what became known as poetry. Rypdal is known as a guitar god and there are fusion. Rypdal is proof that European jazz has achieved some monstrous guitar workouts but his guitar is just independence and he has one of the most identifiable as likely to evaporate into whispering electronic electric guitar sounds in jazz. It is a human sound with twilights. He is above all a thinker and conceptualist (in the words of critic David Fricke) a “sea-gull-cry who has a guitar god as one tool at his disposal. sustain”. He belongs with the elite of living jazz Threads of continuity recur through his career. In guitarists. Yet he has played in the United States only 2006, he released Vossabrygg. It is a free tribute, with three times in his life and not since 1997. This month, similar instrumentation, to the album that helped he will appear at Le Poisson Rouge with one of his shape his aesthetic, Bitches Brew. The Miles role is working bands: Palle Mikkelborg (trumpet), Ståle fulfilled brilliantly by Palle Mikkelborg. Rypdal says, Storløkken (keyboards) and (drums). “For me, when jazz went in a more rock direction, it all Rypdal lives in Tresfjord, Norway, 500 kilometers fell together.” northwest of , on six acres that have been in his His latest album, Crime Scene (2009), picks up family for generations. On the telephone from Tresfjord, another thread: Coltrane’s Meditations. Rypdal was June 5th he reports, “I don’t travel so much anymore. I play commissioned to compose music for the Big mostly jazz festivals and in between I stay home and Band of Norway. He says, “They sent me some of their Mike Longo 17-piece compose.” When he talks about his musical origins, recordings and I was surprised that they had actually NY State of the Art Jazz Ensemble the sources of his eclecticism begin to clarify: “I started made an album around Meditations, expanding on it. with Dee Daniels on piano when I was five. My background is really So we had a connection. I treated the band like a classical. I probably could have continued and become chamber orchestra but more open, with a lot of June 12th a concert pianist.” But when he was 12 he heard the freedom, especially for the sax players.” British guitarist Hank Marvin and began to teach Crime Scene proves that Rypdal has lost none of his Jeff Siegel Quintet himself guitar. He played in Norwegian pop bands imagination, curiosity and courage. It is one of his then discovered Jimi Hendrix. Even today, the most most unusual and ambitious works, featuring the June 19th obvious (though simplistic) description of Rypdal’s quartet with Mikkelborg, Storløkken and Vinaccia plus Charli Persip Super Sound sound is that it is the thunder and shriek and ecstasy of the 17-piece . The blend is unique: Hendrix, filtered through the sophisticated sensibility orchestral jazz; wild abstraction; belligerent rock ‘n’ Big Band of a jazz improviser. roll; snippets of spoken dialogue from crime films. But he was also listening to Miles’ Bitches Brew and Rypdal was in a wheelchair, recovering from surgery, June 26th then, “by chance”, he heard Coltrane’s Meditations: “Of when he composed it: “I couldn’t go to the piano all Mike Longo Trio course I didn’t really understand it, but later that the time. Maybe that’s why it’s so loose.” album became crucial for my ideas about In June, Rypdal will be performing music from improvisation.” When he was 22, he joined Jan Crime Scene with the quartet and the Bergen Big Band New York Baha’i Center Garbarek’s quartet and then, as he puts it, “Manfred at jazz festivals in Vancouver, Montreal and Rochester. 53 E. 11th Street Eicher heard about the group and ECM happened.” He At Le Poisson Rouge, he will have the quartet only and (between University Place and Broadway) played on Garbarek’s in 1970, the says he cannot do Crime Scene without the big band. Shows: 8:00 & 9:30 PM label’s seventh release. But whatever he does, it will be like nothing heard on Gen Adm: $15 Students $10 Rypdal’s ECM discography is now approaching 40 these shores in years. v 212-222-5159 titles (including an upcoming three-CD set as part of the label’s Old & New Masters Series), a vast and rich For more information, visit ecmrecords.com. Rypdal is at Le bahainyc.org/nyc-bahai-center/jazz-night and diverse body of work encompassing rock, jazz, Poisson Rouge Jun. 27th. See Calendar.

LEST WE FORGET

weeks at the Onyx Club. During this time he met Male Vocalist of the Year” in 1953, in the first-ever Jackie Paris (1926-2004) Charlie Parker and became the only singer who ever DownBeat Critics Poll, it was to be the first of many that toured regularly with Parker’s Quintet with Miles he won. Among the musicians with whom Paris by Andrew Vélez Davis and . Regrettably they never recorded. recorded are , , , His first recording was “Skylark” (1947) for MGM Wynton Kelly, , Coleman Hawkins, Bobby Carlo Jackie Paris was born Sep. 20th, 1926 in Nutley, and it became Paris’ signature tune. In 1949 he became Scott, , , Neil Hefti, Johnny New Jersey. Although he never achieved the acclaim the first white vocalist to tour with the Lionel Hampton Mandel and . accorded other male singers of his era, Paris had Orchestra. Exhausted by their series of 78 one-nighters, Yet despite all the acclaim and admiration from intermittent successes. What did remain throughout he turned down an invite from Duke Ellington to join his peers, there were long periods during which Paris his career was a consistently hip vocalizing much his orchestra. Paris was the first singer to record all but disappeared from music, even reportedly at one admired by some of the greatest jazz musicians. Thelonious Monk’s “‘Round Midnight” and Charles time to have been working as an elevator operator. Yet Paris began his career as a popular child song and Mingus called Paris his “favorite singer” and used him in 2001, he was back singing to a standing-room-only tap-dancing entertainer in vaudeville, where he was on several recording sessions including “Paris in Blue” crowd at Birdland. He was the subject of Raymond De encouraged by legendary black headliners such as Bill (1952), which was written for him. It was followed by Felitta’s 2006 documentary, ‘Tis Autumn - The Search for “Bojangles” Robinson and . After the classic “Duke Ellington’s Sound of Love” (1974). Jackie Paris. Frail physically but still swinging, Paris serving in the army during World War II, he was With his cool attitude and harmonically opined, “To be alive is to play...otherwise why the hell inspired by his friend Nat “King” Cole to put together sophisticated style, Paris embodied the very essence of are we here!” Paris passed Jun. 16th, 2004. v “The Jackie Paris Trio”, with himself on guitar and modern jazz. Straightforward in his delivery, with an vocals. During the now legendary period of jazz on acute respect for lyrics and well grounded in the blues, A Jackie Paris Tribute is at Tribeca Performing Arts Center , the Trio played an unprecedented 26 Paris could also swing and scat. Named “Best New Jun. 1st as part of Lost Jazz Shrines. See Calendar.

10 June 2012 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

it’s almost pointless to make records these days.” At Matthew Garrison was born Jun. 2nd, 1970 in New York, ShapeShifting Music and Art first we wondered why CD and audio file sales spending the first eight years of his life immersed in a plummeted at which point we went online to poke community of musicians, dancers, visual artists and poets. by Fortuna Sung & Matthew Garrison around here and there. I was nearly in tears after seeing After the death of his father, his family relocated to Rome, over 20,000 downloads from bit-torrent sites. “So it’s Italy where he began to study piano and . In 1988 “Matt, are you sure you want me to write the article? not about my compositions. There’s got to be a way to he returned to the United States and lived with his godfather Nobody knows who I am!” To which Matt responded, bypass all of this lack of compassion for artists trying Jack DeJohnette for two years, studying intensively with with much encouragement, “Yes, you have to do it to make a living by selling their work to the public,” he both him and bassist . In 1989 Garrison eventually, one way or the other. You’re my business said two weeks after his last release. So with the received a full scholarship to attend Berklee College of Music partner and the co-owner of this place. Don’t be shy.” convenience of having a space, Matt is using it as his in and thus began his professional career with the And here I am, writing away about the story of our recording platform to release his next record in a likes of Gary Burton, Bob Moses, , Mike Gibbs venue ShapeShifter Lab. revolutionary way within the virtual world. So far we and Lyle Mays, to mention but a few. Garrison has The birth of ShapeShifter Lab came about one day have recorded Meshell Ndegeocello, Gene Lake, Arto performed, toured and recorded with artists such as Herbie when Matt and I were in Tokyo, casually chatting Tunçboyaciyan, , Adam Rogers, Jojo Hancock, , , Pino Daniele, Meshell about our dreams. “I have two arts-related ideas I’ve Mayer, Sean Rickman, Mark Guiliana, Marko Ndegeocello, , Whitney Houston, Wayne always wanted to put into reality, Fortuna. One is to Djordjevic, Hadrien Feraud and Tobias Ralph. I would Shorter, Jack DeJohnette, , Rita Marcotulli, have my own space that allows for all musicians to like to give you more details about it but this project is , , , Wallace Roney, come in and present their work without boundaries being patented at the moment. We will announce it , , John McLaughlin, The Gil Evans and the other is to continue developing my online shortly. Orchestra, , , The Saturday Night work in a new format that no one else has ever done And yet, this venue adds another spectrum to the Live Band, Michael Brecker, , , before.” He continued to explain, “After spending whole picture: we want people who come here, artists and many others. more than 20 years as a performing artist, I pretty and audiences alike, to have a forward-thinking much have performed at most major venues around mindset. Coming from a jazz background, Matt has Fortuna Sung was born into an artistic family in the ‘70s in the world. Very rarely have venues or organizations never forgotten about his lineage. He told me proudly, Hong Kong. Her father was a trained classical musician and treated musicians with the respect they deserve or around the time he just picked up playing the electric film director/producer. He had mentored world-class film taken proper care of the sound systems, among a series bass, “My father is well known, you know! His name is directors such as Johnny Woo and Wong Kar Wai, among of other issues.” Even though I am not a musician, I Jimmy Garrison, the bass player of John Coltrane.” many others while her mother was an actress in many could feel his frustration. “Music is another world With my poor knowledge at that time, I had no idea leading roles. Their daughter continues to carry on their where people come together trying to forget about what historical significance that implied. Only years passion into which they have dedicated a lifetime. Matt is issues that set us apart - racism, conflict, religion and later was I able to grasp that simple statement and yet the “music-brain” and Fortuna is the back-end support at on and on. It’s a common language where we come to admire his ties with the revolutionary steps that those ShapeShifter Lab. an understanding of each other when we interact brave musicians had taken. “I want ShapeShifter Lab artistically.” to be the place where musicians and audiences come My little brain started calculating after this gather, hang out and new concepts will blossom conversation. Two months later, I sent Matt a proposal naturally and organically, always connecting to the and three months after, I found myself in New York. original spirit of research bestowed upon us by such The timing was perfect. Matt had just finished a tour artists as my father.” with Whitney Houston; I wanted to explore my The idea is to give these musicians and artists entrepreneurial nerves in a new territory outside of entire evenings so they can curate projects where they Asia, continuing what my parents had been doing: can bring in dancers, live visual art, film scores or just providing opportunities for ideas in the art scene. an evening of pure creative music. However, the Growing up with him during the ‘80s in Italy projects they bring in have to be forward-thinking, while we were teenagers had planted the seeds of this even better with different art forms intermingled with venture. And now 25 years later, we are making it each other. We have to move into the future. To put it happen at ShapeShifter Lab. We found this abstractly, music and art are about no boundaries, manufacturing space one year ago in Park Slope freedom of expression and working with open space Brooklyn, put a few nails and some paint here and and people with open minds. We have to work with there (to put it very mildly) and here we are! visual artists, dancers, film-makers, photographers to Because of the flexibility of the space, it allows for create more interactive human dynamics.” v live recordings. “With my recent record releases,” Matt has said, “sales have taken a hit over the last couple of For more information, visit shapeshifterlab.com. The official years because of all these pirated downloads. Unless grand opening takes place throughout June. See Calendar for I’m on the road, selling CDs directly to the audiences, complete program and performers.

VOXNEWS by Katie Bull such as sturdy jazz elder Dee Cassella (Jun. 16th). 7th). Before the breathtaking Manhattan skyline at I-Beam offers ear-opening programming such as Dizzy’s Club, hear jazz cabaret great Barbara Carroll How do we sleuth out who to go hear in vocal jazz? sonorous Yoon Sun Choi’s E-String Band (Jun. 8th). At sing and play piano (Jun. 20th-24th). Who, what, where, when, why? The who and when are The Stone, Brazilian-born Vinicius Cantuaria sings Outdoors, the fierce Gregory Porter is at the in the The New York City Jazz Record’s extensive Event Jobim anew (Jun. 8th). Madison Square Park Oval Lawn Series (Jun. 27th). Calendar. The what and why might arrive from a Smoke, a beloved jazz dinner club known for The Jazz Journalists Association has nominated Porter friend’s enthusiastic recommendation, or the influence cream-of-the crop straightahead singers, features for Best Male Singer (June 20th) as part of its annual of a balanced critic’s perceptions, providing context for finely attuned Allan Harris as part of its month-long awards ceremony, to take place at Blue Note (Jun. reflective and fresh new listening. This month, the Miles Davis Festival (Jun. 10th, 17th and 24th). Harris 20th). Other nominees are: Karrin Allyson, René focus is on the where; there are vocal homes that you, has also released Convergence (Love), a seamless duo Marie, Gretchen Parlato, Tierney Sutton, Freddy the listening audience, can count on to find excellent with pianist Takana Miyamoto, and will celebrate late Cole, and Giacomo Gates. singers. At the end of the day, “You just gotta be there.” singer Jackie Paris at Tribeca Performing Arts Center’s Roulette hosts the Vision Festival this year, which Where is “there”? Lost Jazz Shrines series (Jun. 1st). features NEA Jazz Master with free jazz Zinc Bar, Jazz at Kitano, Metropolitan Room, The At Blue Note mainstay singers Tessa Souter (Jun. pioneer Jay Clayton in “Bebop to Freebop” (Jun. 15th)! Jazz Gallery, Fat Cat, Cornelia Street Café, Smalls and 4th), Judi Silvano (Jun. 24th) and Cassandra Wilson (Vision/Arts for Arts also regularly hosts the bold Bar Next Door: all golden vocal venues. 55Bar has a (Jun. 28th-30th) will carry the room’s legacy forward. Evolving Voices Series at Clemente Soto Velez Cultural tried-and-true dedication to solid regulars such as Souter’s soulful new release is Beyond the Blue (Motéma) Center.) At the Abrons Arts Center, jazz, blues, folk Kendra Shank (Jun. 29th). The newish midtown club and note that she is also a 55Bar regular; Silvano’s master Leon Redbone will bring the 20th Century Somethin’ Jazz Club won the 2011 DownBeat Award for hearty hues color Indigo Moods (Jazzed Media) and will Songbook on home. Be there. Where? At venues best jazz venue and also features singers regularly have her music performed at Symphony Space (Jun. providing homes for song’s heart. v

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

contacts with distributors, I knew journalists and label, maybe the only one,” he asserts. “It’s hard even Potlatch Records reviewers in France and abroad.” when you believe that you have some experience. I Early on output was divided between sessions need to know what’s happening everywhere. I attend a by Ken Waxman specifically created for Potlatch and previously lot of concerts; I listen to a lot of recordings. When I’m recorded material. As Potlatch’s sole owner and only convinced by the quality of a musician or group of Performing music’s loss is recorded music’s gain since employee, Oger uses different sound engineers and musicians, I ask if we can do something together. It can Paris-based Jacques Oger abandoned his gig as a artists/designers on a project basis. “We often recorded be a live recording and we can make several before saxophonist with the free music trio Axolotl in the mid at Les Instants Chavirés, the main venue for improvised choosing the best, or it can be studio sessions.” ‘80s. Turning to market research, communication and music in Paris, or sometimes at great festivals such as One player who benefitted from this due diligence translations, by 1997 he had saved enough to found Méteo in Mulhouse.” One early CD, Outcome by Derek is tenor saxophonist Bertrand Denzler, who has had Potlatch, which to date has released 35 high-quality Bailey and , stands out because it was four CDs on the label: two with Trio Sowari; another CDs. Oger spent 10 years with Axolotl, during which recorded 16 years before it was released. Engineer/ with a saxophone quartet and a solo saxophone disc. the band recorded two LPs and gigged frequently. He computer musician Jean-Marc Foussat, who recorded “In the late ‘90s and early ‘00s, other labels stopped playing, he admits, “because I thought I was the majority of Potlatch’s early CDs, had the master on published my CDs. Working with them was a good not creative enough to keep on in that area of music.” hand. “It made sense because Steve Lacy was living in experience, so I wasn’t thinking about recording for He was creative enough though when he translated his Paris. Since I had attended his master class, I knew Potlatch,” Denzler recalls. “I saw Jacques at many love for experimental music into a record label. him,” remembers Oger. “Afterwards, I decided to give concerts though and we had interesting discussions “My kids were older, so I had more time left to do up on older material. I have to release material focused about music. Then in 2004 Trio Sowari had its first something else,” Oger adds, describing the birth of on the present. Music is changing, so labels must reflect concerts in France plus a two-day studio residency. Potlatch, which takes its name from the wealth new tendencies and trends.” Jacques came to one of those concerts in a tiny studio redistribution system practiced by North American That has certainly happened, as Potlatch has and enjoyed our music. He told me he would be Indians. “I thought that a label was needed to promote become one of the primary outlets for reductionist interested in publishing a recording. I told him I would musicians that I enjoyed and who weren’t known sounds. “There was a turning point with a new send him something. He immediately decided to enough. Above all, there was the Internet starting and generation of musicians with other ideas of how to release it. growing very fast. Suddenly it was very easy to have play. From 2002 on, my choices were orientated “Two years later, Trio Sowari did a new CD and I contacts with musicians, distributors and consumers towards realms focusing on more spacious forms of asked Jacques to publish it. But he needs time before he all over the world via mailing lists, mail order and music with new textures, slower pace, the presence of can sell enough copies to finance the next one. Two websites.” Another plus was his experience as an silence, a preference for collective sound rather than years later, he put it out. With Propagations, Jacques itinerant musician. Asked how he corralled well- chatty ping-pong playing based on energy and heard our saxophone quartet in concert, but after we known musicians such as Evan Parker and Joëlle spontaneity.” recorded, either we or he thought the results weren’t Léandre to record for Potlatch, Oger replies: “I knew Since Oger can’t afford to put out more than two or good enough until we finally came up with something them personally. I explained that they could rely on me three CDs each year, selecting the right musicians and in 2007. I recorded the solo CD one day in Paris and because I knew how to address the ‘market’; I had sessions to release is “the main job when you run a (CONTINUED ON PAGE 37)

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Billabong

E.E. Tension and Circumstance Outcome Alibi Days Keith Rowe / John T Der D The Contest of Pleasur

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VITALY GOLOVNEV was born in Nalchik, Russia grandparents working together on the bandstand. collective Scientific Soul Sessions and lives in Harlem. into a family of musicians. The first trumpet lessons he took were from his grandfather, a great musician who Dream Band: Steady working band of strong individuals. Teachers: Fred Ho and Arturo O’Farrill. influenced him to pursue music. Later at age 15, he moved to Moscow to continue his professional education Did you know? When I served in the military orchestra Influences: Fred Ho for his AfroAsian baritone language at the prestigious Gnesin Academy of Music. In the fall of the Russian Army, we convinced the checkpoint and his radical politics, ’s hardbop and of 2003, Golovnev moved to New York where he was officer to give us permission to leave the base for the blues vocabulary and for his tone. fortunate to share the stage with , the reason that we needed to get more sharps and flats. , David Berger’s Sultans of Swing Current Projects: Working with Arturo O’Farrill and Orchestra and many other bands. In 2007 he participated For more information, visit vitalygolovnev.com. Golovnev is Red Rooster Harlem to debut Arturo’s newest work, The in the Thelonious Monk Jazz Trumpet Competition and at Smalls Jun. 27th and Fat Cat Jun. 29th. See Calendar. Offense of the Drum, a suite that celebrates the drum’s a Grey Goose TV commercial with the role in forging a culture of collectivity and resistance Sextet. Has performed in the US, Canada, Japan, Europe among peoples of the African diaspora, as well as in the and Israel. In 2009 his debut album To Whom It May recent Occupy movement. Concern was released on Tippin’ Records. I knew I wanted to be a musician when... Growing up Teachers: In Moscow, I studied trumpet with Evgeny in the suburbs of New Jersey, music turned me onto a Savin. My other teachers were Alexandr Oseychuk, Yuri world where love, not jockstraps, reigned supreme. A Chugunov and Igor Bril. groove that said: “There are other worlds than these.”

Influences: Bird, Miles, Monk, Coltrane, Dolphy, Booker S a s h M i k n Dream Band: A volunteer army of spiritual warriors Little, , , Bill Evans, Vitaly Golovnev Benjamin Barson committed to changing the world through revolutionary , and German Lukianov. music. And who can play changes! BENJAMIN BARSON is a 23-year old baritone Current Projects: My second album What Matters is out saxophonist, writer, producer and activist. He has Did you know: Being forced to play baritone in marching on Tippin’ Records, with my countryman, saxophonist played with a diverse cross-section of leading New York band was the best thing that ever happened to me. Zhenya Strigalev. I often play with George Gee Orchestra. City jazz musicians such as Fred Ho, Arturo O'Farrill and Ku’umba . Barson has committed his life For more information, visitbenjaminbarson.com. Barson is By Day: Practicing, composing and trying to get a gig. to musical activism, such as working to free political at Red Rooster Jun. 19th and 21st-22nd with Arturo prisoner Russell Marroon Shoats or championing the O’Farrill and Mondays with Rakiem Walker. See Calendar I knew I wanted to be a musician when... I saw my work of Cal Massey. He is a member of the revolutionary and Regular Engagements.

12 June 2012 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT dOek Festival Trondheim Jazz Festival by Ken Waxman by Tom Conrad o n d h e i m J a z F s t v l r d . c o m . j a z w o r , w ( c ) S u s a n O ’ C o r P h o t b y M a x K e p l r / C u s T Wolter Wierbos

Unexpectedly but appropriately, Sean Bergin, tenor When you fly into Trondheim in May, snow still saxophonist and tour-guide-for-the-day, added an covers the hills around the city. Norway has older, extra stop to an afternoon bus tour of selected jazz more famous jazz festivals, like Molde and Oslo and clubs during the 10th anniversary of Amsterdam’s Kongsberg. But Trondheim has an intimacy all its own. dOeK Festival (Apr. 21st-22nd). On a narrow street The small venues are close together, on either side of a beside a canal, at a construction site, which from 1974- footbridge over the Nivelda River. In May, Trondheim 2005 had been home to the Bimhuis, ground zero for Fjord and the river glow in the amber of very late advanced Dutch sounds, the South African-born Bergin sunsets. passed out noise-makers and led the participants in a One of the most important jazz conservatories in brief fanfare celebrating the exceptional music played Europe, the Jazz Performance Program at the there. Norwegian University of Science and Technology The salute was doubly significant. Not only was (NTNU), is located in Trondheim. This year’s festival that location progenitor of the spacious, soft-seated, (May 9th-13th) included a Jazz Summit, with harbor-front location of the new Bimhuis, in which academically rigorous lectures and panel discussions. 2012’s festival took place, but long-time Amsterdam Participants included Erling Aksdal, Director of the resident Bergin, who during the bus ride entertained NTNU Jazz Program, author Stuart Nicholson, John with quirky songs and stories about the city’s musical Kelman (Managing Editor of AllAboutJazz.com), history while playing saxophone, penny-whistle and Francesco Martinelli (Director of the Siena Jazz ukulele, is a representative of the foreign improvisers Archive) and several musicians (Bugge Wesseltoft, who have contributed to the city’s musical gestalt. , Iain Ballamy). The central theme of the Organized as a non-profit foundation promoting Summit was that globalization is the key evolutionary improvisation in the Netherlands, dOek’s global reach development taking jazz into the future. The music of was emphasized during the fest with concerts that the festival confirmed this thesis, with an emphasis on featured American, German and Australian musicians three parts of the globe: the United States, the United playing alongside their Dutch counterparts. Kingdom and Norway. Take WoKaLi, a trio that melded the verbalized Americans set the bar high. played whinnies, mumbles and rapid lip motions of local the opening concert in Dokkhuset (“dock house”), a trombonist Wolter Wierbos with two Berliners: pianist 200-seat space in a converted dry dock. She is an Achim Kaufmann, with his crisp key palming, and honest, unaffected singer with a small, pure voice. Her percussionist Christian Lillinger, who vibrated dual clear diction and objective phrasing made her Jobim snares, slapped hard objects on drum tops and interpretations (“Corcovado”, “How Insensitive”, generally produced hyperactive rhythms. A climax “Dreamer”) sound egoless, even definitive. was reached as Wierbos’ slurs turned to tongue-grinds, After Kent, ’s incandescent the drummer beat on the hi-hat with a stick while quartet (Sam Harris: piano; Harish Raghavan: bass; Kaufmann’s cascades kept the theme cohesive. Justin Brown: drums) played right across the street in Oddly there was no piano present during the set Blæst, a dark upstairs room without chairs. Akinmusire by The Gap, a sextet organized by dOeK founding lived up to the current critical consensus that he has a member Cor Fuhler, who now lives in Australia. chance to be the next important jazz trumpet player. Usually a keyboardist, Fuhler instead played guitar He organizes a solo like no one, with lines that are and was backed by another dOeK founder now in startling in themselves and more startling in their Berlin, reedist Tobias Delius; Germans Axel Dörner on internal relationships. On “Richard” he erupted in slide trumpet and Jan Roder on bass; plus two Aussies: huge sweeps and wild splashes of trumpet while his percussionist Steve Heather and vibraphonist Dale rhythm section seethed. Nominal ballads like “Regret Gorfinkel, whose kinetic sound and light sculptures No More” were eventually blown up by impulsive were on display on another floor of the Bimhuis. A intervallic leaps. Akinmusire may not have listened to suite of Fuhler-composed airy miniatures, the pieces Tomasz Stanko, but in our globalized jazz environment usually depended on Gorfinkel’s four-mallet rubs and Stanko is in the air. Like Stanko, Akinmusire slides off slides on the metal bars and Heather’s sensitive brush notes to slur and spit and flutter. Like Stanko, he is less work. Ironically, despite the modernist playing of a trumpet player than an expressive artist whose Dörner, whose distanced breaths often seemed to leak medium is trumpet. (Harris, unpredictable and back into his horn, the taut voicing of vibes, guitar and orchestral, is a new pianist to watch.) Delius’ flat-line resembled that of Lionel Kit Downes was the most impressive of the British Hampton, Charlie Christian and . musicians. The pianist’s quintet Quiet Tiger at The more assertive bass-and-percussion team of Dokkhuset (Calum Gourlay: bass; James Maddren: (CONTINUED ON PAGE 46) (CONTINUED ON PAGE 46)

THE NEW YORK CITY JAZZ RECORD | June 2012 13 CD REVIEWS

to his credit as a singer and guitarist. His voice has Other tunes are more composed, but still highly settled in a lower register over the years and now spontaneous, including three by Alessi, the most possesses a warm raspiness that, in spots, is reminiscent memorable of which is the slow building, nearly of Nat Cole. Japan-born Miyamoto, a graduate of anthemic “Yellow Cat”. Coltrane and Alessi are Berklee College of Music, enjoys a reputation as an longtime cohorts and their ability to play off and push accomplished accompanist, having worked with each other is powerful and deep. Lovano, meanwhile, Nnenna Freelon and René Marie. She does not attempt is featured on a riotous reading of Ornette Coleman’s to play like Bill Evans here but instead brings her own “Check Out Time” and a much more subdued, even delicate and inventive touch to her fills and solos. tender, trio take (with Allen) on the late Paul Motian’s

Journeyman The selections, which appeared on the “Fantasm”. Brandon Wright (Posi-Tone) aforementioned Bennett/Evans recordings, are all by Elliott Simon recognizable and there are several highlights. Even For more information, visit bluenote.com. Coltrane is at though they are all ballads and mostly done in ballad Birdland Jun. 1st-2nd, Roulette Jun. 5th, ShapeShifter Lab With his understanding of jazz composition and a tempo, there are two uptempo song versions that really Jun. 8th and The Schomburg Center Jun. 13th. See Calendar. tone mature beyond his years, tenor saxophonist swing - “The Touch of Your Lips” and “Days of Wine Brandon Wright has understandably carved out a niche and Roses”. Harris’ phrasing ability stands out on the for himself as a big band mainstay. And while Wright latter as it also does on his rendition of “But Beautiful”. may think of himself as a Journeyman within the “You Must Believe In Spring” is a fine example of confines of the Mingus, Chuck Mangione and Max Harris’ storytelling ability and Miyamoto delivers a Weinberg big bands, his creativity and fresh approach memorable solo on the torchiest of all torch songs, as a leader are anything but mundane. Boiling Point “You Don’t Know What Love Is”. But the most heartfelt (Posi-Tone, 2010) debuted integrative leadership as a performance on this CD is Evans’ classic “Waltz For strong suit and Journeyman picks up where that album Debby”, which is approached as the lovely lullaby it is left off. meant to be. Mingus bandmate/pianist David Kikoski is a Harris and Miyamoto have used their respective welcome holdover from that debut session and the cuts interpretive gifts to create a warm comfort zone that on this sophomore release are evidence that he and brings out the best in these songs and the vocal/piano Wright have become even more in sync. In the context duo tradition. of this quartet’s freedom, their in-tandem playing is quick, precise and masterful. Bassist Boris Kozlov and For more information, visit allanharris.com. Harris is at drummer Donald Edwards are also Mingus Big Band Tribeca Performing Arts Center Jun. 1st as part of Lost Jazz members and here they weave elegant rhythmscapes Shrines and Smoke Jun. 10th, 17th and 24th as part of Miles that are crisp, fleet and structurally solid in support of Davis Festival 2012. See Calendar. the various stylistic realms through which Wright takes the quartet. Whether the band is wailing on burners like the brawny “Big Bully” or opener “Shapeshifter”, melding jazz with greasy blues for a “Walk of Shame” or getting sentimental on an extended take of Hoagy Carmichael’s RECOMMENDED “Nearness of You”, Wright’s muscular tone impresses. His style is steeped in ‘50s hardbop but Wright is most NEW RELEASES definitely a child of the ‘90s. On his debut, he found the jazz in Stone Temple Pilots’ “Interstate Love Song” and here he employs a strapping Eddie Vedder-esque • - The Continents Spirit Fiction voicing for Pearl Jam’s “Better Man”, which cleverly (Deutsche Grammophon) Ravi Coltrane (Blue Note) • Linda Oh - Initial Here (Greenleaf) contrasts with Kikoski’s more graceful approach. In by Joel Roberts addition, an introductory Trane-like soliloquy to Oasis’ • Eivind Opsvik - Overseas IV (Loyal Label) “Wonderwall” creates a hymn-like atmosphere that Compared with many of his contemporaries, tenor • Ulysses Owens Jr. - Unanimous (Criss Cross) retains the original’s naiveté but expands its reach saxophonist Ravi Coltrane’s career started slowly and • Phronesis - Walking Dark (Edition) across generations. Wright’s unique combination of has proceeded at an unhurried, almost deliberate pace. • Larry Willis - This Time The Dream’s On Me chops, jazz savvy and Gen X diversity may signal a He didn’t release his first disc as a leader until he was (HighNote) changing of the guard. 33 (1998’s Moving Pictures), after he had played key David Adler, New York@Night Columnist sideman roles with the likes of , Wallace For more information, visit posi-tone.com. This group is at Roney and Steve Coleman. Since then, he’s made only • Quintet - Legends Live: Jazz at Kitano Jun. 1st. See Calendar. six albums, including his new one, Spirit Fiction, his debut for Blue Note, the label for which his father Liederhalle Stuttgart (March 20, 1969) (JazzHaus)

recorded the classic Blue Train some 55 years ago. • Ran Blake/Christine Correa - Down Here Below Coltrane’s patience has paid off, giving him the (Tribute to Vol. One) (Red Piano) time to develop a sound and style of his own, one that • David “Fuze” Fiuczynski - Planet MicroJam certainly draws on his famous dad, but probably owes (RareNoise) more to other legendary tenors like • RED Trio + Nate Wooley - Stem (Clean Feed) and . On Spirit Fiction, he gets an assist • The Thing (with Barry Guy) - Metal! (NoBusiness) from still another tenor titan, , who acts as • Zanussi Thirteen - Live (Moserobie) co-producer and sits in on two tunes. The album’s 11 Laurence Donohue-Greene tracks are split between two different groups, one Managing Editor, The New York City Jazz Record Coltrane’s working quartet of pianist Luis Perdomo, Convergence bassist Drew Gress and drummer EJ Strickland; the Allan Harris/Takana Miyamoto (Love Prod.) • Blue Notes - Before The Wind Changes (Ogun) by Marcia Hillman other a quintet of past collaborators like pianist Geri Allen, trumpeter , bassist James Genus • Ircha-Mikolaj Trzaska Clarinet Quartet - This album is being billed as a salute to the legendary and drummer . Watching Edvard (Kilogram) /Bill Evans duo recordings of 1975-76. Several of the tunes are group improvisations, • Kullhammar/Aalberg/Zetterberg - But it is also a salute to the simple rendering of song by including the opener, “Roads Cross”, which Coltrane Basement Sessions, Vol. 1 (Clean Feed) two musical voices - the human voice of Allan Harris describes as two duos played together, and its much • Mike Noordzy Quintet - Dream-ee-chi-wah (Nacht) and Takana Miyamoto’s piano. The pair had never different sounding bookend “Cross Roads”. The title • The Thing (with Barry Guy) - Metal! (NoBusiness) worked together until a last-minute engagement in track, which Coltrane calls a “mashup”, takes a similar • Zürihorn - Wanderlust (Unit) Atlanta wherein they realized their musical chemistry approach, layering separate recordings of duo Andrey Henkin and decided to record together. improvisations together to create a surprisingly strong, Editorial Director, The New York City Jazz Record Harris has been on the scene with other recordings if abstract, groove.

14 June 2012 | THE NEW YORK CITY JAZZ RECORD

quietness. The pianist also presents an original, Beads”, with Kuhn and Finck adding superb solos. “Balloon”, by turns, playful, lyrical and somber. Souter wrote lyrics for several works, including the David Berkman tells powerful short stories on dramatic “Prelude to the Sun” (taken from Beethoven’s Self-Portrait - 13 adventures with more standards Seventh Symphony and arranged by Locke), her (including some lesser known), four of what he calls infectious bossa nova “Brand New Day” (adapted from “sketches”, which serve as brief interludes, and one Fauré’s “Elegy”), hip bop vehicle “The Darkness of original composition. Imagine that you’re sitting in a Your Eyes” (recasting Fauré’s “Pavane”) and the living room with an artist simply demonstrating just shimmering bittersweet ballad “En Aranjuez Con Tu what he can discover in the moment. Amor” (adapted from Rodrigo’s famous Guitar Berkman has a subtle wit and involving Concerto). Souter demonstrates versatility and depth intelligence. On “Anniversary Waltz” he takes a kind of feeling in this fresh exploration of classical themes. Nino Rota (Solo Piano) Mark Soskin (Kind of Blue) of schmaltzy old love song and beautifully darkens it, Me, Myself & I Kenny Werner (Justin Time) giving it a new, deep richness. He turns “It Could For more information, visit motema.com. Souter is at Blue Self-Portrait David Berkman (Red Piano) Happen to You” into a bit of a dirge, which as it Note Jun. 4th. See Calendar. by Donald Elfman expands, reflects a new kind of melancholy in what has mostly before been played as a spritely uptempo Taken together, the compositions on these three discs number. Berkman’s original “Tiny Prairie Landscape” UNEARTHED GEM comprise some of the most eloquent entries in the is a strikingly evocative picture with the feeling of an history of popular song. David Berkman notes, “This evanescent tone poem, making its eloquent statement recording feels more like explorations of these tunes and then fading away. And in a bold, beboppish move, than performances of them.” Mark Soskin says of his the pianist offers us Miles’ lesser known “Milestones”, interpretations of Nino Rota that he wanted to capture not the tune “Miles” often mistakenly called the spirit of the music “by infusing my own identity “Milestones” that led off the album of the same name. into his soulful work.” And Kenny Werner suggests Here, as in every selection, Berkman displays that “technique clears all the brush, so to speak, prodigious technique but it’s always in the service of between the player and his instrument leaving a what he can find out about a tune. completely clear playing field.” These three piano masters then offer proof, as if it were needed, that in For more information, visit kindofbluerecords.com, the right hands, in the right pair of hands, this music justin-time.com and redpianorecords.com. Soskin is at Tippin’ (Live in Morecambe 1959) (Gearbox) continues to tender riches to be mined. Church of the Ascension Jun. 1st. Werner is at Blue Note by Duck Baker Mark Soskin, well considered for years in the Jun. 4th with Tessa Souter and Jazz at Kitano Jun. 15th-16th group of , is very much his own man on with Janis Mann. Berkman is at Lenox Lounge Jun. 23rd The Jazz Couriers were a twin tenor group co-led Nino Rota (Solo Piano) as he finds the ways that Rota with Barbara King and Tea Lounge Jun. 28th with Christian by the mercurial and the sane but too was his own man while composing for the films of Finger. See Calendar. never boring . The latter is best known Federico Fellini and others. Rota apparently only to Americans for the London club that still bears his needed a few verbal cues to present some of the most name while Hayes will also be familiar to many, memorable tunes and Soskin has taken those melodies owing to the fact that a couple of his best albums and set out to create his own memories. For an were recorded for American labels. During the brief immediate lesson in recreation, Soskin takes the period the Couriers were together (1957-59), this haunting music from The Godfather and first makes it a was the most popular jazz band in Britain. And dark, . It’s a tone poem of sadness and though at this remove they will probably conjure up reflection and the pianist makes us hear, as if anew, comparisons to the - quintet, they this familiar air. The “Waltz” from the same film is drew their primary inspiration from the hardbop of given a new key and new harmonies and follows, in a Art Blakey and Horace Silver. familial fashion, the main theme. Thus both pieces are Pianist Terry Shannon’s fleet soloing and tasty Beyond the Blue taken out of the movie context and given new life. comping are in the Sonny Clarke vein and drummer Tessa Souter (Venus-Motéma Music) Rota’s music in Fellini’s films always reflects a by Ken Dryden Bill Eyden is particularly fluent in the hardbop certain child-like wonder and so it’s appropriate that idiom. Between the fine rhythm section work and in addition to the lovely film music there’s also a Rota British native Tessa Souter was a late bloomer. It the high-octane blowing of the leaders, it’s easy to composition called “7 Pieces for Children”. It’s a sweet wasn’t until after raising a son as a single parent, see why quipped during a tour that and innocent line, which also seems to suggest some earning a college degree and various writing and featured both groups, “they sound more like an melancholic nostalgia. Soskin is an improviser but he editing jobs that she finally pursued her dream as a American band than we do.” The opening title track also has a keen sense of melodic structure and artful vocalist. Encouraged by her exposure to jazz through proves that this wasn’t just empty praise. Hayes scene painting. attending jam sessions and open mic nights in New blasts out of the gate with a blistering solo that Kenny Werner’s treatments of the modern and York City, Souter retained her love for pop while also demonstrates his great facility and, for the time, standard repertoire on Me, Myself & I is more expansive writing lyrics for well-known jazz works and advanced harmonic sense. His one weakness was yet always with a sense of architecture and form. He composing new music of her own. always the tendency to play too much, but that’s opens with an impressionistic, almost Scriabin-esque Beyond the Blue is Souter’s fourth CD. First issued mostly under control on this set. Scott is by no expedition of color on Monk’s most noted “’Round by Venus in 2011, it was remixed by session engineer means introspective, but his sound is smoother and Midnight”. Werner works his way in through the mist Katherine Miller for its rerelease. While a number of his solos slightly more playful. He was influenced and seemingly discovers the Monk piece within. We jazz instrumentalists have explored classical repertoire by early Stan Getz and one wonders if he didn’t know this work well and yet the pianist keeps it at bay; and reworked it into jazz vehicles, relatively few absorb some of trombonist ’s it’s almost elusive in the way he gives it over in vocalists have tackled entire albums of classical works, humor in the process. Hayes’ arranging and writing rhapsodic increments. in addition to penning their own lyrics. Souter has a skills are on display throughout, as is, on one track, The ‘standards’ here are mostly from the jazzbook stellar lineup accompanying her, including pianist his surprisingly good vibes playing. - Coltrane’s “Giant Steps”, Thad Jones’ “A Child is Steve Kuhn (who has also recorded interpretations of You won’t find a more lovingly produced Born”, Miles’ “Blue in Green” - and Werner digs into several classical pieces on his CDs), bassist David release than this LP, pressed on 180-gram vinyl from them with the same sense of discovery that defined the Finck and drummer , with guest analog tapes the way God and Rudy Van Gelder Monk and, in fact, has always defined Werner’s work. appearances by vibraphonist Joe Locke, saxophonist intended. The original recording is noisy in spots, But then he also steps out for some other treats. “All Joel Frahm and Gary Versace on accordion. but the sense of being in the room really comes the Things You Are” emerges as almost a baroque Souter works her magic with several pieces through. The liners are excellent and since this is a waltz, rephrased, joyous and with a surprise ending. familiar to jazz listeners. “The Lamp is Low” opens limited edition, anyone who loves vinyl enough to And then there’s “I Had a King”, which comes from with a mysterious air, fueled by Locke’s ominous pay a premium price is advised to grab this record the very first Joni Mitchell album. It’s a dazzling, backing and tension provided by Finck and Drummond, before it inevitably sells out to the audiophile intimate performance that, with few notes in its with Frahm’s evocative tenor making a late entrance. market. melody, expresses a world of emotion. Werner opens it Souter’s exuberant playfulness shimmers in the up and finds new color and texture in an extended swinging “My Reverie” while her sassy side is on For more information, visit gearboxrecords.com performance that yet never really gets beyond a certain display in the delightful waltz “Baubles, Bangles and

THE NEW YORK CITY JAZZ RECORD | June 2012 15

saxophonist Michael Brecker entitled “M.B.”. GLOBE UNITY: ICELAND Mehldau’s fingers dash in ten different directions like cross-town traffic, swerving narrowly around each other. The title track - Mehldau’s “ode to odes” - recalls his earlier Jon Brion-produced pop approach with a gentle lull of pure, pulsating chords driven by Ballard’s vibrant cymbal. “Bee Blues” has the pianist in an angular Monk mode, Grenadier taking an elegant striding solo that Mehldau matches with a methodically

Across the Imaginary Divide playful one. Béla Fleck/ Trio (Rounder) “Twiggy”, a tune dedicated to Mehldau’s wife by Matthew Kassel Fleurine, features what sounds like Ballard playing the drums with his hands and a persistent tambourine As much as jazz is about self-indulgence - consider all jangling somewhere in the background, Mehldau’s left ADHD 2 Óskar Guðjónsson (s/r) the soloing - it’s also very much about wise restraint. hand building the tension as his right hand floats over Mónókróm Andrés Þór (DIMMA) The banjoist Béla Fleck embodies those two poles: he’s it. “Wyatt’s Eulogy for George Hanson” is a tribute to Long Pair Bond Sunna Gunlaugs (Sunny Sky) a virtuoso but he seems to know when to step back, to Jack Nicholson’s murdered hanger-on in Easy Rider. by Tom Greenland let some space into the music. This is an important The nine-and-a-half minute track is the most ‘free’ tune Nestled just beneath the Arctic Circle, Iceland attribute for a banjoist who immerses himself in jazz on the album as the band rumbles through a menacing supports an active jazz scene in its capital Reykjavík, settings. In Across the Imaginary Divide Fleck joins the collective improvisation. The trio closes with “Days of host to an acclaimed annual festival now in its third Marcus Roberts Trio and he adapts well, which is to Dilbert Delaney”, written by Mehldau for his son. decade and the spawning ground of artists like say the patterns he picks out on his instrument do not Punctuated by Ballard’s rolling snare, the lengthy tune Mezzoforte, Pétur “Island” Östlund, Björn make the music too busy. is a satisfying display of Mehldau’s unrestrained Thoroddsen and Skúli Sverrisson. Special mention The excellent pianist Roberts - who got his start chops. must also be made of Björk, whose tunes have been playing with Wynton Marsalis in the mid ‘80s - is Although this is an album of remembrance it isn’t widely covered by the likes of , Jason another sort of virtuoso: of awkwardly refined particularly somber. Mehldau does ponder the ideas of Moran, The Bad Plus and even an entire big band expression. (You can trace his style back to Ahmad mortality while treasuring the importance of family dedicated to her work: Travis Sullivan’s Björkestra. Jamal and Thelonious Monk and the stride pianist but it never gets as contemplative as his solo 1999 Saxophonist Óskar Guðjónsson leads a quartet James P. Johnson.) How Roberts and Fleck navigate release Elegiac Cycle. The band is tightly locked in, with brother Ómar (guitar/bass), Davíð Þór Jónsson their own differences is what makes this album whether considering the cosmos or swinging hard, (organ/keyboards) and Magnús Trygvason Eliassen interesting. which only further solidifies its command of the piano (drums) on its sophomore release, ADHD 2, a rootsy On “Petunia”, the musicians go back and forth trio format. venture that draws deeply from the blues-rock well, between a lively hoedown and a slow, stride rhythm. the guitar cloaked in retro tremolo, at times recalling It’s the most literal cross of styles on the album and For more information, visit nonesuch.com. Mehldau is at John Scofield’s slow-hand phrasing, the saxophone still quite good. There’s a lot of rhythmic shifts and The Stone Jun. 6th in duo with Mark Guiliana. See whispering delicately, half air, half tone. The music quick transitions on tracks throughout the record and Calendar. has a ‘creeper’ appeal, laced with restrained bassist Rodney Jordan and drummer Jason Marsalis do dissonance, spacey drones and humble soulfulness. a fine job of making them seamless. Mónókróm, guitarist Andrés Þór’s (pronounced The exchange of solos, though, is where it’s at - “Thor”) third date as a leader, features Reykjavík’s which makes you think that this would also have made first-call rhythm section: pianist/organist Agnar a good duo record. Roberts and Fleck both have Már Magnússon, bassist Þorgrímur “Toggi” Jónsson beautiful melodic ideas and give themselves plenty of and drummer Scott McLemore (a Norfolk, VA space in which to reveal them. Of note: Fleck sometimes ex-pat). Gentle and unassuming, the outing makes his banjo sound like a mandolin when he plucks highlights Þór’s beautiful tone on electric, acoustic, between strings and his tone, when he lets it echo dobro, lap and pedal steel - ironically, the between notes, is sweet and satisfying. In the end, it acoustic often ‘bites’ harder than the distorted appears that Roberts and Fleck have a lot in common. electric - demonstrating his delicate but assertive touch and talent for harmonic nuance and intelligent For more information, visit rounder.com. This group is at melodies. Most of the tracks unfold in relaxed rock Blue Note Jun. 5th-10th. See Calendar. tempos, though “X” and “Sjávargrund” have seven-

beat meters and “1922” is funky. Þór’s slide work is full of subtle inflections, with nods to country, blues and Hawaiian stylings while Magnússon creates an equally broad sonic palette with acoustic and electric and organ; his solo on “München” is a standout. Jónsson and McLemore’s cohesive connection comes from being frequent gig-mates. The dynamic rhythm duo reappears on pianist Sunna Gunnlaugs’ Long Pair Bond, a similarly relaxed affair with compositions from each trio Ode member. Like Þór, Gunnlaugs isn’t trying to impress Trio (Nonesuch) with her technique, but rather to draw listeners into by Sean O’Connell her musical world, an impressionistic soundscape inspired by the Nordic landscapes of her country. Despite drummer Jeff Ballard joining pianist Brad Most tracks have pared-down themes and Mehldau’s trio with bassist almost ten straightforward harmonies, though “Autumnalia” years ago, this is the first studio album featuring just is through-composed and the compositions of the three of them. There are no or guests, McLemore (Gunnlaugs’ husband) display a bit more just Mehldau’s working group burning through over edge. Standout moments include the piano/bass an hour of original material. interplay on “Elsabella” and three-way dialogue As the title suggests, the tunes on Ode find throughout “Vicious World”, a Rufus Wainwright Mehldau in a reflective mode, paying homage to a host cover. of characters living, deceased and fictional. Curiously, although this is the first studio album for the trio, 8 out For more information, visit facebook.com/AdHd.is, of the 11 tracks were waxed over three and half years dimma.is and sunnagunnlaugs.com. Gunnlaugs’ Trio is ago, with a few albums recorded and released in the at Scandinavia House Jun. 28th. See Calendar. interim. The album opens with a skittering homage to late

16 June 2012 | THE NEW YORK CITY JAZZ RECORD Bringing it Together Stéphane Grappelli/Toots Thielemans (Lisem Enterprises) With Orchestra Plays Stéphane Grappelli (Just A Memory) New Street Ben Powell (s/r) Souvenirs Daniel Weltlinger (Toca) by Sharon Mizrahi The late Stéphane Grappelli appears without on two of these discs yet even in most classical shape, he hearkens back to the spirit of his longtime companion and days in the Quintette du Hot Club de France. The violinist’s sound also weaves through two recent tribute albums, curiously reinterpreted by several contemporary hands. Bringing it Together features Grappelli on a nonet of jazz and pop standards. His serenading cries weave through Toots Thielemans’ harmonica like warm streusel in “Bye Bye Blackbird”, hitting the lullaby chorus with heart-stopping melancholy. Thielemans’ breezy harmony complements Grappelli’s whines, grounded by Martin Taylor’s cool guitar. On “Hit The Road Jack”, Grappelli also coasts on cool sails while electric bassist Brian Torff tightens the air. Thielemans conjures the same magnetism as he whistles on “You’d Be So Nice To Come Home To”. Grappelli takes an ornate turn in an orchestral recording of Jerome Kern pieces, illustrating the sultrier side of his virtuosity, particularly in “A Fine Romance” and “Long Ago And Far Away”. His violin swoops the former tune into a cinematic soundscape, echoed by his orchestra’s regal classicism. On the latter work, Grappelli returns to the instrument that sparked his musical beginnings, enveloping the air with his pensive piano. Just when his style tiptoes into florid verbosity, Grappelli sparks into radiant swing on “Can’t Help Lovin’ Dat Man”. Marc Fosset’s shimmering vocals cinch the rich affair. On the cover of New Street, Ben Powell cradles his violin while lost in a faraway skyward gaze - and this thoughtful scene captures the essence of his album. Powell’s Grappelli tribute trio mingles with airy ease, leaving plenty of room for introspection. “La Chanson Des Rues” ponders at Powell’s bittersweet pace, cresting into high-pitched reflections before retreating to silence. Julian Lage delicately seeps out intricate ribbons of guitar along the way. Vibraphonist Gary Burton shines in “Piccadilly Stomp”. Souvenirs, actually a Reinhardt tribute, does more than just pay homage - violinist Daniel Weltlinger rejuvenates the craft in evocative colors. “Minor Swing” immediately swells to vibrant life, feeding the soul with a medley of strings, woodwinds and accordion. Weltlinger conjures Grappelli’s grace amid his own folksy swing on “Djangology”. The title track emerges as the album’s curious outlier, remastered to sound eerily similar to an old LP. But clarinetist Edouard Bronson emerges most riveting of all in a brief yet captivating solo on “Swing 42”. Spiked with the slightest acerbic edge, his festive cheer charms the ears with the spirit of eras gone yet still to come.

For more information, visit lisem.com, justin-time.com, ben-powell.com and danielweltlinger.com. Powell is at Jazz at Kitano Jun. 7th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 17 composer Brian Irvine and featuring the Northern or go off in another new direction altogether. Best is Irishman’s contemporary ensemble along with the when he gets to working out of jazz-rooted ideas (as on BBC Concert Orchestra. Two separate scores for each “Four”, much of which sounds like a Martian unit run , linked by a series of cue points interpretation of Randy Weston), but Shipp doesn’t while the saxophonist lives on his wits, navigating confine himself to any one approach for long. He does through the convergences and incongruities. Being spend less time in the harmonic outfield than he used inspired by the oeuvre of the iconic filmmaker David to and is more willing to use repetitive riffs, but the Lynch, a dark undercurrent percolates through even real challenge of this music isn’t in harmonic, melodic the brightest moments, accentuated by jarring clashes or rhythmic innovation so much as the wide-open way between the orchestral strings and the horns, electric - or, more accurately, ways - that the artists let things guitar and bass, turntables and percussion of Irvine’s unfold. group. Dunmall predominantly sails parallel to the shore, spurred on by his surroundings as evidenced by For more information, visit nottwo.com. Shipp and Morris are his elongated slurs echoing the strings on the ominous at Roulette Jun. 11th as part of Vision Festival. See Calendar. Dig Deep Trio “A dream of dark and troubled things”. Of course, he Tony Bianco/Paul Rogers/Paul Dunmall (FMR) effectively counters the prevailing orthodoxy at other Eponymous The Realisation Trio (FMR) times and brings business to a passionate Montana Strange: The Music of Brian Irvine unaccompanied conclusion. Rounding out the program BBC Concert Orchestra/Brian Irvine Ensemble/ is a short piece for Dunmall and the Irish RTE National Paul Dunmall (FMR) Live In Austria Deep Joy Trio (FMR) Symphony Orchestra, which feels strangely unresolved, by John Sharpe compared to what has passed before. Irvine’s introduction to Dunmall was a gig in English saxophonist Paul Dunmall has always seemed Belfast some 20 years earlier, where he was completely open to adventure. After turning professional at 17, he drawn in by the magic and special connection between toured the US with the Divine Light Mission and even the threesome of the reedman, Rogers and drummer recorded with before hooking up with Tony Levin. That alliance, three quarters of improvising Johnny “Guitar” Watson for a year. On his return to collective Mujician, which became known as the Deep England he discovered the European free music scene. Joy Trio thanks to an eponymous four-CD set on the He has operated in that heady realm ever since, allying hornman’s Duns Limited Edition imprint, sadly came a deep spirituality and humility with a prodigious to an end with Levin’s passing in late 2011. Live In imagination and presence. Austria, recorded in 2007, discovers the band in an Billed as the Dig Deep Trio, the combination with expansive mood on two organically evolving freebop longtime associate bassist Paul Rogers and drummer cuts. Levin knew when to drive and when to lay out, Tony Bianco is not new, dating back to 2002 at least. allowing ample space, which benefits Rogers’ slashing But as revealed on this 2010 live date, they still have a arco work and Dunmall’s sinewy yet mewling soprano. lot to say. Two long form improvisations (helpfully However the quality of the proceedings is slightly demarcated into 7 tracks for those unable to devote the undercut by the boomy bootleg sound, especially required 67 minutes at a single sitting) constitute a reducing the impact of Dunmall’s bagpipe soliloquy, highly potent set. “Absolute” in particular is a tour de which concludes the 40-minute “Looking Deep”. force of spirited playing, sustaining interest while barely dipping out of the red. Dunmall, on muscular For more information, visit fmr-records.com. Dunmall is at tenor, expounds with utter conviction, unhurried even Roulette Jun. 11th as part of Vision Festival. See Calendar. at the fastest tempos, as his lines turn themselves inside out in a Möbius strip of unpredictable invention. Bianco’s non-stop drumming constitutes one of the defining characteristics of the program. While it can be an acquired taste, the ex-pat American acquits himself well here in terms of his sensitivity to the ebbs and flows in the energy around him. When the going gets heavy Rogers wields his bow to cut through the density with a glinting abrasion, exploiting the full range of his customized seven-string acoustic bass. He shines on “Mary”, scrolling through nimble flamenco guitar- Broken Partials like plucking, ringing harmonics and wavering sawing, Matthew Shipp/ (Not Two) evoking a hyperactive cellist, before becoming by Duck Baker enveloped in the ensuing tumult, even getting a bowed coda to himself to take out this superb disc in style. Matthew Shipp and Joe Morris have recorded together Utilizing the same format, though with less many times in various lineups over the years, including intensity, is The Realisation Trio, Dunmall in the once before as a duo (Thesis, hatOLOGY, 1998), but company of two young compatriots live in Birmingham Morris played guitar on that record while he’s heard in 2011. A more spacious ethos allows the reedman to on bass here (he added the instrument to his arsenal in stretch out without being pushed to the limits. 2000). It is doubtful if many would ever spot him in a Unusually for Dunmall, simple themes act as the blindfold test, because he certainly doesn’t just launch pads for three-way exploration in a continuous translate his guitar ideas to the bass (which would be performance, which has echoes of Sonny Rollins’ pretty much impossible anyway). This is not to say Freedom Suite. At times, as on “Part 2”, the leader that his musicality isn’t recognizable but only that draws inspiration from the material, but more often he Morris shows himself to be a real multi-instrumentalist seems unconstrained by his starting point, ably with his differing approach. The way he relates to the supported by Nick Jurd’s solid bass counterpoint and pianist is recognizably Morris; he responds, but almost Jim Bashford’s pulsing drums. Often found in the never in the most obvious ways, to what his counterpart middle register, Dunmall carves out asymmetric plays. And more often he finds a parallel path and lets phrases, co-opting tonal distortion for emphasis and the music decide the course it wants to take from there. only occasionally overblowing for his trademark head- For his part, Shipp continues to be a supremely turning guttural holler. At times he even sounds almost unpredictable improviser. It seems like every time you boppish, as on the driving groove of “Part 5” and the know what’s coming he changes up, throwing out choppy bounce of the concluding “Part 7”. some little phrase that goes off in some unexpected Illustrating Dunmall’s range, Montana Strange is direction. Sometime he’ll follow up and explore the different again, a work written for the saxophonist by side-road suggested, but he’s just as likely to backtrack,

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throughout the record at such a pace that even when his familiar flat-fingered clusters (which is not to suggest a plodding quality but to describe his evocative technique of muting and playing harmonics) emerge, the expected has become unexpected. The summation of such factors makes this not just a satisfying record but Sharp’s happily jazziest.

For more information, visit cleanfeed-records.com. Sharp is

Aggregat at Roulette Jun. 11th as part of Vision Festival. See Elliott Sharp Trio (Clean Feed) Calendar. by Kurt Gottschalk Even given the broad diversity in the numerous records Elliott Sharp has released over the last 35 years, one could be forgiven for thinking they know more or less what to expect from a new issue. From skronk rock to chamber ensemble, a mathematical rigidity and a remarkable precision has generally dominated the guitarist’s work. Even in his looser moments, playing Monk or blues improvisations unaccompanied, there is an exquisite control. His work is not always the same. Velvet Songs: To Baba Far from it. But there are rules that run through it, as Trio (Rogue Art) proven by the exception that is his new trio. by Jeff Stockton Hiring a rhythm section like bassist Brad Jones and drummer Ches Smith almost guarantees a sort of Chicago has always been known as a city of jazz and intricate swing and that’s clearly what Sharp was one of its staunchest supporters and most respected looking for in the dozen tracks that make up Aggregat. ambassadors was the late Fred Anderson, free jazz Having worked extensively with the likes of Muhal tenor saxist and proprietor of the legendary Velvet Richard Abrams, Anthony Coleman and Roy Lounge. The original Velvet Lounge was in many ways Nathanson, Jones is well versed in taking a diversity of a reflection of its owner: outside of the mainstream, no material and reading it as blues or swing, cinematic or frills, old school and committed to music and the vaudevillian. And while being the youngster of the musicians who make it. Anderson presided over the group, Smith has had similar sensibilities called upon club like a patient, benevolent father whose role was to while working with Tim Berne and Marc Ribot or the show younger players the way to finding their own rock band and his own Good for Cows and voices. When the original club aged beyond repair, These Arches. Together they make, with no intended Anderson was able to move to a larger place around understatement, for a tight little trio. the block, a bit more comfortable for its patrons but As such, Aggregat is probably Sharp’s most easily- with a palpable loss of character. An era had ended and labeled-’jazz’ record to date, although it’s far from Anderson’s death in 2010 sealed it. simply playing dress-up. His fast guitar geometries are Saxist Ernest Dawkins, bassist Harrison Bankhead certainly at play on some of the dozen tracks that make and drummer - called the Chicago Trio up the disc, although more of the tracks feature more for the concerts captured on Velvet Songs: To Baba Fred emotive, nimble soloing. But to say Sharp can play any Anderson - came up through the Velvet system, Dawkins style he sets his mind to on the guitar is hardly a reporting that he played the club every weekend for revelation. The bigger shocker here is his saxophone two years. To Drake, of course, Anderson was a father playing. In the past, his tenor and soprano horns have figure and Bankhead would regularly play with Drake almost invariably had a harsh edge employed as a in Anderson’s own bands. Recorded over a pair of sustained, arcing squall over a predetermined nights in August 2008, the music is made by a complexity. But here, the saxophone is moody, even no-nonsense saxophone trio, but in its variety the soulful, from the outset. Album opener “Nucular” music is infused with Anderson’s overriding guiding (referring either to an old neologism or an even older principle: to offer a platform for musical exploration name for a section of a fruit) has its moments of sputter and mutual communication. and dissonance, but at the same time comes yards Each of these tracks is spontaneously improvised closer to a side than anyone might and Dawkins demonstrates impressive range. On the ever have expected from Sharp. Such surprises recur gravity-defying “Astral Projection” and Drake’s signature reggae groove ”Jah Music”, it’s soprano; on “Sweet 22nd Street” his tenor swings and on “Galaxies Beyond” it squeals. “You Just Crossed My Mind” is a lovely alto ballad. Dawkins even plays two horns at once on the Dixieland-inflected “Down in the Delta” and for “The Rumble” he unleashes a torrent of jazz ideas on alto that proudly demonstrates the Velvet’s freedom principle. When Drake turns to frame drum, as on “Peace and Blessings” and “Moi Tre Gran Garcon”, he and Bankhead are featured in ringing cello/ and soft-percussion duets. To close, on “One for Fred”, Dawkins emulates Anderson’s style by playing the long lines that the master would build upward as layers of notes piled on top of one another, urged along by the sort of undulating and pulsating rhythm section of which Drake was so often a part. It’s a fitting tribute; reverent and inspiring in equal measure.

For more information, visit web.roguart.com. Hamid Drake is at Roulette Jun. 11th, 12th, 14th, 15th and 17th, all as part of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 19

notable for consistently fresh interpretations. Toc”’s quirky theme shows that Jimmy Lyons’ roots This one begins as an unhurried meandering still lie at the base of his music but Brown’s solo is through the “restless as a willow in a windstorm” distinctly his own. “Lurking / Looking” is a slowly lyrics of this gem from Rodgers and Hammerstein. Yet developing theme played over an ostinato and loping what starts out dreamily accompanied hand-in-velvet- rhythm as Brown peppers his solo with artful glove by Graham Harvey’s piano ever so subtly picks distortion. The concluding “Bell Tone” is played over up the pace until suddenly it all bursts open into a an uptempo 6/8 and everyone gets to speak his piece. bright sunshine place. Abetted by ’s Unexplained Phenomena is a strong addition to Brown’s saxophone, Jeremy Brown’s double bass and Matt discography.

Inception/Reaching Forth Skelton’s drums, the joining in creates something as McCoy Tyner Trio (Impulse-Verve) lovely as it is trembling with promise. For more information, visit futuramarge.free.fr. Brown is at by Alex Henderson Kent’s gently swinging approach is of course Roulette Jun. 12th with William Parker, 16th with Steve perfect for the bossa rhythms of “Corcovado”. Swell and 17th in duo with Daniel Levin, all as part of Back in 1988, Impulse reissued two of pianist McCoy Tomlinson’s sax lends the most soothingly syntonic Vision Festival. See Calendar. Tyner’s early albums, Inception and Nights of Ballads support on this one and then again on another Jobim and Blues, on a single disc. This recent Impulse reissue, gem, the tenderly playful “Waters of March”. Another however, offers Inception and Reaching Fourth on a happy, fast-paced bit of Brazilian oregano is “Samba 67-minute CD, a logical combination as both are Saravah”. By contrast there’s Kent’s merrily grooving acoustic piano trio dates from 1962 (the former with version of ’s “”, on which bassist and drummer Elvin Jones, the latter Tomlinson takes off for a sweet solo and Harvey stokes with bassist Henry Grimes and drummer Roy Haynes). it up further with judicious plunks. Tyner was only 23 at the time, but he was already a Kent’s gamin-like charm is especially evident major name in the jazz world thanks to his contributions when she is singing in French on Antonio Ladeira and to John Coltrane’s trailblazing quartet. So it made Tomlinson’s “O Comboio” while her sound can turn perfect sense for Impulse to start recording the fetchingly liquid as with the set closer, “They Say It’s Philadelphia-born pianist as a leader. However, both Wonderful”. Kent’s take on those lyrics - albums lack the intensity and sense of adventure that “I don’t recall who said it, I know I never read it” - characterized many of those recorded with Coltrane have that same sense of discovery and wonder evident (or, for that matter, some of the great albums Tyner earlier in “It Might As Well Be Spring”. Because recorded as a leader for Milestone in the ‘70s). traveling with Kent means discovering everything But that isn’t to say that this reissue isn’t enjoyable. anew. Tyner’s distinctive pianism is both lyrical and swinging and he is as recognizable on his own compositions as For more information, visit bluenote.com. Kent is at he is on tasteful performances of well-known standards Birdland Jun. 12th-16th. See Calendar. like “Old Devil Moon”, “Speak Low”, “Have You Met

Miss Jones” and “There Is No Greater Love”. Stylistically, there is very little difference between the two postbop albums, both of which were produced by and engineered by Rudy Van Gelder so when the CD moves from Inception to Reaching Fourth, it is a very smooth transition. This reissue’s greatest flaw has nothing to do with the music itself but rather the packaging; the original liner notes that Nat Hentoff wrote for Inception and those of Dan Morgenstern for Reaching Fourth are Unexplained Phenomena (Live at Vision Festival XV) shrunk to a tiny type size that is difficult to read (Marge) without a magnifying glass. A musician of Tyner’s by Robert Iannapollo caliber deserves better. Nonetheless, Tyner’s more devoted followers will appreciate this reissue, which Rob Brown’s alto saxophone has been one of the paints an attractive, if conservative, picture of the bright spots in the jazz of the last two decades. He is a influential pianist as he sounded in his youth. constant presence in many of bassist William Parker’s groups (including the late, lamented In Order To For more information, visit vervemusicgroup.com/vault. Survive quartet). He has also led his own ensembles Tyner is at Blue Note Jun. 12th-13th in duo with Savion and issued a stream of fine recordings under his own Glover and 21st-24th with ’s Big Band name. He’s always demonstrated himself to be a playing Coltrane’s Africa/Brass, both as part of the Blue thoughtful and passionate improviser. Brown has a Note Jazz Festival. See Calendar. bright, singing tone that can change its complexion to darker hues from phrase to phrase and commands

attention. While his early recordings betrayed a strong Jimmy Lyons influence (both in his playing and in his compositions), over the years he has achieved a more personal sound and his compositions have become more finely honed. But the late alto saxist Lyons clearly remains a totem in his pantheon. Brown has always chosen his sidemen wisely. The group he assembled for his 2010 Vision Festival performance consisted of Matt Moran (vibes), (bass) and Gerald Cleaver (drums). The Dreamer in Concert inclusion of Moran, currently one of the most Stacey Kent (Blue Note) by Andrew Vélez innovative players on his instrument, building on the unorthodox techniques pioneered by Bobby Recorded at La Cigale in Paris, this is Stacey Kent’s Hutcherson in the mid ‘60s, gives the group a unique first live recording after eight studio albums. Mixing sound and his textural work is one of the hallmarks of some favorites, like the delightful “Breakfast on the this session. Lightcap, who has played frequently with Morning Tram”, with some never previously recorded Brown, anchors the bottom end with assured phrasing. songs, Dreamer in Concert opens the set with “It Might And drummer-for-all-seasons Cleaver fills out the As Well Be Spring”. Kent’s great simpatico for the music, adding drive and color to each track. standards of the Great American Songbook is always Brown’s compositions span a wide range. “Tic

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alto, tenor and bari, with the latter incorporating his and turntable) and Maja S.K. Ratkje (vocals and distinctive use of electronics. The extended structures electronics), this record is an amazing museum of provide ample opportunity to explore myriad sound unlikely sounds, at times recognizable or completely worlds, to build intensity slowly, with purpose and alien. Here Nilssen-Love’s approach to his intent. Lonberg-Holm manages to incorporate instrument(s) is particularly focused on the collection electronics in a way that transforms his instrument to of sounds each object is capable of producing. The line the point of being completely unrecognizable as a cello between rhythm and texture is all but nonexistent, as - though still managing to sound like the same player sounds and gestures blend together or cohabitate in he is with his colorful acoustic playing; the play ways that constantly confound listeners’ expectations. between the two approaches is quite flexible and his The tracks here are generally shorter, with the opening fluency with both is inspiring. Rempis is a forceful cut “Get Out the Traps” being just under three minutes Mechanisms Ballister (Clean Feed) player whose long phrases can generate dynamic and most of the rest around ten minutes or shorter. Hurgu! Terrie Ex/Paal Nilssen-Love (PNL) contours out of minute shifts in the timbre of his This is noteworthy in that it reflects a much more Slime Zone Slugfield (PNL) instrument. So often Rempis and Lonberg-Holm create abstract trajectory than Ballister’s collaborative by Wilbur MacKenzie a profound sonic tandem, with Nilssen-Love development of structure or the punishing approaching the drums not so much as a large relentlessness of the duo with Terrie Ex. Bizarre sounds Drummer Paal Nilssen-Love has been exceptionally instrument, but a handful of extremely varied sounds creep in and mutate - fitting that the artwork focuses prolific in the last 12 years, appearing on numerous that can each be explored, separately or together. on a sea of green slime and a parade of goopy slugs, as releases each year and traveling constantly throughout Nilssen-Love and Dutch rock band The Ex have a this is how the music often moves along. There is a the world. First gaining international attention as a long history and on Hurgu! he is joined by guitarist joyfulness that calls to mind a child’s fascination with member of The Thing, Nilssen-Love has built lasting Terrie Ex in a set of arresting duets. The proceedings gross things; these sounds tend to suggest an affinity associations with such ubiquitous improvisers as Mats remain at a high level of intensity throughout, this for tactile stimuli and sense that the best place to look Gustafsson, Peter Brötzmann, Otomo Yoshihide and being more of a brazen romp than the extended for something pleasant is in very unsavory places. Americans and Joe McPhee. ruminations of Ballister. The textural palette is more “Bring ‘Em On” is the outlier, extending well past Nilssen-Love is in possession of prodigious consistent throughout and as such the general the 20-minute mark and here the structure has more in technical skill, but what distinguishes his work is the architecture relies more on the interplay between the common with Ballister - despite the remarkable constant ebb and flow between subtlety and extreme two musicians. The emphasis here is on sustaining a contrast between Ballister’s jazz-inflected phrasings intensity. He manages to function like the drummer in level of intensity over a long period of time and the and Slugfield’s sheer noise factor. Taken as a whole a group while essentially operating more like a sound effect is more trancelike. Quiet moments like the these three records offer very different looks at the generator. Three releases find him in different contexts, opening of “Bedele” offer some of the most unexpected possibilities of Paal Nilssen-Love’s sound world and each reflecting his distinctive musical personality. twists in the duo’s interplay while still ultimately each view is vibrant and deeply compelling. The standout from this batch is Mechanisms, the delivering the goods with some intense blasts of sound. debut from a collective trio with two of Chicago’s most Slime Zone by the collective trio Slugfield For more information, visit cleanfeed-records.com and noteworthy improvisers - saxophonist Dave Rempis highlights the growing relationship between free jazz, paalnilssen-love.com. Nilssen-Love is at Roulette Jun. 13th and cellist Fred Lonberg-Holm. The three extended noise music and so-called ‘non-idiomatic with The Thing and Joe McPhee as part of Vision Festival. improvisations find the former switching between improvisation’. With Lasse Marhaug (electronics See Calendar.

22 June 2012 | THE NEW YORK CITY JAZZ RECORD

Joe McPhee has been a frequent guest with The fore with some wonderful bowed playing. Alvarez has Thing and the senior saxophonist/trumpeter has a strong sense of voice, but he can touch on very previously recorded in duo with Håker Flaten (Chicago different moods and different areas of his horn. There Blues, Not Two), so there’s clearly developed musical are moments when he finds a new effect in a series of chemistry on Brooklyn DNA. The duets hinge on the high register yips or, alternately, wisps of sound, ably special musical character of Brooklyn, with pieces matched by Håker Flaten’s sudden flights into upper- invoking various individuals and scenes prominent in register harmonics. its musical history. The two musicians craft a Håker Flaten’s aesthetic includes a kind of compelling vision of community. Håker Flaten’s brutalist spirituality, certainly evident in his work with playing is both empathetic and prodding as he The Thing, but there’s a far subtler take on the legacy sometimes maintains very fast tempos while expanding of and other energy players embodied in Brooklyn DNA his own expressive range. “Crossing the Bridge”, The Hymn Project with the great Texas trumpeter Joe McPhee/Ingebrigt Håker Flaten (Clean Feed) dedicated to Sonny Rollins, suggests compound points Dennis González, his sons, bassist Aaron and First Duet Live of view, with McPhee’s honking alto recalling Albert percussionist Stefan Gonzalez, and cellist Henna Chou. Remi Alvarez/Ingebrigt Håker Flaten (JaZt TAPES) Ayler, until Håker Flaten enters and the piece assumes The CD opens with the hyper-resonant sound of Stefan The Hymn Project the Caribbean lilt of “St. Thomas” and Rollins’ roots. Gonzalez’ balafon and one eventually has a sense of Ingebrigt Håker Flaten/Dennis González (Daagnim) There are fine invocations of Brooklyn visits by Charlie this resonance echoing globally, touching spirits of by Stuart Broomer Parker and Dizzy Gillespie and homages to residents Håker Flaten’s native Norway and the Gonzalez Ingebrigt Håker Flaten has rapidly become one of the like the late saxophonist Dewey Redman, but the most family’s Latin American heritage. There’s a sense of most prominent in free jazz, in part due to his arresting music is also the most radical: “Enoragt continuous melody here, a stream of sound running openness to varied musical situations, but much more Maeckt Haght”, named for the Brooklyn motto of from instrument to instrument. It’s a chance for Håker so for the sheer power of his playing. First achieving a “Unity Makes Strength”, is a probing exploration of Flaten’s lyricism to emerge and it does so in guitar-like significant European profile in the late ’90s with Bugge bowed bass and airy pocket trumpet that represents lines and subtle pitch-bends, dovetailing with the Wesseltoft’s New Conception of Jazz, the first major the borough as terra incognita. other strings, the percussion and Dennis Gonzalez’ ambassadors of Nu Jazz, Håker Flaten has since Remi Alvarez is a Mexico City-based tenor own inspired, soulful trumpet. Highlights abound, brought his ferocious drive to a host of prominent saxophonist whose work, like McPhee’s, has a direct from the pensive mix of instrumental voices on bands, often in company with the drummer Paal expressiveness that’s immediately compelling. First “Doxology” to the rising tension of “Sweet Hour of Nilssen-Love (The Thing, Atomic, Ken Vandermark’s Duet Live chronicles an Austin performance by the two Prayer” with Håker Flaten’s spare and intense solo. School Days and Frode Gjerstad’s stellar improvising musicians. On the 22-minute “First Duet”, Alvarez But it’s the cumulative power of the whole program, big band Circulasione Totale Orchestra) while showing reveals himself as an incantatory tenor player and one imbued as it is with an exalted musical nobility, that off his softer side in duo with countryman saxophonist hears his work as testimony, whether it’s creating a stays in memory. Håkon Kornstad. He’s now a significant musical song-like stream, worrying a motif into new shapes presence in Chicago and Austin - where he resides - as and meanings or suddenly erupting into multiphonic For more information, visit cleanfeed-records.com, well as Europe. These recent CDs track some of Håker cries and wails. Håker Flaten roots this discourse in ingebrigtflaten.com and dennisgonzalez.com. Flaten is at Flaten’s American passages, all close to the beating time, surrounding, encouraging, framing and driving Roulette Jun. 13th with The Thing and Joe McPhee as part heart of a fundamentalist free jazz. it forward. On “Second Duet”, the bassist comes to the of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 23

chops and tunefulness lies at the heart of Suite Of The East, Avital with longtime collaborators who share his virtuosity and joy in the improvised moment. On the episodic title track, every member of the quintet gets a chance to stretch out between sections of consonant but probing melody. Pianist Omer Klein opens the piece with a fugue-like improvisation that incorporates bits and pieces of the main melody before drummer Daniel Freedman and Avital enter in

Bright Light in Winter anticipation of emotive statements by tenor saxophonist Jeff Parker Trio (Delmark) Joel Frahm and trumpeter . by Ken Waxman Elements of Avital’s diverse musical background - the bassist grew up with parents of Moroccan and Primarily known for his yeoman work in any number Yemeni descent, studied classical music in Israel and of Chicago-based groups, guitarist Jeff Parker is the New York and knows as much about the Arabic oud as Fri, Jun 1 PETROS KLAMPANIS’ CONTEXTUAL TRIO most accommodating of sidemen and leaders. Bright he does Ellington - infuse Suite Of The East, often in WITH 9PM & 10:30PM Jean-Michel Pilc, Ari Hoenig Light in Winter, one of his infrequent solo dates, surprising contexts. Middle Eastern-inflected trills and

Sat, Jun 2 ARI HOENIG NEW TRIO 9PM & 10:30PM demonstrates why. Nowhere on this agreeable, nine- ornamentations meld effortlessly with an easy backbeat Tivon Pennicott, Noam Weisenberg track trio session does Parker pull rank or try to groove on the mournful but proud “Sinai Memories” Sun, Jun 3 ALL BALLADS 8:30PM overshadow stalwart bassist/flutist Chris Lopez or while Klezmer licks meet unmistakably North African Dominic Fallacaro, Dean Johnson, Matt Wilson adaptable drummer Chad Taylor, both of whom rhythms and melodic nodes on “The Abutbuls”. Mon, Jun 4 AMRAM & CO 8:30PM David Amram, Kevin Twigg, John de Witt, Adam Amram performed with him in ’s Chicago Arguably the most impressive aspect of the album Underground combos. Tellingly as well, although both - and Avital’s career, for that matter - is the bassist’s Tue, Jun 5 ADAM KOLKER TRIO FEATURING JOHN HEBERT AND 8:30PM Parker and Lopes use monophonic synthesizer ability to transcend his instrumental technique and

Wed, Jun 6 NICKY SCHRIRE “FREEDOM FLIGHT” attachments, the organ-like quivers and tremolo echoes cross-cultural mastery to deliver performances of CD RELEASE 8:30PM never surpass the live musicians’ contributions. Want profound simplicity. “Song For Peace”, the longest Nick Paul, Sam Anning, Jake Goldbas, Paul Jones, Jay Rattman, Brian Adler, Peter Eldridge another example of this collegial spirit? The writing track and an emotional centerpiece, is just such a

Thu, Jun 7 SPOTLIGHT ON NEW TALENT: chores are divided, with the bassist contributing three performance. A beautifully spare melody is juggled SURFACE TO AIR - CD RELEASE 8:30PM compositions, the drummer two and Parker four. between tenor and trumpet without ever feeling Jonathan Goldberger, Jonti Siman, Rohin Khemani That said, with the date dependent on light, almost contrived or cluttered and the ensuing solos from Fri, Jun 8 COLIN STRANAHAN/GLENN ZALESKI/ RICK ROSATO TRIO 9PM Latin-esque skin-patting, moderato bass plucks and Cohen and Klein, against the bulwark support of Avital LE BOEUF BROTHERS 10:30PM clean finger-picking and melodic guitar runs, often and Freedman, build to dramatic climaxes without Remy and Pascal Le Boeuf, Greg Ritchie only technical finesse prevents some tunes from ever abandoning that elemental simplicity and melody. Sat, Jun 9 DAVID LIEBMAN/SAM NEWSOME QUARTET 9PM & 10:30PM becoming enervating rather than merely relaxed. That Tony Marino, Jim Black nadir is reached on Lopes’ “The Morning of the 5th”, For more information, visit anzicrecords.com. Avital is at Sun, Jun 10 DAN WEISS TRIO 8:30PM which is all puckered flute lines and guitar strums. Smalls Jun. 5th, 12th and 19th. See Calendar. Jacob Sacks, Thomas Morgan Happily even if some of the other pieces have Tue, Jun 12 REVOICE: MARIA CHRISTINA 8:30PM Matt Davis, James Shipp, Sam Anning, Sean Hutchinson lines closer to jazz samba than jazz soul, rhythmic REVOICE: NATE WOOD 10PM smarts make them balladic rather than bathetic. On Jesske Hume, Sean Wayland, Arthur Hnatek Nicky Schrire, host Taylor’s “Istvan”, for example, the quivering delicacy

Wed, Jun 13 JOE FIEDLER TRIO 8:30PM of Parker’s exposition is muted by sequences of sound John Hebert, Michael Sarin delays and reverb plus the bassist’s straightahead MICHAEL DESSEN TRIO 10PM JUNE 2012 Christopher Tordini, Dan Weiss walking. Rim shot clips and a chromatic bassline

Thu, Jun 14 OHAD TALMOR, STEVE SWALLOW, provide additional ballast for Parker’s graceful spidery AZZ ESPERS 8:30PM licks on his own “Bright Light Black Site”, making the J V Sundays at 5:00 P.M. — All Are Welcome — Free Fri, Jun 15 KRIS DAVIS TRIO 9PM & 10:30PM piece flow chromatically. Meanwhile “Swept Out to , Nasheet Waits Sea”, written by Lopes, is warm and precise, but still 3 — Ike Sturm Ensemble Sat, Jun 16 HARRIS EISENSTADT AND CANADA DAY 9PM & 10:30PM maintains its composure due to the guitarist’s circular featuring Madeleine Yayodele Nelson Nate Wooley, , Chris Dingman, Garth Stevenson comping and Taylor’s percussion kicks. Most 10 — Sarah McLawler and Les Jazz Femmes Tue, Jun 19 ARTHUR KELL QUARTET +1, CD RELEASE 8:30PM impressively, the leader’s “Freakadelic” is no George , Loren Stillman, Brad Shepik, Mark Ferber Clinton cop, but a way to highlight Parker’s ability to 17 — Michael Webster Quintet Wed, Jun 20 JEAN-MICHEL PILC/FRANCOIS MOUTIN/ spin out seemingly endless dextrous theme variations ARI HOENIG TRIO 8:30PM 24 — Magos Herrera while maintaining the tune’s melodic content. Thu, Jun 21 SCOTT DUBOIS QUARTET- CD RELEASE: LANDSCAPE SCRIPTURE 8:30PM Overall, Bright Light in Winter has enough of a , Eivind Opsvik, Jeff Davis MIDTOWN JAZZ AT MIDDAY romantic overlay to please jazz dilettantes, but with Fri, Jun 22 TONY MALABY TRIO 9PM equivalent skillful, yet understated tonal wizardry to Sponsored by Midtown Arts Common Sat, Jun 23 Angelica Sanchez, Wednesdays at 1:00 P.M. — ($10 suggested) TONY MALABY’S NOVELLA 10:30PM appeal to more sophisticated listeners. Ralph Alessi, Michael Attias, Ben Gerstein, JB Goodhorse, Andrew Hadro, Dan Peck, Kris Davis, Tom Rainey 6 — Valerie Capers, singer/pianist For more information, visit delmark.com. Parker is at Roulette Jun. Sun, Jun 24 NEW BRAZILIAN PERSPECTIVES: ROGÉRIO BOCCATO, John Robinson, bass AFTER BOSSA-NOVA 8:30PM 14th with Hamid Drake as part of Vision Festival. See Calendar. Dan Blake, Nando Michelin, Gary Wang Earl Williams, drums Billy Newman, host

Tue, Jun 26 ERIK DEUTSCH TRIO 8:30PM 13 — Harmonie Ensemble New York Jeff Hill, Tony Mason Music from Peter Gunn by Henry Mancini Wed, Jun 27 THE LANDRUS KALEIDOSCOPE 8:30PM 22-piece Big Band including: Nir Felder, Frank Carlberg, , Rudy Royston Steve Richman, conductor Thu, Jun 28 NIKOLAJ HESS TRIO 8:30PM , trumpet Francois Moutin, Greg Hutchinson Lew Tabackin, tenor sax Fri, Jun 29 /THEO BLECKMAN DUO 9PM & 10:30PM Joe Locke, vibes Sat, Jun 30 KERMIT DRISCOLL QUARTET 9PM & 10:30PM Lincoln Mayorga, piano Kris Davis, Ben Monder, Tom Rainey Victor Lewis, drums

Suite Of The East 20 — Claude Diallo, piano Omer Avital (Anzic) by Matthew Miller 27 — Holli Ross, singer Eddie Monteiro, synthesized accordion Bassist Omer Avital has established himself as not only one of the foremost practitioners on his demanding JAZZ ON THE PLAZA instrument, but also as a composer of challenging yet Thursdays at 12:30 P.M. — Free deeply soulful compositions. That combination of

24 June 2012 | THE NEW YORK CITY JAZZ RECORD

important than who is playing. We think of the format of a piano trio, an organ group, or a piano-less quartet as given, into which one plugs the holes with artists who have (or can have) a good rapport and the music works itself out in that context. Such ideas have defined ‘jazz’ to some degree for generations. But the last few decades have introduced an incredible amount of flexibility both in how ensembles approach the music, as well as the possibilities inherent in each instrument.

Dark Lady of the Sonnets Two of trumpeter Nate Wooley’s most recent releases Wadada Leo Smith’s Mbira (TUM) are poised to defy any traditional assumptions about by Russ Musto ‘trumpet and rhythm’ even if he’s the only horn. Six Feet Under joins Wooley with a frequent Possessing a visionary creative spirit, Wadada Leo collaborator, English percussionist Paul Lytton, as well Smith has traversed an artistic path so broad during a as Swiss bassist Christian Weber on a program of five career spanning six decades as to go well beyond the improvisations. As a trumpet and percussion duo, promise prompted by the inventiveness of his early Wooley and Lytton have circumvented any notions of a work with , Muhal Richard Abrams drum-and-bugle corps through extensive use of and other AACM colleagues. More accurately, the electronics, amplification, voice and close mic’ing, to trumpeter-composer-theoretician has explored the point that sound sources are indistinguishable. Six divergent musical galaxies, merging them through his Feet Under isn’t that kind of record, though - Lytton’s own unifying concept of music. Jazz, blues, improvised kit is more or less traditional, albeit played with light, and world musics coalesce within his ensembles, open concentration and controlled metric wrangling. unbounded by the customary restrictions that Wooley’s screams, growls, circular breathing and accompany categorization. The newest of his numerous unsettled chuffs are out in full effect, buttressed by assemblages, Mbira, with drummer Pheeroan akLaff Weber’s massive arco on the opening “Pushing up and pipa player Min Xiao-Fen, marvelously exemplifies Daisies”. If it is a fracas, it is conscious of the logic the soundness of his methodology. behind group motion. “Nickel Eyes” opens with a Smith’s music is, as he describes it, “non-metrical”, syrupy cry, the kind not quite heard from Wooley in offering longtime colleague akLaff a central role in its this way. He’s translated the harrier-ache of Albert rhythmic construction, utilizing the dynamics of Ayler from tenor to trumpet and he pulls it into a dry, sonance and space to provide each piece with a laconic swing against precision flits and a meaty narrative structure that is dramatically driving and pizzicato anchor. Much of “La Grande Mort” is rooted tonally absorbing. Xiao-Fen’s unique approach to her in long, murky tones and ancillary subversion - the instrument, simultaneously traditional and futurist as latter almost comedic when bright, muted trumpet and it recalls a Far Eastern lute, bottleneck guitar, scratched drumheads supplant a protracted, guttural Appalachian banjo or microtonal synthesizer, provides pinch. As both a power trio and an exploratory vehicle, an expansive sonic environment within which the Six Feet Under is a brilliantly equilateral recording. broad palette of Smith’s trumpet and flugelhorn sound Stem finds Wooley in the company of one of his imaginative lines. Europe’s most interesting small groups, Portugal’s The opening “Sarah Bell Wallace”, introduced by RED Trio: pianist Rodrigo Pinheiro, bassist Hernani unabashedly bluesy pipa, unfolds episodically, with Faustino and drummer Gabriel Ferrandini. Somewhat Smith blowing piercing long tones over processional akin to ARC (Corea/Holland/Altschul) or the Howard malleted tom toms. A middle section, driven by crisply Riley Trio, RED subverts the traditional roles of piano, ringing cymbals, alternates spirited horn lines and bass and drums to create a continual hum of percussive- jagged string articulations that ultimately connect in a melodic activity. Pinheiro uses the full resources of the startling synergy preceding the piece’s melancholic instrument, muting and plucking the strings while coda. “Blues: Cosmic Beauty” begins as a wildly generating a stark, tense environment from obsessively energetic Ornettish outing before calming into a slowly repeated clusters. Toward the end of “Flapping Flight” evolving rhythmic setting within which trumpet, pipa he creates a steely drone underneath Wooley’s shrieks and Xiao-Fen’s voice explore variegated sonic frontiers. and sighs, outlined with brush patter and Faustino’s The celebratory anthem “Zulu Water Festival” low harmonics. Swiping whistles across some flat references both Far Eastern and Native American object on “Phase”, Wooley mirrors a palimpsest of folkisms while the title track floats about Xiao-Fen’s feedback and piano resonance before crumpling into a stirring reading of Smith’s poignant poem distorted whinny, as the trio’s muscularity is positioned memorializing Billie Holiday. The closing “Mbira” is a front and center. Subversion is part of the RED aesthetic sprawling tapestry of sound intermingling contrasting too, Pinheiro matching the trumpeter’s terse, hot moods and modes in an invigorating musical amalgam. monochromes with well-behind-the-beat chords and rhapsodic head-butts. RED are highly economical and For more information, visit tumrecords.com. Smith is at well apprised of the Tradition - at least one can hear it Roulette Jun. 15th as part of Vision Festival. See Calendar. in the pianist’s ringing melodic stabs, which somehow occupy a region between forcing a series of phrases and sweetly caressing them. This coy aggressiveness mates well with Wooley’s clear, instantaneous response and hackle-raising explosions. The foursome are constantly in action even when ostensibly ‘hushed’ - pursed exhalation, bowed cymbals and low rumble aren’t alien to their palette, maddeningly approaching Nuova Consonanza extremes on the closing “Tides”. Each of the five pieces presents a different group axis, often discomfortingly set between the well-marked poles of brash expressionism and coiled reflection. Six Feet Under Stem Wooley/Weber/Lytton RED Trio + Nate Wooley (NoBusiness) (Clean Feed) For more information, visit nobusinessrecords.com and cleanfeed-records.com. Wooley is at Cornelia Street Café by Clifford Allen Jun. 16th with Harris Eisenstadt, Red Hook Jazz Festival One of the crucial things about this music is that the Jun. 17th with both Harris Eisenstadt and as a leader and concept of a band’s instrumentation is, ultimately, less Seeds Jun. 20th as a leader. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 25

The album’s subject matter - 12th century «ROGUEART» Talmudist Eleazar Rokeach’s five-volume treatise on MUSIC – BOOKS - MOVIES Jewish mysticism - makes it an apt entry into the Tzadik label’s Radical Jewish Culture Series. But Novik’s particular vision of ‘Jewish’ music breaks down the walls of that ghetto with his choice of musicians: ’s guitar is like a laser drill; the regal Jazz Mafia Horns’ brief contribution could open the gates of heaven; the various acoustic and electric

Jester of the leader, Cornelius Boots and Ben Arthur Kell (BJU Records) Goldberg add subversive legitimacy and legitimate by Sean Fitzell subversion; Carla Kihlstedt’s electric violin takes the plaintive wail to terrifying extremes; Willie Winant’s Active on the since the ‘80s, bassist percussion and Matthias Bossi’s drums are as crucial Arthur Kell came up playing with the late saxophonist as the tropes of Torah. Thomas Chapin and drummer Bobby Previte, among Each of the album’s five pieces run over 10 minutes others. Something of a Renaissance man, he spent but there are no static moments. Patience and attention about ten years as an environmental activist, extensive to detail are required of the listener. If lacking, the world traveler and music instructor. Since the late ‘90s, various components Novik has brought together will he’s focused on leading bands and composing music, lose their cohesion and Secrets of Secrets its grandeur. with Jester his fourth release. Eschewing formulaic There are bleak, sonic landscapes and celebratory Single CD head-solo-head constructions, the pieces boast quirky clarinet features. String quartet-led chamber music has JEAN-JACQUES AVENEL – JACQUELINE CAUX unison figures for saxophonist Loren Stillman and as much heft as (Mahavishnu) orchestral sections. JEAN-LUC CAPPOZZO – STEVE DALACHINSKY SIMON GOUBERT – RAPHAËL IMBERT guitarist Brad Shepik to maneuver, propelled by Kell Death metal drones vie for space with electronically- SYLVAIN KASSAP – JOËLLE LÉANDRE and drummer Mark Ferber. The music never strays processed abstractions. Sparseness is followed by – DIDIER LEVALLET RAMON LOPEZ – JOE McPHEE into free skronk, remaining tethered to the compositions density, reflection by mania. A single piece can have all EVAN PARKER – BARRE PHILLIPS even as the soloists roam. the moods of an entire symphony. MICHEL PORTAL – LUCIA RECIO CHRISTIAN ROLLET – JOHN TCHICAI Kell’s percolating bass opens “Quarter Sawn”, Yet for all of its disparity and the fact that Novik setting the mood for the shuffling drums and off-kilter had to convey his vision to musicians from different sax line as the musicians coalesce for a buoyant realms, taken as a whole - again, the only way it should ensemble theme. The leader’s thrumming support of be and as its composer must have intended - the album Shepik’s flight dissolves under Stillman’s turn, opening is a phenomenal achievement, hopefully soon to up before the return to the unison finish. The title track receive the accolades it deserves. similarly features a tight group passage pushed by Ferber’s insistent pulse, inviting concise solos from the For more information, visit tzadik.com. Novik is at The others: bright Shepik flashes, fluid Stillman phrases Stone Jun. 19th. See Calendar. and throbbing Kell retorts. A repeating bass motif bolsters a yearning Single CD + booklet saxophone on the emotively unfurling “Song for the Journey”. Shepik’s elegantly considered response to the poignant melody is followed by Kell’s urgent solo, spanning the instrument’s range for added heft. “Tiki Time Bomb” sports a puckish concordance, with the guitar and sax spinning tight single-note runs prodded by Ferber’s snare stabs. Kell also stretches out, cleverly playing off the peppy groove before the group restates the spry tune. The band deftly executes Kell’s compositions, animating them with their solos. But there are moments where it would be thrilling to hear more collective improvising that further expands the material.

For more information, visit bjurecords.com. This group is at Cornelia Street Café Jun. 19th. See Calendar.

Single CD

MARSHALL ALLEN DAVID ARNER HARRISON BANKHEAD JACQUES BISCEGLIA ROB BROWN TAYLOR HO BYNUM GERALD CLEAVER CONNIE CROTHERS STEVE DALACHINSKY ERNEST DAWKINS HAMID DRAKE MICHEL éDELIN MALACHI FAVORS SCOTT FIELD JOE GIARDULLO JOHN HéBERT NICOLAS HUMBERT SYLVAIN KASSAP PETER KOWALD MIKE LADD YUSEF Secrets of Secrets LATEEF DENIS LAVANT JOëLLE LéANDRE Aaron Novik (Tzadik) STEVE LEHMAN LORNA by Andrey Henkin LENTINI GEORGE LEWIS RAMON LOPEZ SABIR MATEEN FRANCK There is no sense in dithering, so instead this review MéDIONI NICOLE MITCHELL ROSCOE will start with what sounds like hyperbole but is in fact MITCHELL JOE MORRIS LARRY OCHS well-considered and deserved praise. Aaron Novik’s MARC PARISOTTO WILLIAM PARKER LAURENCE PETIT-JOUVET ALEXANDRE Secrets of Secrets has the same impact upon first (and PIERREPONT MATTHEW SHIPP DYLAN subsequent) listen as albums of long-established VAN DER SCHYFF excellence such as Soft Machine’s Third, King Crimson’s CLAUDE TCHAMITCHIAN DAVID WESSEL Starless and Bible Black and Voivod’s Dimension Hatröss. What they all share is a remarkable conceptual www.roguart.com framework; in simpler terms, they need to be heard from start to finish at once or not at all.

26 June 2012 | THE NEW YORK CITY JAZZ RECORD sweeping and dense clusters) than found on his own quartet album. And for those attuned to Ellington’s piano style there are the significant nods to a Ducal keyboard approach, from the pointed, percussive touch to the appropriations of familiar tropes, phrases and gestures; for instance, the comping behind Brown’s telling (shades of Mingus) solo on “Pie Eye’s Blues”, the only non-standard Ellingtonia on the CD (it’s from the Anatomy of A Murder soundtrack) and Cyrus Chestnut Quartet Dancing with Duke the voicings on “Do Nothin’ ’Till You Hear from Me”, Cyrus Chestnut John Brown Trio invigorated by a swinging waltz-time rendering. Other (WJ3) (Brown Blvd.) rejuvenating surprises include a sprightly 6/8 revving by George Kanzler up of the usually sultry ballad “Isfahan”, a “Perdido” morphing from light Latin to full montuno and a Pianist Cyrus Chestnut is central to these two diverse snappy, syncopated “It Don’t Mean A Thing” albums, one his first recording leading a quartet, the suggestive of the Nat Cole Trio. Brown also gathered other a trio date led by bassist John Brown. Throughout tunes into a “Sweet Ballad Suite”, with the date’s most Chestnut demonstrates his jazz populism - an ability to sophisticated and sumptuous playing, beginning with connect with and entertain audiences - as well as his Strayhorn’s “A Flower Is A Lovesome Thing” but prodigious technique and chameleon-like talent for including a surprisingly delicate “I Got It Bad” and a inhabiting a variety of jazz styles and approaches. spare “Solitude” dominated by bowed bass. Cyrus Chestnut Quartet is rounded out by tenor and soprano saxophonist Stacy Dillard, bassist Dezron For more information, visit williejones3.com and Douglas and drummer Willie Jones III. Dillard’s tenor brownboulevard.com. Chestnut is at Blue Note Jun. 19th in sax, with its big, vocal sound reminiscent of Gene duo with Kathleen Battle as part of Blue Note Jazz Festival Ammons and , is a perfect match for and Jazz Standard Jun. 28th-30th. See Calendar. Chestnut’s robust effervescence. Another tenor he suggests is the composer (misidentified as Chestnut) of the opening track “No Problem”, , who recorded with Miles Davis on the Elevator to the Gallows soundtrack. Douglas contributes the other non- Chestnut track, “What’s Happening”, the album’s fastest swinger. Chestnut’s six originals tend more toward heartbeat tempos, shuffles and even a jazz waltz. “Waltz for Gene and Carol” is one of the highlights, with an exotic tom-tom and cymbal beat, lead soprano sax and a diaphanous, silky piano solo Initial Here with weaving lines like curtains wafting in a breeze. Linda Oh (Greenleaf Music) The one slow ballad, “Dream”, has a resonant melody, by Tom Greenland first stated by tenor and piano and a flowing improvised section over rhythm with brushes, alternating tenor From its opening vamp, a spiky bass riff that jabs like and piano choruses. Dillard is at his testifying best, full a welterweight, it’s clear that Initial Here is a bassist- of stentorian, cajoling authority on “Indigo Blue”, led date, a potential problem when this translates into where Chestnut also pulls out the stops in a two- extended bass solos ad nauseam but only in the hands handed preacherly romp of a solo. But the gem is the of lesser players than Linda Oh. Her debut for final track, “Mustard”, an old-fashioned, deep, down- Greenleaf Music (following the self-released Entry in home soul blues, which develops slowly from creeping 2008) is an arresting project, replete with dazzling bass and drums to tenor stroll and unfurling piano chops, compelling tunes and a progressive sound that lines, Chestnut conjuring new life into the most puts the ‘fuse’ back in fusion. familiar phrases, all in an almost somnolent tempo Opener “Ultimate Persona” has a complex 10-plus- demanding emotional commitment beyond technique. 11-beat pattern that nevertheless lunges forward in Dancing with Duke is a delightful excursion relentless expectation. Leonard Bernstein’s through Ellingtonia led by Brown with drummer “Something’s Coming” from West Side Story begins Adonis Rose and Chestnut at his ebullient best, with a ruminative acoustic bass soliloquy, but soon breaking out into more displays of two-handed rumbles along in hyper-swing, with sparkling solos by virtuosity (locked-hand chords, doubled-note lines, Dayna Stephens (tenor sax) and Fabian Almazan (piano) and a heated drum-bass ‘debate’ with Rudy Royston, capped by a waltzing coda section. “Mr. M” CD Release (as in Mingus) evokes the down-home futurism of “Goodbye Pork Pie Hat”, Oh injecting punchy couplets Event into the ethereal ambiance, then burning up the neck like a lead guitarist on her extended exploratory solo. at “No. 1 Hit” is drastically syncopated, quirky but catchy, featuring Royston’s leap-over-the-bar phrasing. Brooklyn “Thicker than Water”, a duet with chameleonic vocalist Friends School Jen Shyu, here personifying June Christy-esque cool, is enhanced by Oh’s dubbed-in bassoon counterpoint. Friday June 8 “Little House”, “Deeper than Happy” and “Desert Island Storm” all feature Oh’s sparkling electric tone, 7pm fuel-injecting the groove à la ’ seminal work with Weather Report. Initial Here seals the deal Live at the Freight: with a soulful cover of Ellington’s “Come Sunday” and “Deeper than Sad” (recalling ’ “Django”), Jessica Jones and Mark Taylor which plods through a polyphonic climax to a placid Startlingly beautiful from beginning to end, the music pushes and pulls in multiple directions while never losing its elliptical narrative drive. conclusion.

available June 26 For more information, visit greenleafmusic.com. This group jessicajonesmusic.com / newartistsrecords.com is at Jazz Standard Jun. 19th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 27

melodic offerings, distilled into eerie exhalations and Debut CD from virtuoso carved in icy sculpture, are straightforwardly Jazz Violinist crystalline. Glinting, spooky muted Miles Davis (cryopreserved from 1957) looms gently over the minimalist “When Lights Are Low” and “My Funny Daniel Weltlinger Valentine”. Anything but fragmented, these miniatures (Lulo Reinhardt, evoke Arctic winters: the cryptic “Do Not Speak” fades Monsieur Camembert) with unearthly whale whimpers, the flamenco-tinged “To Read Is To Dream” blurs on a shimmery horizon

Mitt hjerte altid vanker - I (Live at ) and the outer-spacey title track echoes Gershwin’s Ingebrigt Håker Flaten/Håkon Kornstad/ strawberries, freeze-dried on a glinting floe. Jon Christensen (Compunctio) So Soft Yet is cantabile poems in a classic Euro-folk by Tom Conrad style. Texas trumpeter Dennis González plays four- square with little vibrato and affectation; Lisbon Full disclosure: I was present when this album was pianist João Paulo sounds classically schooled with a recorded at the Oslo Jazz Festival in 2009. The setting down-home bent. They weave in special effects from was Kulturkirken Jakob, a 19th century converted track to track, fueled by motoric rhythm loops. church with excellent acoustics, on a leafy residential González pre-programs thirds on “Broken Harp” and street just north of downtown. Tenor saxist Håkon the spooky closer “Augúrio”. Paulo strokes electric Kornstad and bassist Ingebrigt Håker Flaten played plunking basslines on “El Destierro”, folksy accordion songs from Elise, their 2008 duo album. Joining them stutters on “Deathless” and “Taking Root”, electric was Jon Christensen, Scandinavia’s greatest drummer. loops on “Broken Harp”. A couple of tracks recall the Elise, perhaps the first jazz album based on traditional /Paolo Fresu Italianate school, with blue Norwegian folk hymns, had popped up on several Top fado wisps; one is reminiscent of Jill McManus’ Hopi Souvenirs: A Tribute Ten lists. Its fascination came from hearing simple pure melodies played sotto voce by Tom Harrell. Yet the melodies outside of time brooded over and followed to duo’s sliding from one easy vamp to the next, rather to Django Reinhardt their furthermost implications. than building their case with strong melodies, results Most live albums of material previously recorded in a date of pleasant if aimless noodling. A stunning new album showcasing the in a studio offer looser, longer versions. This is different Following the Danes’ chill intensity and the early 20th century guitarist and - a single, focused, rapt, burning meditation. “Du høye Transatlantic duo’s breezy atmospherics, the team of composer’s great compositional works. fryd for rene sjele” is a small, solemn incantation, Sicilian trumpeter Giovanni Falzone and Marseilles- introduced by Flaten, darkly. Kornstad’s gradual born pianist Bruno Angelini convey nine edgy pieces, Proudly sponsored by BNP Paribas. destruction of the melody breaks out in hoarse rasps, credited to Falzone, in a mutually sparking, downright but only momentarily. Soon his passion is reabsorbed theatrical atmosphere. By dint of varying tempos, ‘Reinhardt’s body of work as a composer glows under the warm light of Weltlinger’s violin...’ back into a song sung by his forebears in farmhouse timbres and moods, this highly accomplished pair prayer meetings. Most pieces are like “For himmerigs succeed in putting across a vividly dramatic, witty, - John Shand, Sydney Morning Herald land maa man kjempe”: intensely quiet, lingering on consistently engaging set. “Marì” leads with splashes their minor key themes, flowing away and returning, of edgy avant guardia, as chance-taking improvisations Available through Itunes, Amazon, sustaining the concentration. whirl and fragment. Falzone shows splendid tone and CDBaby and Toca Records. Christensen picks his spots, sometimes erupting superior melodicism while Angelini dazzles with with the natural peaks of this music but more often double-time runs and darting notions that push on www.danielweltlinger.com arraying subtle details of texture and color. Kornstad is into “Salto nel Vuoto” as Falzone opens up handsome www.toca-records.de one of the most exciting young reed players in jazz. He flutter-tongue figures. They shuffle “Maschere” is a storyteller who stays in character even as he keeps (stately) and “Terra” (legato arpeggios) with comically outdoing himself with fresh narrative ideas. Flaten, grumbling quasi-scat (“Pineyurinoli”) and a manic off- too, is a master of atmosphere. He can play really fast Broadway two-beat rag (“Wizard”). Other poignant in the context of a very slow song. effects are Falzone’s diminutive wah-wah mute This beautifully recorded album renders its expanding to a sweeping legato on “Guardando il moment so vividly that you live it even if you weren’t lago” with Angelini’s comically chirrupy piano, a fast there. It is even better if you were and can live it again. bluesy ostinato named after “Jean Cocteau” and a closing ballad that might complement a genially For more information, visit compunctio.com. Kornstad is at offhand Charlie Chaplin vignette. Nublu Jun. 24th. Flaten is at Roulette Jun. 13th with The Thing and Joe McPhee as part of Vision Festival. See For more information, visit arts-music.dk, cleanfeed-records.com Calendar. and abeatrecords.com. Mikkelborg is at Le Poisson Rouge Jun. 27th with Terje Rypdal. See Calendar.

Even Closer Palle Mikkelborg/Thomas Clausen (Arts Music) So Soft Yet Dennis González/João Paulo (Clean Feed) If Duo - Songs Giovanni Falzone/Bruno Angelini (Abeat) by Fred Bouchard Three duos between veteran trumpeters and pianists come in from Denmark, Portugal and Italy. Veterans of cold wars and glacial ice-bound ECM silences, pianist Thomas Clausen and trumpeter Palle Mikkelborg weave ice-fogged, watercolors of shining aqueous hues and drifting interplay on Even Closer. Their

28 June 2012 | THE NEW YORK CITY JAZZ RECORD Perception The Fall Joel Futterman Joel Futterman (Creation Music) (Creation Music) by Marc Medwin Real freedom is a mysterious and rare phenomenon, a fact that is especially disheartening in a music too often mislabeled ‘free jazz’. What sets pianist Joel Futterman’s work apart from so much of what is catalogued under that misleading phrase is the way he incorporates traditional elements in structures that find themselves as they emerge. This precarious relationship between history and innovation is one of the few characteristics these two discs share. To catalogue the minute changes that can occur from moment to moment in this music is beyond the scope of a review. A treatise could be constructed tracing the way Perception’s gargantuan opening movement springs from just two notes; its slowly expanding processes veer through various modalities and passages of stasis only to see a dramatic increase in the next moment, as the entire keyboard becomes an orchestra where interregistral counterpoint abounds and phrases connect and resolve on many dynamic levels. Listen to the way Futterman provides a bassline to his sinewy melodies, almost sounding as if another pianist is playing it, so nuanced and rhythmically free are his dynamic shadings. Incredible torrents of tone vie with quartal passages of staggering beauty until, without any warning, that opening two-note figure returns, more than 20 minutes after it was first heard. The gestures are then collected and reorganized into some gorgeous postbop melodic musings, providing insight into Futterman’s unified vision of jazz history. Conversely, The Fall does not so much emerge as collide with the silence preceding it. Its opening movement is a maelstrom of apocalyptic import, dense clouds of micropolyphony delineating a downward spiral occasionally interrupted by bare octaves, like the tossed ropes or branches a drowning man grabs in his descent. Any fleeting sense of diatonicism is thrust aside as the music slowly dissipates and vanishes into the crystalline silence, engendered by Futterman’s explorations inside the piano. Yet, all of this is beancounting. The real mystery in the music lies in the journey itself, in the way each group of events connects improbably but so naturally to the next and these accumulated relationships are essentially beyond the ability of words to relate. How does one explain the element of surprise when the ballad-like beginning of The Fall’s “Recovery” suddenly transforms and fragments, after a three-note moment of repose? How does the ten-note saxophone invocation opening Perception’s second part give way, unceremoniously but perfectly, to the sparse pointilisms that follow, again inside the piano? It seems inconceivable that such diverse elements can coexist in this sort of harmony, but anyone familiar with the five volumes of Futterman’s Creation series, just to cite a small portion of his vast discography, will have an idea of the multifarious unity being described. As for comparisons or models, only Coltrane’s , perhaps Meditations’ gradual shift from tonal complexity to modal stability, approximate Futterman’s vision in terms of scope and breadth. As James Joyce did with world history, Joel Futterman tells the story of creative music’s development on an epic scale.

For more information, visit joelfutterman.com

THE NEW YORK CITY JAZZ RECORD | June 2012 29

connected musical communication and a relaxed, contributing some of his most explosive work. intimate feel. Throughout, the group exhibits a rare affinity and the Silvano has a pleasing voice with enough range to high comfort level that only comes with years of hit the high notes when necessary, maturity for playing together. thoughtful interpretation and, obviously, a love and As for Harrell, who turns 66 this month, he respect for material she has done many times over the remains one of jazz’ most sophisticated improvisers, a years. She delivers a collection of 14 of the best out of trumpeter with a gorgeous tone who favors lyricism the Great American Songbook in a program just over and emotion over pyrotechnics - think with an hour. It is, perhaps, an overabundance of riches and more bite. With Number Five, he and his superb quintet

Live at the Freight too much material to absorb on one CD. It would keep their streak going with another winning album. Jessica Jones/Mark Taylor (New Artists) certainly be difficult to choose, but this listener feels it by Elliott Simon might have been wise to save some tracks for another For more information, visit jazzdepot.com. Harrell is at album. Smoke Jun. 29th-30th as part of Miles Davis Festival 2012. The Freight and Salvage Coffee House is a Berkeley, Although there is an overall sameness about this See Calendar. California venue that originated when traditional album of basic ballads, there are items of interest such Appalachian, folk and blues had a paradoxical cutting as Silvano’s choosing to do the seldom-done verses to Cobi Narita presents edge that fit perfectly into the counter-culture. Those “Let’s Fall In Love”, “If I Had You” and Tadd Dameron’s Monday, June 4, 2012 - 7 p.m. $10 were heady times and while the Freight is still going killer “If You Could See Me Now” while adding a Latin after more than four decades, its view of traditional rhythm to “You’ve Changed” and the Gershwins’ Remembering Dakota Staton music is broader. Witness Live at the Freight, from tenor “Embraceable You”. And listen to Jobim’s “You Never saxist Jessica Jones and French horn player Mark Come To Me”, where Silvano does the English lyric Taylor. and then some wordless scatting in conversation with While both these artists’ past work has been a bit Jacobs’ trumpet, or the rendering of Thelonious Monk’s arcane, bassist John Shifflet and drummer Jason Lewis “Still We Dream” (known instrumentally as “Ugly are a tight rhythm section and the compositions here Beauty”), the only waltz he ever wrote. Jacobs’ trumpet encourage focus. Taylor is one of only a few musicians is given a healthy chance to stretch here and although who has taken on the difficult task of bringing the it is a difficult song to sing, Silvano has the skill to pull combination of tone and range that the French horn off the vocal. Tomlinson is an excellent accompanist, possesses into jazz surroundings. His presence is way knowing when and just how much to play as well as more than novelty and the order of the day is interplay being able to provide a tasty solo here and there. Singers sing Dakota songs with Jones’ seductive tenor, compositional structure Jacobs’ trumpet fills, especially when muted, add to and a vibe that is a rebirthing of the cool. the picture. It’s worth a listen as Silvano shares her Taylor penned five of these tunes and Jones four. milestone in the best of company. Come celebrate Dakota’s birthday! It’s a Party! The two have guested on each other’s releases and Saint Peter’s Church, 819 Lexington Ave (at E. 54th Street) played together multiple times so there is an obvious For more information, visit jazzedmedia.com. Silvano is at For more information: 516-624-9406 or [email protected] comfort level with the material. The Blue Note Jun. 24th. See Calendar. tribute “Waynopolis” and the swinging portrayal of

“Manhattan”, both off of Jones’ Nod (New Artists Records, 2004), acknowledge influences and are quite Jazz Violinist simply great jazz in a hip milieu. Taylor’s “By the Park at Midnight (Zamindar’s Promenade)” and “The BEN POWELL Zamindar Gambit” are from his recent At What Age releases (Artists Recording Collective, 2011) as are CD opener “Furious George” and closer “Breath.Eyes”. The former NEW STREET cuts continue Taylor’s self created Osmium Zamindar featuring The Ben Powell Quartet opus and are a combination of avant exotica and & a tribute to beautifully-put-together structures showcasing the Number Five Stéphane Grappelli horn’s unmatched capacity for emotive storytelling. Tom Harrell (HighNote) with Gary Burton The latter two present an opportunity for Taylor and by Joel Roberts & Julian Lage Jones to engage initially in a casually swinging format and then wrap things up in erotically intimate fashion. Trumpeter/flugelhornist Tom Harrell has kept the “An auspicious presentation Live at the Freight is jazz with an experimental tilt but a same stellar quintet intact through six years and four that is as solid and traditional feel custom-made for this context. previous albums on the HighNote label - a rarity in exciting an effort as you will find.” today’s jazz world. On his latest release, appropriately – criticaljazz.com For more information, visit newartistsrecords.com. This titled Number Five, the group returns once again with group is at Brooklyn Friends School Jun. 8th. See Calendar. the same lineup, but with some notable twists and “Powell is a little too turns in its approach and repertoire. old to be the reincarnation

Where the postbop veteran’s previous efforts have of Stéphane Grappelli, drawn nearly exclusively on original compositions, but god damn, of all who came in Grappelli’s wake Harrell relies more on well-chosen covers here, like the and tried to be/beat the opener, a scorching duo version of Dizzy Gillespie’s master, this is the “Blue n’ Boogie” for trumpet and Johnathan Blake’s kid that has it all…” drums. It’s one of several tracks on which Harrell – midwestrecord.com breaks the quintet (completed by Wayne Escoffery on tenor sax, Danny Grissett on keyboards and Ugonna Okegwo on bass) down into smaller groups - duo, trio and quartet - that give each member of the ensemble Indigo Moods THE BEN POWELL QUARTET Judi Silvano (Jazzed Media) added room to shine. Most impressive are the two JAZZ AT KITANO – by Marcia Hillman tracks where Harrell goes it alone with wonderfully THURSDAY, JUNE 7TH expressive solo trumpet readings of two bebop classics, with Tadataka Unno (Piano), Vocalist Judi Silvano is celebrating 20 years of her “Star Eyes” and Tadd Dameron’s “A Blue Time”. Aaron Darrell (Bass) & recording career by putting forth her tenth album, Harrell’s own expansive compositions get plenty Devin Drobka (Drums) 66 Park Avenue at 38th St, NY, NY entitled Indigo Moods. A familiar figure on the vocal of attention, too. Highlights include the deceptively Reservations: 212.885.7119 scene up and down the East Coast, Silvano has been simple, impressionistic “Journey to the Stars”, the $10 Cover/$15 Minimum performing for the last few years with pared-down melancholy ballad “Right as Rain” and the hard- Sets 8pm & 10pm musical accompaniment consisting of pianist Peter swinging “No. 5”, featuring exciting solo turns from Tomlinson and trumpeter Fred Jacobs, both of whom all five players. “GT” pushes the group to the edge of join her on this offering. This makes for a well- avant jazz, with the emerging saxophone star Escoffery www.ben-powell.com

30 June 2012 | THE NEW YORK CITY JAZZ RECORD order the bagatelles are programmed. The opening piece features Stacken manipulating the piano strings and at one point achieving a sound suggesting a toy piano while Opsvik’s mournful arco bass in the introduction adds to its edginess. In the third bagatelle, piano is complemented by brooding bass and off- center percussion. Stacken’s extensive use of the sustain pedal in his deliberate, spacious fifth bagatelle builds a formidable tension. Bagatelles For Trio is music Like A Tree Bagatelles for Trio that demands the listener’s full attention to appreciate Knuffke/Stacken/Wollesen Jesse Stacken its nuances. (SteepleChase) (Fresh Sound-New Talent) by Ken Dryden For more information, visit steeplechase.dk and freshsoundrecords.com. Stacken’s trio is at Tenri Cultural Pianist Jesse Stacken immersed himself in the New Institute Jun. 29th. See Calendar. York City jazz scene in 2002 when he came to work on his Master’s degree at Manhattan School of Music. Since completing his studies in 2004, Stacken has led a trio with bassist Eivind Opsvik and drummer Jeff Davis and worked in a duo with cornetist Kirk Knuffke. In addition to his recordings as a leader or co-leader, Stacken has recorded with Peter Van Huffel and Liam Sillery and performed with Tom Rainey, Darcy James Argue’s Secret Society, and Michael Blake, among others. Stacken made two earlier recordings with Knuffke, Sounds of Space focusing on the music of , Thelonious Alfredo Rodríguez (Mack Avenue) Monk and Duke Ellington. For their third session by Sean O’Connell Like A Tree, they add drummer Kenny Wollesen to free up the pianist’s rhythmic role in exploration of more Pianist Alfredo Rodriguez is only 26. Although he avant garde pieces. The late Steve Lacy is somewhat hails from Cuba, he isn’t a ‘Cuban’ pianist, he’s a jazz overlooked as a composer; the trio’s interpretation of one. He may use a few montunos and the occasional “No Baby” features plenty of fireworks from Knuffke Spanish word in his song titles but this release goes far and Stacken’s driving attack. Fans of ’s beyond that Caribbean nation. album Last Date will be delighted with the presence of He has a lot of weapons at his disposal, including pianist Misha Mengelberg’s demanding a man named Quincy Jones offering his production “Hypochristmutreefuzz”, which the trio devours expertise. What Jones’ contributions are isn’t whole, adding a humorous touch not present on the immediately obvious but he has lent his credibility to a original recording. The trio reaches a climax in John unique young artist. This is a straightforward, Coltrane’s “Saturn”, building it from a chant into a unadorned debut that most importantly highlights majestic improvisation, with Stacken blending world Rodriguez’ impeccable command of the 88. music, classical influences and free jazz into his solo. Within the first 30 seconds Rodriguez establishes Their explorations of the music of (“Olhos himself with a display of playful versatility, de Gato”, “And Now The Queen”, “Jesus Maria”), overdubbing a melodica over his jittery piano-led Ornette Coleman (“Peace” and “Free”), Albert Ayler melody “Qbafrica”. Countryman Francisco Mela, who (“A Man is like a Tree”) and Julius Hemphill (“The plays drums on a couple of the tracks, provides a Painter”) are equally rewarding. subdued cross-stick pulse that drives the tune without The pianist’s Bagatelles for Trio, featuring his getting in the way. “Cu-Bop” has the pianist channeling working trio with Opsvik and Davis, is a series of 13 a twisting Bud Powell with tricky lines over a pulsating short compositions designed to take the listener on an backbeat from the album’s other drummer Michael unusual journey with striking sounds and a variety of Olivera. “Transculturation”, driven by Rodriguez’ moods and tempi. The influence of Bartók, Stravinsky loping left-hand, draws a shimmering performance and Schoenberg can be heard at times while portions of from soprano saxophonist Ernesto Vega, who also the music would make an effective soundtrack for a contributes fine clarinet work elsewhere on the album. suspense film. There are numerous surprises in this Album closer “Fog” gets gloomy assistance from the collection, which the trio regularly performs in the Santa Cecilia Quartet, which adds cinematic touches to Rodriguez’ high-register ambling. The highlights of the album, however, are Rodriguez’ two tour de force solo performances. The brooding “April” hinges upon his resonating keyboard as much as it does on his pyrotechnics while “Crossing the Border”, a reference to Rodriguez’ entry into America by way of Mexico, is a breathless assault of mutant montunos, deliberately disjointed harmonies, a fearless left-hand and a brief uncredited clave. In just under seven minutes, Rodriguez lets it all out on the keyboard, occasionally firing at the speed of light before collapsing into a legato crawl only to close with an even faster pace than before. It is easy to see why someone like Quincy Jones would be interested in a talent like Rodriguez. Thankfully the album isn’t peppered with guest stars or a heavy-handed ProTools approach. Just an ambitious young pianist giving it his all.

For more information, visit mackavenue.com. Rodriguez is at Highline Ballroom Jun. 27th as part of Blue Note Festival. See Calendar.

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For The Foreign Legion, he focuses on a trio, on old Material records, but that doesn’t define the completed by pianist Matthew Shipp and drummer whole of this unexpected record. The second cut, “For Gerald Cleaver, for five spontaneously conceived C, as in Percival, With Gratitude Immeasurable”, is a excursions. If the principal appeared to be mellowing dedication to Cecil Taylor with a clear awareness of his in recent years, he seems energized by his new ‘70s records. That’s followed by a spoken anthem for bandmates, his keening altissimo wail insistently Occupy Wall Street with musical interjections both probing the interstices between Shipp’s harmonically impassioned and comedic. An organ-led piece ambiguous piano and Cleaver’s busy but unpredictable dedicated to proves again their percussive clatter. Though mostly residing in the upper sensibilities while the final track (actually a sound

Succinct register, the reedman intersperses earthy honks with check which they held on to) harkens back to vintage Spoke (Envoi) an acerbic skirling lyricism to create contrast. At times . While the band has a clear interest in by Sharon Mizrahi his pure toned incantations take on a translucent liquid the free era just after Coltrane, they manage to keep beauty, not least on “An angel’s disquiet”. After a their music lively and contemporary. And hearing As soon as Justin Wood’s smooth saxophone begins martial drum break midway through, the madcap Jordan in conversation with the electric guitars makes its sway across Succinct’s opening track, the senses tenor dash vies for attention with equally compelling this a noteworthy release. can’t help but delve into the image of a jazz club tucked topographies from bass and drums to make this the Jordan is heard on On Fire in a solid trio with away in a sleek nook of New York City. Though the highlight of a strong album. Harrison Bankhead on bass and cello and Warren four artists behind the moniker Spoke represent the Perelman first recorded with a string quartet to Smith on percussion. It’s an elemental studio session ‘new generation’ of jazz, each classic pluck of Dan wax The Alexander Suite (Leo, 1998), but his revisitation with a nice diversity over the four tracks. While the Loomis’ bass and Danny Fischer’s cymbal wisps and of the format with the Sirius Quartet on The Passion titles suggest an ideology similar to the Chonto/ gently rolling drum rhythms evoke the warm comfort According to G.H. is even better. From the opening Tamura session (the opener is called “Officer, That Big of a scratchy 78. But halfway into “Satya Graha”, Andy confluence of hushed cello notes and plaintive tenor Knife Cuts My Sax Reeds”), this is Jordan stripped Hunter’s pitchy blurts slowly unravel an chant, this is an amalgam that keeps the listener on the bare, solid and intuitive, at times powerful at others eclectic undercurrent of avant garde erraticism. edge of their seat. It helps that the string players prove introspective. To hear him as the only horn and with a As Succinct progresses further, Spoke kindles this themselves as impressive improvisers, conversant with relatively delicate rhythm section presents him in a experimental spark into full force, oscillating between a wide range of extended techniques and able to different light, especially on “We Are All Indebted to moods and textures at the unpredictable whim of a respond quickly to the saxophonist as he slides Each Other”, Bankhead slipping in and out of the blues stream of notes. “Over the Bars” immediately exudes between tones, their singing lines intertwining and and Smith’s roving vibraphone abstractions, Jordan an irresistible swinging momentum, brushed forward soaring. Less forced to the extremes, Perelman works clearly feeling free to move around the sonic room. by Loomis and Fischer’s bouncing rhythm. And right in a broad impasto, laying smears of tonal color over In very different senses, these two titles show at the peak of a trombone-sax mingling, Hunter and through the accompanying ensemble, moving Jordan’s different sides, part of one of the most suddenly ignites with flaring energy in a solo uprising. from staccato cadences to folkish melodies and expressive saxophone voices around today. This counter-intuitive approach reaches its zenith in squealing eruptions, paced every step of the way by “Quic”. Fischer constantly restarts his rhythmic course the Quartet in an outstanding meeting. For more information, email [email protected] against a tide of brassy ebbs and flows, infusing the and [email protected]. Jordan is at Roulette Jun. piece with entrancing tension. For more information, visit leorecords.com. Perelman is at 15th and 17th as part of Vision Festival. See Calendar. Adapted from Milton Nascimiento’s recording of Roulette Jun. 14th as part of Vision Festival. See Calendar. the same name, “San Vicente” carries the crafty jam USED session dynamic to soulful fruition, at last clearing the band’s tangential air. Wood trades his sax for the flute NEW and Hunter offers regal brass, both alternately interpreting Nascimiento’s vocal-guitar melody with eerie exactitude. No spastic sound gymnastics detour this work from its delicately majestic course. Instead, each bandmember awakens his instrument with an expressive narrative quality, rumbling forward with piercing vitality and newfound direction in the album’s first piece to live up to its name. With On Fire The Chonto/Tamura Sonic Kidd Jordan 236 West 26 Street, Room 804 For more information, visit envoirecordings.com. This Insurgency (Somerealmusic) (Engine) New York, NY 10001 group is at Red Hook Jazz Festival Jun. 17th. See Calendar. by Kurt Gottschalk Monday-Saturday, 10:00-6:00 One had best be careful about what tricks one calls ‘new’ or what dogs one calls ‘old’, but the Tel: 212-675-4480 septuagenarian saxophonist Kidd Jordan’s meeting with New York’s Chonto/Tamura Sonic Insurgency Fax: 212-675-4504 certainly stands out as one of the most unusual records in his catalogue. The pairing came to pass after a video Email: [email protected] of Jordan playing at the Vision Festival was aired on Web: jazzrecordcenter.com drummer Joe Chonto’s Manhattan cable access show Some Real Music several years ago. On the same LP’s, CD, Videos (DVD/VHS), program, Chonto aired a video of Japanese psych Books, Magazines, Posters, The Foreign Legion/The Passion According to G.H. rockers Acid Mothers Temple and Jordan expressed an (Leo) Postcards, T-shirts, interest in playing with them. While that meeting is by John Sharpe Calendars, Ephemera still in the works, the suggestion set the ball rolling for Inevitably when considering a musician who also has Jordan to play with Chonto’s own psych-improv band. Buy, Sell, Trade a reputation as a painter, visual art metaphors tend to With a lineup of two electric guitars, sax, bass and be spattered across the board. That’s even more the drums, Chonto’s Sonic Insurgency (co-led with Collections bought case when there is such an apparent equivalence as reedman/keyboard player David Tamura) already with saxophonist Ivo Perelman, whose freewheeling makes plenty of sound. In fact, the opening cut (the and/or appraised approach to improvisation has such parallels with his only one without Jordan) barely seems to leave room expressionistic canvases. When Perelman first came to for another player. And with the title “Violence For Also carrying specialist labels the prominence in New York back in the early ‘90s, he Your Furs (and Diamonds, Ivory and All That Other e.g. Fresh Sound, Criss Cross, was cast as a charismatic screamer coming out of Expensive Meaningless Crap for Oblivious Idiots)”, Ayler, Silkheart, AUM Fidelity, Albert Ayler and but he also confirms a the instrumental piece sets the ideological stage as Nagel Heyer, Eremite, Venus, love of melody, even as he has become less reliant upon well. Clean Feed, Enja and many more written materials, and both traits are in evidence on The freeform rockish attack of the first track bears these two outings. some resemblance to and Sonny Sharrock

32 June 2012 | THE NEW YORK CITY JAZZ RECORD

seemingly from out of nowhere to make a major impact on the Swedish jazz scene. Released on his Moserobie label, Kullhammar soon established the label as an operation documenting similar-minded players on the Swedish jazz scene (trumpeter Magnus Broo, singer Lina Nyberg, et. al.). Kullhammar’s quartet has been the mainstay of the label and in 2010 celebrated its tenth anniversary with the release of a superb eight- CD boxed set.

Eponymous Nacka Forum is one of Kullhammar’s alternate Spectrum Road (Palmetto) bands. A piano-less quartet, it features Goran Kajfeš by Jeff Stockton (cornet, trumpet, electronics), Johan Berthling (bass) and Kjell Nordeson (drums and vibes). In addition to Spectrum Road is, on the surface, a tribute band that tenor, Kullhammar appears on baritone and bass saxes, plays the music of ’ Lifetime. At a glance piccolo, clarinet and mini-moog. A little more diverse it seems put together with the hope that the players than his standard quartet’s modus operandi of rousing involved or nostalgia will draw commercial interest. freebop, there’s still a healthy dose of that on But against these cynical odds, the four virtuosos who Fee Fi Rum as well as the musical wit for which comprise this fusion supergroup - Cindy Blackman- Kullhammar is noted. Several of the pieces are ostinato- Santana, , and - based and handled with aplomb. These ostinatos never have made a monster record. Spectrum Road can be as get tedious due to Nordeson’s expansive, fluid drums, heavy as Black Sabbath, as punishing as Deep Purple, always keeping the rhythm interesting. Kajfeš’ spiky as intricately melodic as or as prog as cornet seeks out weird trajectories and he intertwines Emerson Lake and Palmer, all tied together by nicely with Kullhammar’s reeds when they are playing Medeski’s keyboard alchemy, Reid’s shredding guitar in tandem, with the cornet/baritone sax combination dexterity, Blackman-Santana’s vivacious drumming particularly effective. While much of this is strong, and Bruce’s masterful bass thump and iconic vocals. energetic contemporary jazz, when they slow down for The disc gets off to a thunderous start with “Vuelta a ballad ( “Jimmy”) or a group textural exploration, the Abajo”, with Medeski and Reid playing relentlessly contrast is effective. Also mention must be made of the over pounding drums and banging bass. Then “There surprising use of timpani on “Borkum Riff”. Although Comes a Time” drops the intensity from red hot to cool Kullhammar’s freebop-based quartet has the cachet, blue, anchored by Bruce’s ageless voice. “Where” is Nacka Forum at its best sometimes eclipses the disc’s longest track: bookended by Blackman- Kullhammar’s main group. Santana’s ethereal singing, the band jockey for position Zanussi Five is one of Moserobie’s more popular then lay into the tune’s internal dynamics, shifting groups, with three albums to their credit. Usually a tempos and push-pull rhythms to generate tension, quintet (three plus bass and drums) momentum and crunch. When the tempo is brisk the helmed by bassist , for Live he adds a instrumental onslaught can be overwhelming. When it trombonist, guitarist, extra drummer and five more slows, you can get inside the instrumentation and hear saxophonists (Kullhammar among them). With this what’s going on. “Wild Life” closes the disc on Reid’s expanded lineup, the group becomes a wild, braying soaring riff as the rhythm section pushes the foundation beast with beautiful massed choruses, screaming to the edge of the cliff. boisterous passages, plenty of creative soloing and Tony Williams, the late drummer and bandleader, more. When he is audible, guitarist conceived the music on Spectrum Road and it stands to adds an unexpected, edgy electronic tension, reason that in this incarnation, Blackman-Santana particularly effective when the saxophonists are going follows in the line of succession. By following her lead, at it full-tilt. The compositions showcase the larger the band plays as loud and as hard as it can and ensemble well. Several are rearranged from earlier Medeski and Reid don’t give an inch. It’s Bruce, releases (Ghibli, Body And Zeuhl, Zoanthropy 2) and an however, that gives this band its legitimacy (he played of Ornette ‘s “Street Woman” is one of the in Williams’ second incarnation of Lifetime) as well as more unique handlings of the Coleman composition. its spiritual center. Bruce takes the vocal on “One Special mention has to be made of drummers Gerd Word”, singing the incantatory lyrics over Medeski’s Nilssen and , who push this ringing keyboard, ratcheting his voice higher and lumbering beast of a group to staggering heights. To higher until it seems he won’t be able to hit the notes, his credit, Kullhammar works within the ensemble and but Bruce hits them alright. is not the star of the set. The real star is the full 13-piece ensemble. For more information, visit palmetto-records.com. This Kullhammar the improviser is heard at length on group is at BB King’s Blues Bar Jun. 29th as part of Blue Basement Sessions, Vol. 1, recorded with bassist Torbjorn Note Jazz Festival. See Calendar. Zetterberg (a charter member of Kullhammar’s main quartet) and drummer Espen Aalberg. One gets the impression that Kullhammar just likes to blow and there’s always a joyful cadence to his playing. He seems to relish challenging himself and playing away from his main group is one way to get refreshed. On this disc, the absence of a pianist frees him up for more stratospheric flights, especially on the opener “As Tajm Goes By”. But for all the energy expended on the uptempo blowouts that dominate the disc, perhaps the best track is “Den Stora Vantan”, a baritone exploration, taken at a funereal pace. Kullhammar seems to wrench every sound he can from the instrument during the Fee Fi Rum Nacka Forum (Moserobie) track’s nine minutes. The album’s skeletal themes Live Zanussi Thirteen (Moserobie) allow for plenty of open space and seem to inspire the Basement Sessions, Vol. 1 entire trio, making for a satisfying listen. Kullhammar/Zetterberg/Aalberg (Clean Feed) by Robert Iannapollo For more information, visit moserobie.com and With his first album Salut (2000), recorded with his cleanfeed-records.com. Kullhammar is at Nublu Jun. 21st quartet, Swedish saxophonist came with Goran Kajfeš. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 33

from the flutists giving way to mellow pitches while brushes and fast trades between the horns beginning “Wind Current” balances low-intensity and low- with chorus and ending with two-bar and tandem, pitched glissandi atop pedal-point basslines and rim invigorate the title tune. Peck contributes the only shots. “Call Back”, one of Edelin’s two compositions, ballad, a resonant “In Retrospect”, and Zimmer’s “Cut has a stealthy, elongated theme framed by a martial Off”, with its AABA form of seven-bar (instead of the beat from Drake. As the flutists solo in turn, one usual eight) sections, recalls the snap of Max Roach’s produces pitched chirps and the other evocative quartets. The “clownish attitude in melody” (Golovnev) lowing. As glottal slurps, tongue stops and growls are of “Because Together”, along with its Latin accents, added to the mix, the piece resolves itself capaciously recall the joie de vivre of the Mulligan Quartet. But

Les Douze Sons with arpeggios from Bankhead, rat-tat-tats from Drake memories of the past don’t overshadow the unique Joëlle Léandre (Nato) and mixed tongue pressures from Edelin and Mitchell. pleasures of this agile quartet. by Stuart Broomer Awakening’s precursor could be a session where a polite flutist like Moe Koffman improvised with an For more information, visit tippinrecords.com. Golovnev is Recorded during four days in June, 1983, at the orderly guitarist like Ed Bickert. But when the session’s at Smalls Jun. 27th and Fat Cat Jun. 29th. See Calendar. Théâtre Dunois in Paris, Les Douze Sons was a landmark momentum increases, guitarist Jeff Parker’s linear in bassist Joëlle Léandre’s career. That title invocation work suggests , with bluesy asides cozying of Schoenberg’s tonal system is both homage and up to Mitchell’s staccato flutter tonguing. Contributing IN PRINT irony: the music reflects the radical equality of the tone to the mood swings are the guitarist’s chiming chords row without its insistent sense of order. Titles of and Bankhead’s popping thumps or measured bow individual pieces like “Pavane” and “Instant Opus 3” slides. Since Mitchell’s narrative skill also encompasses further suggest and mock the classical sense of form. fortissimo whistles and gritty blowing, varied emotions The ultimate effect of Les Douze Sons is of a suite - are on tap throughout, from slow romanticism to episodic but subtly connected - in which instruments moderated funkiness. The suite-like “Journey on a and voices keep reappearing. A trio with singer Annick Thread” is probably the finest instance of her Nozati and pianist appears at regular articulated and animated storytelling, as an innocent intervals, whether offering brief explosions that touch melody alternates with a more staccato line. Irregularly on atonal art-song and music hall or the sustained vibrated breaths and mouth buzzes give the piece a creation of “Les trios dames”. Barre Phillips appears time-stretching pattern, intensified by Parker’s circular just as often, both in two-bass dialogues with Léandre comping and Bankhead’s string pulsing. Harlem Jazz Adventures: A European Baron’s Memoir (1934-1969) and in a trio with Léandre and trombonist George Timme Rosenkrantz (Scarecrow Press) Lewis. The extended “Ballade de Chien” is actually a For more information, visit web.roguart.com and delmark.com. by Ken Dryden quartet, as Lewis’ trombone belches inspire Léandre’s Mitchell is at Roulette Jun. 16th as part of Vision Festival. dog Miss Biscotte to begin wailing along from the See Calendar. Baron Timme Rosenkrantz, a Dane by birth, was so audience. There are also occasional one-time groupings entranced with jazz that he spent parts of several in the collection of pieces: “Trio en forme de bagatelle” decades living in Harlem, trying to absorb as much is a dense, all-string performance by Léandre, guitarist jazz as possible while attempting to figure out how Derek Bailey and cellist Ernst Reijseger in which the to make ends meet financially. This memoir was first music seems to come from a single 14-string instrument, published in 1964 in his native land and though he plucked, bowed and scratched by a half-dozen hands. and longtime girlfriend Inez Cavanaugh worked on The final track, “Soupir”, is just that, a sigh by an English translation it was never published. Nozati and a microcosm in a single sound - pleasure, Fradley Hamilton Garner has done a remarkable job loss, absence and fulfillment. It’s a thoughtful completing the task, providing updates and conclusion to a remarkable collection of performances, corrections as needed, along with valuable, detailed definitely one of the year’s most valuable reissues. footnotes, a discography of projects recorded under What Matters Vitaly Golovnev Quartet (Tippin’) Rosenkrantz’ name (though he was not playing), For more information, visit natomusic.fr. Léandre is at by George Kanzler informal recordings made in his apartments (though Roulette Jun. 16th as part of Vision Festival. See Calendar. most of these performances remain unavailable in Maybe shorter is better. This CD’s 47 minutes, divided any form to the public) or for which he served as into seven tracks, could easily be an LP and it seems producer or publisher. the concision of the form has concentrated the creativity First and foremost, Rosenkrantz is an of the musicians accordingly, making for a bright, entertaining storyteller who dismisses any impact memorable and entertaining outing. Other associations he may have made as producer or writer, describing with old LPs also linger: the trumpet-sax-bass-drums himself as more of a fan. Immersing himself as a ensemble conjuring up memories of early Ornette, resident of Harlem upon arriving in the US, he built Mingus with and Eric Dolphy and even relationships with numerous jazz artists. His sense ’s Quartet with Chet Baker or Art of whimsy is ever present, with a gift for providing Farmer. The empathy between Vitaly Golovnev’s detail about his friendships and the many trumpet and Zhenya Strigalev’s alto sax also recalls the performances he attended, including after-hours The Ethiopian Princess Awakening pairing of Dolphy and trumpeter Booker Little. scenes that would have been impossible for a typical Meets The Tantric Priest Nicole A nimble trumpeter whose tone can range from jazz fan. A somewhat eccentric man who started Indigo Trio/Michel Mitchell Edelin (Rogue Art) (Delmark) clarion to pugilistic, Golovnev has synthesized projects before figuring out how to pay for them influences ranging from Clifford Brown and Little to (including attempts to produce a concert, run a by Ken Waxman Dave Douglas and Tom Harrell into a broad personal record shop and two jazz clubs), Rosenkrantz Even after nearly 60 years as a double for woodwind style. Strigalev not only shadows and blends with the repeatedly failed as a businessman. His inability to players – and first choice for a select few – the flute trumpet on unison and harmony lines, but also displays find financial backers prior to producing his historic can’t shake off its reputation as a secondary jazz axe. a style combining the loopy intervals and bird-song 1945 Town Hall concert nearly cancelled the event, But Nicole Mitchell is doing her best to overcome this flavor of Dolphy with a penchant for developing due in part to Symphony Sid Torin’s insidious stigma. As these CDs demonstrate, impressive melodic kernels through repetition-elaboration. The boycott campaign. Lower than expected ticket sales improvisations are created even as the flute retains its rhythm section of bassist Nathan Peck and drummer forced Rosenkrantz to sell his concert acetates to lyrical characteristics. Pete Zimmer responds with quicksilver flexibility to Commodore to pay the musicians who took part. Recorded in Strasbourg with Paris-based Michel the twists and turns of the tunes. Rosenkrantz may have stretched the truth in Edelin as the other flutist, The Ethiopian Princess Meets The album is crammed with what Rahsaan Roland places, but his unique portrait of a foreigner able to The Tantric Priest is formal and delicate. Bassist Kirk called “bright moments”. They start with the bop- immerse himself in the Harlem jazz scene during its Harrison Bankhead’s pulsing coupled with drummer leaning, two-horn opening of “Three Wishes”, continue heyday gives jazz fans a rare look at life among his Hamid Drake’s inventive slaps and rebounds pace the through the catchy AfroLatin accents of “Family Plan” favorite musicians. eight selections, allowing Mitchell and Edelin to and reach an early peak on Golovnev’s third original, extemporize distinct flute sequences in turn. “Inside “Brown Waltz”, full of polyphonic interplay by the For more information, visit rowman.com/Scarecrow the Earth” finds aviary wisps and whistling peeps horns and contrasting solos. Tightly muted trumpet,

34 June 2012 | THE NEW YORK CITY JAZZ RECORD

Pepper’s first working band that played the music as practically update freebop. he envisioned it, giving their all in support of his The saxophonist’s intention to meld his song- frenetic extended interpretations of standards and oriented asides with knife-sharp double tonguing that originals: bluesy opener “Ophelia” is very much in the asserts itself throughout, most notably on the title pocket; Pepper disguises the introduction to “Besame tune, proves that Streets is no energy music copy. Mucho” with a hard-blowing solo supported by a dark Instead Gayle’s speech-like slurs, splutters and cries fit vamp and a spirited uptempo setting of “Caravan” so perfectly with the drummer’s barrage of rattles, builds considerable excitement with Pepper’s far- slaps and cymbal pops and the bassist’s durable and ranging solo. The leader’s moody, loping “The Trip” uncomplicated string power plucked and bowed that

Landscape Scripture has a haunting air, topped by his emotional the trio becomes an original entity unto itself. Scott DuBois (Sunnyside) interpretation of Michel Legrand’s ballad “The Summer by Tom Greenland Knows”. For more information, visit northern-spy.com. Gayle is at Live in the U.S.A. pairs dates by two different Roulette Jun. 17th with Kidd Jordan as part of Vision Landscape Scripture, guitarist Scott DuBois’ third bands. The 1975 concert at Foothills College features Festival. See Calendar. release for featuring his go-to crew Pepper at the start of his great comeback, with Tommy of (tenor sax and ), Gumina playing the Polychord (an electronic Thomas Morgan (bass) and Kresten Osgood (drums) accordion/organ that he invented), bassist Fred ON DVD continues a trajectory established on Banshees and Black Atwood and drummer Jimmie Smith. The improvised Hawk Dance, combining meditative modal musings opener “Foothill Blues” is a rhythmic powerhouse with with snarky, jabbing free exploration. Like impressionist potent solos and the leader offers vigorous explorations painter Claude Monet, whose series of canvases of “I’ll Remember April” and “Cherokee” and a treating haystacks was a direct inspiration for this spacious, lush rendition of “Here’s That Rainy Day”. recording, DuBois too is a master of tone and texture, The 1977 concert showcases Pepper with pianist Smith using broad strokes and subtle shadings to evoke Dobson, bassist Jim Nichols and drummer Brad cycles of sound and nuances of structure. Bilhorn, a pickup band that he previously worked with Each season is represented here: “Spring and requested for this engagement. Though the rhythm Haystacks” emerges gradually, like blooming flowers section is a bit over-modulated, resorting in some following a thaw; “Summer Haystacks” rushes along, distortion, the playing is superb. Pepper’s midtempo its bare-bones melody fleshed out over throbbing tom- blues “Mr. Yohe” reveals his grittier side as a soloist. Live at Montreux Highlights 1973-1991 Miles Davis (Eagle Rock Entertainment) toms; “Autumn Haystacks” pulses ominously beneath “The Golden Gate Bridge” is Pepper’s somewhat by Russ Musto the lithe smears and slides of the tenor sax and “Winter rambling monologue that introduces the band. Haystacks” is sparse and contemplative, fading finally Pepper’s exotic “The Trip” doesn’t quite reach the Though “Jazz Age” novelist F. Scott Fitzgerald said in gentle resignation. heights of the Japan concert, though it stands the test “There are no second acts in American lives,” jazz In between these markers are two suites - “Prairie” of time. The alto saxophonist delights by closing with a legend Miles Davis proved him wrong, with one builds from medium swing to ebullient elation; “Lake tight interpretation of “”, full of groundbreaking “second act” after another, his final Shore” oscillates like swarming insects or rolling tides weaving intricate solos. one, referred to simplistically as “Electric Miles”, in - and two sketches: the ethereal “Goodbye” and the itself a series of subtle revolutions, as revealed here. restless “The Passing Spirit”. DuBois’ compositions For more information, visit storyville-records.com These highlights from the 10-DVD boxed set typically feature drones and sparse but suggestive opens with “Ife” from Miles’ first Montreux Jazz melodies, often rendered in loose ‘unisons’ by guitar Festival appearance (1973). The 27-minute outing is and sax, where first one, then the other, assumes a a slowly unfolding textural tapestry woven over leadership role. Morgan and Osgood provide a sturdy Michael Henderson’s vamping electric bass, with a yet flexible rhythmic foundation, which, when joined plugged-in Miles (doubling on Yamaha organ) and with the interactive improvisations of DuBois and saxist spitting out oblique lines Ullmann, creates a sound that is both soothing and around Pete Cosey and Reggie Lucas’ guitars, with surging, introspective yet extroverted, aggressively rhythmic reinforcement from Al Foster and Mtume’s graceful. percussion in a fluid ambient tête-à-tête. With his return in 1984, as heard on “Speak: For more information, visit sunnysiderecords.com. DuBois That’s What Happened”, the music is more Streets is at Cornelia Street Café Jun. 21st. See Calendar. structured, opening grandly and swiftly settling Charles Gayle Trio (Northern Spy) by Ken Waxman into an uptempo dance rhythm propelled by Darryl Jones’ bassline. The trumpeter is strong, shrieking By now the tale of how the mid ‘70s ‘discovery’ of more than sighing over Robert Irving’s orchestral homeless musician Charles Gayle, whose unfettered keyboards, with and John Scofield equally sax playing breathed new life into jazz’ so-called avant energetic in the context of Steve Thornton’s garde, has as much apocryphal currency as how sprawling AfroCuban rhythms and Foster’s potent toothless trumpeter Bunk Johnson’s ‘40s reemergence beat. The following year, the group with Vince supposedly energized traditional jazz. Wilburn replacing Foster, is tighter, with dramatic Whereas some New Thing veterans have returned dynamic modulations surrounding lyrical solos on to playing with disappointing results, at 72 Gayle is “Code MD” and “Pacific Express”. With David creating at as high a level as when he first recorded. Sanborn guesting and on guitar, the Live in Japan/Live in the U.S.A (Storyville) Those who hear this combo as an updated version of group is grittier in 1986 on a bluesy “Jean-Pierre”. by Ken Dryden the revolutionary Albert Ayler trio are missing the On 1988’s “Heavy Metal Prelude” (featuring point. Expressing himself on these intermezzos with ’s percussion and Joe “Foley” Art Pepper was easily one of the top alto saxophonists exaggerated glossolalia, skyscraper-high altissimo and McCreary’s lead bass guitar) and 1989’s “Jo-Jo” and to emerge in the ‘50s, developing a distinctive approach irregular snorts for Gayle is as much extending the “Hannibal”, altoist adds intelligence to his instrument without slavishly following Charlie ongoing jazz tradition here as his piano playing does and imagination, as he does on the final two Parker. However, battles with drug addiction and with its quirky variations on standards. selections, “The Pan Piper” and “Solea”. On these several stints in prison took him away from the The most obvious clue is “Doxology”, the album’s 1991 performances, Quincy Jones conducting the Gil recording scene for extended periods in the ‘60s. But lengthiest track. With a title that conflates Sonny Evans Orchestra and Concert Jazz once he got out for good, he rehabbed at Synanon for Rollins’ “Doxy” and ’s “Bluesology”, Band, months before his death the weakened several years, developing a harder tone and recording Gayle’s split tone solo includes quotes from other trumpeter’s poignant playing justifies his rare one- prolifically as a leader between 1975 and his death 30 tunes flashing by at supersonic speeds while his time look back on a remarkable career. years ago this month at 56. superimposition of bugle-call-like brays on a gospel- Live in Japan was first issued as two separate styled head references both Ayler brothers. Bassist For more information, visit eagle-rock.com. The Miles volumes, documenting the final show from a 1978 tour, Larry Roland’s flamenco-like strums could come from Davis Festival 2012 is at Smoke from May 25th Pepper with pianist Milcho Leviev, bassist Bob Jimmy Garrison while the rolls and smacks that are throughout June. See Calendar. Magnusson and drummer Carl Burnett. This was part of drummer Michael TA Thompson’s solo

THE NEW YORK CITY JAZZ RECORD | June 2012 35 Bobby Hackett, Jack Teagarden, George Wettling and issued, but with inadequate or deceptive annotation BOXED SET others associated with . From there, and in poor sound. One of the best aspects of this set the set follows the aptly-named All-Stars, who began is the stewardship of jazz scholar and Armstrong as Teagarden, Barney Bigard, , Arvell authority Ricky Riccardi, who has shared Shaw, Big Sid Catlett, Velma Middleton and their performances new to devoted collectors and later replacements, as they toured the world until provided a fine narrative that is a brief overview of Armstrong’s death in 1971. his book, What a Wonderful World: The Magic of Louis Throughout, Armstrong’s energy and joie de Armstrong’s Later Years (Pantheon, 2011). Riccardi’s vivre are evident on slow blues and novelty numbers, devotion is not idolatry: one of the most fascinating jazz classics, show tunes from “St. James Infirmary” segments of the set is a 1967 to “You’ll Never Walk Alone” to his hits “Mack the where Armstrong plays heroically even as his Knife”, “Hello, Dolly” and “Cabaret”. He treats “The embouchure occasionally betrays him. The sound on The Armstrong Box Dummy Song” and “Auld Lang Syne” as if they this set is clearer than ever before, so that new details (Storyville) were jazz classics “Mahogany Hall Stomp”, “High await the most experienced Armstrong collector. by Michael Steinman Society”, “Muskrat Ramble” or “The Bucket’s Got A As for the canard that Armstrong played the Hole in It”. When the personnel changed, a few later same solos every night, the 15 widely-spaced When Ralph Waldo Emerson wrote in “Self- sidemen are competent rather than inspired, but one versions of “When It’s Sleepy Time Down South” are Reliance”: “To be great is to be misunderstood”, he cannot fault Edmond Hall, Trummy Young, Joe master classes in improvisation, phrasing, subtlety could have been thinking of trumpeter Louis Muranyi, Billy Kyle and others. These discs are a and feeling. One comes away from the seven CDs Armstrong. Even in Armstrong’s lifetime, his work priceless document of a durable working jazz group, convinced that Armstrong wholly gave himself in was reconfigured by journalists and critics into Early rare even then. what he called “the cause of happiness” and that Promise, Great Peaks, Sellout to Commercialism, Some of the most heartwarming moments are audiences felt that joy. The set also shows a mature Lengthy Decline. This seven-CD set, tracing when we hear the crowd (in a club or concert hall) go artist dealing with popularity and reminds us of the Armstrong’s 1947-67 live small-band performances, wild, demanding encores. Audiences did not sheer physicality his public appearances required. reminds us that the Sellout and Decline were fallacies condemn him for ‘showmanship’, ‘entertainment’, Armstrong comes through, subtle and forceful, created by those who could not understand that or ‘Uncle Tomming’; they were too busy clapping a great improviser, hardly in the twilight of his Armstrong could be simultaneously popular and and cheering. Oddly, the critics who spoke so sharply career, not in a Lengthy Decline. This is an in-depth creative. He said he was playing better in his 40s and of Armstrong’s “clowning” and “pandering” to study of creative energy over a long period of time 50s than in his ‘Golden Era’ and trumpeters like audiences rarely wrote so harshly of Duke Ellington, by someone who merged ‘high art’ and ‘low art’ so Randy Sandke, Jon Faddis and Wynton Marsalis Charlie Parker and others not above ‘showmanship’. beautifully, simply because he found such divisions agree. The set ends with a DVD of 1958-59 television irrelevant. The set begins with recordings that predate the appearances, with Armstrong alongside Lionel ‘official’ start of the Armstrong All-Stars - a small Hampton, Anita O’Day, an exuberant Dizzy For more information, visit storyvillerecords.com. The group formed when big bands everywhere cost too Gillespie, Hoagy Carmichael and others. In the last music of Louis Armstrong as played by Joey Morant is at much to sustain. They feature splendid work by 50 years, Armstrong’s later work has often been Lucille’s at BB King’s Blues Bar Jun. 17th. See Calendar.

36 June 2012 | THE NEW YORK CITY JAZZ RECORD (INTERVIEW CONTINUED FROM PAGE 6) enough being on it all the time for me. Mind you, playing with Keith is fun. But when this band gets When I go to LA I’m very lucky. Since 1970 I going it’s like a steam train. That was one of the things. became very close to [drummer] . We do In the late ‘30s when it was kind of developed it was sort of drum weeks and look for people playing. Once fantastic. It’s just swing. It’s swing all the time, which we caught Roy Haynes at Catalina’s and then went is really nice to do. v over to see Elvin Jones at the Jazz Bakery in one night. For more information, visit rosebudus.com/watts. Watts is TNYCJR: You put out a record with Jim Keltner. How at Damrosch Park Jun. 28th as part of Midsummer Night did that collaboration come about? Swing and Iridium Jun 29th-Jul. 2nd. See Calendar.

CW: It was an accident. It was never to be anything. Recommended Listening: The Rolling Stones were recording and we took the • Charlie Watts Orchestra - Live at Fulham Town Hall whole of whatever studio it was. Well, we didn’t take it (Columbia, 1986) over. It just so happened we were using all the rooms • Charlie Watts Quintet - From One Charlie in the place. There was a room there not being used (Continuum, 1991) and Jim and I went in there. He always asked me to • Charlie Watts Quintet - A Tribute to Charlie Parker play on his electronic things. We had [drummer] Kenny with Strings (Continuum, 1991) Aronoff knocking around. It just grew out of that. • Charlie Watts - Long Ago & Far Away (Virgin, 1996) I should have taken more time and done it properly • Charlie Watts - Charlie Watts/Jim Keltner Project Judi Silvano but it was never meant to be anything. I took it to Paris (Higher Octave, 2000) with me. I was waiting to start a tour. I got this guy in • Charlie Watts and The Tentet - Watts at Scott’s celebrates 20 years of Paris, Phillipe Chauveau. He started playing around (Sanctuary, 2001) recording with her 10th CD with it a lot. He put all sorts of samples of things on. It was just Jim’s electronics stuff and me overdubbing on Indigo Moods. them. Some of it was live. The Latin stuff was live. Available now at (LABEL CONTINUED FROM PAGE 12) TNYCJR: You guys honored a wide variety of www.jazzedmedia.com & drummers. How did you settle on particular drummers gave it to Jacques before other labels. I didn’t expect www.amazon.com like Max Roach, Art Blakey, , etc.? him to release it. But he liked it enough to put it out.” Denzler’s story is typical. Oger says he frequently CW: When we were recording we had no way of saying receives unsolicited proposals, but rarely agrees to what song it was. We were just talking and started these sessions. He supports musicians obsessed with naming my favorite drummers. If you got to call it detail though. “Originality and quality are often “Stormy Weather”, you might as well call it Shelly hidden in very small details,” he avers. “Listen to the Manne. I thought it was a way to get the drummers first minutes of Denzler’s Tenor. There are some names on the label. Give the drummer some. amazing tiny things only detectable with headphones.” One planned was Elvin’s suite. The other ones Finally he admits: “As a former musician, I give were Airto, Tony Williams. That was the week Tony priority to my beloved instrument the saxophone.” died. Jim was on his megaphone period. Mick [Jagger] Christine Abdelnour Sehnaoui is an alto was mucking about on the Rhodes and we started saxophonist who benefitted from this when Potlatch doing this. Jim read an article on his megaphone that released Ichnites featuring her duo with percussionist Tony had written. That was really for Tony. The rest are Pascal Battus. “The process was all about exchanging just things. ideas,” she says. “Jacques paid for the recording session and then we had a listening session where he TNYCJR: Whose idea was it to get Sonny Rollins to said what he liked or didn’t. Then Pascal did the play the saxophone solo on the Rolling Stones’ Tattoo mixing. For the cover, Jacques brought our idea to his You album? graphic designer, who proposed several choices, then Pascal and I decided on the titles. Finally he gave us 20 Silvano delivers these CW: That was Mick. Mick asked me. We’ve always copies that we could sell at concerts.” timeless jazz classics used saxophone players. Mick asked “who could we Declaring that “in our area of music, selling 500 use to overdub a couple of tracks?” I said the best copies today worldwide is great,” after Oger pays for with both purity and saxophonist alive. This was the late ‘70s but he still is. pressing, printing and promotion, compensation raw emotion. “But you’ll never get him,” I told him. “It’s Sonny varies. “Of course I always give them a good bunch of Rollins! The god of gods!” Sure enough when we were CDs they can sell at their concerts,” he declares. “Like tenor saxophonist John in New York, Sonny said yes. My only disappointment What he won’t do is press Potlatch LPs. “Never”, Coltrane’s tone, Silvano’s voice is was that we didn’t do it live. Since then I’ve sort of he insists. “LPs are too expensive to make and too hard spoken to him. He’s a lovely, lovely man. A real to ship.” He’s also unsure about downloads. “Musicians commanding and sublime. It is one gentleman, Sonny Rollins. And still for me in the same can sell their music by download to everyone on the that cannot be ignored.” way Roy Haynes is, he has a terrific sort of wow. An planet. If they can reach a large audience and earn – C. Michael Bailey, All About Jazz amazing talent and terrific sort of dignity. I love them. some money, it’s great. But if a musician isn’t well Both of them. known, he needs credibility and a label can bring him See her band LIVE in VT, NH, this needed credibility. It worked that way when I Del. Water Gap, PA and TNYCJR: Your recent CD project (The ABC&D of Boogie released [soprano saxophonist] Stéphane Rives’ solo Woogie: Live in Paris) shows you’ve been recently CD Fibres; he gained recognition. Would it be possible “Indigo Moods” CD Release playing with some boogie woogie piano players. How if it was only sold by download? I’m not sure. does your approach to that sound change versus a [Percussionist] Lê Quan Ninh told me that over the Blue Note Club brunch bebop band? past two years he only sold six copies of an out-of- Sunday June 24th, NYC print album on iTunes - and he’s well known. For the CW: Dave Green is the bass player, me in the middle near future I hope Potlatch can keep on bringing this With Fred Jacobs, trumpet and two grand pianos. It’s great. Very unusual. People credibility to musicians facing new challenges who Peter Tomlinson, piano don’t play that anymore. They don’t play it as a way of deserve wider recognition.” v , bass piano. [In the Rolling Stones] Mick and Keith [Richards] Steve Johns, drums write the songs. Here most of it is jamming. It keeps For more information, visit potlatch.fr. Artists performing Shows 12:30 and 2:30 pm you on the edge. Some of it is kind of predictable and this month include Denman Maroney Jun. 11th with Mark you’ve done it but we never rehearse anything. I never Dresser as part of Vision Festival and Barbès Jun. 20th and know what they are going to play. It’s not very Jöelle Léandre at Roulette Jun. 16th as part of Vision www.judisilvano.com professional but it is more fun. The Rolling Stones is Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2012 37 CALENDAR

Friday, June 1 Sunday, June 3 • Akiko Pavolka Band ShapeShifter Lab 8 pm • Sebastien Ammann; Jeff Davis Quartet with Jason Rigby, Jonathan Goldberger, êMiles Davis Festival 2012: Jimmy Cobb Sextet with Vincent Herring, Eric Alexander, êJoel Forrester/Phillip Johnston Manhattan Inn 9 pm Eivind Opsvik Korzo 9, 10:30 pm Jeremy Pelt, Mike LeDonne, John Webber • Jane Ira Bloom’s All Ballads with Dominic Fallacaro, Dean Johnson, Matt Wilson • Sonic Smithy with guests Kirk Knuffke, Amy Cervini, Tom Swafford Smoke 8, 10, 11:30 pm $35 Cornelia Street Café 8:30 pm $10 Douglass Street Music Collective 7 pm êRhythm in the Kitchen Music Festival: Michael Marcus, Bob Feldman, Charlie Taylor; êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski • Caravel String Trio; Matt Pavolka Horn Band with Loren Stillman, Kirk Knuffke, R#time: Reut Regev, Igal Foni, Adam Lane; William Hooker Avant-Garde Funk Band The Firehouse Space 8, 9:30 pm $10 Jacob Garchik, Mark Ferber Seeds 9, 10 pm $10 with Mike Noordzy, Dave Ross, Ras Moshe, Taylor Ryan, Mark Smith, Aku Styk; • Andre Matos Quartet with Jacob Sacks, Dave Ambrosio, Billy Mintz; Frank Carlberg Trio • Adam Birnbaum Trio; Maximo Merengue Y Bachata; Greg Glassman Jam , Peter Evans, Matt Moran with Matt Pavolka, Richie Barshay; Sera Serpa Quintet with Andre Matos, Kris Davis, Fat Cat 7, 9 pm 12:30 am Church For All Nations 7 pm $15 Aryeh Kobrinsky, Dan Weiss ShapeShifter Lab 7:30 pm $12 • Jack Wilkins/Scott DuBois Bella Luna 8 pm êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver • Isamu McGregor Band; Simon Yu and The Exotic Experiment; Sean Nowell and the • Jeremy Siskind solo Jazz at Kitano 8 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 Kung-Fu Masters Drom 8 pm $10 • Paul Carlon Quartet Somethin’ Jazz Club 9 pm $10 êDee Dee Bridgewater Blue Note 8, 10:30 pm $35 • Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam • Mike Dease Big Band The Garage 7 pm êEric Reed UNMONK Quintet with , Etienne Charles, Matt Clohesy, Fat Cat 6, 8:30 pm 12:30 am • Lucio Ferrara The Bar on Fifth 8 pm Henry Cole Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Manuel Valera The Bar on Fifth 8 pm • O’Connor Quintet Shrine 6 pm êGrassella Oliphant Quintet Dizzy’s Club 12:45 am $20 • Sean Ali solo; George Bagdasarov; Savina Theodorou/Sten Hostfalt • Armen Donelian Bryant Park 12:30 pm êGuillermo Klein Y Los Guachos with , Bill McHenry, Miguel Zenón, ABC No-Rio 7 pm $5 Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, • Peter Leitch/Dwayne Burno Walker’s 8 pm Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25 • Mike Treat Quintet with Adam Ramsay, Matt Podd, Willie Harvey, Chris Earley; Wednesday, June 6 • Ravi Coltrane Quintet Birdland 8:30, 11 pm $30-40 Tobias Meinhart with Jorn Swart, Scott Colberg, Jason Burger • John Pizzarelli Quartet with guest Bucky Pizzarelli Somethin’ Jazz Club 7, 9 pm $10 • Monty Alexander’s Harlem-Kingston Express with guests Tarrus Riley, Dean Fraser Café Carlyle 8:45, 10:45 pm $50-135 êJonah Parzen-Johnson solo; Killer Bob; Gym Deer; Due Diligence Merkin Concert Hall 7:30 pm $75 • Ed Palermo Big Band Iridium 8, 10 pm $30 Death By Audio 8 pm $8 êThe Microscopic Septet Gershwin Hotel 7:30 pm $20 êLost Jazz Shrines: Blues in My Soul - Bessie Smith & Jackie Paris with Maya Azucena, • Out of Your Head: Nico Soffiato, Noah Garabedian, Noel Brennan; • Brad Mehldau/Mark Guiliana Duo The Stone 8, 10 pm $25 Allan Harris Tribeca Performing Arts Center 8:30 pm $25 Josh Reed, Eyal Maoz, Max Jaffe The Backroom 9:30, 11 pm êMiles Davis Festival 2012: Freddie Hendrix Quintet with Abraham Burton, • Joan Stiles Trio with Joel Frahm, Matt Wilson • Shrine Big Band Shrine 9 pm , Dezron Douglas, Eric McPherson Rubin Museum 7 pm $20 • Victor Wooten Iridium 8, 10 pm $45 Smoke 7, 9, 10:30 pm • Quartet with David Binney, , Henry Cole and êMiles Davis Festival 2012: Jimmy Cobb Sextet with Vincent Herring, Eric Alexander, • Robert Rodriguez Quartet with John Ellis, Matt Brewer, Eric Doob guest Adam Rogers The Jazz Gallery 9, 10:30 pm $20 Jeremy Pelt, Mike LeDonne, John Webber Jazz Standard 7:30, 9:30 pm $20 êJon Irabagon Trio with Sean Wayland, EJ Strickland Smoke 8, 10, 11:30 pm $35 êJimmy Scott Red Rooster 8, 10:30 pm $20-50 Bar Next Door 7:30, 9:30, 11:30 pm $12 êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver • Vincent Herring Quartet with Nori Ochiai, David Williams, Peppe Merolla êNYC Jazz Guitar Festival: Ron Affif; Ilya Lushtak; Peter Bernstein Jazz Standard 7:30, 9:30 pm $25 An Beal Bocht Café 8, 9:30 pm $15 Zeb’s 8 pm $30 êDee Dee Bridgewater Blue Note 8, 10:30 pm $35 • Bruce Cox Quartet; Jeremy Manasia Trio • Petros Klampanis Contextual Trio with Jean-Michel Pilc, Ari Hoenig and êEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Smalls 8:30, 11:30 pm $20 guest Christos Rafalides Cornelia Street Café 8:30 pm $10 Henry Cole Dizzy’s Club 7:30, 9:30 pm $30 êDevin Gray’s Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek • Sacha Perry Trio with Jon Roche, Ai Murakami; Tim Horner Group; êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Barbès 8 pm $10 Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, • Bill Cunliffe Trio with Boris Kozlov, Tim Horner Mark Whitfield Jr; Anthony Wonsey Trio Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25 Jazz at Kitano 8, 10 pm $10 Smalls 4, 7:30 10 pm 1 am $20 • John Pizzarelli Quartet with guest Bucky Pizzarelli • Jody Redhage ShapeShifter Lab 8 pm • Tada Unno Trio; Jared Gold/Dave Gibson; Asaf Yuria Quartet Café Carlyle 8:45, 10:45 pm $50-135 êEmil Viklicky/Scott Robinson Bohemian National Hall 7 pm Fat Cat 6:30, 10:30 pm 1:30 am • Zombi Jazz; Alex Weiss Downtown Music Gallery 6 pm • Nicky Schrire with Nick Paul, Sam Anning, Jake Goldbas, Paul Jones, Jay Rattman, • Sasha Dobson; Trio S: Doug Wieselman, Jane Scarpantoni, Kenny Wollesen • Ike Sturm Ensemble with Madeleine Yayodele Nelson Brian Adler, Peter Eldridge Cornelia Street Café 8:30 pm $10 The Stone 8, 10 pm $10 Saint Peter’s 5 pm • Groover Trio; Ned Goold Jam Fat Cat 9 pm 12:30 am • Human Element: Matthew Garrison, Scott Kinsey, Arto Tuncboyaciyan, Gene Lake • Juancho Herrera with Jorge Continentino, Gustavo Amarante, Yayo Serka • Maurício de Souza Quartet with Nancy Harms, Ben Winkelman, Gary Mazzaroppi ShapeShifter Lab 8 pm Blue Note 12:30, 2:30 pm $29.50 The Lambs Club 7:30 pm • Brandon Wright Quartet with Dave Kikoski, Boris Kozlov, Donald Edwards • Paul Winston/Michael Logan St. Andrew Avellino R.C. Church 3 pm $20 • Doug Richards with Donna Singer, Billy Alfred, Mike Cervone Jazz at Kitano 8, 10 pm $25 êNYC Jazz Guitar Festival: Bucky Pizzarelli/Ed Laub Duo; Gene Bertoncini; JC Stylles; Somethin’ Jazz Club 7 pm $10 êMikko Innanen/Sylvie Courvoisier Duo; Mikko Innanen Trio with Ken Filiano, Lou Grassi Ed Cherry; All-Star Jam Zeb’s 2 pm $30 • Marc Devine Trio; Anderson Brothers I-Beam 8:30, 10 pm $10 • The Jazz Drama Program Summer Gala honoring Dr. William Rodriguez with Eli Yamin The Garage 6, 10:30 pm • John diMartino/Ed Howard Knickerbocker Bar and Grill 9:45 pm $5 and guest Mercedes Ellington Urban Stages 3 pm $100 • Sarah Rayani Flute Gramercy 8 pm • Antonio Ciacca The Bar on Fifth 8 pm • Roz Corral Trio with Dave Stryker, Orlando Le Fleming • Patrick Kunka; Emina Shrine 6, 8 pm • Brenda Earle Stokes Quartet; Rodrigo Bonelli with Alex Goumas, Andy Bianco, North Square Lounge 12:30, 2 pm • Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Nash Gullermo, Leah Gough Cooper and guest Erin Blatti • Joel Perry Trio; David Coss Quartet; Masami Ishikawa Trio Blue Note 8, 10:30 pm $55 Somethin’ Jazz Club 7, 9 pm $10 The Garage 11:30 am, 7, 11:30 pm • Karrin Allyson Birdland 8:30, 11 pm $30-40 • Gary Negbauer Tomi Jazz 9 pm $10 • Samba Jazz and The Music of Jobim: Anat Cohen, , George Mraz, • Bichiló with Gaby Hayre; Chris Davidson Ensemble Maucha Adnet, Duduka Da Fonseca, Helio Alves Tutuma Social Club 8 pm 12 am Monday, June 4 Dizzy’s Club 7:30, 9:30 pm $30 • Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski • Mark Soskin/Erik Charlston Duo Church of the Ascension 6 pm êJazz From Morava: George Mraz, Iva Bittova, Emil Viklicky, Billy Hart Dizzy’s Club 11 pm $10 • Hide Tanaka Trio; Hot House The Garage 6:15, 10:45 pm Dizzy’s Club 7:30, 9:30 pm $25 • Renee Rosnes Quartet with Steve Nelson, , Lewis Nash • Jorge Luis Pacheco Drom 6 pm $69 êJeff Ballard, , Miguel Zenon Village Vanguard 9, 11 pm $25 • Terry Waldo Bryant Park 12:30 pm ShapeShifter Lab 8 pm • John Pizzarelli Quartet with guest Bucky Pizzarelli • Tessa Souter with Kenny Werner, Joel Frahm, Will Holshouser, Sean Smith, Café Carlyle 8:45, 10:45 pm $50-135 Billy Drummond Blue Note 8, 10:30 pm $20 • Sweet & Low Down - How Popular Standards Became Jazz Classics: Michael Feinstein Saturday, June 2 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 with Jessie Mueller, Loston Harris Allen Room 7:30 pm $75-120 êSteven Bernstein’s Millennial Territory Orchestra • Lucio Ferrara The Bar on Fifth 8 pm • Victor Wooten Iridium 8, 10 pm $45 The Stone 9 pm $10 • Jorge Luis Pacheco Drom 6 pm $69 • Harry Allen Quartet with Bill Cunliffe, Joel Forbes, • Remembering Dakota Staton Saint Peter’s 7 pm • Valerie Capers, John Robinson, Earl Williams Jazz at Kitano 8, 10 pm $25 • David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram Saint Peter’s 1 pm $10 • Ari Hoenig New Trio with Tivon Pennicott, Noam Weisenberg Cornelia Street Café 8:30 pm $10 • Armen Donelian Bryant Park 12:30 pm Cornelia Street Café 9, 10:30 pm $15 • Youngjoo Song with , Vicente Archer, Marcus Gilmore; Ari Hoenig Group; • Nadia Sirota; Tony Scherr The Stone 8, 10 pm $10 Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20 êMikko Innanen/Andrew Cyrille Duo; Mikko Innanen Quintet with Steve Swell, êJD Parran Clarinet Orchestra Greenwich House Music School 8 pm Thursday, June 7 Thomas Heberer, Max Johnson, Joe Hertenstein êMikarimba: Mika Yoshida, Richard Stoltzman, Eddie Gomez, Steve Gadd I-Beam 8:30, 10 pm $10 Drom 8 pm $15 êCharles McPherson Quintet with , Jeb Patton, Ray Drummond, • Dayna Stephens Group with Julian Lage, Kiyoshi Kitagawa, Donald Edwards • Sebastien Ammann Quartet with Ohad Talmor, Dave Ambrosio, Eric McPherson Billy Drummond Jazz Standard 7:30, 9:30 pm $25 The Jazz Gallery 9, 10:30 pm $20 I-Beam 8:30 pm $10 • Occupy Gazette Benefit: Marc Ribot, Jesse Harris and guests • Douglas Detrick solo; Tessa: Brad Henkel, Nathaniel Morgan, Jonathan Goldberger, • Ala Kande For My Sweet 7:15, 9:15 pm The Stone 8, 10 pm $25 Max Jaffe; You Give Me Asthma: Owen Stewart-Robertson, Brooke Herr and Friends • Luca Santaniello; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Aram Shelton Quartet with Matt Bauder, Jason Ajemian Douglass Street Music Collective 8 pm $10 • Camila Meza Trio with Pablo Menares, Ross Pederson I-Beam 8:30 pm $10 • Scott Wendholt/Adam Kolker Quartet with Ugonna Okegwo, Victor Lewis Bar Next Door 8:30, 10:30 pm $12 êJoel Forrester/Phillip Johnston Barbès 7 pm $10 Sycamore 8:30 pm $10 • In Example: Eliot Cardinaux/Isaac Luxon; Mike Gamble • Noah Preminger with Russ Johnson, , Ben Monder, John Hébert, • Freeman Runs the Voodoo Down: David Freeman, Adrian Morgan, Bar 4 9, 10 pm $5 Ted Poor ShapeShifter Lab 8 pm Oren Neiman, Dave Wyrtzen, Tyler Sussman, Chris McIntyre • Kenny Washington SFNY Quartet Zinc Bar 7 pm $8 • Steve Lehman Trio with Matt Brewer, Damion Reid and guest David Virelles Branded Saloon 9 pm • Lucio Ferrara The Bar on Fifth 8 pm The Jazz Gallery 9, 10:30 pm $20 • NYC Jazz Guitar Festival: John Hart; Camila Meza; Saul Rubin • ConceptualMotion Orchestra Tea Lounge 9, 10:30 pm • Quartet; Saul Rubin; Reid Taylor Zeb’s 8 pm $30 • Yuko Ito with Toru Yamashita, Celso Loch Fat Cat 7, 10 pm 1:30 am • Nelson Riveros Trio with Ariel de la Portilla, Adriano Dos Santos Somethin’ Jazz Club 9:30 pm $10 • Sam Raderman with Tim McCall, Luc Decker; Laura Brunner; Philip Harper Quintet with Bar Next Door 7:30, 9:30, 11:30 pm $12 • Yvonne Moneira Flute Gramercy 8 pm Wayne Escoffery; Bruce Harris/Alex Hoffman Quintet with Jack Glottman, David Wong, • Camille Thurman Quintet; Bruce Cox; Tal Ronen • Tomoyasu Ikita; Faiz Lamouri; Matt Vashlishan Aaron Kimmel Smalls 4, 7:30, 10 pm 1 am $20 Fat Cat 7, 10 pm 1:30 am Shrine 8, 9, 10 pm • Ben Powell Quartet with Tadataka Unno, Aaron Darrell, Devin Drobka • Ernie Edwards Trio with Jacob Webb, Nathan Webb; Luiz Simas/Freddie Bryant Duo; êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Jazz at Kitano 8, 10 pm $10 Derek Lucci with Jonathan Stein, Jonathan Ragonese Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, • Gary Lucas plays “The Golem” The Center for Jewish Arts and Literacy 8:30 pm $15 Somethin’ Jazz Club 7, 9, 11 pm $10 Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25 • JC Sanford Triocracy with Andy Laster, Chris Bacas; JC Sanford 4 with Mike Baggetta, • Scot Albertson/Keith Ingham; Big Beat Quartet • Howard Williams Jazz Orchestra; Ben Cliness Trio Dave Ambrosio, Russ Meissner The Firehouse Space 8 pm $10 Tomi Jazz 8, 11 pm $10 The Garage 7, 10:30 pm • Surface to Air: Jonathan Goldberger, Rohin Khemani, Jonti Siman • Mike Lattimore Quartet Cleopatra’s Needle 8 pm • Arthur Vint Quartet Premiere with Adrian Cunningham, Gordon Au, Scott Colberg Cornelia Street Café 8:30 pm $10 êMiles Davis Festival 2012: Jimmy Cobb Sextet with Vincent Herring, Eric Alexander, Maison Premiere 3 pm • Vocal Duet Night: Amy Cervini with Jack Donahue, Peter Eldridge, Hilary Gardner, Jeremy Pelt, Mike LeDonne, John Webber • Armen Donelian Bryant Park 12:30 pm Carolyn Leonhart, Nicky Schrire, Janis Siegel, Melissa Stylianou, Pete McCann, Smoke 8, 10, 11:30 pm $35 Sam Anning, Ernesto Cervini 55Bar 7 pm êRhythm in the Kitchen Music Festival: White Out: Lin Culbertson/Tom Surgal and • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am guest; Mari Kimura; The Afro Horn: Aruan Ortiz, Rashaan Carter, Roman Diaz, Tuesday, June 5 • Guitar Trio: Tosh Sheridan, Gene Bertoncini, John Stowell Francisco Mora Catlett; Thumbscrew: , Michael Formanek, Bar Next Door 8:30, 10:30 pm $12 Tomas Fujiwara Church For All Nations 7 pm $15 • Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis • Liam Sillery Quintet with Jesse Stacken, Peter Brendler, Vinnie Sperrazza; Bill Ware êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver Blue Note 8, 10:30 pm $55 Somethin’ Jazz Club 7, 9 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Karrin Allyson Birdland 8:30, 11 pm $30-40 • Mamiko Taira Trio Tomi Jazz 9 pm $10 êDee Dee Bridgewater Blue Note 8, 10:30 pm $35 • Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, • Eric Karimski solo; Tangolandó Tutuma Social Club 6:30, 8:30 pm êEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Maucha Adnet, Duduka Da Fonseca, Helio Alves • Fukushi Tainaka Trio Cleopatra’s Needle 7 pm Henry Cole Dizzy’s Club 7:30, 9:30, 11:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $30 • Rick Stone Trio; Alex Layne Trio The Garage 6, 10:30 pm êGrassella Oliphant Quintet Dizzy’s Club 12:45 am $20 êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski • Chris Norton Flute Gramercy 8 pm êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Dizzy’s Club 11 pm $10 êMiles Davis Festival 2012: Freddie Hendrix Quintet with Abraham Burton, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Rick Germanson, Dezron Douglas, Eric McPherson Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25 Village Vanguard 9, 11 pm $25 Smoke 7, 9, 10:30 pm • Ravi Coltrane Quintet Birdland 8:30, 11 pm $30-40 • John Pizzarelli Quartet with guest Bucky Pizzarelli êJimmy Scott Red Rooster 8, 10:30 pm $20-50 • John Pizzarelli Quartet with guest Bucky Pizzarelli Café Carlyle 8:45, 10:45 pm $50-135 • Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Café Carlyle 8:45, 10:45 pm $50-135 • Etienne Charles and Kaiso with Jacques Schwarz-Bart, Sullivan Fortner Jr., Blue Note 8, 10:30 pm $55 • Chris Parker Group with Kyoko Oyobe, Daryl Johns; Richie Vitale Quintet; Burniss Travis, Keith Prescott Jazz Standard 7:30, 9:30 pm $20 • Karrin Allyson Birdland 8:30, 11 pm $30-40 Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, • Mike Longo NY State of the Art Jazz Ensemble with Dee Daniels • Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, Mark Whitfield Jr Smalls 4, 7:30 10 pm $20 NYC Baha’i Center 8, 9:30 pm $15 Maucha Adnet, Duduka Da Fonseca, Helio Alves • Human Element: Matthew Garrison, Scott Kinsey, Arto Tuncboyaciyan, Gene Lake • Spike Wilner solo; Omer Avital and The Band of the East; Theo Hill Dizzy’s Club 7:30, 9:30 pm $30 with ShapeShifter Lab Orchestra ShapeShifter Lab 8 pm Smalls 6:30, 8:30, 11:30 pm $20 • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • John diMartino/Ed Howard Knickerbocker Bar and Grill 9:45 pm $5 • Sweet & Low Down - How Popular Standards Became Jazz Classics: Michael Feinstein Village Vanguard 9, 11 pm $25 • Antonio Ciacca The Bar on Fifth 8 pm with Jessie Mueller, Loston Harris Allen Room 7:30 pm $75-120 • John Pizzarelli Quartet with guest Bucky Pizzarelli • Chuck Braman Quartet with Behn Gillece êAdam Kolker Trio with John Hébert, Billy Hart Café Carlyle 8:45, 10:45 pm $50-135 Brooklyn Botanic Garden 12, 2:30 pm Cornelia Street Café 8:30 pm $10 • Lucio Ferrara The Bar on Fifth 8 pm • Larry Newcomb Quartet; Justin Wood; Virginia Mayhew Quartet êSIM Big Band: Ravi Coltrane, Chris Speed, Michael Attias, Loren Stillman, Ben Gerstein, • Harlem Speaks: Michael Mwenso Jazz Museum in Harlem 6:30 pm The Garage 12, 6:15, 10:45 pm Andrew D’Angelo, Shannon Barnett, Alan Ferber, Tim Albright, Ralph Alessi, • Yuki Shibata Quartet Shrine 6 pm Jonathan Finlayson, Steven Bernstein, Dave Ballou, Drew Gress, Brad Shepik, • Wayne Escoffery Quintet Citigroup Center Plaza 1 pm Andy Milne, Tyshawn Sorey Roulette 8 pm $10 • Armen Donelian Bryant Park 12:30 pm

38 June 2012 | THE NEW YORK CITY JAZZ RECORD Friday, June 8 êAvram Fefer with Reut Regev, Adam Lane, Igal Foni • Jasmine Lovell-Smith’s Towering Poppies The Firehouse Space 8, 9:30 pm $10 Sidewalk Café 7:30 pm êMiles Davis Festival 2012: Eddie Henderson Quintet with Wayne Escoffery, • Giuseppi Logan; Brad Farberman; Iron Dog: Sarah Bernstein, Stuart Popejoy, • Jaimeo Brown Trio The Bar on Fifth 8 pm Dave Kikoski, Doug Weiss, Bill Stewart Andrew Drury The Local 269 8 pm $10 • Yuko Yamamura; Duke Bantu X Shrine 6, 8 pm Smoke 8, 10, 11:30 pm $35 • John Dunlap Project; Cristian Amigo/Blaise Siwula; Gian Luigi Diana Group • Gregg August Quartet World Financial Center Plaza 5:30 pm êDavid Fiuczynski’s Planet Microjam; Jack DeJohnette, Ravi Coltrane, Matthew Garrison ABC No-Rio 7 pm $5 • Russ Kassoff Bryant Park 12:30 pm ShapeShifter Lab 7, 8:15 pm • Manuel Valera The Bar on Fifth 8 pm • Wycliffe Gordon Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder • Peter Leitch/Sean Smith Walker’s 8 pm Jazz at Kitano 8, 10 pm $25 • JazzXpression Band: Debbie Goodridge, Olivier Rambeloson, Herbert Grubmair, Wednesday, June 13 êWalter Thompson Soundpainting Orchestra with Rolf Sturm, Steve Rust, Gil Selinger, Robert Mwamba, Sergio Pereira, Derrick Mbatha, Bruno Razafindrakoto; Chris Washburne, Hollis Headrick, Rob Henke, Michael Attias, Nicole Poole, Scott Sharon Septet with Bruce Harris, Aaron Kimmel, David Wong, Jerry Weldon, êVision Festival - Joe McPhee A Lifetime of Achievement: Joe McPhee’s Angels, Devils Leese Walker Irondale Center 8 pm $15 Michael Dease, Nial Djuliarso Somethin’ Jazz Club 5, 7 pm $10 and Haints II with , Michael Bisio, Hilliard Greene, William Parker, • Sacha Perry Trio with Jon Roche, Ai Murakami; Armen Donelian Trio with • Wataru Uchida Shrine 8 pm Steve Swell, Roy Campbell, Joe Giardullo, Rosie Hertlein, Warren Smith, ; Dean Johnson, Jeff Seigel; Ralph Bowen Group with Freddie Bryant, Jared Gold, • Terry Waldo’s Gotham City Band; John Davis Trio; Brandon Lewis/Renee Cruz Jam Ensemble with William Parker, Thomas Bellier, Warren Smith; Donald Edwards; Spike Wilner TrioSmalls 4, 7:30 10 pm 1 am $20 Fat Cat 6, 8:30 pm 12:30 am KnocKnock Dance Company with Joe McPhee; The Thing: Mats Gustafsson, • Vinicius Cantuaria The Stone 8, 10 pm $10 êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, Ingebrigt Håker, Paal Nilssen-Love and guest Joe McPhee • Colin Stranahan, Glenn Zaleski, Rick Rosato; Remy and Pascal Le Boeuf with Billy Drummond Jazz Standard 7:30, 9:30 pm $25 Roulette 7 pm $20-30 Greg Ritchie Cornelia Street Café 9, 10:30 pm $15 • Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis êMiles Davis Festival 2012: Joe Magnarelli Quintet with Ralph Bowen, Jeremy Manasia, • Jessica Jones/Mark Taylor Quartet with John Shifflett, Jason Lewis Blue Note 8, 10:30 pm $55 Ugonna Okegwo Smoke 7, 9, 10:30 pm Brooklyn Friends School 7:30 pm $10-15 • Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, êThe Jazz Gallery Home Run Benefit Concert: Claudia Acuña, , • Neo Bass Ensemble: Lisle, Leon and Karen Atkinson, Darnell Starkes, Phillip Wadkins, Maucha Adnet, Duduka Da Fonseca, Helio Alves Johnathan Blake, Ravi Coltrane, Kiyoshi Kitagawa, Lionel Loueke, Dafnis Prieto Sam McPherson, Michael Fleming, Paul West, Janet Steele, Richard Wyands, Dizzy’s Club 7:30, 9:30 pm $30 The Schomburg Center 8 pm $125-250 Norman Simmons, Elizabeth Kalfayan, Andrew Cyrille • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash êJoe Fiedler Trio with John Hébert, Mike Sarin; Michael Dessen Trio with Chris Tordini, Symphony Space Leonard Nimoy Thalia 8 pm $35 Village Vanguard 9, 11 pm $25 Dan Weiss Cornelia Street Café 8:30, 10 pm $10 • Nick Hempton Quartet; Josh Evans Septet • Ras Moshe, Anders Nilsson, Kyoko Kitamura • Jim Campilongo/Steve Cardenas; Anthony Wilson/Julian Lage Fat Cat 6:30, 10:30 pm Downtown Music Gallery 6 pm The Stone 8, 10 pm $10 • Yeti Camp: Dana Lyn, Mike McGinnis, Clara Kennedy, Vinnie Sperrazza, Kyle Sanna; • Sarah McLawler and Les Jazz Femmes êPreservation Hall Jazz Band Symphony Space Peter Jay Sharp Theatre 8 pm $45 Yoon Sun Choi’s E String Band with Jacob Sacks, Khabu Dog Young, Mike McGinnis, Saint Peter’s 5 pm • Ben Williams and Sound Effect with , Matt Stevens, , Vinnie Sperrazza I-Beam 8:30, 10 pm $10 • Kate Davis Blue Note 12:30, 2:30 pm $29.50 John Davis; Curtis Taylor Group Smalls 8:30, 11:30 pm $20 • Tom Dempsey Trio with Ron Oswanski, Alvin Atkinson êRed Hook Jazz Festival: Max Johnson Trio with Kirk Knuffke, Jeff Davis; • Tony Grey ShapeShifter Lab 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 The Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski; • Maryanne de Prophetis Trio with Ron Horton, Landon Knoblock • David White Jazz Orchestra with Andrew Gould, Omar Daniels, , Sam Dillon, Nick Gianni’s Evolution with Rick Bottari, On K’a Davis, John Trent, Dalius Naujo; Barbès 8 pm $10 Stephen Plekan, Miki Hirose, Volker Goetze, Alicia Rau, Deborah Weisz, Dan Reitz, Hot Cup Chili Pepper 7: Peter Evans, Jon Irabagon, , Brandon Seabrook, • Rafi D’lugoff; Sheryl Bailey Quartet; Ned Goold Jam Alaina Alster, Robert Stattel, Nick Consol, Doug Drewes, Ryan Cavan; Verena McBee Ron Stabinsky, Moppa Elliott, Kevin Shea; Travis Sullivan’s Björkestra with Fat Cat 7, 9 pm 12:30 am with Billy Test, Zach Para Somethin’ Jazz Club 7, 9 pm $10 Shayna Steele, Ian Cook, Sean Nowell, Lauren Sevian, Ravi Best, Eli Asher, Alan Ferber, • Secret Keeper: Stephan Crump/Mary Halvorson; Steve Gorn, Eric Fraser, Steve Celluci • Nicole Zuraitis Tomi Jazz 9 pm $10 Andy Hunter, Art Hirahara, Yoshi Waki, Joe Abbatantuono Seeds 8:30 pm $10 • Camila Meza; Bichiló with Gaby Hayre; Faiz Lamouri Cabrini Green Urban Meadow 1 pm $10 • Chris Dingman, Kaoru Watanabe, Tim Keiper, Matt Kilmer Tutuma Social Club 7, 8 pm 12 am • Sweet & Low Down - How Popular Standards Became Jazz Classics: Michael Feinstein Zinc Bar 7 pm $10 • Don Slatoff Quartet Cleopatra’s Needle 8 pm with Jessie Mueller, Loston Harris Allen Room 3 pm $25 • Judy Carmichael Trio with guest Steve Ross • Fukushi Tainaka Trio; Joey Morant Trio • Michelle Walker Trio with Ron Affif, Boris Kozlov Steinway Hall 7 pm $30 The Garage 6:15, 10:45 pm North Square Lounge 12:30, 2 pm • Vanessa Trouble and Company with Steve Salerno and guests êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, • Lou Caputo Quartet; David Coss Quartet; Maurício de Souza Trio with Angelo Di Loreto, Jazz at Kitano 8, 10 pm $10 Billy Drummond Jazz Standard 7:30, 9:30, 11:30 pm $30 John Lenis The Garage 11:30 am, 7, 11:30 pm • Jacob Teichroew Brooklyn Lyceum 8, 9:30 pm $10 • Steve Lehman Trio with Matt Brewer, Damion Reid and guest Vijay Iyer • Equilibrium: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, The Jazz Gallery 9, 10:30 pm $20 Dan Silverstone Caffe Vivaldi 8:30 pm êJimmy Scott Red Rooster 8, 10:30 pm $20-50 Monday, June 11 • Richard Boulger Somethin’ Jazz Club 7 pm $10 • Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis • Natalia Bernal Trio; Big Beat 4tet The Garage 6, 10:30 pm Blue Note 8, 10:30 pm $55 êVision Festival: Opening Invocation with Patricia Nicholson, Fay Victor, • Brian Villegas Flute Gramercy 8 pm • Karrin Allyson Birdland 8:30, 11 pm $30-40 Kyoko Kitamura, William Parker, Hamid Drake, Gerald Cleaver, Michael Wimberly; • Savion Glover/McCoy Tyner Blue Note 8, 10:30 pm $45 • Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, : Adam Benjamin, Ben Wendel, Kaveh Rastegar, Nate Wood, ; • Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Maucha Adnet, Duduka Da Fonseca, Helio Alves Paul Dunmall, Matthew Shipp, Joe Morris, Gerald Cleaver; Tracie Morris/Elliott Sharp; Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dizzy’s Club 7:30, 9:30, 11:30 pm $35 Mark Dresser Quintet with Rudresh Mahanthappa, Michael Dessen, Denman Maroney, Dizzy’s Club 7:30, 9:30 pm $30 êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski Michael Sarin Roulette 6 pm $20-30 • Oriente Lopez Quartet Dizzy’s Club 11 pm $10 Dizzy’s Club 12:45 am $20 • Jimmy Scott Blue Note 8, 10:30 pm $35 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • Moutin Reunion Quartet: Francois and Louis Moutin, Pierre de Bethmann, Village Vanguard 9, 11 pm $25 Village Vanguard 9, 11 pm $25 Rick Margitza Dizzy’s Club 7:30, 9:30 pm $20 • Standards Trio with Eric Revis, Justin Faulkner and guest • John Pizzarelli Quartet with guest Bucky Pizzarelli • Mingus Orchestra Jazz Standard 7:30, 9:30 pm $25 Peter Bernstein Jazz Standard 7:30, 9:30 pm $25 Café Carlyle 8:45, 10:45 pm $50-135 êSteven Bernstein’s Millennial Territory Orchestra • Stacey Kent Birdland 8:30, 11 pm $30-40 • Lucio Ferrara The Bar on Fifth 8 pm The Stone 9 pm $10 • Jaimeo Brown Trio The Bar on Fifth 8 pm • Jorge Luis Pacheco Drom 6 pm $69 êCraig Harris with Richard Fairfax, Jay Rodriguez, James Stewart, Eddie Allen, • Harmonie Ensemble New York with Steve Richman, Lew Soloff, Lew Tabackin, • Nick Di Maria Shrine 6 pm Franz Hackl, Pete Drungel, Fred Cash, Tony Lewis Joe Locke, Lincoln Mayorga, Victor Lewis • Armen Donelian Bryant Park 12:30 pm Dwyer Cultural Center 8:30, 10 pm $10 Saint Peter’s 1 pm $10 êFrank Wess; Ned Goold; Billy Kaye Jam • Russ Kassoff Bryant Park 12:30 pm Fat Cat 6, 9 pm 12:30 am Saturday, June 9 • Joris Roelofs Trio; Ari Hoenig Group; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20 Thursday, June 14 êDave Liebman/Sam Newsome Quartet with Tony Marino, Jim Black • Tammy McCann Metropolitan Room 7:30, 9 pm $20 Cornelia Street Café 9, 10:30 pm $15 • 2x3 Series: Josh Deutsch/Nico Soffiato; Kristin Slipp/Dov Mansky, Dan Weiss Duo êVision Festival: Eternal Unity: , Sabir Mateen, William Parker, • Paul Carlon Group; Hayes Greenfield/Roger Rosenberg Quartet with Dean Johnson, Branded Saloon 8:30 pm William Hooker; Dangerous Women/Moving Sound: Patricia Nicholson/ Adam Nussbaum; Ralph Bowen Group with Freddie Bryant, Jared Gold, • Donald Smith Quartet For My Sweet 7:15, 9:15 pm Connie Crothers; Ivo Perelman Trio with Michael Bisio, Whit Dickey; Donald Edwards, Ralph Bowen Smalls 4, 7:30 10 pm $20 • Mika Hary Trio with Nir Felder, Jorge Roeder Hamid Drake Ensemble with Jeff Parker, Jeb Bishop, Pasquale Mira, Josh Abrams • Federico Aubele; Guilherme Monteiro’s Slow Dreaming Bar Next Door 8:30, 10:30 pm $12 Roulette 7 pm $20-30 The Stone 8, 10 pm $10 • Rebecka Larsdotter Zinc Bar 7 pm $8 êSavion Glover/Jack DeJohnette Blue Note 8, 10:30 pm $45 • Ben Monder Trio with Joe Martin, Mark Ferber êFrank Carlberg/Nicholas Urie City Band êMiles Davis Festival 2012: Antoine Drye Quintet Bar Next Door 7:30, 9:30, 11:30 pm $12 Tea Lounge 9, 10:30 pm Smoke 7, 9, 10:30 pm • Derek Beckvold Quartet with Anthony Coleman, Henry Fraser, Jason Nazary; • Jaimeo Brown Trio The Bar on Fifth 8 pm êSeeing Jazz with George Wein: Miguel Zenón Kristen Slipp/Dov Manski The Firehouse Space 8, 9:30 pm $10 • Sean Wayland Trio with Sam Anning, Jochen Rueckert and guest Symphony Space Leonard Nimoy Thalia 7:30 pm $30 • Who Knows?: Richie Nagan, , Somethin’ Jazz Club 10 pm $10 êOhad Talmor, Steve Swallow, Adam Nussbaum Yippie Café 8 pm • Howard Williams Jazz Orchestra; Matt Parker Quartet Cornelia Street Café 8:30 pm $10 • Todd Herbert; Rafi D’lugoff; Will Terrill Quintet The Garage 7, 10:30 pm êEivind Opsvik’s Overseas with Tony Malaby, Jacob Sacks, Brandon Seabrook, Fat Cat 7, 10 pm 1:30 am • Matt Heath Quartet; Jorn Swart Quartet Kenny Wollesen; Seabrook Power Plant: Brandon Seabrook, Tom Blancarte, • 4 Part Harmony: Lauren Lee, Mark Cocheo, Ku Il Oh, Max Fieldschuh Shrine 6, 10 pm Jared Seabrook The Stone 8, 10 pm $10 I-Beam 8:30 pm $10 • Russ Kassoff Bryant Park 12:30 pm • Ben Monder Trio with Drew Gress, Jim Black; Brad Shepik Quartet with Tom Beckham, • : Michael League and guests Jorge Roeder, Jochen Reuckert; Gordon Grdina/Mark Helias with guests Tony Malaby, ShapeShifter Lab 8 pm Kenton Loewen ShapeShifter Lab 8 pm • Mike Mullins; Fourthought: Nick Biello, Kerong Chok, Cameron Kayne, Tuesday, June 12 • Katsuko Tanaka Quartet with Stacy Dillard, Danton Boller, Willie Jones III Manuel Weyand; Sam Mortellaro Trio with Peter Yuskauskas, Dan Kleffmann; Jazz at Kitano 8, 10 pm $10 Craig Hartley Somethin’ Jazz Club 5, 7, 9, 11 pm $10 êVision Festival - AUM Fidelity 15th Anniversary Celebration: Eri Yamamoto solo; • Howard Alden/Anat Cohen Duo Bar Next Door 8:30, 10:30 pm $12 • Jacob Teichroew Trio Tomi Jazz 8 pm $10 : Craig Taborn, William Parker, Gerald Cleaver; Darius Jones Quartet • Lukas Ligeti’s Notebook with Dan Blake, Eyal Maoz, Wende K. Blass and guests • Richard Benetar Quartet Cleopatra’s Needle 8 pm with Matt Mitchell, Trevor Dunn, Ches Smith; William Parker In Order To Survive with Gershwin Hotel 8 pm $10 êMiles Davis Festival 2012: Eddie Henderson Quintet with Wayne Escoffery, Cooper-Moore, Rob Brown, Lewis Barnes, Hamid Drake • Sam Raderman with Tim McCall, Luc Decker; Jimmy Bruno/Jack Wilkins; Dave Kikoski, Doug Weiss, Bill Stewart Roulette 7 pm $20-30 Group with Abraham Burton, George Burton, Boris Kozlov, Smoke 8, 10, 11:30 pm $35 • Vision Festival: Jemeel Moondoc Sound Band Donald Edwards; Carlos Abadie Quintet with Joe Sucato, Peter Zak, Jason Stewart, • Wycliffe Gordon Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder Clemente Soto Velez Cultural Center 12 am Luca Santaniello Smalls 4, 7:30, 10 pm 1 am $20 Jazz at Kitano 8, 10 pm $25 • Savion Glover/McCoy Tyner Blue Note 8, 10:30 pm $45 • Joe Magnarelli Quartet; Greg Glassman Quintet; Yoshi Waki Quartet êWalter Thompson Soundpainting Orchestra with Rolf Sturm, Steve Rust, Gil Selinger, • Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Fat Cat 7, 10 pm 1:30 am Chris Washburne, Hollis Headrick, Rob Henke, Michael Attias, Nicole Poole, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico • 40twenty: Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza; Leese Walker Irondale Center 8 pm $15 Dizzy’s Club 7:30, 9:30 pm $30 Jeff Davis Group I-Beam 8:30, 10 pm $10 êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Ray Drummond, • Oriente Lopez Quartet Dizzy’s Club 11 pm $10 • Courtney Bryan with Brandee Younger, Linda Oh, Damion Reid Billy Drummond Jazz Standard 7:30, 9:30, 11:30 pm $30 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall The Jazz Gallery 9, 10:30 pm $15 • Steve Lehman Trio with Matt Brewer, Damion Reid and guest James Hurt Village Vanguard 9, 11 pm $25 • Beat Kaestli and Friends with Jesse Lewis, Melissa Stylianou, Elisabeth Lohninger; The Jazz Gallery 9, 10:30 pm $20 • Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner Claude Diallo Situation with Curtis Ostle, Massimo Buonanno • Béla Fleck and The Marcus Roberts Trio with Rodney Jordan, Jason Marsalis Jazz Standard 7:30, 9:30 pm $25 Somethin’ Jazz Club 7, 9 pm $10 Blue Note 8, 10:30 pm $55 • Stacey Kent Birdland 8:30, 11 pm $30-40 • Senri Oe Tomi Jazz 9 pm $10 • Karrin Allyson Birdland 8:30, 11 pm $30-40 • Jeff Siegel Quintet NYC Baha’i Center 8, 9:30 pm $15 • Eric Karimski solo; Carmen Lamarque • Samba Jazz and The Music of Jobim: Anat Cohen, Claudio Roditi, George Mraz, • Spike Wilner solo; Omer Avital and The Band of the East; Josh Evans Tutuma Social Club 6:30, 8:30 pm Maucha Adnet, Duduka Da Fonseca, Helio Alves Smalls 6:30, 8:30, 11:30 pm $20 • Matthew Silberman and Press Play with Travis Reuter, Carlos Homs, Chris Tordini, Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Pedro Giraudo Jazz Orchestra Joe’s Pub 9:30 pm $18 Jason Nazary Inkwell Café 8, 9:30 pm $5 êThe Flail: Brian Marsella, Reid Taylor, Dan Blankinship, Stephan Moutot, Matt Zebroski • Lakecia Benjamin’s Retox Le Poisson Rouge 10:30 pm $15 • Steve Elmer Trio Cleopatra’s Needle 7 pm Dizzy’s Club 12:45 am $20 • Kenny Wollesen The Stone 10 pm $10 • Nick Moran Trio; Jacob Webb Project • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • Rob Garcia 4 with Noah PremingerShapeShifter Lab 8 pm The Garage 6, 10:30 pm Village Vanguard 9, 11 pm $25 • Revoice: Maria Christina with Matt Davis, James Shipp, Sam Anning, Sean Hutchinson; • Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, • Lucio Ferrara The Bar on Fifth 8 pm Nate Wood with Jesske Hume, Sean Wayland, Arthur Hnatek Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico êButch Morris Workshop The Firehouse Space 2 pm $15 Cornelia Street Café 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 • Marsha Heydt Quartet; Champian Fulton; Carl Bartlett Quartet • James Carney, Chris Lightcap, Ted Poor • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall The Garage 12, 6:15, 10:45 pm Korzo 9 pm Village Vanguard 9, 11 pm $25 • Stan Killian with Ben Monder, Benito Gonzalez, Ugonna Okegwo, McClenty Hunter • Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest 55Bar 7 pm Aaron Burnett Jazz Standard 7:30, 9:30 pm $25 Sunday, June 10 • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam • Carmen Intorre with Jon Irabagon, Pat Bianchi, John Hart Fat Cat 7, 9 pm 12:30 am Birdland 6 pm $20 êFrank Wess, Joe Wilder, Jon-Erik Kellso, Joe Temperley and the Harry Allen Quartet • Jack Wilkins/John Stowell Bella Luna 8 pm • Stacey Kent Birdland 8:30, 11 pm $30-40 Feinstein’s at Loews Regency 8 pm • Jeremy Siskind solo Jazz at Kitano 8 pm • Jaimeo Brown Trio The Bar on Fifth 8 pm • Miles Davis Festival 2012: Allan Harris Band with Pascal LeBoeuf, Leon Boykins, • Cristina Morrison with Willard Dyson, Steve Einerson, Marcus McLaurine, • Kyunggu Lee Shrine 6 pm Jake Goldbas Smoke 7, 9, 10:30 pm Walter Scymansky; Perez and Anita Wardell • Arturo O’Farrill and the Afro Latin Jazz Orchestra êJulian Lage The Stone 10 pm $10 Somethin’ Jazz Club 7, 9 pm $10 Metrotech Commons 12 pm êDan Weiss Trio with Jacob Sacks, Thomas Morgan • Eyal Vilner Big Band; Justin Lees Trio • Russ Kassoff Bryant Park 12:30 pm Cornelia Street Café 8:30 pm $10 The Garage 7, 10:30 pm

THE NEW YORK CITY JAZZ RECORD | June 2012 39 Friday, June 15 Sunday, June 17 • O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, Adam Kromelow, Raviv Markovitz Dizzy’s Club 11 pm $10 êVision Festival: Children of Music Is Mine with Jean Carla Rodea, William Parker, êVision Festival: Ingrid Laubrock’s Anti-House with Mary Halvorson, Kris Davis, • with Brice Winston, Fabian Almazan, Joshua Crumbly, ; Peace Poets/Tribes Poets: Luke Nephew, Frank Lopez, John Hébert, Tom Rainey; Burnt Sugar The Arkestra Chamber: Greg Tate, Vernon Reid, Kendrick Scott Jazz Standard 7:30, 9:30 pm $35 Emanuel Candelario, Frantz Jerome, Edwin Torres, Latasha Diggs, Sheila Maldonado, Lisala, Shelley Nicole, Mikel Banks, Lewis “Flip” Barnes Jr., Micah Gaugh, êMiles Davis Festival 2012: Bruce Harris Sextet with Alex Hoffman, Vincent Gardner, Nancy Mercado; The Mystery Collective: Kidd Jordan, Jean Carla Rodea, V. Jeffery Smith, , Paula Henderson, Andre Lassalle, Ben Tyree, Rick Germanson, Yasushi Nakumara, Aaron Kimmel William Parker, Cooper-Moore, Hamid Drake Bruce Mack, Jared Michael Nickerson; LaFrae Sci; Jason Jordan solo; Rob Brown/ Smoke 7, 9, 10:30 pm Campos Plaza Playground 3 pm Daniel Levin; Kidd Jordan Quintet with Charles Gayle, JD Parran, William Parker, êJean-Michel Pilc Trio with Francois Moutin, Ari Hoenig êVision Festival: Sheila Jordan/Jay Clayton Bebop to Freebop with Jack Wilkins, Hamid Drake Roulette 6 pm $20-30 Cornelia Street Café 8:30 pm $10 Cameron Brown; Yoshiko Chuma solo; Roy Campbell/Ehran Elisha; Henry Grimes/ êBlue Note Jazz Festival: Gato Barbieri êWillie Jones III Group with Justin Robinson, Aaron Goldberg, Dezron Douglas; Wadada Leo Smith; Pheeroan akLaff Dear Freedom Ensemble with Amiri Baraka, BB King’s Blues Bar 8 pm $45 Tivon Pennicott Smalls 8:30, 11:30 pm $20 Jun Miyake, Santi Debriano Roulette 7 pm $20-30 êSalim Washington/Darius Jones Quintet with , Mark Helias, • Rafi D’lugoff; Don Hahn/Randy Napoleon Quintet; Ned Goold Jam êMiles Davis Festival 2012: Lenny White Quintet with Wallace Roney, Victor Bailey, Tyshawn Sorey The Jazz Gallery 9, 10:30 pm $20 Fat Cat 7, 9 pm 12:30 am Tom Guarna Smoke 8, 10, 11:30 pm $35 êAmy Cervini with Anat Cohen, Nadje Noordhius, Jeremy Udden, Josh Sinton, êNate Wooley Group with Ingrid Laubrock, Dave Miller, Jeff Davis; Whirr! The Music of • Celebrate Brooklyn: Geri Allen/Carrie Mae Weems’ Slow Fade to Black with Jennifer Wharton, Jesse Lewis, Carmen Staaf, Matt Aronoff, Matt Wilson, James Shipp : George Schuller, Joel Harrison, Ohad Talmor, Jacob Garchik , , Lizz Wright, , Joe’s Pub 7 pm $15 Seeds 8:30, 10 pm $10 Howard University Afro Blue, Maurice Chestnut and guests êCacaw: Landon Knoblock, Oscar Noriega, Jeff Davis êAlt.timers Trio: Ratzo B. Harris, Denman Maroney, Bob Meyer Prospect Park Bandshell 8 pm The Firehouse Space 8:30 pm $10 Barbès 8 pm $10 • Sacha Perry Trio with Jon Roche, Ai Murakami; Trio with , • Miles Davis Festival 2012: Allan Harris Band with Pascal LeBoeuf, Leon Boykins, êDan Tepfer Trio with Jorge Roeder, Ted Poor Eliot Zigmund; Eric Alexander Quartet; Lawrence Leathers Jake Goldbas Smoke 7, 9, 10:30 pm Jazz at Kitano 8, 10 pm $10 Smalls 4, 7:30 10 pm 1 am $20 • Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam • Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Sam Anning, • Improv Night: John Zorn, Shayna Dunkelman, Ikue Mori, Sylvie Courvoisier Fat Cat 6, 8:30 pm 12:30 am Mark Ferber, Zach Brock 55Bar 7 pm and guests The Stone 8 pm $25 • Music of Luke Schwartz; Peter Knoll Trio with Mark Peterson, Andy O’Neill • Nora McCarthy with Andrew Green, Chip Crawford, Donald Nicks, Bruce Cox and guest êBucky Pizzarelli, Russ Kassoff, Jay Anderson ABC No-Rio 7 pm $5 Jorge Sylvester Metropolitan Room 9:30 pm $20 Knickerbocker Bar and Grill 9:45 pm $5 • Peter Leitch/Jed Levy Walker’s 8 pm • Katie Thiroux Quartet Brooklyn Public Library 7 pm êKris Davis Trio with Michael Formanek, Nasheet Waits • Simona Premazzi The Bar on Fifth 8 pm • Uncharted Territory: Steven Golub, Steve Fishman, Frank Barbera, Frank Rosati, Cornelia Street Café 9, 10:30 pm $15 • Out of Your Head: Gian Slater, Brad Henkel, Carlo Costa; Cam Collins, Patrick Breiner, Andy O’Neill Somethin’ Jazz Club 7 pm $10 • Jonathan Finlayson and Sicilian Defense with Shane Endsley, David Virelles, Dave Miller, Devin Gray The Backroom 9:30, 11 pm • Andrew Atkinson and Friends; Paul Francis Trio Keith Witty, Damion Reid The Jazz Gallery 9, 10:30 pm $15 • Devin Bing Somethin’ Jazz Club 7 pm $10 The Garage 6, 10:30 pm • Kate McGarry/Keith Ganz 92YTribeca 8 pm $15 êSavion Glover/Roy Haynes Blue Note 8, 10:30 pm $45 • Shayla Edmonds Flute Gramercy 8 pm • Brooklyn Jazz Underground Festival: Owen Howard’s Drum Lore with Adam Kolker, • Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart John O’Gallagher, Frank Carlberg, Aidan O’Donnell; A Portrait of Brooklyn: David Smith, Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Village Vanguard 9, 11 pm $25 Adam Kolker, Dan Pratt, Anne Mette Iversen, Rob Garcia Dizzy’s Club 7:30, 9:30 pm $30 êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, I-Beam 8:30, 10 pm $10 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest êMichael Carvin Quartet with Keith Loftis, Yayoi Ikawa, Jansen Cinco Village Vanguard 9, 11 pm $25 Anat Cohen Birdland 8:30, 11 pm $30-40 Lenox Lounge 8;30, 10:30 pm $20 • Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Geri Allen • Antonio Ciacca The Bar on Fifth 8 pm • Janis Mann Quartet with Kenny Werner, Martin Wind, Tim Horner Jazz Standard 7:30, 9:30 pm $30 • 2012 Jazz Journalist Association Awards Jazz at Kitano 8, 10 pm $25 • Michael Webster Quintet Saint Peter’s 5 pm Blue Note 4 pm $100-135 • Steve Hudson Chamber Ensemble with Zach Brock, Christopher Hoffman, êJulian Lage solo Blue Note 12:30, 2:30 pm $29.50 • Claude Diallo Saint Peter’s 1 pm $10 Martin Urbach Rubin Museum 7 pm $20 êRed Hook Jazz Festival: Rick Parker Collective with Yayoi Ikawa, John O’Gallagher, • Luiz Simas Bryant Park 12:30 pm • Tal Ronen Quartet; Grant Stewart; Jared Gold Shawn Conley, Ziv Ravitz; Harris Eisenstadt’s Canada Day with Nate Wooley, Fat Cat 6:30, 10:30 pm 1:30 am Matt Bauder, Chris Dingman, Garth Stevenson, , Jason Mears, Joe Daley; • World on a String Trio: Dan Wilson, Leo Traversa, Adriano Dos Santos SPOKE: Andy Hunter, Dan Loomis, Justin Wood, Danny Fischer; Nate Wooley Quintet Thursday, June 21 Bar Next Door 7:30, 9:30, 11:30 pm $12 with Josh Sinton, Matt Moran, Eivind Opsvik, Harris Eisendstadt; Mike Baggetta Quartet • Evgeny Lebedev World Trio with Haggai Cohen Milo, Lee Fish; Andres Jimenez; with Jason Rigby, Eivind Opsvik, George Schuller êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band Robert Rucker Project Somethin’ Jazz Club 7, 9, 11 pm $10 Cabrini Green Urban Meadow 1 pm $10 Blue Note 8, 10:30 pm $45 • Daniela Schaechter Tomi Jazz 9 pm $10 • Blue Note Jazz Festival: The Music of Louis Armstrong: Hot Lips Joey Morant • Toshi Reagon and Allison Miller Present Celebrate! The Great Women of Blues & Jazz • Renaud Penant Quartet Cleopatra’s Needle 8 pm and Catfish Stew BB King’s Blues Bar 12 pm $25 with Christelle Durandy, Karma, Mayet Johnson, M. Nahadr, Imani Uzuri, • Lynn Stein Quartet; Kevin Dorn and the Big 72 • Roz Corral Trio with Deanna Witkowski, Yoshi Waki Josette Marchak Highline Ballroom 8 pm $17 The Garage 6:15, 10:45 pm North Square Lounge 12:30, 2 pm êScott DuBois Quartet with Jon Irabagon, Eivind Opsvik, Jeff Davis • Savion Glover/Jack DeJohnette Blue Note 8, 10:30 pm $45 • Evan Schwam; David Coss The Garage 11:30 am, 7 pm Cornelia Street Café 8:30 pm $10 • Steve Smith and Vital Information with Tom Coster, Baron Browne, Vinny Valentino êIngrid Laubrock’s Anti-House with Mary Halvorson, Kris Davis, John Hébert, Iridium 8, 10 pm $35 Tom Rainey The Jazz Gallery 9, 10:30 pm $20 • Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, Monday, June 18 • Arturo O’Farrill’s The Offense of the Drum Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Red Rooster 8, 10:30 pm $10-25 Dizzy’s Club 7:30, 9:30 pm $35 • Blue Note Jazz Festival: The Fusion with Jimmy Haslip, , • Sam Raderman with Tim McCall, Luc Decker; Joel Press/Spike Wilner; • Oriente Lopez Quartet Dizzy’s Club 11:30 pm $20 BB King’s Blues Bar 8 pm $30 James Zollar Quintet; Bruce Harris/Alex Hoffman Quintet with Jack Glottman, • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall • Swinging with Noel Coward: Eric Comstock, Harry Allen and Friends David Wong, Aaron Kimmel Smalls 4, 7:30, 10 pm 1 am $20 Village Vanguard 9, 11 pm $25 Dizzy’s Club 7:30, 9:30 pm $25 • Corin Stiggall Quintet with Chris Byard, John Mosca; Anderson Twins Octet; • Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest Greg Osby êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Todd Herbert Quartet Fat Cat 7, 10 pm 1:30 am Jazz Standard 7:30, 9:30, 11:30 pm $30 êSteven Bernstein’s Millennial Territory Orchestra êOliver Gene Lake ShapeShifter Lab 8 pm • Stacey Kent Birdland 8:30, 11 pm $30-40 The Stone 9 pm $10 • Jillian Laurain Quartet with Matt Baker, Tom Hubbard, Dorota Piotrowska • Jaimeo Brown Trio The Bar on Fifth 8 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am Jazz at Kitano 8, 10 pm $10 • Yacine Boulares Shrine 6 pm • Randy Ingram Trio with Matt Clohesy, Jochen Rueckert; Ari Hoenig Group; êGoran Kajfeš Subtropic Arkestra with Jonas Kullhammar, Per “Ruskträsk” Johansson, • Russ Kassoff Bryant Park 12:30 pm Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20 Jesper Nordenström, Andreas Söderström, Johan Berthling, Johan Homegard • Mike Pope ShapeShifter Lab 8 pm Nublu 9 pm • Mavi Yol 4tet: Senem Diyici, Alain Blesing, Bruno Tocanne, Ömer Can Uygan • Ibrahim Maalouf Drom 10:45 pm Saturday, June 16 Sycamore 8:30 pm $10 • Paul Meyers/Helio Alves Bar Next Door 8:30, 10:30 pm $12 • Jeff King Birthday Celebration For My Sweet 7:15, 9:15 pm • Boilermakers Jazz Band David Rubenstein Atrium 8:30 pm êVision Festival: Tom Zlabinger and York College Creative Ensemble; Nicole Federici and • Daniela Schaechter Trio with Michael O’Brien • York College Blue Notes York College Jacquet Performance Space 7 pm Sonic Smithy; Jeff Lederer and Brooklyn Frontiers High School; Claire Daly and Bar Next Door 8:30, 10:30 pm $12 • Eliane Amherd Band Somethin’ Jazz Club 9 pm $10 Litchfield Jazz Combo; Rachel Bernsen; Steve Swell Quintet with Rob Brown, • Vicki Burns Zinc Bar 7 pm $8 • Yuko Yamamura Duo Tomi Jazz 9 pm $10 Chris Forbes, Hill Greene, Michael TA Thompson; Jöelle Léandre, Nicole Mitchell, • Joshua Shneider Easy-Bake Orchestra • Mark Sundermeyer solo; Elsa Nilsson Thomas Buckner; Trio 3: , , Andrew Cyrille; Tea Lounge 9, 10:30 pm Tutuma Social Club 6:30, 8:30 pm Jason Kao Hwang Burning Bridge with Taylor Ho Bynum, Ken Filiano, Andrew Drury, • Jim Cammack Somethin’ Jazz Club 10 pm $10 • Michika Fukumori Trio Cleopatra’s Needle 7 pm Wang Guowei, Sun Li, Steve Swell Roulette 3 pm $20-30 • Antonio Ciacca The Bar on Fifth 8 pm • Champian Fulton Trio; Eyal Vilner Quartet êSavion Glover/Roy Haynes Blue Note 8, 10:30 pm $45 • Howard Williams Jazz Orchestra; Kenny Shanker Quartet The Garage 6, 10:30 pm êClarence Penn; Antonio Sanchez 92YTribeca 9 pm $15 The Garage 7, 10:30 pm • Chris Norton Flute Gramercy 8 pm êJaleel Shaw Quartet with Lawrence Fields, Boris Kozlov, EJ Strickland • David Schnug Trio Shrine 6 pm êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson The Jazz Gallery 9, 10:30 pm $20 • Luiz Simas Bryant Park 12:30 pm Dizzy’s Club 7:30, 9:30 pm $30 êHarris Eisenstadt Canada Day with Nate Wooley, Matt Bauder, Chris Dingman, • Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Garth Stevenson Cornelia Street Café 9, 10:30 pm $15 Kendrick Scott Jazz Standard 7:30, 9:30 pm $35 • Adam Larson Group; Chris Byars Octet Birthday Celebration; Tuesday, June 19 êMiles Davis Festival 2012: Bruce Harris Sextet with Alex Hoffman, Vincent Gardner, Eric Alexander Quartet Smalls 4, 7:30 10 pm $20 Rick Germanson, Yasushi Nakumara, Aaron Kimmel • Bobby Porcelli Quintet; Ed Cherry Quartet • Blue Note Jazz Festival: The Manhattan Transfer Smoke 7, 9, 10:30 pm Fat Cat 7, 10 pm BB King’s Blues Bar 8 pm $30 êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart êTomas Fujiwara and the Hook-up with Michael Formanek, Mary Halvorson, êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Village Vanguard 9, 11 pm $25 Brian Settles, Jonathan Finlayson; Josh Sinton’s Secret Renegades with Village Vanguard 9, 11 pm $25 êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Nadje Noordhuis, Matt Clohesy Douglass Street Music Collective 8:30 pm $10 • Kathleen Battle/Cyrus Chestnut Blue Note 8, 10:30 pm $65 Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest • Ras Moshe/Shayna Dulberger; Matt Lavelle’s 12 Houses with Telaina Odom, êLinda Oh Quartet with Dayna Stephens, Fabian Almazan, Rudy Royston Birdland 8:30, 11 pm $30-40 Mary Cherny, Claire DeBrunner, Francois Grillot; X-Fest Ensemble: Walter Wright, Jazz Standard 7:30, 9:30 pm $20 • Antonio Ciacca The Bar on Fifth 8 pm Stephanie Lak, Todd Brunel, Kit Demos, Junko Fujiwara, Chris Welcome êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, • Harlem Speaks: Sylvia Cuenca Jazz Museum in Harlem 6:30 pm Brecht Forum 7 pm $10 Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest • Luiz Simas Bryant Park 12:30 pm • Mavi Yol 4tet: Senem Diyici, Alain Blesing, Bruno Tocanne, Ömer Can Uygan Anat Cohen Birdland 8:30, 11 pm $30-40 Drom 9:30 pm $10 • Susie Arioli and Friends Dizzy’s Club 7:30, 9:30 pm $30 • Leonardo Cioglia Trio with Mike Moreno, Eric Doob • O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, Bar Next Door 7:30, 9:30, 11:30 pm $12 Adam Kromelow, Raviv Markovitz Dizzy’s Club 11 pm $10 • MUSOH: Yutaka Uchida, Matt Panayides, George Dulin; Alex Maksymiw; • Charli Persip Super Sound NYC Baha’i Center 8, 9:30 pm $15 Nicki Mathis’ Afrikan Amerikan Jazz with Sam Parker, Dotti Anita Taylor, • Spike Wilner solo; Omer Avital and The Band of the East; Theo Hill Shirazette Tinnin, Alex Tremblay Somethin’ Jazz Club 5, 7, 9 pm $10 Smalls 6:30, 8:30, 11:30 pm $20 LESLIE PINTCHIK TRIO • Os Clavelitos Tomi Jazz 8 pm $10 êDawn of Midi; Father Figures Littlefield 8:30 pm $10 • Joel Forrester Quartet Cleopatra’s Needle 8 pm • Arturo O’Farrill’s The Offense of the Drum Tuesday, June 19th 8:30 PM & 10:30 PM êMiles Davis Festival 2012: Lenny White Quintet with Wallace Roney, Victor Bailey, Red Rooster 8, 10:30 pm $10-25 Tom Guarna Smoke 8, 10, 11:30 pm $35 • Aaron Novik with Ava Mendoza, Jordan Glenn, Sam Ospovat, Bill Wolter The Bar Next Door êBucky Pizzarelli, Russ Kassoff, Jay Anderson The Stone 10 pm $10 Knickerbocker Bar and Grill 9:45 pm $5 êRobin Verheyen, Ralph Alessi, Drew Gress, Jeff Davis 129 MacDougal St. NYC • Brooklyn Jazz Underground Festival: Adam Kolker solo; Tammy Scheffer with Korzo 10:30 pm (212) 529-5945 for reservations Andrew Urbina, Dan Pratt, David Cook, Dan Foose, Ronen Itzik; David Cook Trio with • Arthur Kell’s Jester with Loren Stillman, Brad Shepik, Mark Ferber and guest Matt Clohesy, Mark Ferber I-Beam 8:30, 9:30, 11 pm $10 Michael Blake Cornelia Street Café 8:30 pm $10 “...enormous gifts as a composer, arranger and pianist.” • Janis Mann Quartet with Kenny Werner, Martin Wind, Tim Horner • Leslie Pintchik Trio with Scott Hardy, Michael Sarin All Music Guide Jazz at Kitano 8, 10 pm $25 Bar Next Door 8:30, 10:30 pm $12 • Steve Smith and Vital Information with Tom Coster, Baron Browne, Vinny Valentino • Everyman of Parts with Andrew Sheron and guests Iridium 8, 10 pm $35 ShapeShifter Lab 8 pm Leslie Pintchik - keyboard • Paquito D’Rivera’s Los Boleros de Chopin with Pepe Rivero, • Eddie Allen, Quincy Troupe, Esther Louise Reinier “El Negron” Elizarde, Diego Urcola, Pernell Saturnino, Georvis Pico Dwyer Cultural Center 8 pm Scott Hardy - bass Dizzy’s Club 7:30, 9:30 pm $35 • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Michael Sarin - drums • Oriente Lopez Quartet Dizzy’s Club 11:30 pm $20 êJack Wilkins/Gene Bertoncini Bella Luna 8 pm • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall • Jeremy Siskind solo Jazz at Kitano 8 pm Village Vanguard 9, 11 pm $25 • Lou Caputo Not So Big Band; Nat Janoff Trio New DVD/CD Combo • Kurt Rosenwinkel Standards Trio with Eric Revis, Justin Faulkner and guest The Garage 7, 10:30 pm Johnny O’Neal Jazz Standard 7:30, 9:30, 11:30 pm $30 • Antonio Ciacca The Bar on Fifth 8 pm LESLIE PINTCHIK QUARTET • Stacey Kent Birdland 8:30, 11 pm $30-40 • Luiz Simas Bryant Park 12:30 pm LIVE IN CONCERT • Jaimeo Brown Trio The Bar on Fifth 8 pm available now at Amazon.com • Butch Morris Workshop The Firehouse Space 2 pm $15 • Brandee Younger Brooklyn Children’s Museum 1:30 pm Wednesday, June 20 • Larry Newcomb Quartet; Mark Marino Trio The Garage 12, 6:15 pm êJason Moran/Herlin Riley Blue Note 8, 10:30 pm $20 www.lesliepintchik.com êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $30

40 June 2012 | THE NEW YORK CITY JAZZ RECORD

Friday, June 22 • Miles Davis Festival 2012: Allan Harris Band with Pascal LeBoeuf, Leon Boykins, êMiles Davis Festival 2012: Philip Harper Sextet with Jason Marshall, Wayne Escoffery, Jake Goldbas Smoke 7, 9, 10:30 pm David Kikoski, Gerald Cannon, Montez Coleman êMiles Davis Festival 2012: Al Foster Quartet with Wallace Roney, Doug Weiss • Rogério Boccato After Bossa-Nova with Dan Blake, Nando Michelin, Gary Wang Smoke 7, 9, 10:30 pm Smoke 8, 10, 11:30 pm $35 Cornelia Street Café 8:30 pm $10 • Brian Landrus Kaleidoscope with Frank Carlberg, Nir Felder, Lonnie Plaxico, êSacha Perry Trio with Jon Roche, Ai Murakami; John Webber Quartet , Nial Djuliarso, • Ghola Tanks: , Tim Dahl, Tom Blancarte; Louise Jensen, Tim Dahl, Rudy Royston Cornelia Street Café 8:30 pm $10 Bob Cranshaw, Joe Farnsworth; Harold Mabern Trio with Gerald Cannon, Weasel Walter Death By Audio 8 pm $7 êAaron Parks Group; Vitaly Golovnev Joe Farnsworth; Spike Wilner Trio Smalls 4, 7:30 10 pm 1 am $20 • Tim Kuhl I St. Helena with Grey Mcmurray, Jared Samuel, Rick Parker, Josh Valleau, Smalls 8:30, 11:30 pm $20 êTony Malaby Trio with Angelica Sanchez, Tom Rainey; Tony Malaby’s Novela with Ryan Ferreira, Philip Sterk Zebulon 9 pm • Roger Kleier; Maryclare Brzytwa, James Brandon Lewis, Kevin Robinson Ralph Alessi, Michael Attias, Ben Gerstein, JB Goodhorse, Andrew Hadro, Dan Peck, • Terry Waldo’s Gotham City Band; Joseph Lepore/Lucio Ferrara; Brandon Lewis/ The Stone 8, 10 pm $10 Kris Davis, Tom Rainey Cornelia Street Café 9, 10:30 pm $15 Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am • Will McEvoy’s Mutasm with Brad Henkel, Nathaniel Morgan, Patrick Breiner, • Alexis Cuadrado Jazz Miniatures for Double Quartet with Ben Wendel, Jason Rigby, • Manuel Valera The Bar on Fifth 8 pm Dustin Carlson, Cody Brown Barbès 8 pm $10 Satoshi Takeishi, Sara Caswell, Antonia Nelson, Lois Martin, Jody Redhage • Nicolas Letman-Burtinovic Ensemble; Flin van Hemmen Ensemble • Sally Night Quartet with John diMartino, Neal Miner, Greg Hutchinson The Jazz Gallery 9, 10:30 pm $20 ABC No-Rio 7 pm $5 Jazz at Kitano 8, 10 pm $10 • Joe Locke Quartet with Eldar Djangirov, Mike Pope, Clarence Penn • Peter Leitch/Dennis James Walker’s 8 pm • Rafi D’lugoff; Sharp Radway Trio; Ned Goold Jam Jazz at Kitano 8, 10 pm $25 • Natura Morta: Frog Lasso, Sean Ali, Carlo Costa Fat Cat 7, 9 pm 12:30 am • Mt. Varnum: Ted Poor, Grey McMurray, Pete Rende, Ben Street; Ze Couch Series 7 pm • Maurício de Souza Quartet with Nancy Harms, Angelo Di Loreto, Iris Ornig The New Mellow Edwards: Curtis Hasselbring, Chris Speed, Matt Moran, • Cheryl Lynne Skinner Shrine 8 pm $10 The Lambs Club 7:30 pm Mary Halvorson, Trevor Dunn, Ches Smith, Satoshi Takeishi êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band • Stan Killian and Friends Jam Session 92YTribeca 9 pm $15 Blue Note 8, 10:30 pm $45 The Backroom 11 pm • Albert Goold Experience; Salim Washington/Frank Lacy Sextet êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson • Paolo Tomaselli’s Crossroads with Hailey Niswanger, Pasquale Strizzi, Shin Sakaino, Fat Cat 7, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $30 Alessio Romano Somethin’ Jazz Club 7, 9 pm $10 • Deviant Septet: Bill Kalinkos, Brad Balliett, Shayna Dunkelman, Mike Gurfield, • Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, • Yaala Ballin Quartet; Jason Prover Quintet Dave Nelson, Courtney Orlando, Doug Balliett Kendrick Scott Jazz Standard 7:30, 9:30 pm $35 The Garage 6, 10:30 pm The Stone 8 pm $10 êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart • Sly Blue Flute Gramercy 8 pm • Tim Ries’ The Rolling Stones Project with Ben Monder, Ilan Bar-Lavi, Jeff “Tain” Watts, Village Vanguard 9, 11 pm $25 êMarc Ribot Trio with Henry Grimes, Chad Taylor Jasia Ries and guests Bernard Fowler, Darryl; The NOWtet Plays Zep êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, Village Vanguard 9, 11 pm $25 Highline Ballroom 7 pm $25-45 Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest • John Ellis Quintet with Aaron Goldberg, Mike Moreno, Matt Penman, Rodney Green • Alejandro Florez with Ricardo Gallo, Dan Blake, Peter Evans, Dan Peck, Andrew Drury Cyrille Aimee Birdland 8:30, 11 pm $30-40 Jazz Standard 7:30, 9:30 pm $20 I-Beam 8:30 pm $10 • Matt Lavelle and Company Downtown Music Gallery 6 pm • : Russell Ferrante, , Felix Pastorius, William Kennedy • Jack Wilkins Trio with Harvie S, Mark Ferber • and Friends Bowery Poetry Club 6 pm Birdland 8:30, 11 pm $30-40 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Magos Herrera Saint Peter’s 5 pm • Lucio Ferrara The Bar on Fifth 8 pm • Jorge Sylvester ACE Collective with Nora McCarthy, Waldron Mahdi Ricks, • Judi Silvano with Fred Jacobs, Peter Tomlinson, Santi Debriano, Steve Johns • Holli Ross/Eddie Monteiro Saint Peter’s 1 pm $10 Pablo Vergara, Donald Nicks, Kenny Grohowski Blue Note 12:30, 2:30 pm $29.50 • Joel Forrester Bryant Park 12:30 pm Drom 9 pm $20 êAlfred Patterson Sextet with Eddie Allen, Reggie Pittman, Mark Taylor, Joe Daley, • Natura Morta: Frog Lasso, Sean Ali, Carlo Costa; Josh Sinton/Han-Earl Park Warren Smith Dwyer Cultural Center 2 pm $20 Midwood Music 8 pm • Susan Pereira Trio with Klaus Mueller, Itaiguara Thursday, June 28 • Compared to That: Charley Gerard, Lisa Parrott, Chris Bacas, Tom Olin, North Square Lounge 12:30, 2 pm Jacob Teichroew, Dave Smith, Mark Morgan, Jackie Coleman, Deborah Weisz, êCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, Jared Dubin, Ric Becker, Syberen Van Munster, Petros Klampanis, Danny Wolf, Dave Green Damrosch Park 7:30 pm David Buchbut, Alimah Baylor, Clarence Bucaro Monday, June 25 • Cassandra Wilson Blue Note 8, 10:30 pm $55 Somethin’ Jazz Club 7 pm $10 • Cyrus Chestnut Trio with Dezron Douglas, Neal Smith and guest James Carter • Yuko Okamoto Duo Tomi Jazz 9 pm $10 êJean-Michel Pilc/Rudresh Mahanthappa Jazz Standard 7:30, 9:30 pm $30 • Camila Meza solo; Bichiló with Gaby Hayre; Jatziri Gallegos/Eric Castro ShapeShifter Lab 8 pm • Meshell Ndegeocello Highline Ballroom 9 pm $30 Tutuma Social Club 7, 8 pm 12 am • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. • Jeremy Pelt Brooklyn Museum 7 pm • Jun Miyake Quartet Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $25 • Animation: Bob Belden, Peter Clagett, Jacob Smith, Roberto Verastegui, Matt Young • George Weldon Trio; Hot House The Garage 6:15, 10:45 pm • Tommy Smith Quartet with Steve Hamilton, Alyn Cosker, Kevin Glasgow ShapeShifter Lab 8 pm êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band Dizzy’s Club 7:30, 9:30 pm $30 • Sam Raderman with Tim McCall, Luc Decker; Corin Stiggall Trio; Steve Slagle Quartet Blue Note 8, 10:30 pm $45 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 with Dave Demotta, Bill Moring, McClenty Hunter; Carlos Abadie Quintet with • Arturo O’Farrill’s The Offense of the Drum êSteven Bernstein’s Millennial Territory Orchestra Joe Sucato, Peter Zak, Jason Stewart, Luca Santaniello Red Rooster 8, 10:30 pm $10-25 The Stone 9 pm $10 Smalls 4, 7:30, 10 pm 1 am $20 êOliver Gene Lake ShapeShifter Lab 8 pm êCraig Harris with Richard Fairfax, Jay Rodriguez, James Stewart, Eddie Allen, • Nikolaj Hess Trio with Francois Moutin, Greg Hutchinson êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Franz Hackl, Pete Drungel, Fred Cash, Tony Lewis Cornelia Street Café 8:30 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 Dwyer Cultural Center 8:30, 10 pm $10 • Neal Miner; Will Terrill Quintet; Alexi David • O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, • Danny Fox Trio; Group with Seamus Blake, Dave Kikoski, Boris Kozlov, Fat Cat 7, 10 pm 1:30 am Adam Kromelow, Raviv Markovitz Dizzy’s Club 11:30 pm $20 Nate Smith; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20 • Zeena and the Adorables with Shayna Dunkelman, Preshish Moments; The Unlearning: • Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, êPascAli: Pascal Niggenkemper/Sean Ali; Aram Shelton, Mary Halvorson, Weasel Walter; Theresa Wong/Carla Kihlstedt The Stone 8, 10 pm $10 Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35 Aram Shelton/Josh Sinton; Minerva: JP Schlegelmilch, Pascal Niggenkemper, • Sunna Gunnlaugs Trio with Þorgrímur Jónsson, Scott McLemore êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart Carlo Costa Douglass Street Music Collective 9 pm $10 Scandinavia House 7 pm $12 Village Vanguard 9, 11 pm $25 • Preston Reddick Resura For My Sweet 7:15, 9:15 pm • Tony Middleton Quartet Birthday Bash with Jesse Elder, Kenji Yoshitake, êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, • The Magic Trio: Chris McNulty, Paul Bollenback, Ugonna Okegwo Jacob Melchior Jazz at Kitano 8, 10 pm $10 Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest Bar Next Door 8:30, 10:30 pm $12 • Clara Ponty with Gilles Coquard, Edouard Coquard, Olivier Louvel Grace Kelly Birdland 8:30, 11 pm $30-40 • Kay Matsukawa Zinc Bar 7 pm $8 Joe’s Pub 7:30 pm $15 • Antonio Ciacca The Bar on Fifth 8 pm • Asuka Kakitani Jazz Orchestra Tea Lounge 9, 10:30 pm • Philip Dizack Quintet with Jake Saslow, Eden Ladin, Linda Oh • Kelly Powers Shrine 6 pm • Lucio Ferrara The Bar on Fifth 8 pm The Jazz Gallery 9, 10:30 pm $15 • Luiz Simas Bryant Park 12:30 pm • Hiro Momoi Identified Strangers with Chad Lefkowitz-Brown, Nir Felder, Julian Shore êUnderground Horns Nublu 11 pm Somethin’ Jazz Club 10 pm $10 • Iris Ornig Trio with Davy Mooney, Chris Benham • Howard Williams Jazz Orchestra; Greg Lewis Trio Bar Next Door 8:30, 10:30 pm $12 Saturday, June 23 The Garage 7, 10:30 pm • Christian Finger Band with Gordon Au, Dave Berkman, Adam Armstrong • Joel Forrester Bryant Park 12:30 pm Tea Lounge 9, 10:30 pm • Ben Gerstein/Tyshawn Sorey I-Beam 8:30 pm $10 • Michael Webster Quintet with Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig; • Kaleidoscope Trio: Freddie Bryant, Patrice Blandchard, Willard Dyson Elad Gellert with Gadi Stern, Nadav Lachish, Dani DAnor Bar Next Door 7:30, 9:30, 11:30 pm $12 Tuesday, June 26 Somethin’ Jazz Club 7, 9 pm $10 • Barbara King with Dave Berkman Lenox Lounge 8, 10 pm • Senri Oe Tomi Jazz 9 pm $10 • Simona Premazzi Quartet Fat Cat 7 pm êBlue Note Jazz Festival: Stanley Clarke/George Duke 4 • Eric Kurimski solo; Chilcano Tutuma Social Club 6:30, 8:30 pm • Adam Smale Trio with Brandi Disterheft, Spiro Sinigos BB King’s Blues Bar 8, 10:30 pm $40 • Mamiko Watanabe Trio Cleopatra’s Needle 7 pm University of the Streets 8 pm $10 êMarc Ribot Trio with Henry Grimes, Chad Taylor • Ryan Anselmi Quintet; Joe Curtis Quartet • Linda Presgrave Quartet with Stan Chovnick, Fred Weidenhammer, Seiji Ochiai; Village Vanguard 9, 11 pm $25 The Garage 6, 10:30 pm Hiroshi Yamazaki Quartet; Jason O’Connor Quintet with Brian Lotze, Jeff D’Antona • Liane Carroll Trio Dizzy’s Club 7:30, 9:30 pm $30 • Squelch; Donna Singer Shrine 6, 8 pm Somethin’ Jazz Club 5, 7, 11 pm $10 • Hector Martignon Quartet Dizzy’s Club 11 pm $10 • Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, • Wrestle Jazz; Kenji Yoshitake Trio Tomi Jazz 8, 11 pm $10 • John Ellis Quintet with Aaron Goldberg, Mike Moreno, Matt Penman, Rodney Green Victor Provost, Reuben Rodgers, Alioune Faye • Soul Center: Jackie Jones, Axel Schwintzer, Peter Brendler, Christian Finger Jazz Standard 7:30, 9:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 Three Jolly Pigeons 8:30 pm • Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy êMiles Davis Festival 2012: Philip Harper Sextet with Jason Marshall, Wayne Escoffery, • Larry Newcomb Quartet Cleopatra’s Needle 8 pm Birdland 8:30, 11 pm $30-40 David Kikoski, Gerald Cannon, Montez Coleman êMiles Davis Festival 2012: Al Foster Quartet with Wallace Roney, Doug Weiss • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 Smoke 7, 9, 10:30 pm Smoke 8, 10, 11:30 pm $35 • Merger: Andrew D’Angelo, Kirk Knuffke, Ben Street, Kenny Wollesen êMarc Ribot Trio with Henry Grimes, Chad Taylor • Michelle Zangara with Sacha Perry, Alexi David, Bajram Istrefi, Jr; Ralph LaLama ShapeShifter Lab 8 pm Village Vanguard 9, 11 pm $25 Bop-Juice with Mike Karn, Clifford Barbaro; Harold Mabern Trio with Gerald Cannon, • Dalton Ridenhour solo; Alex Sipiagin Group with Seamus Blake, Dave Kikoski, • Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy Joe Farnsworth Smalls 4, 7:30 10 pm $20 Boris Kozlov, Nate Smith; Josh Evans Birdland 8:30, 11 pm $30-40 êTony Malaby Trio with Angelica Sanchez, Tom Rainey; Tony Malaby’s Novela with Smalls 6:30, 8:30, 11:30 pm $20 • Lucio Ferrara The Bar on Fifth 8 pm Ralph Alessi, Michael Attias, Ben Gerstein, JB Goodhorse, Andrew Hadro, Dan Peck, • Curtis Hasselbring, Oscar Noriega, Tom Rainey; Pete Robbins/Tyshawn Sorey Group • Joel Forrester Bryant Park 12:30 pm Kris Davis, Tom Rainey Cornelia Street Café 9, 10:30 pm $15 Korzo 9, 10:30 pm • Alexis Cuadrado Jazz Miniatures for Double Quartet with Ben Wendel, Jason Rigby, • Jen Baker/Kyoko Kitamura; Dapplegray: Nava Dunkelman, Tara Sreekrishnan, Satoshi Takeishi, Sara Caswell, Antonia Nelson, Lois Martin, Jody Redhage Jeanie April Tang The Stone 8, 10 pm $10 The Jazz Gallery 9, 10:30 pm $20 • Eric Deutsch Trio with Jeff Hill, Tony Mason • Joe Locke Quartet with Eldar Djangirov, Mike Pope, Clarence Penn Cornelia Street Café 8:30 pm $10 Jazz at Kitano 8, 10 pm $25 • Nelson Riddle Orchestra Damrosch Park 7:30 pm êAfrica/Brass: McCoy Tyner and The Charles Tolliver Big Band • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. Blue Note 8, 10:30 pm $45 Blue Note 8, 10:30 pm $25 êOliver Gene Lake ShapeShifter Lab 8 pm • Saul Rubin; Itai Kriss Salsa All-Stars; Greg Glassman Jam êBarbara Carroll with Ken Peplowski, Jay Leonhart, Alvin Atkinson Fat Cat 7, 9 pm 12:30 am Dizzy’s Club 7:30, 9:30 pm $35 • On The Way Out: Louise DE Jensen solo; Dom Minasi/Christian Duo • O’Farrill Brothers Band: Adam and Zack O’Farrill, Livio Almeida, Gabe Schnider, The Backroom 8:30, 10 pm $10 Adam Kromelow, Raviv Markovitz Dizzy’s Club 11:30 pm $20 êJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm • Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, • Jeremy Siskind solo Jazz at Kitano 8 pm Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35 • Cecilia Coleman Big Band; Paul Corn Quartet êPeter Bernstein Quartet with Donald Vega, Dwayne Burno, Bill Stewart The Garage 7, 10:30 pm Village Vanguard 9, 11 pm $25 • Lucio Ferrara The Bar on Fifth 8 pm êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Samson Schmitt, • The Grautet Shrine 6 pm Ludovic Beier, Pierre Blanchard, Doudou Cuillerier, Brian Torff, Evan Perri with guest • Joel Forrester Bryant Park 12:30 pm Cyrille Aimee Birdland 8:30, 11 pm $30-40 • Antonio Ciacca The Bar on Fifth 8 pm • Jeff Newell’s New-Trad Quartet with Isrea Butler, Ben Stapp, Brian Woodruff Wednesday, June 27 The Waterfront Museum 2 pm • Marsha Heydt Quartet; Brooks Hartell Trio; Akiko Tsuruga Trio êTerje Rypdal with Palle Mikkelborg, Ståle Storløkken, Paolo Vinaccia The Garage 12, 6:15, 10:45 pm Le Poisson Rouge 7:30 pm $30 • Blue Note Jazz Festival: Michel Camilo Trio; Alfredo Rodríguez Trio Highline Ballroom 8, 10:30 pm $40 Sunday, June 24 êLarry Grenadier, Jeff Ballard, Phil Grenadier, ShapeShifter Lab 8 pm êHåkon Kornstad, Eivind Opsvik, Eric McPherson • Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, Nublu 9 pm Victor Provost, Reuben Rodgers, Alioune Faye êJoe Fiedler’s Big Sackbut with Josh Roseman, Ryan Keberle, Jose Davila Dizzy’s Club 7:30, 9:30 pm $30 Sycamore 8:30 pm $10 • Hector Martignon Quartet Dizzy’s Club 11 pm $10

42 June 2012 | THE NEW YORK CITY JAZZ RECORD

Friday, June 29 REGULAR ENGAGEMENTS MONDAYS êCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, • Tom Abbott Big Bang Big Band Swing 46 8:30 pm Dave Green Iridium 8, 10 pm $65 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Woody Allen/Eddy Davis Jazz Band Café Carlyle 8:45 pm $125 at KITANO êBlue Note Jazz Festival: Spectrum Road: Cindy Blackman-Santana, Jack Bruce, JAZZ • Quentin Angus Duo Tomi Jazz 8 pm Music • Restaurant • Bar John Medeski, Vernon Reid BB King’s Blues Bar 8 pm $45 • Beyond Blue Light; John Farnsworth Quartet Smoke 6:30, 9, 10:30 pm “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD êMiles Davis Festival 2012: Tom Harrell Quintet with Wayne Escoffery, Danny Grissett, • Michael Brecker Tribute with Dan Barman The Counting Room 8 pm Ugonna Okegwo, Johnathan BlakeSmoke 8, 10, 11:30 pm $35 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm LIVE JAZZ EVERY êJesse Stacken Trio with Eivind Opsvik, Jeff Davis • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm WEDNESDAY - SATURDAY Tenri Cultural Institute 8 pm • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) • Joel Forrester solo Brandy Library 8 pm $10 WED./THUR + $15 Minimum/Set. êRalph Alessi Quartet with Jason Moran, Drew Gress, Nasheet Waits • George Gee Swing Orchestra Gospel Uptown 8 pm $25 FRI./SAT. + $15 Minimum/Set The Jazz Gallery 9, 10:30 pm $20 • ’s Nighthawks Sofia’s 8 pm (ALSO TUE) • Sacha Perry Trio with Jon Roche, Ai Murakami; Larry Ham Trio; Harry Allen Quartet with • Grove Street Stompers Arthur’s Tavern 7 pm 2 SETS 8:00 PM & 10:00 PM Rossano Sportiello, Joel Forbes, Chuck Riggs; Lawrence Leathers • JFA Jazz Jam Local 802 7 pm JAZZ BRUNCH EVERY SUNDAY Smalls 4, 7:30 10 pm 1 am $20 • Roger Lent Trio Jam Cleopatra’s Needle 8 pm • Iris Ornig Jam Session The Kitano 8 pm TONY MIDDLETON TRIO • Amir Ziv, Billy Martin, Cyro Baptista • Les Paul Trio with guests Iridium 8, 10 pm $35 ShapeShifter Lab 8 pm • Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm 11 AM - 2 PM • GREAT BUFFET - $35 • Ben Monder/Theo Bleckmann Cornelia Street Café 9, 10:30 pm $15 • Stan Rubin All-Stars Charley O’s 8:30 pm OPEN JAM SESSION MONDAY NIGHTS • itsnotyouitsme: Caleb Burhans/Grey McMurray; Brian Chase and guests • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 The Stone 8, 10 pm $10 • Rakiem Walker Project Red Rooster 7:30 pm 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG • Spy Music Festival: Rhys Chatham Brass Duo; Steve Gunn/John Truscinski Duo; TUESDAYS TUES. (5, 12, 19 & 26) IN JUNE • 8:00 PM - 11:00 PM Skeletons; Peter Stampfel Union Pool 8 pm $12 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)) JEREMY SISKIND - SOLO PIANO • Bill Campbell and Friends Bar Next Door 8 pm $12 êJimmy Giuffre Tribute with Jeremy Udden, John McNeil, Aryeh Kobrinsky, • Evolution Series Jam Session Zinc Bar 11 pm Vinnie Sperrazza; Nate Radley Group; Jeremy Viner Quintet with Bobby Avey, • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) FRI. JUNE 1 Travis Reuter, Pascal Niggenkemper; Cody Brown • George Gee Swing Orchestra Swing 46 8:30 pm BRANDON WRIGHT QUARTET Douglass Street Music Collective 8 pm $10 • Sean Harkness Trio 54 Below 10:30 pm • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) CD RELEASE EVENT êVitaly Golovnev Quartet; Diallo House Sextet BRANDON WRIGHT, DAVE KIKOSKI Fat Cat 6, 10:30 pm • Art Hirahara Trio Arturo’s 8 pm • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm BORIS KOZLOV, DONALD EDWARDS • Meschiya Lake and Dem Little Big Horns • Sandy Jordan and Larry Luger Trio Notaro 8 pm $25 COVER + $15 MINIMUM Damrosch Park 7:30 pm • Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm • Paul Bollenback Trio with Joseph Lepore, Rogerio Boccato • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm SAT. JUNE 2 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Iris Ornig Quartet Crooked Knife 7 pm • Yvonnick Prene Group Tomi Jazz 8 pm HARRY ALLEN QUARTET • Steph Chou; Matt Giella with Matt Giella, Alex DeZenzo, Ian Baggette, Leo Freire HARRY ALLEN, BILL CUNLIFFE Somethin’ Jazz Club 7, 9 pm $10 • Annie Ross The Metropolitan Room 9:30 pm $25 • Robert Rucker Trio Jam Cleopatra’s Needle 8 pm JOEL FORBES, CHUCK RIGGS • Kayo Hiraki Tomi Jazz 9 pm $10 • Slavic Soul Party Barbès 9 pm $10 $25 COVER + $15 MINIMUM • Camila Meza solo; Bichiló with Gaby Hayre WEDNESDAYS WED. JUNE 6 Tutuma Social Club 7, 8 pm • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • Satchamo Mannan Quartet Cleopatra’s Needle 8 pm • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm BILL CUNLIFFE TRIO • Alex Hoffman Quartet; Dre Barnes Project • Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm BILL CUNLIFFE, BORIS KOZLOV, TIM HORNER The Garage 6:15, 10:45 pm • Walter Fischbacher Trio Water Street Restaurant 8 pm $10 COVER + $15 MINIMUM • Rodrigo Bonelli; Mademoiselle Fleur • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm THURS. JUNE 7 Shrine 6, 8 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Cassandra Wilson Blue Note 8, 10:30 pm $55 • Guillaume Laurent Trio Bar Tabac 7 pm BEN POWELL QUARTET êJacob Fred Jazz Odyssey: Brian Haas, Chris Combs, Jeff Harshbarger, Josh Raymer • Jake K. Leckie Trio Kif Bistro 8 pm BEN POWELL, TADATAKA UNNO and guest Mark Southerland Blue Note 12:30 am $10 • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) AARON DARRELL, DEVIN DROBKA • Cyrus Chestnut Trio with Dezron Douglas, Neal Smith and guest James Carter • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) $10 COVER + $15 MINIMUM Jazz Standard 7:30, 9:30, 11:30 pm $30 • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) FRI. & SAT. JUNE 8 & 9 • Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, • John Miller Quartet 54 Below 10:30 pm Victor Provost, Reuben Rodgers, Alioune Faye • Alex Obert’s Hollow Bones Via Della Pace 10 pm WYCLIFFE GORDON QUARTET Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Yuko Okamoto Trio Tomi Jazz 8 pm WYCLIFFE GORDON, AARON DIEHL • Hector Martignon Quartet Dizzy’s Club 12:45 am $20 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10 YASUSHI NAKAMURA, MARION FELDER êMarc Ribot Trio with Henry Grimes, Chad Taylor • Sam Raderman Quartet Smoke 11:30 pm $25 COVER + $15 MINIMUM Village Vanguard 9, 11 pm $25 • Stan Rubin Orchestra Swing 46 8:30 pm • David Schnug Papa’s Gino’s Restaurant 8:30 pm WED. JUNE 13 • Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy • Alex Terrier Trio Antibes Bistro 7:30 pm Birdland 8:30, 11 pm $30-40 • Justin Wert/Corcoran Holt Benoit 7 pm VANESSA TROUBLE & COMPANY • Lucio Ferrara The Bar on Fifth 8 pm • Bill Wurtzel/Tony Decaprio American Folk Art Museum Lincoln Square 2 pm FEATURING STEVE SALERNO • Joel Forrester Bryant Park 12:30 pm • Bill Wurtzel Duo Velour Lounge 6:30 pm VANESSA TROUBLE, STEVE SALERNO • Jordan Young Group Bflat 8:30 pm PLUS SPECIAL GUESTS THURSDAYS $10 COVER + $15 MINIMUM • Jason Campbell Trio Perk’s 8 pm Saturday, June 30 • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) THURS. JUNE 14 • JaRon & Emme One Fish Two Fish 7:30 pm • Deborah Latz/Ray Parker Cornelia Street Café 6 pm • Jazz Meets HipHop Smoke 11:30 pm KATSUKO TANAKA QUARTET êKermit Driscoll Quartet with Kris Davis, Ben Monder, Tom Rainey • Jazz Open Mic Perk’s 8 pm KATSUKO TANAKA, STACY DILLARD Cornelia Street Café 9, 10:30 pm $15 • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm DANTON BOLLER, WILLIE JONES III • Phillip White, Taylor Levine, Ches Smith; Maryclare Brzytwa, Zeena Parkins, • Latin Jazz Jam Nuyorican Poets Café 9 pm $10 COVER + $15 MINIMUM • Barry Levitt Trio 54 Below 10:30 pm Ha-yang Kim, Shayna Dunkelman The Stone 8, 10 pm $10 • Michael Mwenso and Friends Dizzy’s Club 11 pm FRI. & SAT. JUNE 15 & 16 • Human Element: Matthew Garrison, Scott Kinsey, Arto Tuncboyaciyan, Gene Lake with • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) ShapeShifter Lab Orchestra ShapeShifter Lab 8 pm FRIDAYS JANIS MANN QUARTET • Dominick Farinacci Group Joe’s Pub 7 pm $20 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm JANIS MANN, KENNY WERNER • Rez Abbasi Trio with Sean Conly, Ronen Itzik • Deep Pedestrian Sintir 8 pm MARTIN WIND, TIM HORNER Bar Next Door 7:30, 9:30, 11:30 pm $12 • Charles Downs’ Centipede The Complete Music Studio 7 pm $25 COVER + $15 MINIMUM • Spy Music Festival: Rhys Chatham Guitar Trio with Adam Wills, Charlie Looker, • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm • Ken Fowser Quintet Smoke 12:30 am WED. JUNE 20 Mark Pearson, Jason Sanford, Kevin Micka, Sarah Lipstate, Sarah Richardson, • Kengo Nakamura Trio Club A Steakhouse 11 pm DAN TEPFER TRIO Steve Gunn, Chris Weiss, Caley Monahan-Ward, Kid Millions; Neptune: Jason Sanford, • Brian Newman Quartet Duane Park 10:30 pm DAN TEPFER, JORGE ROEDER, TED POOR Mark Pearson, Kevin Micka; Extra Life: Charlie Looker, Caley Monahon-Ward, • Frank Owens Open Mic The Local 802 6 pm $10 COVER + $15 MINIMUM Nick Podgurski Issue Project Room 7 pm $12 • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) • Shimrit Shoshan; Carlos Abadie Quintet • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) THURS. JUNE 21 Fat Cat 7, 10 pm • Bill Saxton and Friends Bill’s Place 9, 11 pm $15 David Cook Tea Lounge 9 pm SATURDAYS JILLIAN LAURAIN QUARTET • • Candy Shop Boys Duane Park 8, 10:30 pm JILLIAN LAURAIN, MATT BAKER • Dee Cassella with Matt Baker, Dan Lipsitz, Jimmy Lopez, Nick Wright; Fredrick Levore • Jesse Elder/Greg RuggieroRothmann’s 6 pm TOM HUBBARD, DOROTA PIOTROWSKA with Lou Rainone, Paul Beaudry, Steve Johns; Victor Jones Trio • Joel Forrester solo Indian Road Café 11 am $10 COVER + $15 MINIMUM Somethin’ Jazz Club 5, 7, 9, 11 pm $10 • Guillaume Laurent/Luke Franco Casaville 1 pm • Shoko Amano Trio; Shin Sakaino Trio • Johnny O’Neal Smoke 12:30 am FRI. & SAT. JUNE 22 & 23 Tomi Jazz 8, 11 pm $10 • Skye Jazz Trio Jack 8:30 pm JOE LOCKE QUARTET Ken Simon Quartet Cleopatra’s Needle 8 pm • Michelle Walker/Nick Russo Anyway Café 9 pm • • Bill Wurtzel Duo Henry’s 12 pm JOE LOCKE, ELDAR DJANGIROV ê Charlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, SUNDAYS MIKE POPE, CLARENCE PENN Dave Green Iridium 8, 10 pm $65 • Bill Cantrall Trio Crescent and Vine 8 pm $25 COVER + $15 MINIMUM êMiles Davis Festival 2012: Tom Harrell Quintet with Wayne Escoffery, Danny Grissett, • Marc Devine Trio TGIFriday’s 6 pm Ugonna Okegwo, Johnathan BlakeSmoke 8, 10, 11:30 pm $35 • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm WED. JUNE 27 êRalph Alessi Quartet with Jason Moran, Drew Gress, Nasheet Waits • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm SALLY NIGHT QUARTET The Jazz Gallery 9, 10:30 pm $20 • Sean Fitzpatrick and Friends Ra Café 1 pm CD PROMOTIONAL EVENT "LOVE FOR SALE" • Joel Forrester solo Grace Gospel Church 11 am SALLY NIGHT, JOHN DI MARTINO • Chris Washburne Quartet with , , Tony Moreno; • Nancy Goudinaki’s Trio Kellari Taverna 12 pm Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Chuck Riggs ED HOWARD, GREG HUTCHINSON • Enrico Granafei solo Sora Lella 7 pm $10 COVER + $15 MINIMUM Smalls 7:30 10 pm $20 • Annette St. John; Allan Harris; Jason Teborek Smoke 11:30 am, 7, 11:30 pm • Cassandra Wilson Blue Note 8, 10:30 pm $55 • Stan Killian Trio Ocean’s 8 8:30 pm THURS. JUNE 28 • Cyrus Chestnut Trio with Dezron Douglas, Neal Smith and guest James Carter • Bob Kindred Group Café Loup 12:30 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Alexander McCabe Trio CJ Cullens Tavern 5 pm TONY MIDDLETON QUARTET • Junior Mance Trio Café Loup 6:30 pm “BIRTHDAY BASH” • Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, • Peter Mazza Bar Next Door 8 pm $12 Victor Provost, Reuben Rodgers, Alioune Faye TONY MIDDLETON, JESSE ELDER • Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 KENJI YOSHITAKE, JACOB MELCHIOR Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Lu Reid Jam Session Shrine 4 pm $10 COVER + $15 MINIMUM • Hector Martignon Quartet Dizzy’s Club 12:45 am $20 • Vocal Open Mic; Johnny O’Neal solo Smalls 5, 9:30 pm êMarc Ribot Trio with Henry Grimes, Chad Taylor • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm FRI. & SAT. JUNE 29 & 30 Village Vanguard 9, 11 pm $25 • Annette St. John and Trio Smoke 11:30 am, 1, 2:30 pm • Secret Architecture Caffe Vivaldi 9:45 pm TO BE ANNOUNCED • Yellowjackets: Russell Ferrante, Bob Mintzer, Felix Pastorius, William Kennedy • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm Birdland 8:30, 11 pm $30-40 • Swingadelic Swing 46 8:30 pm $25 COVER + $15 MINIMUM • Lucio Ferrara The Bar on Fifth 8 pm • Cidinho Teixeira Zinc Bar 10, 11:30 1 am RESERVATIONS - 212-885-7119 • Matt Parker Quartet; Joonsam Lee Trio; Virginia Mayhew Quartet • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork • Brian Woodruff Jam Blackbird’s 9 pm www.kitano.com • email: [email protected] The Garage 12, 6:15, 10:45 pm 66 Park Avenue @ 38th St.

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

• 5C Café 68 Avenue C (212-477-5993) • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: F to Second Avenue www.5ccc.com • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • 54 Below 254 West 54th Street Subway: N, Q, R to 57th Street; (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com • Night of the Cookers 767 Fulton Street, Brooklyn B, D, E to Seventh Avenue www.54below.com • Cornelia Street Café 29 Cornelia Street (212-989-9319) (718-797-1197) Subway: C to Lafayette Avenue • 55Bar 55 Christopher Street (212-929-9883) Subway: A, B, C, D, E, F to W. 4th Street www.corneliastreetcafé.com • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1 to Christopher Street www.55bar.com • The Counting Room 44 Berry Street (718-599-1860) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • 92YTribeca 200 Hudson Street Subway: L to Bedford Avenue www.thecountingroombk.com • North Square Lounge 103 Waverly Place (212-254-1200) (212-601-1000) Subway: 1, A, C, E to Canal Street www.92y.org • Creole 2167 3rd Avenue at 118th Street Subway: A, B, C, E, F to West 4th Street www.northsquarejazz.com • ABC No-Rio 156 Rivington Street (212-254-3697) (212-876-8838) Subway: 6 th 116th Street www.creolenyc.com • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) Subway: J,M,Z to Delancey Street www.abcnorio.org • Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street Subway: 6 to 33rd Street • Alor Café 2110 Richmond Road, Staten Island (718-351-1101) (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria • Nublu 62 Avenue C between 4th and 5th Streets www.alorcafe.com • Crooked Knife 29 East 30th Street (212-696-2593) (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: 6 to 33rd Street www.thecrookedknife.com • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C Subway: E to 53rd Street www.folkartmuseum.org • Damrosch Park at Lincoln Center Broadway and 62nd Street (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • An Beal Bocht Café 445 W. 238th Street Subway: 1 to 66th Street www.lincolncenter.org • Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue Subway: 1 to 238th Street www.anbealbochtcafe.com • David Rubenstein Atrium Broadway at 60th Street (212-258-9800) (718-857-5555) Subway: B, Q to Seventh Avenue • Antibes Bistro 112 Suffolk Street (212-533-6088) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • One Fish Two Fish 1399 Madison Avenue Subway: J, Z to Essex Street www.antibesbistro.com • Death By Audio 49 S. 2nd St between Wythe and Kent (212-369-5677) Subway: 4, 5, 6 to 96th www.onefishtwofish.com • Antique Garage 41 Mercer Street (212-219-1019) Subway: L to Bedford www.entertainment4every1.net/shows • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and Subway: N, Q, R, W to Canal Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) 160th Streets (212-781-6595) Subway: C to 155th Street • Anyway Café 34 E. 2nd Street (212-533-3412) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org www.parlorentertainment.com Subway: F to Second Avenue • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) • The Plaza Hotel Rose Club Fifth Avenue at Central Park South • Ardesia Wine Bar 510 West 52nd Street Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com • Douglass Street Music Collective 295 Douglass Street • Prospect Park Bandshell Subway: F to Prospect Park • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: R to Union Street www.295douglass.org www.bricartsmedia.org Subway: 1 to Christopher Street www.arthurstavernnyc.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Red Rooster Harlem 310 Malcolm X Boulevard • Arturo’s 106 W. Houston Street (at Thompson Street) Subway: F to East Broadway www.downtownmusicgallery.com (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com (212-677-3820) Subway: A, B, C, D, E, F to W. 4th Street • Drom 85 Avenue A (212-777-1157) • Rhythm Splash 673 Flatbush Avenue • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn Subway: F to Second Avenue www.dromnyc.com Subway: B, Q to Parkside Avenue (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 • Duane Park 157 Duane Street (212-732-5555) • Roulette 509 Atlantic Avenue to Atlantic Avenue www.bam.org Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Dwyer Cultural Center 259 St. Nicholas Avenue • Rubin Museum 150 West 17th Street (212-620-5000) Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com (212-222-3060) Subway: D to 125th Street www.dwyercc.org Subway: A, C, E to 14th Street www.rmanyc.org • Bflat 277 Church Street (between Franklin and White Streets) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • St Andrew Avellino RC Church 3350 158th Street, Flushing Subway: 1, 2 to Franklin Streets Subway: C, E to Spring Street www.earinn.com (718-445-7012) Subway: 7 to Main Street, Q28 or Q13 bus • The Backroom 627 5th Avenue (718-768-0131) • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: D, N, R to Prospect Avenue www.freddysbar.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Bar 4 15th Street and 7th Avenue, Brooklyn • Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) (718-832-9800) Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org www.bar4brooklyn.com • The Firehouse Space 246 Frost Street • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: L to Graham Avenue www.thefirehousespace.org Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html Subway: A, C, E, F to W. 4th Street www.lalanternacaffe.com • Flute Gramercy 40 E. 20th Street • Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • The Bar on Fifth 400 Fifth Avenue (212-529-7870) Subway: 6 to 23rd Street www.flutebar.com www.seedsbrooklyn.org (212-695-4005) Subway: 6 to 33rd Street www.jazzbaronfifth.com • For My Sweet Restaurant 1103 Fulton Street at Claver Place • ShapeShifter Lab 18 Whitwell Place • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (718-857-1427) Subway: C to Franklin Avenue (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: F to 7th Avenue www.barbesbrooklyn.com • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Showman’s 375 West 125th Street at Morningside) (212-864-8941) • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street (718-625-9339) Subway: G to Fulton Street Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Benoit 60 W. 55th Street • The Garage 99 Seventh Avenue South (212-645-0600) • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: F to 57th Street, N, Q, R,W to 57th Street Subway: 1 to Christopher Street www.garagerest.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Gershwin Hotel Living Room 7 East 27th Street • Sidewalk Café 94 Avenue A at E. 6th Street Subway: 6 to Astor Place (212-281-0777) Subway: 2, 3 to 125th Street (212-545-8000) Subway: 6 to 28th Street • Sintir 424 E. 9th Street between Avenue A and First Avenue • Birdland 315 W. 44th Street (212-581-3080) • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) (212-477-4333) Subway: 6 to Astor Place Subway: A, C, E, to 42nd Street www.birdlandjazz.com Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Blackbird’s 41-19 30th Avenue (718-943-6898) • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com Subway: R to Steinway Street www.blackbirdsbar.com (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com • Smoke 2751 Broadway between 105th and 106th Streets • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Grace Gospel Church 589 East 164th Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: A, B, C, D, E, F to W. 4th Street www.bluenotejazz.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street • Bohemian National Hall 321 East 73rd Street (212-988-1733) • Greenwich House Music School 46 Barrow Street • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: 6 to 68th Street www.bohemiannationalhall.com (212-242-4770) Subway: 1 to Christopher Street Subway: 6 to 51st Street; E to 53rd Street www.somethinjazz.com/ny • Bowery Poetry Club 308 Bowery (between 1st and Bleeker Streets) • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street • Sora Lella 300 Spring Street (212-366-4749) (212-614-0505) Subway: F to Second Avenue; 6 to Bleecker Street • Highline Ballroom 431 W 16th Street Subway: C, E to Spring Street www.soralellanyc.com www.bowerypoetry.com (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Steinway Hall 109 W. 57th Street (212-246-1100) • Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and • I-Beam 168 7th Street between Second and Third Avenues Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.steinwayhall.com Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com Subway: F to 4th Avenue www.ibeambrooklyn.com • The Stone Avenue C and 2nd Street • Brandy Library 25 N. Moore Street • Indian Road Café 600 West 218th Street @ Indian Road Subway: F to Second Avenue www.thestonenyc.com (212-226-5545) Subway: 1 to Franklin Street (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Swing 46 349 W. 46th Street (646-322-4051) • Brecht Forum 451 West Street (212-242-4201) • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: A, C, E to 42nd Street www.swing46.com Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org Subway: 5 to Sterling Street www.plgarts.org • Sycamore 1118 Cortelyou Road (347-240-5850) • Brooklyn Botanic Garden 900 Washington Avenue • Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com (718-623-7333) Subway: B, Q to Prospect Park www.bbg.org Subway: 1,2 to 50th Street www.theiridium.com • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre • Brooklyn Children's Museum 145 Brooklyn Avenue (718-735-4400) • Irondale Center 85 South Oxford Street 2537 Broadway at 95th Street (212-864-5400) Subway: 4 to Atlantic-Pacific then B65 Bus www.brooklynkids.org Subway: C Lafayette Street; G to Fulton Street www.gimmeartirondale.com Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Brooklyn Friends School 375 Pearl Street (718-852-1029) • Issue Project Room 110 Livingston Street • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: A, C, F to Jay Street www.brooklynfriends.org Subway: 4, 5 to Borough Hall www.issueprojectroom.org Subway: N, R to Union Street www.tealoungeNY.com • Brooklyn Lyceum 227 4th Avenue (718-857-4816) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • Tenri Cultural Institute 43A West 13th Street between Fifth and Sixth Subway: R to Union Street www.brooklynlyceum.com • Jazz @ the Crypt Church of the Intercession 550 W. 155th Street Avenues Subway: F to 14th Street www.tenri.org • Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) (212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org • Three Jolly Pigeons 6802 3rd Avenue, Brooklyn Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (718-745-9350) Subway: R to Bay Ridge Avenue • Brooklyn Public Library Central Branch Subway: 4, 5, 6 to Grand Central www.kitano.com • Tomi Jazz 239 E. 53rd Street (646-497-1254) Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue • The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: 6 to 51st Street www.tomijazz.com • Brooklyn Terrace 216-228 Duffield Street (347-390-1891) Subway: C, E, to Spring Street www.jazzgallery.org • Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) Subway: J to Jay Street; 2, 3 to Hoyt Street www.brooklynterrace.com • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org • Buona Sera 12th Street and University Place Subway: 6 to 125th Street www.jazzmuseuminharlem.org • Tutuma Social Club 164 East 56th Street 646-300-0305 Subway: 4, 5, 6, L, N, R, Q, W to Union Square • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: 4, 5, 6 to 59th Street www.TutumaSocialClub.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Union Pool 484 Union Avenue at Meeker (718-609-0484) Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • Joe G’s 244 West 56th Street (212-765-3160) Subway: L to Lorimer Street • CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • University of the Streets 130 East 7th Street Subway: 2 to Nereid Avenue/238th Street • Joe’s Pub 425 Lafayette Street (212-539-8770) (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • Cabrini Green Urban Meadow President and Van Brunt Streets Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com • Urban Stages 259 West 30th Street Subway: 1 to 28th Street Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus • Kellari Taverna 19 West 44th Street (212-221-0144) • Velour Lounge 297 10th Avenue • Café Carlyle 35 East 76th Street (212-744-1600) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com Subway: 6 to 77th Street www.thecarlyle.com • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • Via Della Pace 48 East 7th Street and Second Avenue • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com (212-253-5803) Subway: 6 to Astor Place (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • The Village Trattoria 135 West 3rd Street (212-598-0011) • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q to W. 4th Street Subway: R to Prospect Avenue www.korzorestaurant.com Subway: A, B, C, D, E, F to W. 4th Street www.thevillagetrattoria.com www.caffevivaldi.com • The Lambs Club 132 W. 44th Street • Village Vanguard 178 Seventh Avenue South at 11th Street • Campos Plaza Playground East 13th Street between Avenues B and C 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: L to 1st Avenue • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Casaville 633 Second Avenue Subway: A, B, C, D, E, F to W. 4th Street www.lepoissonrouge.com (718-721-3010) Subway: N to Ditmars Blvd-Astoria (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets • Walker’s 16 North Moore Street (212-941-0142) • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace (212-427-0253) Subway: 2, 3 to 125th Street Subway: A, C, E to Canal Street (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com • Littlefield 622 Degraw Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • The Center for Jewish Arts and Literacy 325 E. 6th Street (212-473-3665) (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: 6 to Astor Place www.eastvillageshul.com • The Local 269 269 East Houston Street at Suffolk Street • The Waterfront Museum Brooklyn Bridge Park, Pier 6 Furman Street and • Charley O’s 1611 Broadway at 49th Street (212-246-1960) Subway: F, V to Second Avenue www.thelocal269.com Atlantic Avenue Subway: F, G to Bergen Street Subway: N, R, W to 49th Street • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Water Street Restaurant 66 Water Street (718-625-9352) • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org Subway: F to York Street, A, C to High Street Subway: C to Clinton-Washington Avenues www.bistrolola.com • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) • Williamsburg Music Center 367 Bedford Avenue • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) Subway: 1 to 145th Street www.londelsrestaurant.com (718-384-1654) Subway: L to Bedford Avenue Subway: C to Lafayette Avenue www.chezoskar.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • World Financial Center Plaza Subway: E to World Trade Center • Church For All Nations 417 West 57th Street between 9th & 10th Avenues (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com www.worldfinancialcenter.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Maison Premiere 298 Bedford Avenue • Yippie Café Manhattan 9 Bleeker Street between Elisabeth and Bowery www.hkculturalcenter.org (347-335-0446) Subway: L to Bedford Avenue www.maisonpremiere.com Subway: 6 to Bleeker Street • Church of the Ascension 12 W. 11th Street (212-254-8620) • Manhattan Inn 632 Manhattan Avenue • York College Performance Space 94-20 Guy R. Brewer Subway: 4, 5, 6, N, R to 14th Street-Union Square www.ascensionnyc.org (718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com Blvd., Subway: E to Jamaica Center www.york.cuny.edu • Citigroup Center Plaza 53rd Street and Lexington Avenue • Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam • Ze Couch Series 533 Ocean Avenue Subway: B, Q to Church Avenue Subway: 6 to 51st Street (212-501-3330) Subway: 1 to 66th Street-Lincoln Center • Zeb’s 223 W. 28th Street • Clemente Soto Velez Cultural Center 107 Suffolk Street www.kaufman-center.org 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: F, J, M, Z to Delancey Street www.visionfestival.org • Metropolitan Room 34 West 22nd Street (212-206-0440) • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: N, R to 23rd Street www.metropolitanroom.com Subway: L to Bedford Avenue www.zebuloncafeconcert.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Metrotech Commons corner of Flatbush and Myrtle Avenues • Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, C, E, F, • Club A Steakhouse 240 E. 58th Street (212-618-4190) (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall Grand Street Shuttle to W. 4th Street www.zincbar.com Subway: 4, 5, 6 to 59th Street www.clubasteak.com • Midwood Music 285 Midwood Street Subway: 2, 5 to Sterling Street

THE NEW YORK CITY JAZZ RECORD | June 2012 45 (DOEK CONTINUED FROM PAGE 13) made you realize how varied a Pat Metheny concert is. From a large poster on the wall, Frank Zappa observed Amsterdam’s Wilbert de Joode and Chicago’s Hamid the scene with his baleful black-eyed stare. Drake demonstrated contemporary Dutch-American The low point of the festival was an hour in Blæst fusion, with The Now quartet. The frontline was by the British/Norwegian band Food (Iain Ballamy, similarly divided between American flutist Nicole reeds; Thomas Strønen, drums; guests Petter Vågan Mitchell and saxophonist Peter van Bergen from the and Prakash Sontakke, guitars). It kept getting worse: Netherlands; that’s divided only in nationality, for the Sontakke’s moaning, quavering vocals, then Vågan’s players were equally proficient in mixing multiphonics, glacially slow solo, scraped with a violin bow, then minimalism and mellowness. Drake’s frame-drum long periods of catatonic ensemble silence broken rubs and occasional reggae backbeats didn’t preclude randomly by electronic burbles and oscillations. him from preserving a press-roll-and-rim-shot jazz But the bad taste left by Food was temporary. This pulse while no matter how many bass wood scratches festival was populated by brilliant Norwegians, many or vibrating buzzes dOeKer de Joode emphasized, his just starting out, most from NTNU. An irresistibly sturdy walking was omnipresent. Meantime Mitchell likable trio called Pelbo played plunging, bucking matched lyrical glissandi with rough piccolo tweets jazz-rock with only a drummer, a straight-faced singer while van Bergen moved between New Music-like and a kick-ass tuba player (Kristoffer Lo). spaciousness and mewling near-blues. The most Two piano trios were up-to-the-minute examples notable cooperation occurred when flute, tenor of what Stuart Nicholson has called “the Nordic tone”: saxophone and bass held a single, continuous tone as Splashgirl played the electronic version, Moskus the Drake decorated the line with hand-drum pops. acoustic. Anja Lauvdal of Moskus, with her fragmentary A stirring Dutch-dOeK variant on the Tough Tenor lyricism floating outside of time, is another pianist to tradition was apparent at two funky performance watch. A ten-piece student band, the NTNU spaces during the bus tour. At Kwikfiets, a combination Jazzensemble, performed diverse, complex material café, art gallery and bicycle repair shop (!), reedist Ab with fervor and precision (compositions by Ivar Baars went mano-a-mano with Brazilian-born tenor Gafseth, by Erik Johannessen). Not a saxophonist Yedo Gibson, backed by Finnish guitarist single soloist played anything obvious, including Mikael Szafirowski and drummer Gerri Jäger. Playing Peder Simonsen, the festival’s second fully articulate mostly Baars’ tunes, the two tenors’ styles were tuba improviser. distinctive even playing shoulder-to-shoulder. The The Trondheim Jazzorkester packed Blæst and no Brazilian’s snickering extensions encompassed reed wonder. They are a hilarious troupe of performance bites and tongue stops while Baars played mid-range, artists who are also an airtight ten-piece band. Their excepting sporadic altissimo leaps. With Baars on shtick included mimes, clowns, balloons, champagne clarinet, shaggy group harmonies approximated those servings and trombonists who took smoking solos of Tim Berne’s recent bands, especially when with red balls on their noses. Szafirowski alternated finger slides and slashing One concert at this festival stood alone. It was distortion as the drummer smacked wood blocks or enclosed and magical. Bugge Wesseltoft’s solo piano bounced handfuls of straw on drum tops for unique recital under the dome of an old church, Vår Frue rhythms. Sticking to tradition, the band also alluded to Kirke, opened with “My Foolish Heart”. It was freer Monk, Trane, Cool Jazz and the blues. than Bill Evans‘ version at the Village Vanguard, pieced Meanwhile at OT301, the former Netherlands Film out even more slowly. But it unfolded within a similar Academy, contrasting tenor saxophone stylists hush that drew the large crowd into a rapt shared American John Dikeman, another dOeK member, and experience. Wesseltoft played only ballads and Delius were set off by Wierbos’ trombone skills. standards. He flowed very far from their forms but Sometimes the trombonist’s cup-muted growls and distilled their emotions. “Moon River” was bare Delius’ spacious vibrato sounded like they migrated chimings. “When I Fall in Love” was a whisper of from a foot-tapping Swing-Era jam session, although tenderness. In this marvelous acoustic environment, he the rhythm section included synthesizer and electric could lightly touch one piano key and fill the large bass. Still chief attraction was the rugged power church with sound. created by the two tenor saxophonists. Playing Earlier, during the Jazz Summit, Wesseltoft had originals ranging from ballad approximations to said that the power of live music depends on the rocking bar-room stompers, the two maintained their mysterious interactive connection between artist and individuality. In contrast to Delius’ studied classicism, audience. In Vår Frue Kirke, he never once broke the Dikeman extended energy music. And if energy was bond. needed there was no better example than the sextet’s first tune, an African-influenced piece composed by For more information, visit jazzfest.no Bergin. A go-for-broke workout, the dynamic performance combined joyous Township jive, staccato rhythms and snapping solos, whose mulch of blues, jazz and that indefinable other went a long way towards defining the sounds that characterized the dOeK Festival overall. v

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drums; James Allsopp: reeds; Adrien Dennefeld: cello) played airy, clean, fresh concepts that left you wanting more. filled Dokkhuset to overflowing, but his trio burned you out in four or five tunes. Holdsworth is a guitar god in a domain he helped invent, progressive jazz-rock. But every piece was a blistering onslaught of guitar overkill. There was one sonority (shrieking) and one tempo (turbo). It

46 June 2012 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM By Andrey Henkin BARBARA BUCHHOLZ - a bassist, Buchholz PHOEBE JACOBS - The philanthropist was first introduced HAL MCKUSICK - The ‘40s saw the alto saxophonist went on to become one of the leading performers on theremin, to jazz and jazz legends like , Duke Ellington working with the big bands of Les Brown, the early electronic instrument played by proximity of the and as a hatcheck girl at her uncle’s club. and Buddy Rich. During the ‘50s McKusick was a busy studio hands to a pair of antennae, going on to work with Arve Later she became Louis Armstrong’s publicist and then musician, recorded with Terry Gibbs, Charles Mingus and Henriksen and Jazz Bigband Graz as well as in the worlds of Executive Vice President of the Louis Armstrong Educational George Russell and released close to 10 albums as a leader ballet and opera. Buchholz died Apr. 10th at 52. Foundation, Inc., which maintained the trumpeter’s legacy. from 1955-59. McKusick died Apr. 11th at 87. Jacobs was also a founding member of the Jazz Foundation of BILL CALDWELL - The stalwart Kansas City saxophonist, America. Jacobs died Apr. 9th at 93. GEORGE MESTERHAZY - The pianist had his greatest who also tripled on clarinet and flute, was a member of visibility as arranger/musical director for vocalist Paula West several large jazz ensembles such as Woody Herman Big ART JENKINS - Many of the vocals featured in the though his early work was with older singers like Shirley Band, Tommy Dorsey Orchestra, Kansas City Boulevard Big Arkestra were performed by Jenkins, who first joined the Horn and Rebecca Paris. Mesterhazy was responsible for Band, Glenn Miller Orchestra and was a featured player with pianist in 1960 and recorded seven albums with his group adapting a wide range of pop and American standards for the Kansas City Jazz Orchestra. Caldwell died in late March through 1971, as well as appearing on a pair of Eddie Gale West and leading her band during their six-year partnership. at 49. albums. After stepping away from music for a couple of Mesterhazy died Apr. 12th at 58. decades, Jenkins rejoined the Arkestra in 1988 and appeared TEDDY CHARLES - One of the pioneering vibraphonists in on another seven albums. Jenkins died Apr. 13th at 77. JOE MURANYI - The clarinetist was a member of the final jazz, Charles was also a pianist and occasional drummer, iteration of Louis Armstrong’s All-Stars from 1967-71 but also working during the ‘50s-60s with Miles Davis, Charles VIRGIL JONES - The trumpeter worked with a wide range worked with Nina Simone in the late ‘50s and, after Mingus, and others along with releasing a number of players such as Milt Jackson, Archie Shepp, Johnny Armstrong’s death, and Lionel Hampton. of solid albums as a leader in the ‘50s, mostly on Prestige. Hammond Smith and Charles Tolliver in the ‘60s-70s and Muranyi died Apr. 20th at 84. Charles dropped out of music in the early ‘60s, eventually then later in his career in the brass sections of big bands led becoming a charter boat captain before returning to the jazz by McCoy Tyner and Jimmy Heath. Jones died Apr. 20th at 73. UELI STAUB - The Swiss vibraphonist was in the underrated spotlight in the early aughts largely through the efforts of Metronome Quintet, which released a few modern European saxist Chris Byars. Charles died Apr. 16th at 84. TONY MARSH - A longtime member of an unrecorded trio jazz albums in the ‘60s-70s. Staub died Apr. 9th at 78. with Evan Parker and John Edwards, the British drummer RODGERS GRANT - The pianist, who worked with Mongo was in the bands of Harry Beckett, Mike Westbrook, Didier ROB VAN DEN BROECK - The Dutch pianist was a member Santamaria, Hubert Laws and Sonny Fortune, among others, Levallet and Mike Osborne, took part in a number of of the European Jazz Ensemble led by bassist Ali Haurand was equally known as a composer, penning such tunes as collaborative improvising groups and in 2009 released his and also had in his discography albums with Chris Hinze, a “Just Say Goodbye”, “Miedo”, “Morning Star” and “Yeh only album as a leader, a series of duets with Veryan Weston, collaborative trio with Haurand and saxist Gerd Dudek, his Yeh”, later given lyrics by . Grant died Apr. on Evan Parker’s psi label. Marsh died Apr. 9th at 72. group Free Fair and a single disc as a leader, a duo with 12th at 76. bassist Wiro Mahieu. Van Den Broeck died Apr. 29th at 71. BIRTHDAYS June 1 June 6 June 11 June 15 June 21 June 26 †Nelson Riddle 1921-85 †Jimmie Lunceford 1902-47 †Clarence “Pine Top” Smith †Allan Reuss 1915-1988 †Dewey Jackson 1900-94 †Teddy Grace 1905-92 † 1924-2009 †Raymond Burke 1904-86 1904-29 † 1921-77 †Jamil Nasser 1932-2010 †Don Lanphere 1928-2003 †Hal McKusick 1924-2012 †Gil Cuppini 1924-96 †Shelly Manne 1920-84 †Jaki Byard 1922-99 Lalo Schifrin b.1932 †Jimmy Deuchar 1930-93 Lennie Niehaus b.1929 †Grant Green 1931-79 †Hazel Scott 1920-81 Mel Moore b.1923 Jon Hiseman b.1944 b.1934 Rossano Sportiello b.1974 Monty Alexander b.1944 †Bob Gordon 1928-55 b.1938 Chuck Anderson b.1947 Reggie Workman b.1937 † 1946-79 Nils Lindberg b.1933 b.1970 Joey Baron b.1955 June 2 Paul Lovens b.1949 Bernard “Pretty” Purdie b.1939 June 16 Bill Cunliffe b.1956 †Ernie Hood 1923-91 G. Calvin Weston b.1959 Jamaaladeen Tacuma b.1956 †“Lucky” Thompson 1924-2005 June 22 b.1979 b.1929 Alex Sipiagin b.1967 †Clarence Shaw 1926-73 Ray Mantilla b.1934 John Pisano b.1931 June 7 Assif Tsahar b.1969 Joe Thomas b.1933 Hermeto Pascoal b.1936 June 27 b.1937 †Gene Porter 1910-1993 Tom Harrell b.1946 Heikki Sarmanto b.1939 †Elmo Hope 1923-67 Irene Schweizer b.1941 †Tal Farlow 1921-98 June 12 Fredy Studer b.1948 Eddie Prevost b.1942 George Braith b.1939 June 9th, 1945 Matthew Garrison b.1970 †Tina Brooks 1932-74 b.1936 Mike Baggetta b.1979 Ed “Milko” Wilson b.1944 Todd Herbert b.1970 The guitarist’s discography is Noah Preminger b.1986 Norberto Tamburrino b.1964 Kent Carter b.1939 Ryan Keberle b.1980 Devin Gray b.1983 Chick Corea b.1941 June 23 June 28 not extensive - a handful of June 3 Jesper Lundgaard b.1954 June 17 †Eli Robinson 1908-72 †Jimmy Mundy 1907-83 discs as a leader since his 1978 †Carl Pruitt 1918-1977 June 8 Geri Allen b.1957 †Lorenzo Holden 1924-87 † 1910-2000 †Arnold Shaw 1909-89 ECM debut In Pas(s)ing; Al Harewood b.1923 †Billie Pierce 1907-74 Oscar Feldman b.1961 Frank E. Jackson, Sr. b.1924 †Eddie Miller 1911-91 Gene Traxler b.1913 membership in and albums Phil Nimmons b.1923 †Erwin Lehn 1919-2010 Christian Munthe b.1962 b.1940 †Helen Humes 1913-81 †Pete Candoli 1923-2008 recorded with the groups of †Dakota Staton 1932-2007 †Kenny Clare 1929-85 Peter Beets b.1971 b.1957 †Lance Harrison 1920-2000 Bobby White b.1926 Gary Burton, †Bob Wallis 1934-91 Bill Watrous b.1939 †George Russell 1923-2009 b.1952 and , among Ted Curson b.1935 Julie Tippetts b.1947 June 13 June 18 † 1925-89 Tierney Sutton b.1963 others - but his significance is Grachan Moncur III b.1937 Uri Caine b.1956 †Charlie Elgar 1885-1973 † 1913-93 †Hank Shaw 1926-2006 Aaron Alexander b.1966 substantial as an educator. His Corey Wilkes b.1979 † 1905-97 William Hooker b.1946 b.1960 Jesse Stacken b.1978 The Advancing Guitarist (Hal June 9 †Eddie Beal 1910-84 Leonard, 1987) is required June 4 †Les Paul 1915-2009 †Phil Bodner 1919-2008 June 19 June 24 June 29 reading, not strictly an †Teddy Kotick 1928-86 † 1926-2008 †Attila Zoller 1927-98 †Joe Thomas 1909-86 †Charlie Margulis 1903-67 †Mousey Alexander 1922-88 instruction manual but more †Oliver Nelson 1932-75 †Eje Thelin 1938-90 Buddy Catlett b.1933 †Jerry Jerome 1912-2001 †Manny Albam 1922-2001 † 1922-2001 of a treatise on being a creative †Alan Branscombe 1936-86 Kenny Barron b.1943 Frank Strozier b.1937 Al Kiger b.1932 George Gruntz b.1932 †Ove Lind 1926-1991 Mark Whitecage b.1937 Mick Goodrick b.1945 Harold Danko b.1947 Chuck Berghofer b.1937 †Frank Lowe 1943-2004 b.1935 musician. Goodrick attended Ted Daniel b.1943 Mike Khoury b.1969 Paul Nieman b.1950 †Clint Houston 1946-2000 Ike Sturm b.1978 Berklee College of Music, Anthony Braxton b.1945 June 10 Billy Drummond b.1959 Greg Burk b.1969 graduating in 1967 alongside Paquito D’Rivera b.1948 †Chink Martin 1886-1981 June 14 John Hollenbeck b.1968 Bernardo Sassetti b.1970 June 30 peer/future collaborator John Winard Harper b.1962 †Willie Lewis 1905-71 †John Simmons 1918-79 †Harry Shields 1899-1971 Abercrombie, teaching at the † 1907-85 Burton Greene b.1937 June 20 June 25 Grady Watts b.1908 school for four years after June 5 †Guy Pedersen 1930-2005 Pete Lemer b.1942 †Doc Evans 1907-77 †Jean Roberts 1908-81 †Lena Horne 1917-2010 graduation before returning as †Kurt Edelhagen 1920-82 †John Stevens 1940-94 Marcus Miller b.1959 †Lamar Wright 1907-73 b.1922 †Andrew Hill 1937-2007 a professor in 1997. He also †Specs Powell 1922-2007 Gary Thomas b.1961 b.1960 †Thomas Jefferson 1920-86 †Bill Russo 1928-2003 Chris Hinze b.1938 co-authored the two volumes † 1932-2004 b.1967 Diallo House b.1977 †Eric Dolphy 1928-64 Joe Chambers b.1942 Jasper Van’t Hof b.1947 of Mr. Goodchord’s Almanac of Misha Mengelberg b.1935 Jonathan Kreisberg b.1972 Loren Stillman b.1980 Joe Venuto b.1929 Marian Petrescu b.1970 Stanley Clarke b.1951 Guitar Voice-Leading. -AH Jerry Gonzalez b.1949 Ben Holmes b.1979 Ben Syversen b.1983 Anders Nilsson b.1974 John Yao b.1977 Ken Fowser b.1982 ON THIS DAY by Andrey Henkin

Monk’s Music Maggie’s Back In Town!! Listen to the Silence De Lawd’s Blues Live at Town Hall Thelonious Monk (Riverside) Howard McGhee (Contemporary) George Russell (Concept) Billy Mitchell (Xanadu) Jim Hall (Musicmasters) June 26th, 1957 June 26th, 1961 June 26th, 1971 June 26th, 1980 June 26th, 1990 By the time of his 40th birthday, The promise of trumpeter Howard Even in his small group postbop The tenor saxophonist made a name This concert, released in two volumes, pianist Thelonious Monk was a bona McGhee, a peer of Dizzy Gillespie, dates, composer/pianist George for himself in the ‘50s and ‘60s in a is both a career retrospective and fide jazz star, having already released was only partially fulfilled due to Russell was always a conceptualist. number of big bands, such as those reaffirmation of guitarist Jim Hall’s what many consider to be his best drug problems. After a few well- But his large group albums (1959’s led by Dizzy Gillespie and Count unparalleled place in jazz history. Old album (1956’s Brilliant Corners with received sessions in the late ‘40s, his New York, New York; 1961’s Jazz In The Basie, and as a sideman with Horace friends like bassist Ron Carter, Sonny Rollins) and collaborated with output in the ‘50s was sporadic and a Space Age) were his most vibrant Silver and Kenny Clarke. By the early trombonist Bob Brookmeyer and Art Blakey and John Coltrane on this brief early ‘60s flurry led to a decade canvas. By the time of this album, ‘60s Mitchell had come out as a leader, baritone saxist Gerry Mulligan make album, which also features the allstar hiatus on record. This album may be Russell had established himself in recording just over a dozen albums in appearances for duo performances. A lineup of trumpeter Ray Copeland, one of the finest in his ‘middle’ period, Scandinavia and expanded his vision. a career that ended with his 2001 string quartet is added to a couple of alto saxist , tenor saxist a quartet date with Phineas Newborn The core of this 18-piece ensemble death. For his third and final Xanadu quartet numbers and then Hall works Coleman Hawkins and bassist Wilbur Jr. (piano), (bass) and (Russell only playing tympani) were album, Mitchell is joined by Benny with a number of his progeny like Ware. The material mixes new soon- Shelly Manne (drums) on a program Norwegians like Jan Garbarek and Bailey (trumpet), John Scofield, John Abercrombie, to-be-classics like “Crepuscule With of standards, two pieces by tenor Terje Rypdal alongside a small vocal (piano), (bass) and Jimmy Mick Goodrick and Peter Bernstein, Nellie” with older staples like “Off saxophonist Teddy Edwards and the choir playing the over-45-minute title Cobb (drums) for a set of mostly ending with a guitar quintet reading Minor” and “Epistrophy”. leader’s original “Demon Chase”. piece, split into four “Event”s. bandmember originals. of his own “Careful”.

THE NEW YORK CITY JAZZ RECORD | June 2012 47