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AUGUST 2015—ISSUE 160 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

ORNETTE COLEMAN

MEMORIAMIN

MAHANTHAPPARUDRESH CALLING BIRD

CÉCILE CHARNETT MCLORIN FRANKLIN MULGREW MOFFETT SALVANT KIERMYER MILLER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 116 Pinehurst Avenue, Ste. J41 AUGUST 2015—ISSUE 160 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : by alex henderson Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Cecile McLorin Salvant 7 by russ musto [email protected] Advertising: On The Cover : Rudresh Mahanthappa 8 by terrell holmes [email protected] Editorial: [email protected] Encore : Franklin Kiermyer 10 by james pietaro Calendar: [email protected] Lest We Forget : 10 by ken dryden VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Xanadu 11 by donald elfman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, In Memoriam : 14 Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, CD Reviews 16 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 32 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 34 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman It’s a sad fact that jazz has already lost generation upon generation of its innovators (to provide perspective, began recording just before the death of Jelly Roll Morton Contributing Writers and himself died the same year the Adderley brothers first came to New York). We are reminded Mathieu Bélanger, George Kanzler, of the passing of greatness with the death of Ornette Coleman. To honor the seminal alto Mark Keresman, Ken Micallef, John Pietaro saxophonist, we devote two pages to remembrances from his Harmolodic family. Contributing Photographers Sara Anke, Mark Fitton, Pierre Langlois, But yesterday’s young lions are today’s elder statesmen. For our steamy August issue, our feature subjects will one day take their places in the jazz pantheon. Alto saxophonist Rudresh Alan Nahigian, Deirdre Rose, Trevor Jude Smith, Mahanthappa (On The Cover) is one of the most exciting players in jazz today and appropriately Robert I. Sutherland-Cohen, Jack Vartoogian celebrates his Charlie Parker tribute disc Bird Calls at the Charlie Parker Jazz Festival. Bassist Charnett Moffett (Interview), son of Ornette drummer , who plays Iridium this month, has been a presence since the mid ‘70s and even worked with his dad’s former boss. And vocalist Cécile McLorin Salvant (Artist Feature), who won the International Jazz Competition in 2010 and hasn’t looked back, is at for a week. nycjazzrecord.com While we lament the cold ashes of the past, we are warmed by the fire of the future. On The Cover: Rudresh Mahanthappa (© Jack Vartoogian/FrontRowPhotos) In Correction: In last month’s NY@Night, “Kush” played by Nasheet Waits was his original. In the obituaries, the label that released Jerome Cooper’s first record is Kharma. And in In Print, Tangent only had three jazz releases as part of a larger catalogue. All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

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Alto saxophonist/flutist Henry Threadgill’s sets with Compared with professional sports, jazz is kind to its his longstanding Zooid group have often seemed like elder statesmen (and women), who often get the artistic suites and on In For a Penny, In For a Pound, his recent job done despite flagging fitness. This was evident at release on (and fifth for the label with this Iridium (Jul. 10th) when 93-year-old vocalist John group), he capitalizes on that, crafting four set-length Hendricks sang his classic vocalese compositions with concertos for his hard-working ensemble. Playing the youthful gusto and abandon. After the backing quintet first set of the first night of a week-long run at the played ’s “Perdido”, Hendricks, in a Village Vanguard (Jul. 14th), the band kicked in with a shiny golden suit and Captain’s cap, came on with quick count-off as tight as one of ’s groups, vocalists Janis Siegel (of The Transfer) and or as tight as the Arditti Quartet. They played deeply Kevin Burke to perform two [Dave] Lambert, [Jon] together, not in the sense of landing on easy, countable Hendricks and [Annie] Ross (LH&R) numbers, “It’s beats but in moving with uniformity. They were tight in Sand, Man!” and “Come On Home” (the latter based a way that was like they’d been given very precise on Horace Silver’s record). This was followed by three instructions for building a bird’s nest. The leader Thelonious Monk tunes: “In Walked Bud”, with fine opened, as usual, on but after a lovely duet between scatting all around; “Reflections”, a ballad feature for guitarist and cellist Christopher Hendricks, whose emotional delivery prevailed over Hoffman switched to the alto . Like the star wobbling long tones; and “Hackensack”, on which he coming out after the band has warmed up the room, took a rambunctious, idea-packed scat solo. The Threadgill’s saxophone owned the stage. There have puckish nonagenarian took a break offstage while been constants in his four-decade career but none so Burke and Siegel covered Tom Jobim’s “If You Never strong as that sound. The third piece—or movement, Come to Me”, followed by Siegel’s rendition of Lee maybe—was slow and dark, save for Elliot Humberto Morgan’s “Sidewinder”, during which she nailed the Kavee’s quick drumming. The final section inverted the famous solo set to Hendricks’ lyric, and then ensemble with Threadgill shifting down to Burke’s neo-soul take on Ray Noble’s “The Very and Jose Davila, heard the whole of the night to that Thought of You”. Hendricks returned for four more point on tuba, picking up the trombone. Each played LH&R pieces—”Rhythm-a-ning”, “In a Mellow Tone”, strong solos but the solos weren’t what made them “Moanin’” and “Centerpiece” (the last two performed impressive. Moving together, they were and are, this as an encore) and a cover of ’s band, quite unlike any other. —Kurt Gottschalk version of “Ray’s Rockhouse”. —Tom Greenland a l n h i g T r e v o J u d S m i t h o b y o b y p h o t P h o t Henry Threadgill @ Village Vanguard Jon Hendricks @ Iridium

The endlessly melodic David Murray’s ‘outness’, “No, we’re not gonna play the national anthem,” even in his more adventurous days, has always come drummer wryly observed to the out in different ways than the usual Vision Festival Cornelia Street Café audience on that most patriotic of saxophonist. The tongue pops and overblown notes evenings (Jul. 4th), just before Paradoxical Frog, his are carefully placed within tightly constructed phrases collaborative trio with pianist Kris Davis and tenor that combine in long and articulate arcs. The man is saxophonist , began their first set. Yet very much a grammarian—in that regard, almost the music embodied the American spirit: a democratic conventional. As such, his love of was meeting of individual minds, bodies and souls to made all the more apparent at Judson Church (Jul. improvise together in real time. Tentative at first, 10th), in the middle of a festival that kneels at the feet dodging mic feedback, the trio very slowly but surely of . Murray used the occasion to give his mounted from slight gestures—Davis fluttering the guitarist son Mingus and two comrades (bassist keys incessantly, Laubrock honking and slap-, Burniss Earl Travis and drummer Chris Beck) a spot in Sorey malleting cymbals—to a sustained plateau. It the lights, playing a set that leaned toward light wasn’t the fireworks you’d see at a free-jazz skronk- Caribbean grooves with a soaring take on his “Flowers fest, but the swelling whistles and muted explosions for Albert” and blistering “Hope Scope”. Mingus is a had a powerful impact. At one point, Sorey’s thick, talented guitarist, interested in jazz phrasings as much sibilant cymbals, Laubrock’s crescendoing tenor and as he is electronic voicings. He may not have all of his Davis’ plunking high-low chords evoked a severe father’s eloquence (and truly, few do) but he can lay storm at sea, with musical winds and waves washing line after line without redundancy or running off over the crowd. Towards the end, the mostly course. The other two were more perfunctory but, with improvised set was augmented by one of Laubrock’s luck and hard work this won’t have been a chance in a new pieces, a Monk-like composition of muscular lifetime for them. The previous night, septuagenarian contours and abrupt ejaculations, followed by a drummer remarked that the members dramatic ritardando, bird-call effects from the piano, of his quintet were all senior citizens, drawing a robust some of the Laubrock’s loudest statements yet, then round of applause. In a year when Vision presented sudden drop-outs. Unlike its namesake, whose tadpole fewer “emerging” artists than in years, Murray is to be form is four times the adult size, Paradoxical Frog commended for giving some kids a break—even if one seems to grow its smallest ideas into big and even #CHARLIEPARKERJAZZFEST of them was his own. (KG) bigger results. (TG)

4 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD Argentine clarinetist Guillermo Gregorio, in addition “This will be an evening of Latin Jazz,” announced to recordings on hatOLOGY and collaborations with Eddie Palmieri to the opening night crowd at Blue Franz Koglmann, and Mats Note (Jul. 8th). “These incredible rhythms came from WHAT’S NEWS Gustafsson, among others, has a degree in architecture Africa,” he added as part of a brief history lesson and has spent years teaching design and visual before the three-man percussion section of Camilo Queens’ Louis Armstrong House Museum and communication at universities in his native country Molina, “Little Johnny” Rivero and Anthony Carillo on ’ Louisiana State Museum have and in the U.S. At Spectrum’s Spectral Interzone series timbales, conga and bongo and bell, respectively, made come together for the exhibition Satchmo: His (Jul. 2nd), he performed with his Intersection Trio apparent the music’s lineage. A fiery drum exposition Life in New Orleans in celebration of the alongside bassist/series curator Nicolas Letman- started off the pianist’s “Coast To Coast” prior to the centennial of the trumpeter’s first professional gig. Burtinovic and violinist Ernesto Llorens and his entry of the young frontline to his new Hot Latin Jazz educational background was on full ‘display’ via Septet. Trumpeter Jonathan Powell’s soaring The show will be on display at the U.S. Mint in complex visual scores. The trio began and ended the pyrotechnical phrases conversed dynamically with New Orleans through January 2017 and will 45-minute set with short improvisations, the closer Louis Fouché’s dark and strident alto over the easy feature numerous items, such as Armstrong’s first featuring Letman-Burtinovic on the floor, sawing grooving tempo set by bassist Ruben Rodriguez and cornet and his last Selmer trumpet, taken from the furiously with two bows as and Palmieri. The latter stood to lead the audience in research collections of the Louis Armstrong House commented over him like arguing sportscasters. The clapping clave as the former soloed, after which the Museum. For more information, visit most evocative piece, “Birds Attack”, a frenetic jumble drummers exploded climactically over the leader’s louisianastatemuseum.org. of lyricism, was written by the bassist and dedicated to rhythmic montuno. Hypnotic piano opened the ‘70s his elder bandmate. Gregorio’s pieces had names like salsa classic “Pa Huelé”, Powell blowing commanding Blue Note Entertainment Group, owners of the “Coplanar #4” and “Planimetria” and were produced as Fouché backed him with incendiary riffs. eponymous clubs in New York, Japan and from geometric diagrams indicating movement and Palmieri dedicated his “Noble Cruise” (inspired by (as well as B.B. King’s Bar, Highline range, like a floorplan for a building whose structure ’s “Maiden Voyage”) to Thelonious changed by the footstep. Though the strings flanked Monk, whose influence was apparent in the pianist’s Ballroom and Subrosa), has announced plans for clarinet, they did not create the sound of a section but dissonant accents. The mood mellowed on ’s further expansion, specifically clubs in Waikiki, more often contrasted and contradicted each other. The “Samba do Sueno”, Fouché blowing brooding alto and Hawaii and Beijing, . For more information, threesome was generally restrained, applying mostly Powell mellifluous flugelhorn, before things heated up visit bluenoteentertainmentgroup.com. dabs and quick strokes rather than sprays of notes. again on “La Libertad”, a tour de force outing with With no piece longer than seven minutes, a suite-like solo interludes for the percussionists and the pianist. Jazz at Lincoln Center will launch Blue Engine effect was erected. —Andrey Henkin —Russ Musto Records this month, a platform for studio and live recordings from Jazz at Lincoln Center’s nearly 30-year history. The inaugural , Live In by Jazz at Lincoln Center Orchestra with Wynton o s Marsalis, will start a regular release schedule of at least six annually. Blue Engine will have exclusive physical distribution through RED Distribution and also be available on iTunes. For more information, visit jazz.org/blueengine. A petition has been initiated by bassist John Burr: Show the Album Credits on Apple Music!, wherein o g i a n / F r t R w P h t signees demand that the new streaming service a r provide full discographical information (who, what, where, when) so that related parties have better t I . S u h e r l a n d - C o recourse to obtaining royalty payments. To sign the petition, visit petitions.moveon.org/sign/ R o b e r © 2 0 1 5 J a c k V Guillermo Gregorio @ Spectrum Eddie Palmieri @ Blue Note show-the-album-credits.fb50?source=s.icn.fb&r_ by=2220927. Why would anyone want to spend their summer Celebrating the induction of into Jazz Sunday afternoons inside at The Stone? Well, at Lincoln Center’s Ertegun Jazz Hall of Fame, an In September, Lehman College in Bronx, New has given us two reasons: a new silent air-conditioner allstar sextet took to Dizzy’s Club (Jul. 1st) to play the York, will open the Steve Getz Music Hall, as and three months’ worth of world premieres. After music of the legendary tenor saxophonist. With envisioned by the jazz promoter (Fat Tuesday’s, three Masada books, Zorn has turned his sights on Gordon’s longtime pianist at the helm, Blue Note, Yoshi’s), agent, and more chromatic pieces, limited to five lines of music the Dexter Gordon Legacy Ensemble—the two-tenor son of late saxophonist , tributes to and based on tritones, as he explained in brief prefatory team of Abraham Burton and Jimmy Greene, whom will comprise the first month’s programming. comments at the debut of the Bagatelles series (Jul. 5th). vibraphonist Joe Locke, bassist Gerald Cannon and For more information, visit stevegetzmusic.com. Each Sunday would see new works played by new drummer —kicked things off with Gordon’s groups (the rest of July featured , Craig “Cheese Cake”, a spry lyrical line from the Taborn and Matt Hollenberg), beginning with the saxophonist’s classic 1962 Blue Note album Go. Burton As part of the SOUND + VISION Festival at the husband/wife, violin/piano pairing of Mark Feldman led things off with an extended solo showcasing a Film Society of Lincoln Center, there will be a and Sylvie Courvoisier. Zorn challenged the audience powerful dark tone and expansive range as he screening of Sound of Redemption: The Frank to figure out where the written music ended and the intermittently channeled Gordon within his sound, Morgan Story Aug. 2nd at 1:30 pm, a documentary improvisation began and over ten pieces, the shortest at reflecting studies with Gordon associate Jackie by NC Heikin about the late saxophonist. For three minutes, the longest seven, that task varied in McLean. After Locke threw down with a four-mallet more information, visit filmlinc.com/films/series/ difficulty. At first the music sounded colder than what foray on the song’s changes, Greene, another sound-vision-2015. one has come to expect from Zorn, and Feldman and McLean mentee, followed, his airy -ish Courvoisier certainly brought a classically-inspired sound contrasting starkly with his frontline partner as National Public Radio (NPR) has, according to rigor to the pieces. Then certain Baroque flourishes they traded eights with Nash following the drummer’s the Content Creators Coalition, withdrawn from (his? theirs?) came through as did moments of mystical solo. Things turned bluesy on Gordon’s “Hanky beauty and consonant harmonies. One piece was like Panky”, Nash prodding the two tenors with his crisply the membership of the recently founded MIC an operatic aside, another featured histrionic violin marching snare. Locke and the opened Coalition, a music industry lobbying group. matched to percussive piano, yet another felt like a up “Long Tall Dexter” before Greene and then Burton bluesy jazz ballad. What was evident from the very tore into the swing-to-bop anthem, followed by Cables, beginning was the unsurprisingly fluid communication who soloed with artful sophistication. Locke was between the two players and Feldman’s eclectic featured with the pianist on the ballad “Who Can I Submit news to [email protected] virtuosity, especially on the closing pair of songs, which Turn To” before the band closed things on “The Chase” had echoes of Zorn’s Masada aesthetic. (AH) for a standing ovation. (RM)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 5 INTERVIEW

I always wanted to sound like Charnett. Working with someone like Ornette encouraged me to do that. I remember that one of my first lessons came from my dad, Charles Moffett, who was the drummer with the Ornette Coleman Trio. The lesson was: if you could CHARNETT only play three notes, find how many different ways you can play those three notes. When you’re learning music that way, it opens up a whole new world of possibilities because you’re not limiting yourself to what you don’t know—you’re thinking, “How can I use the information that I have?” And that’s the key to being a great improviser. But as far as electric bass o f c h a r n e t m influences, there were many great electric bass players t e s y MOFFETT (CONTINUED ON PAGE 42) o c u r p h o t by alex henderson Maurício de Souza When released Charnett Moffett’s first that still attracts many people to John Coltrane’s music. Bossa Brasil® album as a leader, Net Man, in 1987, he was best known for playing the upright bass in trumpeter ’ CM: If it sounds good, it sounds good. If it moves you, Westfield Jazz Festival postbop quintet. The album came as a surprise, showing it moves you. And there are different levels of that. I Moffett’s proficiency on both acoustic and electric bass and used to be in a rap band. When I met Wynton, my name August 18th, 7-9 pm demonstrating that he was not a purist when it came to jazz. was MC Net. I was a rapper and I was in a group called Moffett (whose father was late drummer Charles Moffett) the Devastating Crew. I’ve been through a lot of Westfield, NJ has gone on to record over a dozen albums as a leader and different phases in my life: I’ve made records that were his far-reaching catalogue has included everything from smooth jazz; I’ve made records that were ; I’ve straightahead postbop and fusion to avant garde jazz. Since made solo records; I’ve made straightahead records; Free Outdoors Concert 2008, Moffett has been recording for vocalist ’s I’ve made fusion-oriented records. At some point, all Harlem-based label, Motéma Music: his two most recent of our physical existences will come to a conclusion— releases are The , an album of unaccompanied solo no matter who we are, no matter what race we are, no bass, and Spirit of Sound, which underscores his interest matter how rich or poor we are. But the spiritual is in world music and incorporates traditional Indian eternal just as creativity is eternal. I just had my 48th instruments. Moffett also has a long list of sideman credits birthday on the 10th of June and then the following and worked extensively, like his father, with the late jazz day, I found out that my buddy Ornette had died—or mauriciodesouzajazz.com innovator Ornette Coleman. During a recent interview in moved on to another dimension, I should say. Because late June, Moffett (now 48) reflected on his diverse Ornette is living, believe me. contributions to jazz and Coleman’s recent passing. TNYCJR: In what ways will his impact on jazz remain? The New York City Jazz Record: 28 years have passed since your first album as a leader. In what ways have CM: Ornette arrived on the jazz scene in the ‘50s and you grown as a bassist and as a composer since then? there are so many different musicians who have been influenced by him—people who play jazz as well as Charnett Moffett: It’s always a work in progress. The classical musicians and composers. With Ornette, creative process, the imagination, how you’re putting we’re talking about one of the greatest composers of music and sound together—it’s an adventure. It’s our time. Ornette was someone who had so much endless. It never stops. My great friend Ornette integrity and belief that he was able to create his own Coleman used to tell me that creativity is a journal and system known as Harmolodic music. I grew up with it’s so true because as long as you have an open mind, that system, playing in the Moffett family band. My you can create any kind of musical environment that is dad used to talk about that and about having the appropriate to how you’re feeling and what you want freedom to play what you want to play and the to share artistically. Things advance with technology discipline to execute it. The process is ongoing. You and it’s the same with music. You have to advance. I’m don’t get to a certain point and say, “OK, I’ve got it playing with a different understanding now than I had now. I can stop.” 30 years ago. Also, I’m playing a lot more electric bass now. I played the electric bass 28 years ago on my first TNYCJR: Comparing your two most recent albums, record, but I seem to be doing it a lot more now. And one can see a lot of diversity. I’m experimenting more with Eastern sounds and instruments like the tamboura. CM: Oh, yeah. The music on The Bridge is solo bass. You have to remember that these instruments are just TNYCJR: They are a major influence on Spirit of Sound. machines and it’s up to the player to tell the machine what you want to play and what you want to express. CM: I have a huge love for Eastern music, which is There are rules and traditions, but you can arrange why I have all those Eastern sounds in my recordings. things to the sound and frequency you want. So it’s I listened to Louis Armstrong a lot when I was a kid, really about knowing how to use your instrument. but what happens is that even though you appreciate Spirit of Sound has mostly original music except for one something, you get other interests. That doesn’t mean song that I didn’t compose—which is “Lonely Woman” that you stop appreciating something—it just means by Ornette. The Bridge has some of my original music. I that you get other interests. I still love Louis Armstrong, think that’s the biggest difference—at least but now I love Ravi Shankar as much as I love Louis compositionally—between those two records. Armstrong—and I love as much as I love Ravi Shankar. I love as much as I love TNYCJR: Who are some of the masters of electric bass Ornette Coleman. It goes full circle and you just have who have inspired you the most over the years? to be true to yourself and have a good time while you’re doing it. CM: That’s very easy: and , without question. But I never wanted to TNYCJR: The Eastern influence is one of the things sound like them. I was inspired by their greatness, but

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

For more information, visit cecilemclorinsalvant.com. McLorin Salvant is at Jazz Standard Aug. 25th-30th. See Calendar.

Recommended Listening: CÉCILE MCLORIN • Cécile McLorin Salvant (with Jean-Francois Bonnel Quintet)—Cécile (Agate, 2009-2010) • Cécile McLorin Salvant—WomanChild (Mack Avenue, 2012) • Mack Avenue Superband—Live from the Jazz Festival 2012 (Mack Avenue, 2012) • —Gouache (Sunnyside, 2012) • —I Hear The Sound (Archie Ball, 2012) • Cécile McLorin Salvant—For One To Love (Mack Avenue, 2015) o n SALVANT

m a r k f i t by russ musto “I don’t know if I can remember a time when I wasn’t composed title track and the Bert Williams rarity doing anything in music,” Cécile McLorin Salvant “Nobody”. declares from her home in Harlem. “It’s like I was The date united the singer with her now regular learning to read music at the same time as learning to pianist, the musically like-minded Aaron Diehl. She read words. It was just so part of my everyday considers herself very fortunate to have found such a experience.” McLorin Salvant, who was born Aug. 28th, compatible collaborator. “Oh yes!! Believe me,” she 1989 in Miami, grew up in a multicultural home with a declares, knowing how difficult it can be for a singer to French mother and Haitian father. “My mom loved jazz find someone who really knows how to accompany a and blues. She listened to a lot of it when I was growing vocalist. For Diehl the feeling is mutual. “I think I up, a lot of the great jazz singers, that’s what I remember. couldn’t have had a more perfect partner in music, in There was a lot of other music at home as well. We the sense that she is someone who certainly inspires me listened to music from all over the world and a lot of as a developing musician-artist,” he says. “She’s American music ranging from Appalachian bluegrass to incredibly genuine and authentic. An incredibly sweet to and funk and hip-hop and ‘90s R&B. and warm and generous giving person, she’s like my And there was a time and appreciation for all kinds of sister, besides also being my boss and someone I music; as well… My father is a lovely collaborate with.” JSnycjr0815 7/15/15 1:58 PM Page 1 singer and took piano lessons as a child, so he still has McLorin Salvant has also had the opportunity to some classical piano under his belt. It was a really display her talent as a guest artist in a variety of eclectic household musically.” situations. She’s sung with Archie Shepp’s Attica Blues Yet the vocalist didn’t have her sights set on a career Big Band and with Wynton Marsalis and the Jazz at in music until after she moved to in 2007 to study Lincoln Center Orchestra. Of the former she recalls, “It classical voice (and law) at the Darius Milhaud was really, really an interesting experience for me, just Conservatory in Aix-en-Provence. “I always flirted with being able to spend time around somebody that has that “Best Jazz Venue of the Year” NYC JAZZ RECORD #“Best Jazz Club” NY MAGAZINE+CITYSEARCH SAT-SUN AUG 1-2 the idea as a child and a teenager, mostly in terms of much history and that much insight in him.” On the SOUTHERN classical voice, but I would say that making the decision latter she says, “I love to work with the big band. COMFORT REGINAWILL HOLSHOUSER - MARVIN CARTER’S SEWELL - - ALVESTER GARNETT to become a professional jazz musician was in 2010. They’re great and it’s really nice to have that sound TUE-SAT AUG 4-8H11:30 SHOW ADDED FRI & SAT During that summer, I thought I would give it a try.” behind you. I’m really lucky to perform with them and I She remembers, “In Aix I was already singing jazz; always learn a lot when I tour with them.” She continues, CHRISTIAN McBRIDE that’s where I started to sing. And that’s where I met “I also played a bit with [pianist] Jacky Terrasson. this wonderful teacher Jean-François Bonnel… he’s the People know him as a wonderful bandleader, but he’s TRIO CHRISTIAN SANDS - ULYSSES OWENS JR. one who really encouraged me to sing jazz… He said I also really great accompanying a singer.” Terrasson says SUN AUG 9 needed to work on the repertoire and that I should of her, “Cécile is just amazing. I remember hearing her really sing jazz professionally. He started just finding the first time at the Kennedy Center. The Monk Institute E.J. STRICKLAND & gigs for me and even though he’s a saxophone player, he was putting together a concert to celebrate their 25th TRANSIENT BEINGS WITH SPECIAL GUESTS ALICIA OLATUJA - GREGOIRE MARET was playing the piano on the first couple of gigs we did year. I was in the hallway and I remember hearing this - TOM GUARNA - JOHN BENITEZ together. He was doing everything he could, everything clear, powerful, but mostly musical voice. I was sure in TUE-WED AUG 11-12 in his power to find as many places for me to sing live. my mind this was coming from an older person with EDMAR CASTAÑEDA He dedicated himself to finding opportunities for me to lots of experience and was very surprised to see this WORLD ENSEMBLE sing.” It was with Bonnel’s Paris Quintet that she young lady singing. It was Cécile. She reminded me of ANDREA TIERRA - GREGOIRE MARET - ITAI KRISS - MARSHALL GILKES - SHLOMI COHEN released her first album in 2010. Cécile reveals a my time with , yet, she had her own PABLO VERGARA - DAVID SILLIMAN - RODRIGO VILLALON - TAMER PINARBASI - SERIO KRAKOWSKI THU-SUN AUG 13-16 remarkably mature-voiced 20-year-old singing a mix of phrasing, timing. I was blown away and invited her to jazz and blues classics. sing on my CD Gouache.” CYRILLE AIMÉE Later that year she took first prize in the Thelonious McLorin Salvant’s forthcoming album For One To MICHAEL VALEANU - ADRIEN MOIGNARD - SHAWN CONLEY - DANI DANOR TUE-SUN AUG 18-23 Monk Institute of Jazz International Jazz Vocal Love (Mack Avenue) clearly exhibits her indebtedness to Competition. She credits her mother with encouraging Carter, as well as and others, but also her to enter. “She had been looking at competitions all confirms her individual style. She admits, “It’s a very over the world for years at that point. And she kept personal album. There is definitely a confessional aspect BIG BAND checking for the Monk competition; every year she to it. There are five of my compositions on the record TUE-SUN AUG 25-30 would check what instrument it would be. So when they and they’re mostly songs about love and different told her that it was going to be vocals that year, she perspectives on love. All of the songs that I wrote on the CECILE McLORIN immediately called me and forced me to send a tape to album could be pages ripped from my diary. They are them. I’m not really good with paperwork or deadlines, things that I am saying from an honest and true place. SALVANT so she had to really be on my back about sending it on There is no fiction in them. Either they’re scenes of my & THE AARON DIEHL TRIO time and even then I sent it at the very last minute.” The life or they’re situations I’ve been through. Or they’re PAUL SIKIVIE - LAWRENCE LEATHERS HHHMINGUS MONDAYSHMINGUS MONDAYSHHH award resulted in the recording of her first U.S. release, declarations of love and I’m expressing them here MON AUG 3, 10, 17, 24 & 31 WomanChild (Mack Avenue). While the surprisingly because I can’t express them in real life because it’s too ripened style demonstrated on her debut was still difficult to be that vulnerable… Somehow when you set evident, her sophomore effort opened up the gate for things to music and you put it in a studio or on a stage her inner child to come out, particularly on her self- it makes everything a little easier.” v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 7 ON THE COVER o s RUDRESH MAHANTHAPPA o g i a n / F r t R w P h t CALLING BIRD a r by terrell holmes © J a c k V

It is a truth universally acknowledged that alto listening to all of this Indian music and it was very course, [drummer Jack] DeJohnette, [pianist] Danilo saxophonist Rudresh Mahanthappa is among the most hard to emulate. At its heart [] is a vocal [Pérez], obviously, for reasons we all know. [Bassist] talented and respected performers in jazz today. music and has this incredible amount of detail and , [percussionist] , that’s Inspired by the music’s great standard-bearers and his ornamentation that’s very hard to pull off on the horn. a dream band of a totally different ilk, right? And I Indian heritage, Mahanthappa’s trademark - I’d managed to see [Gopalnath] play live a couple of never imagined I’d be playing with those guys. I still inflected chords are frequently overpowering, laid times in the U.S. when he was on tour and the second can’t believe that happened. [They] were Anthony down with cyclonic fury and pulsating urgency. But he time I saw him he was playing in and I went Braxton’s most famous band. We’re doing a tour of is equally impressive on ballads and plays with a backstage and I met him. He was so taken with the fact together? Really? I feel really, really blessed to poignant soulfulness and lyricism. He’s appeared on that there was a jazz alto saxophonist of South Indian have found these people and I’m continuing to try to many critically acclaimed albums, including 15 as roots—my parents and he speak the same language— find other people as well. A lot of folks have been very, leader or co-leader. In this year’s DownBeat Critics Poll, and he was also blown away by my name. Rudresh is very kind to me. I don’t take it for granted. From a he was voted Best Alto Saxophonist (for the fourth actually a very powerful kind of angry incarnation of career point of view it’s always been a bit bizarre time in five years), placed first as Rising Star-Composer Shiva; Mahanthappa has the same roots as ‘Mahatma’. because when your output is large and it’s with a and his album Bird Calls (ACT Music) was chosen as I said, ‘I would love to do something together. Is that bunch of different bands, you end up confusing Jazz Album of the Year. something we could discuss someday?’ And he said promoters, like they don’t know what they want to Bird Calls is an outside-the-box tour de force. ‘Absolutely.’ I’d avoided playing with Indian musicians book. So you have three people that say, ‘I want to do Instead of settling for rote cover versions of Charlie or Indian instrumentalists who were using Indian this band’ and four people that say, ‘I want to do that Parker tunes, Mahanthappa wrote originals in the instruments for a long time because I was trying to band.’ How am I supposed to do two weeks in Europe truest sense of the word, whose challenging harmonies avoid notions of exoticism and I wanted to feel with three different bands? I can’t afford it!” and melodies are based on some of Parker’s signature adequately equipped to kind of speak both languages. Given all of the different types of music that tunes and solos. The result is an exhilarating rethinking Like, can we talk about jazz? Can we talk about Indian Mahanthappa has played, all of the configurations and of Bird’s music and another impressive addition to music? Talking about these things on a level playing disciplines, it seems appropriate to put a (hopefully) Mahanthappa’s oeuvre. “It’s a very special album to field where everyone feels engaged and the end result less onerous twist on the question at the heart of Mother me and it was great to take a departure from all these is something that’s neither was very important to me. Tongue and ask him: Does he play jazz? things I’ve been doing with Indian music and non- So Kadri is very important to me.” “That’s a loaded question!” Mahanthappa Western music and get back to some of the things that The issue of language is central to one of exclaimed. “Do I play jazz? I say yes because the people really made me want to play saxophone and play jazz Mahanthappa’s most personal albums, Mother Tongue who made me want to play this music and made me and make a life in this music,” Mahanthappa said, (Pi Recordings, 2004), which was his response to the want to improvise, made me want to play saxophone sitting relaxed on the sun-drenched deck of his New naïve question “Do you speak Indian?” isn’t and make many of the choices I’ve made, were jazz Jersey home. “When you look at someone who left us monolithic but comprised of various languages and musicians at the dawn of this music. They were the such great gifts, it’s not enough to play Charlie Parker’s cultures and Mahanthappa wrote songs based on great innovators of this music. But as far as the global music to pay tribute to him. It’s much more important transcriptions of Indian-Americans responding to the sense of what this music is, it’s super diverse and I to demonstrate a greater detail of ideas and concepts same kinds of questions in their Indian languages. think what people need to think about more [is that] in and tools that he bequeathed to us. And the reality is “That album is very much couched in my personal this day and age we need to be less concerned with the also that Bird tunes get covered all the time. I would life because my wife and I were getting married and genre and more concerned with developing an say you could probably hear a Charlie Parker tune we were trying to find a priest who would do some audience that’s interested in what you do. We have the played live in 50 different locations on any given night sort of a Hindu wedding but in English and not Internet. We have people with the most eclectic tastes . It might be ‘Now’s the Time’ played 50 Sanskrit and also do a short one as opposed to like six ever because information moves fast. I began to think times but it’s in there. Yes, he’s an incredible soloist but hours!” Mahanthappa laughed. “But I was telling about all of this stuff because [I appeared on NPR’s] if we look at the greater detail of him as a composer people this story about how we were trying to find this Fresh Air with Terry Gross for 45 minutes and saw an and the rhythmic content and the finer details of the priest and the response was often, “Of course! I mean, influx of interest and CD sales that had nothing to do melodic content, there’s a lot there and I really do feel you don’t even speak Indian, do you?” And I was like with jazz. It just had to do with music. So I do play jazz like the tremendous amount of what we consider “What?! Are you kidding me? You still think there’s a and I would like to be part of that infrastructure. But modern music that happened after him would not have language called Indian?” And I also really wanted to I’m trying to see beyond all of that and look at the stuff happened without him. And I think the important work with speech. I love this idea of the melody of more globally as an artist and as a businessman.” v thing is to run with these ideas instead of being speech. I’m often told that I speak very melodically concerned with living up to the legacy, because the and that’s something I like in other people as well. So I For more information, visit rudreshm.com. Mahanthappa is reality is [that] no one will live up to the legacy of wanted to kind of take the literal and make something at Tompkins Square Park Aug. 23rd as part of Charlie Charlie Parker.” of my own [out] of it.” Parker Jazz Festival. See Calendar. In addition to Parker, another musician who Since he arrived on the scene 20 years ago, influenced Mahanthappa’s musical approach is Kadri Mahanthappa has worked in many diverse ensembles Recommended Listening: Gopalnath, who famously blended the saxophone with with some of the biggest names in the business, which • Rudresh Mahanthappa—Black Water Carnatic music, a form of , and he has found to be musically and emotionally (Red Giant, 2002) with whom Mahanthappa collaborated on the album rewarding. “I like a lot of configurations. I feel that • Rudresh Mahanthappa—Mother Tongue (Pi, 2004) Kinsmen (Pi Recordings, 2007). each brings its own power and its own beauty and its • /Rudresh Mahanthappa— “I’d already heard that there was a guy playing own vitality,” Mahanthappa said thoughtfully. Raw Materials (Savoy Jazz, 2005) Carnatic music on saxophone and I couldn’t find any “Playing with [pianist] and [bassist] • Rudresh Mahanthappa’s Indo-Pak Coalition— of his recordings,” Mahanthappa explained. “My François Moutin and [drummer] Rudy Royston, that’s Apti (Innova, 2008) brother [gave me] this CD called Saxophone Indian Style my thing. Playing with [percussionist] and • Rudresh Mahanthappa—Gamak (ACT Music, 2012) by . And all these Indian-type CDs [pianist] Vijay Iyer and [guitarist] , you • Rudresh Mahanthappa—Bird Calls have these horrible titles like that. I’d already been know, that’s my thing. [Guitarist] Dave Fiuczynski of (ACT Music, 2014)

8 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD NEW RELEASES INCLUDE

JOE LOVANO & JAMIE CULLUM JOSÉ JAMES CHARLES LLOYD SOUND PRINTS OUT NOW OUT NOW OUT NOW OUT NOW OUT NOW

TERENCE BLANCHARD TRIO KENDRICK SCOTT ORACLE LIONEL LOUEKE OUT NOW OUT NOW OUT SEPTEMBER 25 OUT OCTOBER 30

VINYL REISSUES

ANDREW HILL JACKIE MCLEAN POINT OF DEPARTURE CAPUCHIN SWING PAGE ONE

MILES DAVIS VOLUME 1 TRUE BLUE

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deeper beneath. That’s what I want to experience and retains the mark of the leader. Perhaps his best known share,” Kiermyer stated, reflecting on the relationship release is Solomon’s Daughter (Evidence, 1994), which FRANKLIN KIERMYER between meditation and musical improvisation. features another spiritual journeyman, Pharoah A model for him has been saxophonist John Sanders (who was Coltrane’s saxophone foil from by john pietaro Coltrane. Kiermyer looked to albums such as the 1965-67 and appeared on the aforementioned Sun Ship). posthumously released 1965 session Sun Ship in finding The album offers the tenor saxophonist’s most Franklin Kiermyer’s tom-toms thunder across the that nexus. But while this level of the music made a profound playing in decades. Here the Coltrane aura is room as metallic shimmers slice the air, at once profound impact on him and drummers such as Elvin celebrated, yet the unique urgency Sanders conjures rapturous, restless and uncompromising. His limbs Jones (who played with Coltrane from 1959-65) left an with Kiermyer, pianist and bassist Drew dancing over the drumkit, Kiermyer becomes entranced indelible imprint on his playing, Kiermyer continued Gress is vividly evident. This music is nothing short of in the music about him, playing a rolling, swinging, his search—within and without. The venture included stirring. free rhythm that speaks as much about the history of significant struggle. “It is one thing to have feelings for The various Kiermyer bands through the years jazz drumming as it does the avant school with which the music and another to manifest those feelings to have included such saxophone stalwarts as , he has become associated. create it. The ‘a-ha’ moment and the ‘oh shit’ moment Azar Lawrence, , and a “I have a big devotion to evolution,” Kiermyer are closely related.” long list of others who traverse the eras of free music. explained. “As a kid, the first music that really affected Sessions with guitarists and John With such a wide spectrum of experience behind him, me, that made me feel, were the old Fats Waller and Abercrombie followed time spent with Holland and by one may think it a challenge for Kiermyer to create new Kid Ory records my father had. Certain discs I listened the ‘80s Kiermyer was living in midtown Manhattan, inroads, but once again he is excited about a new band. to over and over again. I would find myself hearing the deeply immersed in the expansive music scene. As a Two of them, actually. tunes long after the record player was turned off. These result of his friendship with percussionist Don Alias, “My new ensemble with [saxophonist] Lawrence records loomed large in every way: big energy, big he was hired to play in an ensemble led by percussionist Clark and [pianist] Davis Whitfield is the closest to phrasing and big time. Drummers like Zutty Singleton, Daniel Ponce for a special event of the 1986 Kool- what I’ve been trying to do. Our debut is in August in Baby Dodds and Minor Hall were the first that inspired Newport Jazz Festival, ‘Night of Percussion’, featuring New York. And I am starting a new British band with me to play. They still do.” a wealth of legendary drummers in different ensembles. [saxophonist] Nat Birchall that will play the Brighton Kiermyer, who was born on Jul. 21st, 1956 in The Ponce band was a standout due to its hip-hop Alternative Jazz Festival in September. These musicians Montréal, Canada but has lived around the world over and Downtown grooves. Ponce was one of many have allowed me to take the music further than the decades, began studies at age 12 with a local musicians whose discography walked the edge of before—but further inside, not out. Further inside percussionist and composer. By high school, timpani experimental and commercial sounds in that fertile myself as it reaches forward, evolving. And then was added to his instrumental palette. “Playing period when punk culture and indie arts were part of a evolves beyond.” v timpani brought me to the awareness that each drum milieu with underground jazz and composition. With has its own pitch, a natural resonance, a natural voice this festival gig, Kiermyer imagined a major career For more information, visit franklin.kiermyer.com. Kiermyer where the instrument speaks.” move. But when he got to the hall he found that he was is at Korzo Aug. 4th. See Calendar. Listening for the natural voice inside has become to play not on a standard drumkit but a pair of DMX the guiding force for Kiermyer. As a teenager, the electronic drum pads, creating machine-inspired Recommended Listening: drummer was introduced to Tibetan Buddhism. He has rhythms over which Ponce and three bata drummers • Franklin Kiermyer & Jericho— since been a life-long devotee. “This is a spiritual would play. He was dismayed but, true to his concept Break Down The Walls (Konnex, 1992) platform to open up and let me go where I want to go. of the journey, Kiermyer found what was needed for • Franklin Kiermyer— I had an urgent need to find my own way.” the music. “It was all part of the experience,” he In The House of My Fathers (Konnex, 1993) Searching for the musical conception he desired, recalled. “Opportunity is omnipresent.” • Franklin Kiermyer—Solomon’s Daughter the journey led Kiermyer to Woodstock and studies in On the roads inner and outer, Kiermyer became a (Evidence, 1994) improvisation with bassist . Time spent bandleader along the way, founding a series of • Franklin Kiermyer—Kairos (Evidence, 1995) upstate also brought him to a higher level of spirituality ensembles with a powerful discographical legacy. • Franklin Kiermyer—Sanctification (Sunship, 1999) at the Tibetan Buddhist Monastery. “If you take away Skimming through the list of albums, one is struck by • Franklin Kiermyer— all of the isms—including jazzisms—there’s something the individualism of the recordings, though each Further (Mobility Music, 2013) LEST WE FORGET

Burton and Bobby Hutcherson, among many others. A sessions at Yoshi’s and the Kennedy Center. pair of projects with the Contemporary Piano Ensemble His final works as a leader included Solo (Space MULGREW MILLER (which utilized one to four pianists with a rhythm Time), a concert recording that included inventive section and also briefly toured) reunited him with of familiar standards and his richly, by ken dryden Brown and Williams in addition to and textured original “Carousel”. His last recording promising young pianist . featured him with The Klüver’s Big Band in concert on One of a string of great pianists with strong ties to Miller made his leader debut in 1985 with Keys to Brew’s Tune (Stunt), where he thrived in a big band Memphis, Mulgrew Miller combined intricate bop the City (his first of six releases on Landmark). He was setting, especially in his composition “Hand in Hand”. with modal music into a distinctive personal style joined by bassist and drummer Marvin While Miller was extensively recorded as a sideman, ranging from lush, melodic arrangements to volcanic “Smitty” Smith and showcased his versatility as a he recorded just 17 releases under his name. postbop. Miller was born in Greenwood, soloist and composer. One highlight is “Sud’s Run”, an Miller continued to utilize younger musicians in on Aug. 13th, 1955. He gained significant exposure to original tribute to McCoy Tyner, who was a major many of his groups and followed James Williams as Delta blues and gospel at an early age and before long influence. He waxed his second trio record, Work!, the Director of Jazz Studies at William Paterson University. was figuring out hymns by himself on his family’s following year, with a young but gifted rhythm section Mulgrew Miller died on May 29th, 2013, following a piano, leading to formal lessons beginning at the of bassist Charnett Moffett (19) and drummer Teri stroke. He was only 57 years old. v eight. Miller also played organ in church, but it was Lynne Carrington (20), an early sign that Miller had a hearing on television that ignited his future in jazz education, on and off the bandstand. A Miller tribute is at Smoke Aug. 12th-13th. See Calendar. interest in jazz. While attending Memphis State Another Landmark release, Wingspan, put the spotlight University, he became friends with fellow pianists on Miller’s compositions with an impressive quintet: Recommended Listening: James Williams and . saxophonist , vibraphonist Steve Nelson, • —Lotus Flower (Enja, 1982) After heading to New York City, Miller worked Moffett and drummer . • & —New Year’s Eve with Betty Carter (1980), Woody Shaw (1981-83), then Miller followed his Landmark recordings with a at Sweet Basil (ProJazz-Evidence, 1985) followed both Williams and Brown by serving as the series of CDs for Novus, which provided ample proof • —Mosaic Select 24 (Foreign Intrigue/ pianist in Art Blakey’s Jazz Messengers (1983-86), of his growth as a pianist and arranger, especially the Civilization/Angel Street/Native Heart/The Story of which led to his tenure in the Tony Williams Quartet outstanding Hand in Hand, with trumpeter Eddie Neptune) (Blue Note-Mosaic, 1985-91) (1986-94). An in-demand sideman throughout his Henderson, great Joe Henderson, • Mulgrew Miller—Wingspan (Landmark, 1986) career, Miller also appeared on recordings with Benny Garrett and Nelson. Miller then recorded five CDs for • Mulgrew Miller— (Novus, 1993-94) Golson, Ron Carter, , , MAXJAZZ, including an updated Wingspan sextet that • Mulgrew Miller—Live at the Kennedy Center, , Charles McPherson, Eddie Daniels, Gary included Nelson, along with four powerful live trio Vol. 1 & 2 (MAXJAZZ, 2002)

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

This list includes Jimmy and Albert “Tootie” Heath, have done it for now.” , , Jimmy Rowles, Ronnie Cuber, So, at the end of June 2015, Elemental Music, in XANADU , , and many partnership with The Orchard, a global music, film and others. The recording credits often read “Produced and video distribution company since 1997, launched the by donald elfman Directed by ” because he felt that what Xanadu Master Edition Series. Feldman explains, was involved took on the scope of motion pictures. “Wherever I’ve traveled I’ve found record stores and I The story of the birth and rebirth of is The label was a ‘mom-and-pop’ affair with Don and realized at one point that many of the records I’ve heroic in nature: it starts with a jazz pioneer creating a wife Nina (pronounced Nine-uh) doing everything. looked for have Don’s name on them. This is more than label at a time when standard and traditional jazz was Nina has said, “Sometimes I was the secretary, just another series of great jazz albums for me. It’s also losing ground to and is now reborn thanks sometimes I was the lawyer.” a celebration of the unique visions and contributions to someone who sees the original work as legendary Over the years, Xanadu had a number of that Don Schlitten has made to jazz. He is one of my and is willing to keep the music alive with all the distributors and met the kind of sales and marketing heroes.” So Feldman and Soley, in consultation with challenges and risks a venture like that entails. difficulties that all small labels, especially jazz labels, Schlitten, chose 25 titles from the Xanadu catalog, Don Schlitten founded Xanadu Records in 1975 experience. Enter the next hero in our story, Zev many of which have never before been on CD. There after a stellar career in the jazz world as producer, Feldman. Lest we think the story is complicated, are new liner notes by British journalist Mark Gardner, photographer and writer. In 1955 Schlitten had Schlitten explains, “He was a great fan of mine, he who did a number of the original notes, and all titles co-founded Signal Records and documented artists came up with this idea and I said, ‘Sure, why not?’” have been digitally remastered. like , and . When After doing work for some jazz labels in the ‘90s, Feldman discovered, not long after the project Signal was sold, Schlitten went on to produce many Zev Feldman, in partnership with Spanish producer began, that many of the original tapes had been recordings for Prestige and later Cobblestone, Muse Jordi Soley, founded Elemental Music, dedicated to damaged or destroyed in Hurricane Sandy. “We and Onyx. discovering and releasing archival and/or unavailable outsourced the audio restoration and had to have the “I decided I wanted to do a label of my own,” says jazz recordings as well as other classic music. The first original master reels cleaned. Unfortunately, all of the Schlitten, “and release music by real jazz artists at a two releases were The Jimmy Giuffre 3 & 4’s New York art negatives were completely destroyed.” So he had to time when the ‘business’ seemed to be directed towards Concerts, rare music from 1965, and Swingin’ on the go to his personal collection and clean up those covers fusion and jazz/rock albums.” Korner, 150 minutes of music on 2 CDs or 3 LPs by the to remove signs of wear. “But we wanted to preserve The new label would be called Xanadu as a kind of Trio of 1977. It is clear from these releases the look and feel of the label according to Don’s homage to Orson Welles and the castle in Citizen Kane. and now the Xanadu reissue program, that Elemental vision.” Schlitten notes, “Of course the very name… epitomizes is a company for people who appreciate the recorded The first six titles are a special batch indeed. the romantic. Kane borrowed the name from Kublai legacy of the very finest players and who want to Drummer Albert “Tootie” Heath’s is the first Khan’s pleasure palace. So, it’s long been identified document that music for future listeners. Schlitten recorded appearance of the Heath Brothers—Albert, with artistic beauty and happiness.” says, “There is always talk about the audience for this tenor saxophonist Jimmy and bassist Percy. With Xanadu recorded music by artists that he’d known music disappearing and the increasing impossibility of trombonist , pianist and in his long career, players who for him and for many finding it. But somehow, there are always dedicated guitarist , it’s of its time but sounds fresh. others represented a commitment to true jazz invention. people who find a way and the people at Elemental (CONTINUED ON PAGE 42)

Plays Tadd Dameron From the Attic of My Mind Night Flight to Dakar/Xanadu in Africa Kwanza (The First) Barry Harris Sam Most Xanadu All-Stars VOXNEWS

running band flow in a sonic Eden, including two clubs. Catch the remarkably prodigious guitarist/ anchoring lead singers: Patrice Quinn and Dwight vocalist King Solomon Hicks at Jazzmobile’s Great SUNNY AND EPIC-FILLED Trible. Voice is a textural thread throughout all three Jazz on the Great Hill in Central Park in tribute to discs. On the song “Henrietta Our Hero”, for example, blues legend B.B. King (Aug. 8th). Hicks will also by katie bull Quinn’s authentic and seasoned singing rises within appear at the Charlie Parker Jazz Festival’s Richard the choir’s wail as Washington’s lyrics carry the theme: Rodgers Amphitheater in Marcus Garvey Park (Aug. Get your blue skies here! Fight the swelter with sonic “Love had no armor, no weapon, no desire to flee, but 21st) as will master Andy Bey and triple-threat Sarah heat. Starting with the legendary Tuck & Patti at Blue a power so deep inside…” The spectacular three- Vaughan International Jazz Competition runner-up Note (Aug. 13th-16th), hear masters of the duo form. volume Epic is just that. singer/saxophonist/flutist Camille Thurman (Aug. Jazz veteran /voice pair Tuck (Andress) and Another triple-disc release of combustive and 22nd). At the Charlie Parker Jazz Festival in Tompkins Patti (Cathcart) have been together musically and as a sacred energy is bassist/composer/poet/lyricist Square Park, hear Sierra-Leone born Michael Mwenso married couple for over 30 years; they have refined William Parker’s boxed set For Those Who Are, Still (Aug. 23rd). At Jazz Standard, 2014 Grammy- their channels of openness, tenderness and soulfully (AUM Fidelity), in which profoundly masterful singers nominated Cécile McLorin Salvant celebrates Billie resonant intimacy to the highest degree. Their self- play a central role, including the rooted singing and Holiday with her longtime musical director, pianist proclaimed spiritual communion through music spoken word of gorgeous contralto Leena Conquest on Aaron Diehl’s trio (Aug. 25th-30th); and Cyrille Aimée manifests a richly unadorned guttural sound, which is Disc 1; deeply organic incantations of Senegalese Griot appears (Aug. 13th-16th), bringing with her a Gypsy- deeply personal yet grandly transcendent. Tuck’s Mola Sylla and classically-trained Indian singer music influenced luminescence. 2013-14 DownBeat guitar is simply one with Patti’s song. Sangeeta Bandyopadhyay on Disc 2; and eight fierce Critic’s Poll rising jazz star, singer/pianist Champian Speaking of epic spirit, get swept into choral principal singers of the NFM Choir on Disc 3. Parker Fulton will smoke the stage at The Garage (August 6th magma as it crescendos on tenor saxophonist/ and his ensembles walk into the face of Civil Rights and 22nd) and the famed Bemelman’s Bar at Café composer/arranger Kamasi Washington’s new album horror and ride currents of the cosmic-as-ever-present Carlyle (Aug. 9th, 23rd and 30th). Last but not least, Epic (Brainfeeder) and at Blue Note (Aug. 24th-25th). on long-form works harnessing order into chaos and veteran pianist JC Hopkins’ new quartet at Minton’s Produced by Flying Lotus (né Steven Ellison), unleashing chaos into order. This is a must-have set for features multiple award-winning vocalists: Charles Washington’s vision drills through strata upon strata all Parker fans and anyone who wants to expand their Turner (7th, 8th, 14th and 15th), Brianna Thomas (21st of historical energy. Starting out reminiscent of a Bond ears; it is movingly outside the box. and 22nd) and Jazzmeia Horn (24th). Thomas and theme, a choir accelerates all action, alchemically What follows are multiple vocal sun-flares, a Turner will also guest with Hopkins’ Biggish Band metabolizing the retro association into a breathtakingly fireworks show of performances that will knock it out (Aug. 1st). timeless hymn for humanity. The 32-piece orchestra, of the park (literally) in August, or, if you prefer, cool August forecast: sunny and song-filled skies 20-strong choir and Washington’s 10-piece long- you off in the comfort of the finest New York City ahead. v

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

ARCHIE ALLEYNE (Jan. 7th, 1933— GUNTHER SCHULLER (Nov. 22nd, Jun. 8th, 2015) The Canadian drummer 1925—Jun. 21st, 2015) The composer ORNETTE COLEMAN became a legend in his hometown of and musical theorist, whose career Toronto, both as a local performer at began on French horn on Miles Davis’ by andrey henkin various venues and as a backing Birth of the Cool as well as sessions by musician for visiting American acts. John Lewis, Gigi Gryce, , Alleyne died Jun. 8th at 82. Gerry Mulligan and and as a conductor for the Modern Jazz Quartet, Charles PAUL BACON (Dec. 25th, 1923—Jun. Mingus and others, was a longtime educator at 8th, 2015) The graphic designer, best Manhattan School of Music, , Berkshire known for his iconic book jackets from Music Center and New England Conservatory (where the ‘50s on, as well as movie posters like he served as President for a decade), composed Jaws, got his start as an LP designer for hundreds of works, was credited for creating the Third the Blue Note and Riverside labels in Stream movement, founded his own record label and the ‘50s. Bacon died Jun. 8th at 91. publishing companies, was a recipient of the MacArthur Foundation “Genius” Award, Pulitzer HAROLD BATTISTE (Oct. 28th, 1931— Prize and DownBeat Lifetime Achievement Award and Jun. 19th, 2015) The New Orleanais whose sons Ed (bass) and George (drums) are active pianist ( a saxophonist) was jazz players. Schuller died Jun. 21st at 89. famed as a producer, record label owner and arranger (mostly for R&B acts, JEAN WARLAND (Oct. 23rd, 1926— notably early work with Dr. John) and Jun. 17th, 2015) The Belgian bassist’s a l n h i g went on to become an educator in his credits include /Francy Alto saxophonist (and trumpeter and violinist) hometown, mentoring younger musicians like trumpeter Boland, Don Byas, Duško Gojković, Ornette Coleman, one of the few jazz musicians Wynton and saxophonist Branford Marsalis and Fats Sadi, , Charly Antolini, referred to simply by first name and among the last of trumpeters Nicholas Payton and in Peter Herbolzheimer, Eugen Cicero and the genre’s original innovators, died Jun. 11th at 85. his Next Generation Band. Battiste died Jun. 19th at 83. Barbara Dennerlein. Warland died Jun. Coleman was born Mar. 9th, 1930 in Fort Worth, 17th at 88. TX. His early work was in dance bands in the South. ALLAN BROWNE (Jul. 28th, 1944—

Fittingly, as the second most influential alto saxophonist Jun. 13th, 2015) The Australian k BOB WHITLOCK (Jan. 21st, 1931—Jun. o in jazz history after Charlie Parker, a young Coleman drummer was a founder of the Red o 30th, 2015) The bassist, whose credits r b was first impacted by Bird. In an interview conducted Onion Jazz Band, worked with visiting t include the ‘50s quartets of , s by our own Clifford Allen, Coleman recalled, “I went American musicians, was a mainstay in e Gerry Mulligan and Warne Marsh, also W

. A to ...where I actually got stranded for awhile the Paul Grabowsky Trio, led the groups worked with Stan Getz, , e i and there I got to hear Charlie Parker playing at a club Onaje, Band and Allan l Zoot Sims and others. Whitlock died s e in Los Angeles... it just sounded normal to me and I Browne Sextet and was a frequent Australian Jazz Bell L Jun. 30th at 84. v had to perfect my playing to the kind of music that he Award winner. Browne died Jun. 13th at 70. was working with.” Unlike the traditional jazz path of sidemanship, at CARLOS CARLI (Sept. 28th, 1946— 28 years old Coleman made his simultaneous recording Jun. 26th, 2015) The Uruguayan and leader debut, Something Else!!!! (Contemporary, drummer, based in Spain, was a stalwart 1958) with a band of pianist Walter Norris, bassist Don of the Madrid scene and worked most Payne and, most significantly, cornet player Don notably with Pedro Iturralde and Cherry and drummer . Coleman, Cherry Paquito D’Rivera, whom he housed and Higgins, along with bassist Charlie Haden, worked after the clarinetist fled Cuba. Carli briefly under the leadership of pianist , an died Jun. 26th at 68. early supporter of Coleman, at the Hillcrest Club in Los Angeles and, after one more Contemporary session HAL GAYLOR (Jul. 9th, 1929—Jun. with different personnel, recorded their debut for 25th, 2015) The Canadian bassist, whose Atlantic in May 1959. The Shape Of Jazz To Come was a earliest work was backing visiting prophetic title as it presaged not only Coleman’s American singers, went on to play with continual innovations in the genre but also his whole countryman pianist Paul Bley on both approach to composing and improvising, what he sides of the border, was a member of would later dub “” (defined by him in the ’s quintet in the late liner notes to 1973’s as “rhythms, ‘50s, worked with , Stan Getz, and tempos are all equal in relationship and and Kai Winding, became part of the NYC fusion scene independent melodies at the same time.”) in the late ‘60s and left music in 1972 after a viral Coleman’s discography includes such seminal infection partially destroyed his hearing. Gaylor died albums as Free Jazz (Atlantic, 1960), Live at The “Golden Jun. 25th at 85. Circle” (Blue Note, 1965), Science Fiction (Columbia, 1971), Skies of America (Columbia, 1972), Of Human MONICA LEWIS (May 5th, 1922—Jun. Feelings (Antilles, 1979) with his Prime Time band and 12th, 2015) The vocalist, best known for Song X (Geffen, 1985) with guitarist . His her TV and film work as well as voicing last official album, Sound Grammar (2006), won the the Miss Chiquita Banana cartoon Pulitzer Prize and Coleman was named an NEA Jazz character, got her start in the band of Master in 1984. Tunes like “Lonely Woman” and “Una and went on to record Muy Bonita” have been recorded by hundreds of bands for Signature, Decca, Jubilee, Capitol over the decades. Coleman’s performances over the and Verve. Lewis died Jun. 12th at 93. last decade had been sparse and he is predeceased by his ex-wife, poet (who passed in December EDDY LOUISS (May 2nd, 1941—Jun. 2012), mother to drummer Denardo Coleman, who 30th, 2015) The French organ player had began playing with his father in 1966. over 30 albums to his credit, mostly for Explaining the idea behind Sound Grammar to Nocturne and Dreyfus, and Allen, Coleman said, “I believe that sound itself has a collaborations with , grammar that’s different than language or anything Kenny Clarke, Jean-Luc Ponty, Daniel else... The future of music is basically that sound is the Humair, Barney Kessel, Stan Getz, Jef concept of grammar. It has information, and this Gilson and Stephane Grappelli since the mid ‘60s. information is shared with others.” Louiss died Jun. 30th at 74.

12 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT EXIT ZERO DOEK SUONI PER IL POPOLO by russ musto by john sharpe by mathieu bélanger a n k e

D e i r d R o s s a r p i e r l a n g o s o b y o b y o b y p h o t p h o t p h o t Charenée Wade Anthony Braxton Paal Nilssen-Love Large Unit

A seemingly unlikely locale for a jazz festival, Cape The confluence of birthdays of American saxophonist The 15th edition of the Suoni Per Il Popolo festival May—the scenic seaside resort town dotted with Anthony Braxton (Jun. 4th) and Dutch piano iconoclast took place in Montréal from Jun. 4th-22nd. These days, Victorian bed and breakfasts located at the southern Misha Mengelberg (Jun. 5th) has been sufficient cause it is common for festivals to celebrate such anniversaries tip of New Jersey—has been hosting a lineup of world- for joint celebrations in the past. This year it spawned in some way or another. While this is perfectly class jazz musicians at the onset of summer and a whole festival. While Mengelberg (80) was not understandable, considering how difficult it can be to autumn dating back to the early ‘90s. The semiannual present due to illness, Braxton (70) was, bringing with last outside of the mainstream, it was refreshing that Cape May Jazz Festival’s 16-and-a-half year run ended him a coterie of young acolytes from the Tri-Centric the organizers made no fuss and acted like it was just in 2011 but the music quickly returned under the Foundation. They joined forces with DOEK, the another year. banner Exit Zero Jazz Festival. Amsterdam-based improvising collective, for six days Before going any further, it should be pointed out This year’s festival, closing out the final weekend of performances of members’ compositions and that the 2015 edition set itself apart from the previous of May, presented a diverse array of players. The spontaneous improvisations studded with talks, open ones in that it contained more concerts that fell in a sounds of New York, New Jersey and New Orleans rehearsals, a bicycle tour and a final party (Jun. broad sense within the rock idiom. Only time will tell were featured with artists from as far away as Cuba, 2nd-7th). whether this will be a permanent change. Furthermore, Chile and Bali expanding the range of music heard in Two main themes emerged during the festival: unlike the last few editions, all concerts apart from one the charming town’s many music venues. Early arrivals different approaches to reconciling charts for large took place at one of the three venues run by the could hear vocalist Roberta Donnay and the Prohibition ensembles with enough space for improvisers and organizers: Casa del Popolo, La Sala Rossa and La Mob Band playing vintage jazz and blues on the pier of allowing for multiple events to happen at once. Both Vitrola. The Lobster House, violinist Daisy Castro bowing strands came together in Braxton’s birthday concert, This year’s edition was of interest for many gypsy jazz in the Virginia Hotel or the renowned which formed one of the highlights of the festival. For reasons. First, through the years, the festival has built sonero Ernesto “Gato” Gatell with Sin Frontera singing the first he lead the Tri-Centric contingent, with the special relationships with some musicians who, as a AfroCuban classics at M’Ocean. As with most festivals addition of drummer Michael Vatcher, through a result, have become regulars. This has allowed scheduling conflicts made it impossible to hear Falling River Music graphic score. After a remarkably audiences to witness the evolution of their craft. Two everyone; among the many other artists performing gentle and unified start, a series of smaller subsets for whom this is certainly true and who performed as were trumpeter Sean Jones, singer Cyrille Aimée, erupted from the freeflowing interchange, often on the part of the 2015 edition are reed player organ player Brian Charette, Cuban salsero Pepito initiative of the musicians themselves, sometimes and drummer Paal Nilssen-Love. Gomez and bluesman Selwyn Birchwood. playing parts of other Braxton compositions. Rarely The program of Vandermark’s solo set consisted of The opening night’s main event at the Cape May was everyone playing at once. Braxton divided his five improvisations—dedicated to Joe McPhee, Convention Hall was New Jersey native son Paul Jost’s time between trademark airy galloping runs, listening Anthony Braxton, Agnès Varda, etc.—and his “Reimagining Born To Run At 40”. Commissioned by to the interaction and cueing specific combinations. At reinterpretation of Jaap Blonk’s version of Tristan festival producer Randy Kline, the celebration of the one point Braxton stilled the throng for a stunning Tzara’s “Brüllt”. The strength of the set came from 40th anniversary of Bruce Springsteen’s epic rock duet with cornet player Taylor Ho Bynum in which Vandermark’s sound, which seemed sharper than in album found singer/multi-instrumentalist Jost they traded unlikely gambits—slobbers, growls, the past, and also that the pieces each concentrated on fronting a sextet including Jim Ridl (piano), John mutters—from opposite sides of the stage, until a minimal set of ideas, giving them a great cohesion. Swana (EVI, electronic valve instrument) and Tony gradually subsumed by others rejoining. Nilssen-Love played two nights with his Large Micelli (vibraphone). Opening with a mellow take on For the second set, Braxton lead the entire 20-strong Unit, a 12-piece ensemble bringing together musicians “10th Avenue Freeze Out”, Jost augmenting his vocal company straight into a boppish big band piece. But from Norway, , and . Each with bluesy obbligati, the music recalled that didn’t last much beyond the first few minutes as night was divided in two parts, the first dedicated to the sound of ‘70s Steely Dan. “I’m a Jersey boy and we again Braxton began cueing exchanges from within the subgroups, the second a set by the full group. The all genuflect at the name of Bruce Springsteen,” the ensemble, including a duet for the of Brandon subgroups were of uneven interest, but one that singer proclaimed before embarking on a hushed Seabrook and and Kaja Draksler’s definitely stood out was the trio of Per-Åke Holmlander recitation of “Night”. He crooned through the classic piano. But when Braxton began a saxophone duet with (tuba), Thomas Johansson (trumpet) and Mats Äleklint record’s song list, his voice modulating between Tony James Fei, Bynum stepped forward and began (trombone). The two sets performed by the Large Unit Bennett-ish smoothness and Van Morrison-like rasp, orchestrating other sections of the musicians. It wasn’t itself revealed a band that can be very powerful, as one with the audience often chiming in on hits like long before Fei was doing the same. The result was would expect, but not at the expense of dynamics. This “Thunder Road” and the title track. astounding, bewildering and intoxicating, often all at said, the most powerful moments at times revealed Yet it was the opening act, wunderkind Joey the same time. Sadly the whole set didn’t last for more some imbalance within the ensemble, revealing the Alexander, that roundly won the hearts of the packed than 40 minutes, but encapsulated a sizeable chunk of limitations of some musicians. auditorium. The 11-year-old Balinese pianist began his Braxton’s musical universe. Second, like any good festival, the Suoni Per Il set with a solo rendition of “‘Round Midnight”, On Mengelberg’s birthday the next night, the Popolo exposed members of the audience to musicians displaying prodigious technique as he navigated parallels became obvious, as reed player Michael Moore with whom they may not have been familiar. For most, through the song’s changes, shifting gears to interject lead everyone through an homage to Mengelberg. With the discovery of the festival had to be alto saxophonist striding rhythms, classical embellishments, parallel two other constituents of the ICP Orchestra on hand in Mette Rasmussen, who played in duo with drummer octaves and Latin flourishes that demonstrated violinist Mary Oliver and trombonist Walter Chris Corsano. What makes Rasmussen fascinating is (CONTINUED ON PAGE 43) (CONTINUED ON PAGE 43) (CONTINUED ON PAGE 43)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 13 IN MEMORIAM

Musical communion with Ornette released one Ornette was always willing to share his knowledge Ornette had a transformative effect on the world, from a chthonic, -like wilderness of of music and life. His explanations would always on music, art, expression and being, but he was smooth jazz and watery cocktails peopled by keep you guessing no matter how easy they were also a very humble, generous and open man who pinstriped denizens who were slaves to to understand. He was a natural genius, soft- was able to connect on an individual level, be in convention. Jagged blue notes from his white spoken, composing music all the time, explaining people’s lives, change and affect you on a personal plastic horn pierced the numinous infrastructure how the sound of the notes relate to one another. level. He was sort of a philosopher-musician, who of space and time. Only Ornette knew the musical 14 years ago Ornette was looking for a worked with and played ideas. Rehearsals would resolutions that kept many feeling bemused, bassist with a strong classical background to play often last for six, eight hours or longer and would some angry and others strangely elated by the in his band. A good friend of mine and great involve Ornette’s research and development, funky downhome essence of it all. bassist was asked to play for him. During the time using Prime Time as his laboratory. He had an Ornette commingled with Bird, Robert he spent with Ornette he told him he knew the unusual and somewhat contradictory combination Johnson, Holden, Huck and Jim, Whitman and bassist he was looking for. The next day I met of being both very abstract and being a Emerson on a cosmic oversoul of a raft that Ornette. After about a half hour of playing he perfectionist—searching tirelessly for something docked . Once he passed through said to me, “Your friend was right, you are the he was hearing or thinking—never arriving, but the looking glass, the band was on its own. Each bassist I’m looking for.” That was the beginning always “getting closer”. The rehearsals did have a musician had a dance floor in his head, coupled of a new musical education for me. I feel blessed profound effect though. Prime Time could be a with awareness of a unique musical vision that and honored to have been given the opportunity dense, bubbling, roiling array of sound, melodies, embraced all languages but somehow eluded full to learn so much from Ornette. rhythms, dissonances, ideas, all percolating, but definition in a concert key. With Ornette’s passing, it is truly the end there were concerts where the band reached of a great jazz era. His wisdom and understanding almost ecstatic, empathetic, extra-musical planes —BERN NIX, GUITAR of life expressed through sound will surely inspire I’ve really never experienced before or since. musicians and composers for centuries to come. Ornette had a very original way of looking Ornette Coleman will always be remembered for at things—often connecting two points with very his love of creating a new music that incorporates —TONY FALANGA, BASS jagged non-linear lines, approaching things from musical sounds from all cultures of the world as many different angles as he could find. Musical known as Harmolodics. The Harmolodic concept Playing with Ornette Coleman was one of the lessons could be expressed in statements does not discriminate against any style of music. great experiences of my life. The music and the resembling Zen koans: “You have to modulate It was created for every musician to express their ritual could not be separated. We would spend without changing keys”, for instance. I admit that creative ideas based on composition and hours at Harmolodic Studios and later at his some of his lessons were lost on me, but all of improvisation. apartment, going through his music. Talking them made me challenge the way I looked at about life. Going for fried fish. And somehow music and the world. It was difficult to hold on to —CHARNETT MOFFETT, BASS “growing together” into these worlds. preconceptions around him. Ornette had a way of Once Ornette asked me to come over to opening up your mind, expanding the way you The most impressive thing about Ornette was his play. I wasn’t feeling well, getting a bad case of approached things and was always pushing dedication to the music. The six years I would strep throat. I was living on Avenue D in Manhattan musicians to find more music inside of themselves. work with Ornette were most rewarding. He at the time. Ornette had never been to my place, That was a powerful and moving quality that he wrote 10 new compositions for each concert. He but somehow knew where I lived. After our talk had, seeing the individuality and the beauty was flying me to New York for rehearsals and on the phone, I thought I would see him in a week inside of each person and trying to get them to recordings at his beautiful Harmolodic Studio for or so when I felt better. One hour later, I hear a express it. I feel fortunate to have gotten to know one week before each concert, 12 hours per day of knock on my door (fourth-floor walk-up). It was Ornette and I miss him, but I know he’s getting music. We played 16 concerts, which means 160 of Ornette standing there in his suit. He came with closer to the sounds he’s been searching for. Ornette’s compositions. Nobody in the whole jazz soup and ice cream to help “cure me”. He stayed business would spend so much time and money for hours and spoke of many things. He said he —KENNY WESSEL, GUITAR to have his music presented right. When I was in liked my apartment, as it was a “hideout”. New York, Ornette took care of me like a true Most all of the events that happened in From the time I got with Ornette the whole friend. His human qualities were as high as his Ornette’s life (at least what I saw) did not happen thing—his music, concept, way he played his music. I knew Ornette’s LP This Is Our Music with too much programming. When you thought horn—changed the way I played. I didn’t know already when I was in Leipzig (East at something would happen in a certain way, it how to play melody on the drums until he showed the time) and was fascinated. I worked and usually would happen in a completely different me and what he wanted me to add to his music. recorded with in 1968 in Paris but to way. Like Lewis Carroll, a world of illogical logic. And that was to play melody, rhythm and the meet and play with Ornette himself was the best He had a magic room in his place. His workroom beat along with timing, all simultaneously. And University of Music. I would like to thank my for music. It was lined with books, art and he gave me and everybody in his bands the friend and manager Genevieve Peyregne who instruments and pens! Not a big room, but where freedom to play the way they play; he didn’t want made this possible by introducing Ornette— we played and where the action was. It also had a you to play the way he wanted you to play. That’s whom she was close friends with—to my music reputation for having things disappear in there. how I added to his music. He changed my whole and suggesting to him to play with me. One day a trumpet vanished in there. Many other perspective of music. He picked people who things also vanished. I brought him a stone to help really didn’t know how to play—or only played— —JOACHIM KÜHN, PIANO his energy flow once (a deep blue azurite). He ’jazz’, because his music wasn’t ‘jazz’. It was loved it and looked at it intently. It also disappeared Harmolodic and played around sound and I had a thorough understanding of music in the room, although I had the feeling it was around the melody that he played. composition and theory because I was a classical there. Just not accessible. We spoke often about You know how music is written from left pianist since I was six years old. However, an the worlds of light and music and ways to better to right? He wrote on the front of the music paper engine and wheels does not quite make a car! understand how sound doesn’t have to be just so hard that the music would show on the other I was pulled out of my Music & Art High School tied to letters or numbers of note values. Stones side and he would actually flip the page and read English class in my sophomore year, handpicked have color and light going through them, just as the other side of the note that was written. How by Ornette—and we made music together, every sound does. And this stone somehow had a tone. he did it, I don’t know. But when he turned the year, for the next 40 years. I could never have Ornette was always up for trying whole paper around, he read the music backwards imagined that 40 years in this genius’ life would something new. One day, my friend Scott Robinson and, in essence, read the ‘other side’ of the notes. pass by so quickly. He gave me so much: the came to his place. Scott brought his bass saxophone When he did that and transcribed the notes from musical philosophy, diagrams, recordings, and Ornette tried it. He loved it! He said, “Oh the other side, the melody changed. And when he rehearsals, tours, talks, joyrides and the freedom man, this is just like a baby, but it can talk!” All of wasn’t readying or playing music, he would still to bring all of me to the fight! Most of all, showing these gems were uttered without fanfare. It was always be thinking of music. I remember at me the way to my own voice, to know what to just how Ornette saw the world. Thank you dinner, his fingers would be moving; he was know—the idea that it’s the idea captured in an Ornette for helping all of us view the world as a always thinking about music even when he was educated mind that can give us all love and a magical place that is filled with possibilities and eating—like he had a saxophone in his hand. chance at a better human experience. doors opened skyward. Ornette was a genius.

—AL MACDOWELL, BASS —GREG COHEN, BASS —G. CALVIN WESTON, DRUMS

14 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD I write this while at Sterling Sound down in Chelsea where we are recordings from the last time my father played in public: June 12th, 2014 in Prospect Park, Brooklyn as part of the Blue Note Jazz Festival’s Celebrate Ornette event. His sound is just soaring, soaring in a place not above or below—just beyond. As all the time he plays—you hear his being, his soul: that’s his music. ORNETTE —DENARDO COLEMAN, DRUMS

It was a rare privilege to hear Ornette’s unforgettable sound from the piano chair in his acoustic quartet. We made music together with COLEMAN Denardo Coleman and Charnett Moffett for around three years and I have framed each musical experience since that time from the shared rehearsals, conversations, travels and 1930-2015 performances of the quartet. Ornette’s belief in our potential drove the core of each musical experience. Those years and his entire body of music shaped a new world of creativity and limitless possibility. Ornette brought artistic richness and the joy of music to my life. For this I will be eternally grateful.

—, PIANO

No words can truly express the impact Ornette Coleman had on the world and on me personally. My happened when I was 18 years old and I was immediately invited to join his newly formed band Prime Time after only a one- song audition in which I thought I fumbled through a “finger buster”(as we later coined it) composition. Ornette saw my potential in that short time and I will be forever grateful. The years I spent studying, rehearsing, living and traveling with him shaped me not only as a musician but as a human being. He freed me in all respects. Even the simplest things come to mind, like when he would take the band out to eat after a rehearsal, it would often be a new experience (to an 18-year-old kid from North Philly) in a “fancy” place, some food I never had tried and Ornette would graciously encourage us to “try” this or “try” that, always pushing to expand my horizons in those basic human ways. You could see how delighted he was to share everything he could. This concept of gracious humanity, fearless exploration, finding your creative voice, learning the “Harmolodic” way of life extended well beyond the rehearsal room and for that I will be forever grateful.

—, bass

Early in September 1975, I got a call to come to New York because Ornette Coleman was looking for a guitar player. It was 14 years of him being a friend, musician and educator to me. Ornette made us feel like family. The way he nurtured us musically with the nutritional elements of Harmolodics. It felt like he gave each one of us a personal part of himself. In some cases, when a musical situation is over, you leave with only memories of what you experienced. With Ornette, when it was over, not only did I leave with memories...Ornette Coleman A L N H I G gave me a musical gift that will always keep on giving—a concept called Harmolodics! I love you Ornette Coleman and I will never forget those 14 years of friendship, music, education and love.

—CHARLES ELLERBE, GUITAR

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 15 CD REVIEWS

to do…was start from the beginning and play until the qualify. But she’s been quietly working away in that end”, he is not oversimplifying as much as being self- town, teaching at the University of Wisconsin as well effacing. Eskelin is a confident, articulate player who as leading groups for three decades and organizing the maintains his lyricism. His playing is impassioned but Madison Music Collective. She’s well appreciated by always controlled. Speed and volume have their place her local community and her talents have been utilized but he avoids the hollow theatrics that some players by a number of in-the-know players, including rely on, sometimes to a fault. Solo: Live at Snugs is an appearances on a couple of albums by Roscoe Mitchell. eloquent act of rediscovery for Eskelin, who is not She’s honed a working style that is a comfortable merely playing his instrument but assembling a mixture of the melodic and the outside.

narrative and, in effect, telling his life story. Conversations is a meeting with bassist Joe Fonda. Solo: Live at Snugs The pair played with each other during the mid ‘70s, Elery Eskelin (hatOLOGY) by Terrell Holmes For more information, visit hathut.com. Eskelin is at The lost touch and then renewed their musical friendship Stone Aug. 1st-2nd and Cornelia Street Café Aug. 30th over three decades later. They set up a concert date and Solo: Live at Snugs, recorded at the now-defunct with Mario Pavone. See Calendar. a studio session; Conversations is the result, with performance series, is a testament to the discipline material chosen from each venue. involved in tenor saxophonist Ellery Eskelin’s Both Wildman and Fonda brought compositions. continuing evolution. Facility with formulating The former’s “Three O Two” opens the proceedings in complex harmonic structures underscores his brilliance. a tonal mode with a lovely melody the players unfold With his warm, bluesy midrange tone as the foundation, beautifully. This is followed by the latter’s “Bela”, a he constructs a quartet of distinct sonic landscapes by more abstract piece running over ten minutes. In two transforming a succession of themes built upon the parts, it begins with a quiet before melody. Eskelin expands and deconstructs phrases by segueing into a highly-charged rhythmic section. The lengthening and compressing notes and creates interior sonic palette is wide-ranging, not merely piano-bass. dialogue through tonal variance, diversifying his sound The title track finds Wildman on utilizing a like a pitcher changing speeds and arm angles with sampled marimba and Fonda briefly switching to flute The Whisperer each pass through the opposing lineup. Ben Wolfe (Posi-Tone) for a surprisingly effective interlude. “China” Outside these common denominators Eskelin gives by Phil Freeman incorporates the most effective electronics with its each tune a motif: he punctuates the end of certain pings and pops set against Fonda’s flute melody. measures of “Turning a Phrase” with quick double-tap This is bassist Ben Wolfe’s seventh album as a leader, Conversations combines Fonda’s always adaptable notes; saxophone sings like a diva on “State of Mind” but his Posi-Tone debut. As on his 2013 MAXJAZZ playing with Wildman’s unpredictable moves for an but well-timed silences are as important. He even makes release From Here I See, he’s joined by pianist Orrin effective set. It’s great that these two unique players blowing into the mouthpiece sound like poetry. Driven Evans and drummer Donald Edwards. Under-recorded hooked up after so long. Let’s hope there’s more. by a series of unrelenting single notes Eskelin mines the saxophonist Stacy Dillard is up front, with trumpeter upper register on “Unwritten Rule” while “Weave/ Josh Evans guesting on “S.T.F.U.”. For more information, visit cdbaby.com/cd/ Warp and Woof” uses harmonics as its port of call. Most of the time, when bassists record as leaders, joanwildmanandjoefonda. Fonda is at WhyNot Jazz Room When Eskelin writes in the liner notes, “All I had they put the focus on the compositions rather than, say, Aug. 3rd with Katie Bull. See Calendar. extended solos. Wolfe is not a particularly showy player, preferring to provide melodic outlines and an • Jakob Bro—Gefion (ECM) anchor for Evans and Edwards. Dillard’s playing— R • Mike DiRubbo—Threshold (Ksanti) mostly on soprano, unfortunately, but sometimes on • Satoko Fujii Tobira— tenor—similarly has an inner calm that makes him a e Yamiyo Ni Karasu (Libra) player you have to listen to carefully to understand • Michael Gibbs/NDR Big Band— how interesting what he’s doing actually is. He sways c In My View (Cuneiform) through the melody of “Hat in Hand” and on “Love is o • Lafayette Harris, Jr. Trio— Near”, he blows so softly and slowly that it’s like Bend To The Light (Airmen) hearing a Lester Young record coming out of an open m • Dre Hocevar Trio—Coding of Evidentiality window two blocks away. (Clean Feed) Orrin Evans is a sympathetic partner; he doesn’t m • —House of (Arbors) hammer out trademark phrases on every piece like a e • Chris Kelsey/Lewis Porter Duo— teenager tagging a wall, so you’ve got to pay attention Free (Plays Ornette, Vol. 1) (Tzazz Krytyk) August 4th for his ideas to sink in. And Edwards has a light, n • Abbey Lincoln—Sophisticated Abbey flickering feel, balancing ticking hi-hat with delicate, (Live at the ) (HighNote) Gary Morgan and dancing snare patterns. “Chronos” grants him the d • Mike Nock Octet—Suite Sima (FWM) spotlight for a 90-second solo that launches the tune Panamericana and sets up a swiveling, shuffling groove. When Josh e Laurence Donohue-Greene, Managing Editor Evans joins the group on “S.T.F.U.”, the music bounces d August 11th and capers. 11 Wolfe originals and “All the Things You Are” ably demonstrate the bassist’s strengths as a • Double-Bass—This Is Not Art (Clean Feed) Bob Arthurs and Group composer and his bandmates’ interpretive skills. n • Arrigo Cappelletti/Furio Di Castri/ Bruce Ditmas—Homage to Paul Bley (Leo) For more information, visit posi-tone.com. This project is at e • Amir ElSaffar Two Rivers Ensemble— August 18 Dizzy’s Club Aug. 1st-2nd. See Calendar. Crisis (Pi) Jeff Siegel Quartet w • Orrin Evans—The Evolution of Oneself (Smoke Sessions) • Satoko Fujii Tobira— August 25th r Yamiyo Ni Karasu (Libra) • Rüdiger Krause—A Guitar Named Carla Paul Hefner Group e (Jazzwerkstatt) l • Jonah Parzen-Johnson—Remember When Things Were Better Tomorrow (Primary) New York Baha’i Center e • Quartet— 53 E. 11th Street We Get The Message (Sonorama) (between University Place and Broadway) a • John Russell—with... (2014) (Emanem) Shows: 8:00 & 9:30 PM Conversations • Waxwing (Tony Wilson// Gen Adm: $15 Students $10 Joan Wildman/Joe Fonda (s/r) s by Robert Iannapollo Jon Bentley)—A Bowl of Sixty Taxidermists 212-222-5159 e (Songlines) bahainyc.org/nyc-bahai-center/jazz-night Obscurity can be a blessing as well as a bane. Madison, Andrey Henkin, Editorial Director WI-based pianist Joan Wildman would definitely s

16 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD Songs is as its title suggests—a recording in which the its entirety in late June at WNYC’s The Greene Space, songs tell the stories without an abundance of frills. adhering to its varied yet interconnected parts as Muthspiel and Swallow are ideal partners, their would chamber musicians, reading every note. But playing all in service to this expressive music. Opener when the music called for improvisation, as in the “Pas de deux tranquille” is a slowly brooding dance, slowly expanding sections of “Voices of the Ancient”, Muthspiel laying out the deliberate moodiness of the swirling “The Pinnacles” and fiery “All Flows Forth”, Duster/Country Roads & Other Places melody and Swallow offering contrapuntal beauty. the musicians created incendiary sparks. (RCA-BGO) Muthspiel also plays acoustic, electric and toy (!) piano Admittedly, not the easiest piece of music to Simple Songs and flute. “Viennese Marketplace” is a livelier waltz capture unless heard in its entirety, The Subliminal and Christian Muthspiel/ (In+Out) with the leader on flute and Swallow throbbing in rich the Sublime is a bold and serene addition to Dingman’s The Oldest Living Thing dark tones to complement the airiness of his partner’s growing body of work. Fulvio Sigurtà (CAM Jazz) instrument. There’s also a gorgeous take on a Schubert by Donald Elfman work (“Mein! Yours?”) with Muthspiel on acoustic For more information, visit inner-arts.org. Dingman is at Steve Swallow is among the most influential bassists piano playing in deft counterpoint to Swallow, who Korzo Aug. 4th and ShapeShifter Lab Aug. 28th. See Calendar. of all time. His sterling acoustic bass—great sound, sometimes takes the lead melody. solid time and compositional prowess—made his work The Oldest Living Thing from Italian trumpeter with Jimmy Giuffre and in the early ‘60s Fulvio Sigurtà is about small quiet statements that UNEARTHED GEM noteworthy. Later in the decade, he filled the bass chair speak volumes and sounds like human voices sharing with vibraphonist Gary Burton and soon thereafter intimate conversations. Swallow and acoustic guitarist switched exclusively to electric bass, an instrument on Federico Casagrande keep this music singing, without which he continues to make essential yet subtle a single note wasted. The title track is heartbreakingly contributions. He has composed since his earliest days, beautiful, Swallow taking a typically gracious solo, revealing the same intelligence, wit and color as his utilizing his finely crafted sound and way with shape playing. The discs reviewed here include a reissue of a and color. The leader is next and his understanding of pair of albums from the Burton era and two modern space is dazzlingly intimate, Swallow and Casagrande releases where the accent is on quiet and delicate work gently pushing him through and back to the main from European artists. theme. Casagrande’s “Sunday Snowflakes” is another Duster is one of the milestone recordings of the standout; over gently pulsing and swelling bass and electric jazz era. It deftly combines the power of that guitar, Sigurtà finds notes that come out of the darkness In the Beginning Wes Montgomery (Resonance) electricity with the brilliance of jazz improvisation. to explore a universe of feeling. Swallow is ever- by Stuart Broomer Swallow plays a vital role, offering rock-solid acoustic present but never distracts from the narrative, moving bass and truly individual compositions. “General it inward and outward. That is the definition of musical Wes Montgomery took up the guitar at 20 and Mojo’s Well-Laid Plan” is the band at its finest, with a partnership and the ease with which that is arrived late to a national forum, following his first relaxed groove, Burton playing a bright yet slightly accomplished feels perfectly organic and beautiful. Riverside recording in 1959 at 36. When he died a melancholy melody, Swallow and drummer Roy scant nine years later, he was the most admired jazz Haynes gently yet authoritatively supporting the For more information, visit bgo-records.com, guitarist of his generation. It’s taken over four leader. Guitarist is the group’s electric inandout-records.com and camjazz.com. Steve Swallow is at decades for early recordings of Montgomery to link but his playing is also a deft mix of influences— Birdland Aug. 4th-8th with . See Calendar. emerge, chronicling the Indianapolis years when he country, blues, etc. Swallow solos briefly and we can worked days in a factory and played nights with his hear immediately how much about being in the brothers, sometimes for all-white audiences in still- moment he is. Every track here plays up the textures segregated clubs. In 2012 Resonance released brought about by the interplay between these Memories of Indiana Avenue, a single-CD window on superlative musicians. Country Roads & Other Places Montgomery’s guitar playing in 1957-58. In the feels like a logical extension. It’s the same band except Beginning is a more expansive view, a two-CD set that Jerry Hahn (of John Handy Quintet fame) has ranging from 1949-58. replaced Coryell and Swallow is now also playing The live recordings of Disc One come from 1956 electric bass. The title track is a Burton-Swallow and are largely devoted to The Montgomery-Johnson composition, a lazy country-blues-inflected tune with Quintet, with Wes, his brothers pianist Buddy and electric bass right up in the mix and Burton and Hahn bassist Monk, tenor saxophonist Alonzo “Pookie” The Subliminal and the Sublime taking some solos deeply in a groove. Other highlights Chris Dingman (Inner Arts Initiative) Johnson and drummer Sonny Johnson (no relation). include Burton playing an overdubbed piano/ by Ken Micallef It’s a joyous, tight band that revels in fast tempos, vibraphone duet on Maurice Ravel’s beautiful “Le blazing through standards but also handling a Tombeau De Couperin” and Swallow’s short, explosive The followup to vibraphonist Chris Dingman’s subtler, then-recent “Django” by John Lewis. “True Or False”, which features a jumpy theme and acclaimed 2011 debut Waking Dreams, The Subliminal Montgomery hadn’t yet developed his solo pattern of knockout Haynes solo in less than two minutes. and the Sublime is a stylistic left turn for this focused single note lines, then octaves, then chords, though Austrian trombonist Christian Muthspiel’s Simple musician and for jazz in general. The hour-long each is already a component of his emerging style. through-composed work is the culmination of Disc Two is far more varied, bouncing through Dingman’s trek through the American West, reflecting time from the latest recordings in the set to the its wide-open vistas and epic mountain views. earliest. Highlights include extended versions of Dingman’s suite has much in common thematically “Soft Winds” and “All the Things You Are” (with with the vivid Americana of Aaron Copland and inspired exchanges between Wes and “Pookie” equally ambitious through-composed music of Pat Johnson). There’s also a failed chance at early Metheny and cyclical works of Steve Reich. recognition: five unreleased tracks for Epic by the Also based on patterns found in nature both on Montgomery Brothers (Johnsons in tow) produced by macroscopic and microscopic levels, The Subliminal and . All clock in under four minutes and the Sublime is a kind of tone poem dedicated to nature. they’re jammed with bop, blues, soul and swing. The Such concrete themes are difficult to pull off within disc concludes with a 1949 Spire Records session by music, but from the serene neo-electronic notes of tenor saxophonist Gene Morris and his Hamptones. “Tectonic Plates”, which seem to ooze toward the It’s drenched in R&B and demonstrates Montgomery’s listener like a slowly-spreading lava flow, and gentle early devotion to Charlie Christian. piano and vibraphone motif of “Plea” to the As well as providing insights into the formative improvisational centerpiece and closer “All Flows years of a jazz giant, In the Beginning also chronicles Forth”, Dingman successively conjures a natural an Indianapolis scene sufficiently rich in talent and world, an airy, cerebrally exciting marvel of a place vitality to bring Montgomery’s to fruition. that rewards with multiple listens. Dingman, alto saxophonist Loren Stillman, pianist For more information, visit resonancerecords.org. A Fabian Almazan, guitarist Ryan Ferreira, bassist Linda Montgomery tribute is at Smoke Aug. 26th. See Calendar. Oh and drummer Justin Brown performed the music in

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 17

producer Pascal Le Boeuf, a savvy pianist and facile GLOBE UNITY:NEW ZEALAND composer who provides atmospheric echoes and brief melodic riffs on other pieces throughout. Dohi and Izzo, classmates at Manhattan School of Music, fuse careers at an incandescent intersection of jazz, contemporary and electronica. Their opening salvo on Le Boeuf’s “GIRLS” rattles speakers and expectations with stop-time razzle, vocal (flute-talk) and electronic (phaser) effects, damping and derring-do. Izzo and Breve Dohi then tackle headlong a thorny Vijay Iyer piece in Hayden Chisholm (Pirouet) Play a Bill Frisell Set List an electrifying trio with Justin Brown (drummer with Dark Light Michael Gibbs & The NDR Big Band (Cuneiform) Jonathan Crayford (Rattle) by Mark Keresman both Iyer and Le Boeuf) as Izzo struts over snare Cthulhu Rising patterns and Dohi chimes in with tart chords, then all Reuben Bradley (Rattle) Is there a more protean guitarist in American music stride forth. “Anzu”, a brooding chorale with and by by Tom Greenland than Bill Frisell? The bands of Paul Motian, John Zorn sub-toning trumpeter Ambrose Akinmusire treads Geographically isolated in the South Pacific, New and —Frisell has left an indelible stamp on somber ground betwixt Monteverdi and Miles Davis. Zealand (aka Aotearoa in Māori) is somewhat off the them all. Michael Gibbs has helmed a long-running U.K. The pieces themselves fuse into a landscape of beaten jazz path, but nonetheless hosts thriving big band and taught at the , glitchy terror and anticipation; case in point: the scenes in Auckland, Nelson, Queenstown, Tauranga, where Frisell studied with him. Frisell has never been a undamped, arid transition from Randall Woolf’s “… Waiheke Island, Wellington and elsewhere. Three featured soloist with a big band until now. Recorded nobody move…” and Jonathan Ragonese’s “Non-Poem recent releases take the island nation’s artistic pulse. live in Hamburg in 2013, Gibbs applies his arranging I”, where the duo spins platinum-hard tensility to Raised in New Plymouth on the North Island, skills to Frisell’s catalog plus a few outside gems. spider-web gossamer fragility. Their third and final alto saxophonist/composer Hayden Chisholm now The kickoff is dark ballad “Throughout”, Frisell encounter is with Andy Akiho, whose “KARakurENAI” resides in Europe (Cologne and Belgrade), where playing the contemplative melody over lush yet volatile features his steel-pan in a playful skein of overlapping he’s developed a singular technique for microtonal orchestration. Tenor saxophonist Christof Lauer artfully quasi-electronic keyboard and phases and cheerful intonation. Although Breve, his new trio effort with shrieks through the dense underbrush while the band flute line as cherry on top. Other composers admirably the late pianist and bassist Matt Penman, swells around him. Employing restrained use of snarly engaged: Dave Molk’s “Edge” (snappy suite over- favors a traditional approach to tuning, Chisholm’s dissonance, “Throughout” is likable yet unsettling. explores minor thirds in pleasing patterns); Christian swooping bends and fast keening (both Frisell tips his hepcat hat to jazz guitar giant Charlie Carey’s “For Milton” (acute angles cutely cut for strongly suggestive of Johnny Hodges’ style) expose Christian on “Benny’s Bugle” (credited to Benny Babbitt); Mike Perdue’s “Entr’acte” (bright mirrored many notes pitched ‘between the cracks’. His sound Goodman and Count Basie!), a swingin’ stompin’ shards in kaleidoscopic arrays.) The music is crisp, also recalls the ephemeral, singing quality of Paul workout. The guitarist plays in unison with then over shiny, avid, lucid, exciting and technically quite Desmond, with a light but firm command of the the brass section, which lays down a blue-tinged accomplished between the RGs, bless them. upper register, which mimics a clarinet or flute. The rhythmic pattern. Frisell playfully emulates Christian’s ample space afforded by this ballad set fosters close, horn-like style with thick slabs of chords. After some For more information, visit newfocusrecordings.com. This democratic interaction among the players and a not- more lithe unison playing with the band, trumpeter project is at Joe’s Pub Aug. 7th. See Calendar. in-a-hurry ethos, which, along Chisholm’s attention Ingolf Burkhardt, a high-note specialist in the vein of and sensitivity to tonal detail, add up to a meditative, Cat Anderson and (especially) , highly listenable date. struts his stuff while the band gets even more riff- Lower Hutt-born pianist/composer Jonathan happy. Another departure from the album’s theme is Crayford is a Renaissance man, working in film, Thelonious Monk’s “Misterioso”, performed by Frisell painting, sculpture, photography and scientific and guest drummer Jeff Ballard as a duo. The former projects. The cover of Dark Light, his ninth album as recalls Monk’s impish, somewhat oblique style but a leader (and first for Rattle Jazz), shows a shadowed adds a playful twang while the latter makes with crisp palimpsest with cryptic mathematical notation, swing, alternating between New Orleans march-like auguring the densely layered music within. Aided patterns and pointed cracks and shots. Speaking of by the supple rhythm team of bassist Ben Street and Monk, this set closes with Frisell’s “Freddy’s Stop”, drummer Dan Weiss, Crayford untangles his knotty which this writer would swear (under oath) was a arrangements with flow and finesse: the crab-like tribute both to Monk and . It’s got a squirrelly, lines of “Skyscraper Scaffold” scuttle along; the title sardonic stop-start theme that breaks into cheery track’s 4-long, 2-short beat pattern pulses burlesque passages à la Evans, tart solos from horns hypnotically; and the seemingly incongruent sections and Frisell playing acidic and topsy-turvy blue notes. of “Rita Finds the Light” segue effortlessly. “Galois’ Gibbs gives his featured subject room to move as Candle” sounds a bit like Bach’s famous prelude well as highlighting his eclecticism as a composer, (BWV 846), only Crayford’s version is darker, begetting a richly varied tapestry. prodded by dry-snare accents. “Augmented Waltz”, with overly mannered blues moves, is less successful. For more information, visit cuneiformrecords.com. Bill Hailing, like Crayford, from the Wellington Frisell is at The Stone Aug. 4th-9th. See Calendar. region, drummer Reuben Bradley delivers his third album as a leader with Cthulhu Rising, inspired by and often quoting from H.P. Lovecraft’s gothic horror stories. Just as the writer evoked eerie scenes through extraordinary language, Bradley reveals his vision via through-composed, rhythmically complex scores. “Johansen’s Voyage”, for example, has a 3-phrase, 29-beat structure (7+11+11); “Erich Zann” has a 15-beat structure (7+8); and “The Esoteric Order of Dagon” is organized into 42 beats [(6x5)+(4x3)]. Sounds complicated, but the music invariably swings, thanks to the prowess of pianist Gathering Blue and bassist Matt Penman. As on RighteousGIRLS (New Focus/Panoramic) by Fred Bouchard Chisholm and Crayford’s albums, there’s a collective feel: soloing serves the form, rather than the other Just another classical piano/flute duo of wannabe way around, though Eigsti is more intrepid on the improvisers? Guess again with these RighteousGIRLS. last mentioned track and “Shadow Out of Time”. Pianist Erika Dohi and flautist Gina Izzo make a dynamic, refreshing duo in tackling largely For more information, visit pirouet.com and rattlerecords.net commissioned, often evolving, pieces by nine daring Gotham-based composers, working in cahoots with

18 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

in the manner of Barney Kessel. On “B(ro) Blues” a aspect of the suite—”The Displacing Silence”, “The fluid chord solo leads to sprinting runs that seem to Female Singers” and other facets of life in present-day cover the entire fretboard, from top to bottom, then Colombia—are brilliantly interpreted. Pianist Luis back up again, all in a single phrase. On “What, Perdomo is very much at home with Torres’ approach Though?” Brann weaves lyrical phrases through the and ties together the expressive three-horn frontline altered harmonies, cresting with a long thread of with bassist Ricky Rodriguez and drummer Obed triplets. Tardy (panned to the left channel) and Turner Calvaire. Marshall Gilkes’ vocal trombone and Michael (panned right) supply most of the other solo interest. Rodriguez’ sensitive trumpet reinforce the pathos The former’s gruff-toned, passionate style is heard to while Yosvany Terry’s imparts the jazz,

great effect on “The Late Pope”, “Turner-Around”, yielding a major political and worldly music statement. Mark My Words “Providence” and “What, Though?”, the last on which As heavy as Forced Displacement is, 10 is equally Craig Brann Sextet (SteepleChase) by Tom Greenland he gets to stretch out. Cooler-toned and deep-thinking, festive. Alegría cleverly alternates tunes associated Turner is excellent throughout, especially on “Astral”, with Peru and the jazz canon while giving each his With strong roots in the jazz guitar tradition, Craig “Providence” and the title track (along with “Turner- sextet’s signature sound. An allstar guest list that Brann nevertheless brings a fresh perspective and Around”, one of two titles that pun on his name). includes bassist Ron Carter, pianist Arturo O’Farrill cutting-edge chops to his compositions and Kudos also go to bassist Nick Morrison and especially and player Badal Roy swells the personnel to 20, playing. Mark My Words is his second date as a leader, drummer Rudy Royston for giving this high-concept enhancing the party atmosphere while judiciously a piano-less outing, which forefronts his fluid and music its down-to-earth buoyancy. embellishing the tunes. Ellington trombonist Juan empathetic comping style, as well as showcasing the Tizol’s Latin jazz staple “Caravan” is a well-chosen tandem tenor saxophone talents of Mark Turner and For more information, visit steeplechase.dk. Brann is at opener and the juxtaposition of Paul Desmond’s “Take Gregory Tardy. Tomi Jazz Aug. 10th and The Garage Aug. 12th. See Five” and Peruvian composer Daniel Alomía Robles’ The first thing that hits the listener is Brann’s Calendar. “El Condor Pasa” highlights Alegría’s arranging skill. dulcet tone, delivered with a deft and assertive but Peruvian staples such as “Taita Guaranguito” and relaxed touch. His tunes draw on fairly standard chord “Contigo Perú” are opened up as are Ornette Coleman’s progressions (the title track and “Turner-Round” are “Lonely Woman”, ’s “Birdland” and contrafacts of “” and “It Could John Coltrane’s version of “My Favorite Things”. A Happen to You”, respectively), but their melodies are highlight is Lobaton’s “Homenaje A Chincha”, which considerably more adventurous, with double-time has him trading off with Roy’s tabla and talking drum flourishes and uncanny contours. “Astral”’s theme is while Laura Andrea Leguía’s sax and Alegría’s horn do knotty yet tuneful and the swinging “What, Though?” likewise. 10 is a well-conceived and skillfully executed (co-written with alto saxophonist Nicholas Kozak) celebration of culture through music and the U.S. and sounds whacky yet cohesive, punctuated with rippling- Forced Displacement Peruvian national anthems fittingly round things out. fast passages. Samuel Torres Group (ZOHO) 10 Brann’s solos are tastefully muscular, his For more information, visit zohomusic.com. The Torres Gabriel Alegría Afro-Peruvian Sextet (ZOHO) accompaniment invariably melodic; he even punctuates by Elliott Simon project is at Zinc Bar Aug. 12th. Alegría’s group is at Zinc his own improvised phrases with appropriate chords Bar Aug. 13th and 20th. See Calendar. Jazz has welcomed Latin rhythms since at least the ‘30s and the use of “Spanish tinge” goes back to Jelly Roll Morton. Within the last 12 years though, Joachim Becker’s ZOHO label has developed the concept of Academy Records “Latin Jazz with a New York Vibe”. This openness to creativity has allowed Latin styles not often associated with jazz to blossom against a NYC backdrop. Forced & CDs Displacement from Colombian percussionist Samuel Torres and 10 from trumpeter Gabriel Alegría’s AfroPeruvian Sextet are dramatically different concept albums from NYC-based musicians exemplifying this philosophy. Torres has produced an expansive suite Cash for new and used intensely illustrating the fallout from Colombia’s compact discs,vinyl decades of violence while Alegría celebrates the decade-long existence of his AfroPeruvian jazz. records, blu-rays and Both leaders employ dance and vocal forms that “Scott Hamilton has come up with a winner… burns developed organically through an interchange among dvds. from start to finish.. This is absolutely one of the best African, Spanish and indigenous folk music. Torres Hamilton recordings of his long and prolific career, and uses bullerengue, AfroColombian music based on that’s saying something. I could literally listen to this all day long and not tire of it. It is the personification of cumbia, or courtship dances, which features a female taste, elegance, swing, and everything that’s RIGHT with vocalist in call and response with female backup We buy and sell all the jazz idiom. EVERYONE can enjoy this CD. singers against a percussive backbeat. It is custom Immaculately produced by Scott’s old friend Duke genres of music. Robillard, this is absolutely recommended without made for jazz and Torres’ expert conga skills. Alegría reservation. It would be nice if a recording as perfect as looks to AfroPeruvian coastal culture for the cajón- All sizes of collections this would not be ignored come Grammy time . Get this. centered multi-rhythmic complexity of música criolla. Now.” –Rick Dobrydney Jazz Attitude WVOF–FM 88.5 His superb arranging and gorgeous horn combine with welcome. Yuri Juárez’ delicate guitar and an intense rhythm presented by section centered around cajonista/dancer/vocalist

Freddy ‘Huevito” Lobaton. The result is serious party For CD purchase and additional information, go to blueduchessrecords.com music. For large collections, Forced Displacement was written under the auspices of a Chamber Music America New Works Grant after please call to set up an Torres encountered folklorist Emilsen Pacheco on a appointment. recent trip to the Colombian town of San Juan de Uraba. Pacheco’s frank depiction of the violence between guerrilla forces and the Colombian army as physical as well as mental displacement inspired the suite’s style and content. Varying musical elements Open 7 days a week 11-7 artfully symbolize Pacheco’s thoughtful characterizations and the opening “Overture” 12 W. 18th Street NY, NY 10011 establishes a sorrowful refrain serving as a thematic 212-242-3000 touchstone. The ensemble playing is superb and each

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 19

concert from 2012 and furthers Hooker’s multi-media Side” project. But the great tenor saxophonist and adventures (evidenced previously on Channels of composer Joe Henderson, the subject of his latest Consciousness and in live accompaniment to silent album, may be the most obvious and natural fit for one film). As usual with Hooker, it’s a high-intensity set of of his Latin jazz tributes. Unlike, say, Coltrane, for what might be termed ecstatic jazz. Lavelle first whom one might have to search a bit for Latin appears on “The Progressive Nature” and his influences, AfroCaribbean themes are prevalent in economical lines and fanfares contrast with the dense many of Henderson’s best-known compositions. As a maelstrom around him. Lavelle’s most prominent result, the updated arrangements (by Herwig and moments come in “Instinct And Intellect”, where a pianist Bill O’Connell) of six classic tunes written by or

Family passage of swirling excitement dials back to muted associated with Henderson come off as unforced, Steve Johns (Strikezone) trumpet alone until Hooker joins on brushes. Rumbling organic statements, rather than simply ‘Latin-ized’ by Ken Dryden drums take on orchestral dimensions, shaping and versions of familiar material. framing the date with tightly coiled explosions and The album, recorded live at the Blue Note in 2012, is Drummer Steve Johns has been active for several shouted exhortations. Pianist Mark Hennen channels an occasion for Herwig and his allstar ensemble to cut decades, recording as a sideman with George Russell, in his percussive atonality, whether cutting loose on a set of sensational songs. Things get off to a John McNeil and being a regular in Dr. Billy Taylor’s through the wall-of-sound drums or providing angular sizzling start with a high-octane “Recorda Me”, baritone trio for an extended period. Apart from No Saints No commentary. Bassist Larry Roland is mostly inaudible, sax titan Ronnie Cuber leading the way. Herwig, one of Sinners (Playscape, 2000), which he co-led with though his supple unaccompanied bass shines on the top trombonists around, astounds with a series of saxophonist Peter Brainin, Family is Johns’ debut under “Higher Triad” before Hooker’s recitation. Hooker bluesy bop choruses on “Mamacita” while guest tenor his own name, aptly titled since it features both his brings to the performance the same attention to saxophonist Joe Lovano has a memorable turn on wife, saxophonist Debbie Keefe Johns, and their bassist deploying resources in terms of instrumental voices he “AfroCentric”. Other highlights include an unusually son Daryl, along with Dave Stryker or Bob DeVos on shows with regard to the different elements of his funky “Black Narcissus” and fiery version of Kenny guitar, both of whom Johns considers family. trapset when behind the drums. It makes Red pleasingly Dorham’s “Blue Bossa” (from Henderson’s 1963 album The drummer brought four originals to the session, more organized than the average free-jazz blow out. Page One) with impressive solo work by trumpeter Alex starting with “Sleepwalk”, which came to him in part Sumari represents a return to formative roots for Sipiagin. Special attention is warranted for the red-hot in the middle of the night, an infectious bop vehicle Lavelle, reuniting him with drummer Tom Cabrera rhythm section of O’Connell, bassist Ruben Rodriguez, showcasing expressive tenor, with Steve, Daryl and and cellist Jack De Salvo for a program of seven drummer Robby Ameen and percussionist Richie Flores. Stryker providing superb accompaniment. “Bogie and collectively extemporized trio inventions. While they The Latin Side of Joe Henderson is one of the best Bacall” is an intimate ballad featuring lush tenor and call upon influences from folk, world and other genres, releases in the Herwig series and he’s apparently not Stryker’s whispering nylon-string acoustic guitar, with the product sits firmly under the improvised music done yet. He’s already performed dates with a Horace discreet brushwork and a fine bass solo completing the banner, with a heavy jazz flavor due to its swing and Silver tribute band and an album can likely be expected portrait. Debbie switches to soprano sax and DeVos is interplay. No one seeks to parade before long. the guitarist on “DKJ”, a catchy swinging tune. or slick prowess, so the outcome is a set of unfussy “Chunk” was co-written with Jeff Holmes, with whom unadorned pieces deriving their fascination from the For more information, visit bluenotejazz.com. Herwig is at the leader appeared on the pianist’s Of One’s Own. This playful interaction of the three principals. Lavelle Birdland Aug. 2nd with Bill O’Connell and Blue Note Aug. somewhat funky piece is appealing because its jagged, alternates between various and , 18th-23rd. See Calendar. captivating theme alternates between two time the ’s slightly smaller cousin, and both signatures and Daryl sporadically squeezes a rubber Cabrera and De Salvo similarly switch instruments, pig (which sounds like some obscure Brazilian such that the varied sonic palette sustains interest. instrument) while playing. Lavelle’s melodic bent surfaces in heartfelt expositions, Stryker contributed fiery blues “Shadowboxing” such as on the elegiac-then-jaunty “Counterparts Are and conversational “Came to Believe”, the latter Comparatively Encountered”. On alto clarinet his highlighted by its tight unison lines for tenor and upper register work is distinguished by speech-like guitar in a relaxed setting. DeVos penned the loping, phrasing and inflection, especially keening squalls in blues-flavored “Shell Game”, which would have fit the animated conclusion to “The Gates of Horn”. well in the repertoire of Art Blakey’s Jazz Messengers. DeSalvo’s contrapuntal exchanges with Lavelle form The Johns have to be very satisfied with this family one of the plus points of this grouping, prevalent from get-together in the studio, meriting future reunions. the gentle three-way discourse of “Seth Dance” onwards. He also fashions a series of loosely metered For more information, visit davestryker.com. This project is grooves with Cabrera’s diverse percussion. By way of at Birdland Aug. 13th. See Calendar. variation, there’s a chamber feel to the dialogue on “Reincarnational Civilizations” while rhythmic figures fizz between trumpet, cello and hand drums on “Alternate Presents and Multiple Focus”. It’s a successful enough outing, fully justifying the reunion.

For more information, visit gafferrecords.com and unseenrainrecords.com. Matt Lavelle is at ABC No-Rio Aug. 2nd with Paula Shocron and El Taller LatinoAmericano Aug. 15th with Sumari and his The 12 Houses Orchestra, Red both as part of the Dissident Arts Festival. See Calendar. William Hooker Quartet (Gaffer) Eponymous Sumari (Unseen Rain) by John Sharpe Matt Lavelle stands as one of that select band of musicians who double on both brass and reeds, although it’s hard to think of anyone else who has paired trumpet with bass clarinet. He’s helmed six dates since 2002 in his preferred free-jazz habitat but remains one those who labors on the fringes of acclaim, a Vision Festival bridesmaid rather than a bride. Nonetheless, he continues to broaden his range and The Latin Side of Joe Henderson (featuring Joe Lovano) that’s amply demonstrated on the two discs at hand. Conrad Herwig () by Joel Roberts On Red, Lavelle is part of a churning ensemble conception based around a poem/recitation in Trombonist Conrad Herwig has already paid homage drummer William Hooker’s quartet. Although split to John Coltrane, Miles Davis, and into separate tracks, it’s a continuous 44-minute live Herbie Hancock as part of his highly successful “Latin

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drumming and inventive vibraphone contributions As the opening “Change of the Guard” plays and with tasteful fills behind Parrott’s vocals and inspired the big, unfamiliar sound of the choir and strings wells solo work on Gershwin’s “Who Cares?”. Riveros’ gifted up, it’s a bit taxing at first. The elements don’t hands add excitement on three tracks, particularly on immediately feel well integrated; it takes a few tracks Porter’s “Love For Sale” in an by Redd. for the ear to accept this teeming environment as a Giants of American songwriters and a group of thing to savor. By the time one gets to “Re-Run” on Disc fabulous mainstream musicians results in an enjoyable Two, the choir sounds amazingly subtle, like an and auspicious launch for a new label. intergalactic mellotron. (8 of the 17 tracks feature a smaller band lineup with no choir or strings.)

For George, Cole and Duke For more information, visit blueheronrecords.com. Allen is at Washington’s heavy use of organ, played at different Harry Allen (Blue Heron) Dizzy’s Club Aug. 18th-23rd and 25th-30th. See Calendar. times by Cameron Graves and Brandon Coleman, adds a kind of psychedelic church element. Electric bassist by Marcia Hillman Stephen “Thundercat” Bruner brings his unique Tenor saxophonist Harry Allen is in the spotlight for sensibility to nine tracks and is simply astonishing on the inaugural release of Blue Heron Records, joined by the very last of them, “The Message”. the talented group of pianist Ehud Asherie, bassist Despite the profuse instrumentation, it’s the Nicki Parrott, drummer/vibraphonist Chuck Redd and intimate frontline blend of Washington and trombonist guest percussionist Little Johnny Rivero. The mother Ryan Porter that defines much of the music. The unison lode of the Great American Songbook is Allen’s field of or harmonized horn melodies are memorable, some exploration, specifically three of the all-time greats: slow and legato (“Isabelle”, “The Next Step”), others , Cole Porter and Duke Ellington. rapid-fire and full of urgency (“Miss Understanding”). The album sounds like a group of friends getting Some tunes follow a similar pattern, with a foreboding The Epic together to make some good music, exchange creative groove-based theme giving way to a brighter, airier B Kamasi Washington (Brainfeeder) ideas and simply have fun. Allen is in peak form, with by David R. Adler section. But Washington departs from this formula with his silky, smooth tone, wealth of improvisational almost poppy inventions that stand apart, such as “The musical ideas and knack for spontaneous arrangements What a way to set apart one’s debut: use a 10-piece Rhythm Changes” and “Leroy and Lenisha”. especially suited to the sophisticated Ellington band with two drummers, choir, string orchestra and Interestingly, Washington reserves the non- compositions, notably little-done “Purple Gazelle” and enough music to fill not one but three CDs. Such is the originals— staple “Cherokee”, Debussy’s “Claire well-known “In a Mellow Tone”. Asherie, master of bold vision of L.A.-based tenor saxophonist Kamasi de Lune”, Terence Blanchard’s “Malcolm’s Theme”— many styles and able accompanist, is the perfect choice Washington. Having worked with for Disc Three, reformulating each of them in ways that for the piano bench; listen for his solo-building master pioneer Flying Lotus (Steven Ellison), rapper Kendrick enhance the band’s language. One needs the preparation class on Porter’s underdone “I Love You Samantha”. Lamar and others, Washington steps forward as a of Discs One and Two, perhaps, to appreciate why these Parrott, a solid presence throughout, shows off her soft leader to reveal a raw, experimental but highly melodic cover arrangements work so well. and sweet vocal skills on Gershwin’s “How Long Has sense of groove and swing. The sound is predominantly This Been Going On?” and Ellington’s “In a Mellow acoustic and consistent across the three discs: it’s a For more information, visit brainfeedersite.com. Washington Tone” and “Mood Indigo”. Redd delivers steady unified statement, even if each CD has its own title. is at Blue Note Aug. 24th-25th. See Calendar.

22 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

if the sounds of Prime Time and a Klezmer wedding communication and emotional commitment to the band were sutured together as electronic timbres creative act. He’s also a pianist of tremendous facility leaked in from an adjoining workshop. The title track and fluency, both in terms of execution and ability to daubs a sweet Johnny Hodges-styled saxophone solo extend the possibilities of a piece far beyond where atop blurry analog-electronics-style wiggles. “The one might think it could comfortably go. In a style Rush to Buy Heaven” imagines Herbie Hancock’s beat- where such facility can support the merely glib, Werner wedded “Rockit” group fronted by chopped and has real substance, sometimes suggesting joy and crying irregular saxophone vibrations. longing at once. It’s evident throughout this trio “Every Word a Mask”, the longest track, may be recording with his longterm partners Johannes

Taballah the session’s Rosetta Stone. The tune postulates that Weidenmueller (bass) and Ari Hoenig (drums). Andy Haas (Resonantmusic) sounds, like words, veil many meanings. One doesn’t Werner is deeply engaged in the idea of melody as by Ken Waxman have to understand the tonal logic of how, on this piece he moves between well-known, if highly divergent for instance, -and-tissue paper-like blats, organ- works and his own compositions, shifting moods and Veteran saxophonist Andy Haas creates exotically like pedal point textures and rocket-launching densities but always maintaining concentration and unfamiliar but thoroughly 21st century sounds on his whooshes fit together so comfortably to appreciate the interest. The program begins in the profound nostalgia new solo CD Taballah (the LP version contains an extra unique result. of “Try to Remember?”, for much of its introduction track). Having improvised using such unusual horns playing with memory and meaning, avoiding direct as hojak, shofar, and piri in the past, Haas For more information, visit soundcloud.com/Taballah. Haas statement of the melody, contrasting open harmonies manages to simulate some of those sounds through the is at Freddy’s Backroom Aug. 25th. See Calendar. and tight clusters. That focus on melody takes different judicious application of electronics to his saxophone. turns with other familiar lines, including Coltrane’s

But like Muslimgauze, one of the two artists to whom “26-2”, that joyous extension of Charlie Parker’s Taballah is dedicated—Allen Ginsberg is the other— “Confirmation” from Trane’s most harmonically these reed textures are underscored by chunky, complex period, melody (and rhythm) here becoming dissected ambient-styled judders, created by a indistinguishable from the rapid harmonic evolution. tarang or compact electronic tabla. Dave Brubeck’s “In Your Own Sweet Way” is elusive, a Like an anthropologist visiting aboriginals, Haas’ celebration of the trio’s bouncing interlocking rhythms. variant of atmospheric exotica owes more to downtown The highly melodic originals that the trio revisits Manhattan than downtown Mumbai. Adept at sonic here are just as compelling, from the sense of upward mash-ups, Haas has Carnatic emphasis vie with flight of “Balloons” and moody “Voncify the Emulyans” trance suggestions. His blurry processing suggests (first recorded by this trio in 2000, the title suggests a The Melody windshield wiper-like rhythms, steel-drum resonance, return of Slim Gaillard’s vout language) to the welling Kenny Werner (Pirouet) radio static and plinks that could come from a fretless by Stuart Broomer power of “Beauty Secrets”. It’s powerful, imaginative guitar as often as textures attributed to extended reed work from a trio of the first rank. techniques. Kenny Werner has a rare combination of qualities, A piece such as “Lapsed Dance”, for instance, playing from deep in the mainstream, but doing so For more information, visit pirouet.com. Werner is at Blue posits what would happen in a laboratory experiment with the genuinely traditional values of group Note Aug. 26th-30th. See Calendar.

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solo akin to those on Saxophone Colossus, which Newsome have added considerably to the lingua prompted Gunther Schuller to declare a new, thematic franca in the last decade and the younger Jonah Parzen- style of improvisation. It’s also notable for Roach using Johnson looks to be leaving a mark as well. brushes throughout and Byrd’s very mellow, Miles-ian Parzen-Johnson’s second album of baritone take. In the middle of Rollins’ four originals is his saxophone without human accompaniment is a quick feature ballad, “How Are Things in Glocca Morra?” 37 minutes of layered, coherent pieces, not quite songs from Finian’s Rainbow, a fine example of Rollins’ but structures. He deals with melody and pulse and affinity for embracing pop ballads. Side Two of the LP thematic progression but is never tied to them. They has two AABA 32-bar originals, each close to 10 just occur, like cornices on the face of a wall. 2012’s

minutes long, giving Rollins ample space to engage in Michiana showed his dexterity on the big bari. For Vol. 1 what had become a highlight of his year with Roach, Remember When Things Were Better Tomorrow, he adds (Blue Note) by George Kanzler extended four- and two-bar exchanges that still sound analog synth to the mix, creating thicker, fuller as fresh and exciting as ever. This LP reissue allows performances. The harsh lullaby “If You Can’t Sleep, 1956 was a watershed year for tenor saxophonist you to savor each side and the liner notes, by Leonard Just Shut Your Eyes” works with strong rhythmic ideas Sonny Rollins; he recorded seven albums as a leader Feather, are not only right in front of you but are richly while “Eyes Like Paddles” allows the synth to take the and appeared on at least four more as a sideman. So its informative—something increasingly rare in CDs. fore, submerging nearly into psychedelia. understandable that some of them have been under- Heard live, the pieces lose some of their nicely appreciated, including this effort for Blue Note, which For more information, visit bluenote.com. A Rollins tribute obfuscating edge. At Silent Barn in Bushwick (Jul. became Vol. 1, after a second eponymous LP was done is at Jazz at Kitano Aug. 29th. See Calendar. 13th), his slurring dissonances became more embodied. in 1957. At the beginning of the year, Rollins joined the With the means of production on display, one might

Clifford Brown- Quintet, cutting the classic have wondered if his concept was getting in the way of At Basin Street (EmArcy) as well as a Prestige album his (acoustic) talent, or if he just added layers to what with the same personnel released as Sonny Rollins + 4. he already achieved via and He was with John Coltrane on Tenor Madness and powerful blowing. One might later have lost the trust recorded his iconic Saxophone Colossus. He continued in oneself to discern the acoustic from electronic. At playing with Roach’s quintet through most of 1956, another point, one might decide it doesn’t matter. also recording on Thelonious Monk’s classic Riverside At the risk of over-metaphorizing (and when is LP Brilliant Corners. that really a risk?), Parzen-Johnson goes beyond what For his debut as a leader on Blue Note, Rollins Butcher, Newsome, Roscoe Mitchell and Anthony created a hardbop quintet in the mold of the band he’d Braxton have done with the instrument, coming closer Remember When Things Were Better Tomorrow been working in all year, enlisting Roach on drums, Jonah Parzen-Johnson (Primary) in fact to the fantasies of Kraftwerk and Devo. He has trumpeter , pianist and by Kurt Gottschalk become the man-machine. The electronics are neither a bassist . A bluesy midtempo dominates novelty nor a crutch. They are an integral, if inorganic, three of the leader’s four originals, two of them in With the saxophone as pervasive as it is (likely part of his unusual—and quite likable—music. blues form. “Decision” is uniquely Rollins, a 13-bar because it’s as pervasive as it is) it’s rare to hear a blues with 2-note block phrases Rollins extends in a genuinely unique voice. and Sam For more information, visit primaryrecords.org Cobi Narita Presents Cobi Narita’s Open Mic AUG 1–2 AUG 13–16 Ben wolfe quintet catherine russell with special guest sultry summer swing nicholas payton with Host Frank Owens AUG 17 | MONDAY NIGHTS WITH WBGO is now at Room 53, a bar/restaurant with AUG 3 alicia olatuja ryan keBerle & catharsis accommodations on the 1st floor, with a AUG 18–23 menu of French and Moroccan cuisine AUG 4 trio da paz & friends with john ellis sextet , harry allen & maucha adnet AUG 5–6 Room 53 the rodriguez Brothers AUG 24 & josh evans 314 West 53rd Street AUG 7–9 legacy Band ted nash quintet (bet. 8th and 9th Aves) AUG 25–30 AUG 10 trio da paz & friends with New York, NY 10019 jazz house kids hosted By claudio roditi, harry allen & christian mcBride maucha adnet (646) 675-5341

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24 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

simply having a good time. One strategy of Anderson’s composing is to begin summer 2015 a tune slowly and ignite it with a vibrant center. Anderson supplies the intro of opener “At Home in the Muddy Water” with trombone whose sluggishness is SPECIAL SELECTIONs like a 45 r.p.m record played at 16 r.p.m., suggesting some primordial being emerging from the slime and from struggling towards the shore. When it reaches the beach, the band provides a vibrant, sun-splashed

Caribbean calypso party as a reward for its effort. To You When the being returns to the muddy water it does so NAXOS OF AMERICA Carsten Meinert Kvartet (M.S.—Frederiksberg) by Clifford Allen reluctantly. “Marching On (Blues for John Lewis)” has a similar structure, starting with a trombone/organ While the life and death of John Coltrane undoubtedly lamentation but, in a moment’s notice, through killer had a great effect on the evolution of improvised music drumming, wicked scratching of guitar and plungered, in the U.S., such a narrative arc is a little less obvious singing trombone, is transformed into a song of JAZZin Europe. After all, from the mid ‘60s onward, many triumph and defiance. The band also excels with more & European artists were more concerned with exploring straightahead grooves like the funky “Instigations”, regional approaches to improvisation within the free where Anderson has a grand time challenging the NEW MUSIC PARTNERS music language, utilizing local folk and concert music outer limits of his instrument’s range and tone. He approaches rather than looking across the pond for moves aside a bit on “Hot Crab Pot”, a bop tune in the George Clinton | CHOCOLATE CITY: LONDON (LIVE SESSIONS) heroic, spiritual inspiration. Denmark was one classic style, to let the fabulous Versace take a bobbing- Over a single weekend in 2014 P-Funk stopover for American musicians abroad, hosting and-weaving star turn. mastermind George Clinton took residence Coltrane with Miles in 1960 and on his own afterward; Anderson plays with palpable emotion on “Child’s at the legendary Metropolis Studios in that said, forward-looking Danish jazzmen seemed Eyes”, a variation on Wayne Shorter’s classic “Infant West London, performing an intimate show in front of 100 fans alongside numerous more enamored of Ornette Coleman, , Cecil Eyes”, enhanced with thoughtful single-note musing veterans of the classic line up, as well as Taylor and Albert Ayler in their own jittery explorations by Versace and Salerno. And the elemental “Realization” very special guest Joss Stone--the result —Hugh Steinmetz’ group and the Contemporary Jazz is a series of lovely exchanges between Anderson and being Chocolate City: London. This deluxe limited-edition, multi-format box set was Quintet—than the harmonic orbits and pulverizing Versace, proving less is more. The centerpiece, though, designed in the style of a classic box of triplets of the classic Coltrane outfit. is the riotous title cut, with lyrics presented by Anderson quality chocolates features limited edition milk chocolate and white chocolate marbled One Dane, tenor saxophonist Carsten Meinert, in a manic blend of oration, stream-of-consciousness live vinyl – the highest possible quality form recorded a stunning and raw homage to Coltrane as To vocalese and fractured Beat poetry. This tune is the of recording there is, cut the day after the You in 1968-69, releasing it privately on his own M.S. energetic nucleus that defines this fine album. METROPOLIS live show in Metropolis’ infamous Studio – MR1504 • 812864019797 an ultimate treat for funk loving audiophiles.” imprint; once he began working as a producer for the (MusosGuide) tiny Spectator label (home of a number of obscure For more information, visit intuition-music.com. Anderson Danish psych and prog releases), it was rereleased, is at The Stone Aug. 2nd. See Calendar. WILLIAM SCHIMMEL, Wynton Marsalis | Theater of the Accordion though even that version is exceedingly rare. This fully Revered by contemporary recording artists and musicians, has said of authorized reissue is the material’s first appearance on Schimmel that, “...[he] doesn’t play the CD, replete with four extra tracks. Meinert’s tenor, accordion, he IS the accordion.” Here, steely and folksy with hints of Gato Barbieri and internationally renowned accordionist William Schimmel continues to expand , is more tart in execution than the range of the accordion repertoire as Coltrane, but looks in his direction. On a program of he plays his versions of Richard Strauss’s originals by bandmembers and powerful covers of Der Rosenkavalier, Paganini’s Carnival of Venice, Bernstein’s Candide Overture and countryman Otto Francker’s “Dansevise” and even Mahler’s Ninth Symphony. Joined by Coltrane’s “” and “The Promise”, Meinert’s musical legend and nine-time Grammy® group stamps itself out firmly in the mold of aggressive, winning trumpeter Wynton Marsalis on St Louis Blues and Mahler’s Ninth, this CD is lyrical postbop and, while certainly nodding towards ROVEN RECORDS a true crossover: it will appeal to classical American forebears, the music is warm, raw and of a RR51115 • 743724194265 listeners, jazz listeners and all accordion players worldwide. compelling piece. Pianist Ole Matthiesen’s angular, resonant warble provides a shifting harmonic block for ALBARE | ONLY HUMAN the leader’s blistering runs while bassist Henrik Hove Only Human, the inaugural release from and the excellent drummer Ole Streenberg continually -based guitarist and philanthropist Albert Dadon (Albare)’s ALFI RECORDS, is a stoke the flames. This reissue fills in a few important vibrant musical celebration of the common cracks in our knowledge of modern Scandinavian jazz, ground that makes us human. And the music within—like the land in which it was as well as looking and sounding quite crisp. made—was born of an equally multicultural ensemble. Backed by percussionist Pablo Bencid, bassist Yunior Terry, and pianist Axel For more information, visit facebook.com/frederiksbergrecords Tosca Laugar, Albare delivers with his latest studio album “something delightfully nu for a nu generation.”

ALFI ALFI15001 • 724131549596

Modou Touré & | The West Project Ramon Goose--an English singer, guitarist, composer and producer of great talent-- formed The West African Blues Project in 2010. Modou Touré from Senegal , son of the famous musician Ousmane Touré, also a composer , guitarist and percussionist, joined the ensemble and further explores the link Being The Point between Blues and West Africa. Together, Ray Anderson’s Organic Quartet (Intuition) the two discovered a meeting of cultures and by Terrell Holmes two high energy and rhythmic music styles, as well as a nice mix of artistic talent. Ray Anderson is an evocative trombonist whose music is involving without being overcomplicated or clever. ARC If his tone is sometimes a bit uneven around the edges, DISTRIBUTED BY EUCD2591 • 5019396259126 the joy behind every note trumps the roughness. This is what gives Being The Point its refreshing sincerity. available at : His Organic Quartet with drummer Tommy Campbell, guitarist Steve Salerno and organist Gary Versace is

26 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

interpretation of Thelonious Monk’s “Bye-Ya”; and a closing flight through the standard “I Remember You”. The title track has a sharp, head-nodding groove that nonetheless stays on the right side of the line that separates swing and funk and the melody meanders in a way that recalls classic acoustic jazz of the ‘70s…or the preservation of that style by bands like The Cookers. Nowosad’s drumming has a light, crisp impact; he drives the band forward not with a whip,

Dialectics but gentle nudges. His solos swing, with every tap of Curtis Nowosad (Cellar Live) the hi-hat feeling like punctuation, rather than by Phil Freeman timekeeping. Gardner is a fleet, high-flying trumpeter whose streams of notes recall Woody Shaw; he draws Canadian drummer Curtis Nowosad (now a New Greene out, pushing the saxophonist to think on his Yorker) is joined on this album by a fairly hot band— feet as well. This is state-of-the-art postbop, trumpeter Derrick Gardner, saxophonist Jimmy demonstrating the players’ intelligence and taste while Greene, pianist Will Bonness and bassist . retaining the essential gutsiness of jazz intended to To American listeners, this will probably seem like excite rather than soothe. Greene, a Connecticut resident who’s gotten a lot of mainstream press attention recently for the worst of all For more information, visit cellarlive.com. Nowosad is at possible reasons, sitting in with the drummer’s band. WhyNot Jazz Room Aug. 6th and Rockwood Music Hall But, in fact, the saxophonist spent three years teaching Aug. 24th. See Calendar. at the University of Manitoba, where Gardner and

Bonness are both professors and Kirby is the Director of Jazz Studies. (Nowosad is an alumnus.) So this is a document of a working band and that’s apparent throughout the disc. Indeed, the same group first appeared on Nowosad’s 2012 album The Skeptic & The Cynic, which featured jazz interpretations of ’s “The Way You Make Me Feel”, Tupac Shakur’s “California Love”, Pink Floyd’s “Welcome to the Machine” and Bob Marley’s “Three Little Birds”. Humanity Part II Six of the nine tracks here are the drummer’s own Robert Sabin (Ranula Music) compositions. The other three are the opener, a version by Donald Elfman of Wayne Shorter’s “Speak No Evil”; an AfroCuban Bassist Robert Sabin has ability to make rich, deeply colored and textured and affecting music from seemingly dark places. His new disc does so with a sense of orchestration indebted to the great Gil Evans. This beautiful collection of six originals utilizes the brass immediately in the title track opener, a fusion of two Ennio Morricone themes from the 1982 movie The Thing. It begins with a low drone-like effect out of which comes a brighter theme as the whole band opens out in a kind of shout quietly propelled by Jesse Lewis’ guitar. There’s a burry trombone solo by John Yao with accents from the band and dazzling horn work from Chris Komer. The band leads back into the darkness of the opening. Sabin has learned bold and striking orchestral colors without using most of the standard tropes. A stunning surprise is “Scarecrow”; instead of the stock elements of horror film music, we get an icy Latest CD with interpretation of the source material, Maurice Ravel’s “Gaspard de la Nuit”. The music keeps the listener in Karin Krog, suspended animation yet leaves our imaginations free, Steve Kuhn, with the help of soloist Jason Rigby on tenor saxophone, whose playing is expressive without being showy, and and Sabin’s use of silence as a vital element. There are homages to unsettling images and Eric Alexander. feelings from several directors. “Through a Glass Darkly” honors the existential inquiries from Ingmar Bergman, opening with Rigby brooding over the Available on itunes, orchestra. This unpredictable work has many intriguing elements: melodies that are polyphonic in nature; amazon, tidal, spotify, blending of major and minor tonalities; chorales and musikkoperatorene.no and incisive improvisations from drummer Jeremy Noller and tuba player Ben Stapp. The latter’s extraordinary karinkrog.no tones, in fact, give extra color and dimension Meantime Records throughout the album. “Tenebre” celebrates Italian director Dario Argento, whose delicacy he echoes in airy woodwinds. Sabin has created a gorgeous, ethereal Downbeat June 2015 and thought-provoking new aural soundtrack.

For more information, visit robertsabinbass.com. This project is at Greenwich School Aug. 18th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 27

traveled those spaceways, yet yearns to return. His ever-questioning nature steadfastly, resolutely inches forward (in lower-case humility) to found brave new worlds of musical dialogue amid interplanetary explorations. This current transformational twofer from Robinson’s homegrown collection of experimental audionics takes us from deeply considered philosophical discourse and speculative inquiry into unknown galaxies with simpatico bassist Julian Thayer to an

hour’s collective improvisation involving past masters The Last Brahma The Power of Two from other spacey realms: Arkestra veteran Paul Abler/James Weidman (Bossa Nova Music Prod.) Steve Slagle/Bill O’Connell (Panorama) by Mark Keresman Marshall Allen and bassist . by Ken Dryden 67 suspenseful minutes of susurrant scamperings Paul Abler is a Detroit area-bred guitarist who amid the starplex and space-gazing wonderment Steve Slagle’s musical resumé is both full and diverse. established himself with Roy Brooks, , characterize ? as the two pals, leisurely and quietly, One early job was in Stevie Wonder’s band, but the bulk and Ted Rosenthal and whose zoom through the diverse space-time zones, pondering of his recording and touring has been with various jazz compositions have been heard in TV programs like universal mysteries, evading black holes, observing allstars including the Steve Kuhn Quartet, Jack McDuff, Breaking Bad, Mad Men and The Big Bang Theory. Son of nova and galactic disturbances, to document all in , Charlie Haden’s Liberation Music Orchestra, Youngstown, Ohio, James Weidman has played piano meticulous journals and return to tell about it. Their Milton Nascimento, Ray Barretto, Big for M-Base grads and and flickering thoughts over 29 mini-tracks touch on Band and Joe Lovano, to name a few. In recent years he singers Kevin Mahogany and . The straightup bass/horn discussions, organ duels has co-led several projects with guitarist Dave Stryker, Last Brahma is a set of exquisite duets for the pair. ( meets Poulenc), brooding black-and-white along with ten CDs of his own. The Power of Two marks Abler is inspired by blues and rock as much as by clips from Rod Serling, Vincent Price, Isaac Asimov. Slagle’s first recording in a duo, with veteran pianist Bill his father’s jazz records, which is why perhaps his style Nods to Monk (an itchily eldritch take of “Misterioso” O’Connell as his capable partner. and tone is so full-bodied, straightforwardly melodious for contrabass and timpani) and Sun Ra (a The performances all feel like first takes by two old and loaded with contrasting ideas. “Jardim Botanico” jauntily prancing “Mystery of Two” for bass friends who anticipate each other (not surprising, since features his deceptively leisurely playing in tandem and echo cornet) transport us in an aerial image fly-by they have often worked together), even on brand new with spare, harmonious piano. Weidman is unfailingly of ur-bop. They slide by dark stars in sidereal time. The originals that may have been reviewed for the first time lyrical throughout, but never so more than here—he duo’s sonic disquisitions prompted me to hunt down in the studio. The alto saxophonist’s “Good News” is a builds his solo with some subtle influences of classical (i.e., Google up) obscure instruments in their fearless superb opener, blending postbop and a touch of blues music, including J.S. Bach. Abler and Weidman seem a battery. Who among you have (yet) heard (of) the arch within its many sudden shifts of direction, brought to study in contrasts, but what they have in common is a sounds emitted by the 1908 trautonium or 2014 photo- life by the playful, adventurous spirit of both musicians. tendency to let the spaces between the notes speak for theremin? While Thayer sticks mainly to bowing his Slagle switches to flute for pianist Bill Evans’ themselves. string bass in this largely swing-free set, his extended infrequently performed “Peri’s Scope”, delivering a “Prece” has Weidman playing very rhythmically, as forays on Hammond organs (M-3 on “Search the Skies” spirited interpretation that would have likely impressed if taking the role(s) of bass and drums to Abler’s pensive and RT-3 on “Mysterium”) open sonic possibilities that its composer (who also studied classical flute but but gently propulsive lead playing. But when he gets his may raise arm-hairs, eyebrows, hackles. Yet the two are claimed to have no chops on it); O’Connell’s snappy solo, he’s nearly as sublimely elegant as the late Hank not indulging in the presentation of a disembodied accompaniment and solo are also a treat. Jones. Despite the seeming exotica of the title, midtempo assortment of desiccated embryos, but rather make a Slagle packs an emotional punch with his setting of “Yashmin” finds the pair personifying the inspiration of cogent if eerie argument for spacious thought, deep the ballad “I’ll Wait and Pray”, his alto taking on a vocal the Great American Songbook on a bright, puckish tune curiosity, which stretches by insinuating incrementals in quality. The pianist’s “A New Day” is an upbeat romp with a slightly Fats Waller-like sense of swing. There are a leisurely space-time continuum with lots of elbonian with gospel and lively interplay. Slagle’s sublime moments when each trades off of the other. room and quiet stretches. declared, “Silence soulful, catchy “KD JR.” was composed following the One of the crucial qualities that makes The Last is simply a question of what sounds we intend.” death of , Jr., who was the pianist on his CD Brahma such an outstanding effort is Weidman’s By contrast, Mission in Space unfolds at The Stone, Reincarnation and was also in the Mingus Big Band at approach. Where some guitar/piano duet discs might John Zorn’s East Village audio-lab, as the quartet’s the same time. Slagle returns to flute for Dave Brubeck’s be on the mellow side, Weidman is convivially assertive processional rising from the lower depths blowing “The Duke” and his imaginative solo makes it sound and very rhythmic without ever being over-enthusiastic ‘space sound tubes’ (tubular kazoos?) into a boisterous, like it is his main instrument, with O’Connell’s creativity or cutting back on his own sense of tunefulness. This is, well-controlled, dramatically conceived group reaching new heights in his accompaniment. This is one on the surface, an intimate duo recording, yet is as improvisation with democratically evolved guidelines. of the rare jazz duos that can cover much territory while bracing and invigorating as a full-band session. Self-restraint and clarity of purpose are the hallmarks of leaving the listener spellbound. such masters of collective listening and spacious For more information, visit bossanovamusicproductions.com. imagination. Five movements align themselves in a For more information, visit steveslagle.com. Slagle is at Weidman is at Birdland Aug. 18th-22nd with Joe Lovano. See sequence (whose durations approximate diminishing Birdland Aug. 2nd with O’Connell. O’Connell is also at Calendar. Fibonacci ratios) that take us on a spaceshot: landing on Blue Note Aug. 18th-23rd with Conrad Herwig and Subrosa an unknown planet; rambling stony terrain; coolly Aug. 24th as a leader. See Calendar. eyeing aliens; evading dangers (howling saxodonts!); and a time-warping doppler uplift emergency evacuation. Marshall Allen contributes exuberant blasts of electronic cornet and smoother bytes on his vaunted alto sax, as in a solar wind duo with Robinson. Henry CURTIS Grimes bows with scattering energy under Kevin NOWOSAD Norton’s shimmering vibes to open “Surface Mission” and skitters along with subtle undercurrents of QUARTET ? electronica. Pat O’Leary’s cello, Grimes and Norton lay Scott Robinson/Julian Thayer (Sciensonic Laboratories) down blessedly familiar expanses of 4/4 swing. Mission in Space Finally, both packages have warning-sky red thursday, AUGUST 6th, 9pm MONDAY, AUGUST 24th, 8pm Scott Robinson Spacetette (Sciensonic Laboratories) artwork from Richard E. Powers’ classic science fiction WHYNOT JAZZ ROOM ROCKWOOD MUSIC HALL by Fred Bouchard at at collection and carry space imprimaturs as “Certified 14 CHRISTOPHER ST. STAGE ONE Plutonian excitement is crackling our airwaves: the Imagination Products” and Robinson’s deadpan NEW YORK, NY 10014 196 ALLEN ST. very idea of a tiny hot planet at the far end of our solar Intelligence Alerts in guidance boxes: “Exposure to this NEW YORK, NY 10002 system with its own complex system of four moons is product may induce feelings of awe and mystery…” Curtis Nowosad Curtis Nowosad jamming the circuitry of far-thinking musicians. Scott and “This music takes place on another world. drums drums WAYNE TUCKER ADAM O’FARRILL Robinson, reed wizard with wide-ranging chops Conditions may be hazardous.” Consider yourselves trumpet trumpet MICHAEL KING piano MICHAEL KING piano (a score of saxes, and hybrids form the base of his warned. Beam us up, Scotty! LUKE SELLICK DARYL JOHNS pulsating pyramid) and wide, deep creds (e.g., bass bass orchestras of Duke Ellington, , Toshiko For more information, visit sciensonic.net. Robinson is at curtisnowosad.com Akiyoshi, Paquito D’Rivera, Maria Schneider) has Smalls Aug. 15th and Birdland Aug. 23rd. See Calendar.

28 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

chattering and buoyant. Like Carter he also evokes connections to forebears, in his case Max Roach and , with his tuneful approach to the drums. It’s on the longer cuts that the pair is at their most compelling. As well as the aforementioned title track, “Light it Up, Watch it Burn” and “New Shoes” also suggest mini-suites that go through a series of distinct moods, ranging from the slightly agitated duet for flute and cymbals at the outset of the former to the

Extra Room calm and meditative dialogue between muted trumpet Daniel Carter/Federico Ughi (577 Records) and sparse drums at the conclusion of the same piece. by John Sharpe Such spontaneous structures stand as a testament to the hard-won experience of both participants. At the Daniel Carter is one of the NYC jazz scene’s best-kept other extreme, it also allows them to create something secrets. Perhaps most critically acclaimed as part of the like “Expansion”, where the confluence of muted improvising co-operative Other Dimensions In Music, trumpet and conversational drums recalls a haiku, an Sat, Aug 01 Joel Harrison 5: Carter has maintained a rigorous commitment to idea reduced to its very essence. A second volume of SPIRIT HOUSE CD RELEASE 9PM & 10:30PM Ralph Alessi, Peter Apfelbaum, Kermit Driscoll, unfettered expression since the ‘70s. That credo has pieces from the same sessions is available digitally, seen Carter confine his activity to collective endeavors which, while confirming the strengths of the duo, Sun, Aug 02 SONGWRITER FEST: Julie Benko Quintet 8:30PM Jason Yeager, Riley Mulherkar, Danny Weller, Alex Wyatt at the expense of high-profile sideman dates. However, doesn’t break new ground. because of the format, he inevitably takes a leading Mon, Aug 3 SONGWRITER FEST: ROD MACDONALD 8:30PM role in Extra Room—a series of duets with drummer For more information, visit 577records.com. Carter is at Tue, Aug 04 SONGWRITER FEST: Ashley Daneman Quintet 8:30PM and 577 Records label boss Federico Ughi. It’s not their ShapeShifter Aug. 16th as part of the Dissident Arts Benje Daneman, Matt Davis, Sam Weber, Michael W. Davis first encounter, as they have waxed two previous discs Festival. See calendar. Wed, Aug 5 RAY SHELL : BACK2BLACK IN NYC 8:30PM in a trio completed by bassist William Parker. Ray Shell, Paul Jenkins, Mike Olatuja; Dollie Henry, director/host Carter’s innate lyricism has come steadily to the Thu, Aug 06 PIANO FEST: Cat Toren Band 8:30PM fore after years at the fire music coalface, although the Michaël Attias, Adam Hopkins, Nathan Ellman-Bell incendiary overblown falsetto tenor saxophone Fri, Aug 07 PIANO FEST: Sylvie Courvoisier/Mary Halvorson; receives a powerful outing in the latter stages of the Sylvie Courvoisier, Mary Halvorson, title track. But it’s by choice rather than as the default Stephan Crump 9PM & 10:30PM option and even here a blues-tinged melodicism Sat, Aug 08 PIANO FEST: Kris Davis Trio 9PM & 10:30PM John Hébert, Tom Rainey reasserts itself. Carter makes full use of his multi- instrumentalism to ensure diversity and sustain Sun, Aug 09 Michel Reis Trio 8:30PM Aidan O’Donnell, Eric Doob interest, moving between soprano, alto and tenor Mon, Aug 10 Michael Blanco Quartet 8:30PM saxophone, as well as flute, trumpet and piano. Ughi John Ellis, Kevin Hays, Clarence Penn proves an adept accompanist, variously rumbling, The Road Keeps Winding /Christine Correa (Red Piano) Tue, Aug 11 Michaël Attias Quartet 8:30PM by Joel Roberts Aruán Ortiz, John Hébert, Nåsheet Waits Wed, Aug 12 Nick Grinder 8:30PM This is the second volume of pianist Ran Blake and Danny Gouker, Sam Anning, Matt Honor vocalist Christine Correa’s tribute to Abbey Lincoln, Thu, Aug 13 Nate Radley Quartet 8:30PM the legendary singer and composer who was born 85 Loren Stillman, Matt Pavolka, Mark Ferber years ago and died five years ago this month. While a Fri, Aug 14 Matt Brewer 9PM & 10:30PM number of Lincoln tributes have been made since her Ben Wendel, Charles Altura, , Craig Weinrib passing, Blake and Correa’s two recordings may be the Sat, Aug 15 JOHN HÉBERT QUARTET 9PM & 10:30PM ones that most closely capture Lincoln’s passion and David Virelles, Ralph Alessi, Eric McPherson spirit while having, at least on the surface, the least in Sun, Aug 16 Allison Miller Boom Tic Boom 8:30PM Carmen Staaf, Jenny Scheinman, Todd Sickafoose Hosted by trombonist/composer CRAIG HARRIS, common with her mostly classic jazz vocal style. a major figure in jazz for over thirty years. The duo, frequent musical partners, tackle material Mon, Aug 17 ZACK FOLEY 8:30PM written by or associated with Lincoln from throughout Jesse Elder, Marvin Sewell, Shirazette Tinnin Rendall Memorial Presbyterian Church her long career, including some of Lincoln’s politically Tue, Aug 18 Allegra Levy 8:30PM th 59 W. 137 Street charged ‘60s collaborations with then-husband Max Julian Shore, Sean Pentland (between Lenox and Fifth Aves.) Roach. Blake, an avant gardist with a poetic touch, is a Wed, Aug 19 Rez Abbasi QUARTET 8:30PM st nd Mark Shim, Ben Stivers, Kenny Grohowski 1 set 12 – 12:45pm ~ 2 set 1 – 1:45pm sure-handed accompanist throughout the album, shadowing Correa with subtly shaded chords and Wed, Aug 26 Or Bareket Quartet 8:30PM Admission is just $15! Tivon Pennicott, Nitai Herskovits, Daniel Dor (discount for students, seniors and groups) dramatic flourishes, as well as providing a pair of Thu, Aug 27 BRAZIL FEST: 212-662-7779 splendid, entirely dissimilar solo takes on Lincoln’s Susan Pereira and Sabor Brasil 8:30PM Tickets at the door or welcometoharlem.com “Throw It Away”. Chris Washburne, Manu Koch, Correa has a singular approach as a vocalist, loud Gustavo Amarante, Vanderlei Pereira TOUR COMPANIES ARE WELCOME Hendrik Meurkens Samba Jazz Quartet 10pm and boisterous, nearly operatic at times, as on the Misha Tsiganov, Gustavo Amarante, Adriano Santos th opener “Straightahead”; chatty and theatrical at others, Fri, Aug 28 BRAZIL FEST: Billy Newman Quintet 9PM as on the cabaret number “The Heel”. And she has the Leco Reis, Vanderlei Pereira, Michel Gentile, Jorge Continentino August 4 Livio Almeida Quartet 10:30PM raw vocal power and sense of emotional freedom to Michael O’Brien, Zack O’Farrill handle the chants and wails of Lincoln’s incendiary Sat, Aug 29 BRAZIL FEST: Helio Alves Trio 9PM “The River” and make Lincoln and Roach’s bitterest Edward Perez, Alex Kautz Zé Luis Quartet 10:30PM th protest songs, like “In the Red” and “Driva Man”, Richard Padron, Eduardo Bello, Kenny Grohowski August 11 which could come off as dated, sound relevant for Sun, Aug 30 Mario Pavone’s Blue Dialect 8:30PM René McLean today. Another delight of a much different kind is her Dave Ballou, Ellery Eskelin, Matt Mitchell, Tyshawn Sorey mostly straightahead reading of the standard Mon, Aug 31 Mario Pavone’s Blue Dialect 8:30PM “Midnight Sun”, buoyed by some gorgeous piano Matt Mitchell, Tyshawn Sorey August 18th work. Like Lincoln, Correa is not a perfect singer. She Antoine Roney can overdo the artiness on occasion; her take on Roach and Lincoln’s “Living Room”, for example, comes off a th bit overwrought. But she is honest and daring and August 25 holds nothing back in her singing, qualities that make her a superb interpreter of Abbey Lincoln’s music. Fay Victor For more information, visit redpianorecords.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 29

he was a part of would have found a home there. Late the stirring vocals of Charenée Wade, who is back for guitarist , who would have turned 75 “Lush Life”, blending quiet with swing. There are this month, made one appearance on reed player other highlights: ’s effervescent ’ Marzette and Company (1966) while “Stablemates” with the lead tenor of Lucas Pino; two drummer turned up on dates rarely heard originals from trumpeter Jimmy Owens; led by saxophonists and Albert Ayler. Vilner’s lovely title ballad; and two dreamy takes of Saxophonist Peter Brötzmann’s connection is a little Harry “Sweets” Edison’s “Centerpiece”, one with Jon more apocryphal, but label founder Bernard Stollman Hendricks’ hip lyrics sung by Wade with Nadia told this writer in 2005 that he had received a copy of Washington and Charles Turner and the other a live,

Brötzmann’s now-vaunted Machine Gun (BRÖ-FMP, instrumental track. Love Notes (A Tribute to Oscar Peterson) 1968) for a possible American licensing deal in the Lenore Raphael (Swingin’ Fox) by Marcia Hillman early ‘70s but, as the label was winding down, adding For more information, visit gutstringrecords.com. This another release to the schedule was impossible. project is at Smalls Aug. 23rd and Dizzy’s Club Aug. 31st. Pianist Lenore Raphael’s latest release is a delightful Iron Path was released in 1989 by Virgin Records See Calendar. tribute to the legendary Oscar Peterson (who would following three releases on the German independent have turned 90 this month) performed by one of Enemy (two live, one studio) and consists of ten brief today’s piano masters. Raphael considers Peterson to cuts stitched together as album-side suites, their moods IN PRINT be one of her major influences and uses his favored trio distinct and much less sprawling than the band’s format (piano, guitar and bass), joined by the masterful pummeling live sets. Following the Ayler-esque talents of Howard Alden and Kelly Friesen and jubilance of “Prayer”, the music segues into a multi- drummer Steve Williams on two tracks. As far as tunes, tracked low warble of superimposed, twanging there is something for everyone, from bebop to Great rhythms in an effected haze alongside breathy drones, American Songbook and from uptempo to ballads. out of which emerges the double-time funk of “The Raphael does not attempt to imitate Peterson but Black Bat”, panned marches shot through with dubby does include material he played and/or recorded electronics and gleaming tenor. The lurching backbeat alongside her original composition and signature piece and distant electricity that make up “The Fire Drum” “Blues For O.P.”. Her technique, which employs the would easily have fit on an early Bad Seeds record full keyboard and displays dexterity with brilliant while Brötzmann’s bass clarinet exhortations take up runs, is matched by a wealth of musical ideas and the mantle of the Reverend Frank Wright and go from Arcana VII: Musicians on Music Edited by John Zorn (Tzadik) passion in interpretation. there. The recording is both distinct and murky, a by Tom Greenland This is an album that will put a smile on your face hallmark of Laswell’s work as well as original session and set your foot tapping. The first track “Tricotism” engineer Martin Bisi, and this sonic approach assures Since the maiden volume was published in 2000, (written by the other O.P.—bassist Oscar Pettiford) is a the music’s punch and its knotty textural ambiguity— John Zorn’s Arcana anthologies have collated the bebop-oriented number swinging from start to finish. the web of bluesy that, looped, make up “Sand ideas of avant music’s most creative composers and What follows is a superspeed version of “Just Friends” Dancer” is taut and psychedelic while “Cut and Run” improvisers, allowing musicians to put music into that will take your breath away with its tempo (notable is industrial sludge stripped of any outgassing. Less their own words. The latest installment contains a also is the rendition of the standard “My Foolish ‘free improvisation’ than a series of abstract, sometimes motley roster of veterans and newcomers, composers, Heart”). The two ballads “Tenderly” and “Emily” groovy minimal vignettes, Iron Path likely would have instrumentalists, conductors, impresarios and the receive a fresh approach; the former has a section found its home in college radio airplay and is a like, drawing on classical, jazz, folk and other music where piano, guitar and bass trade off while the latter forerunner to countless modern reed-and-electronics- traditions. Given free rein, the authors broach an features Raphael and Alden trading fours in complete driven groups. assortment of interesting topics: metaphysical or musical connection. These two ballads both also spiritual aspects of music; balancing precision and include the masterful brushwork of Williams (who was For more information, visit espdisk.com freedom in improvisation; individual approaches to Shirley Horn’s drummer for over 20 years). Friesen is composition; and travelogues from tours. not to be overlooked either. His solid rhythmic Some essays are highly specific, like Jay contribution and solos are outstanding (especially Campbell’s close analysis of Pierre Boulez’ when he trades fours with Raphael on “Stella By Messagesquisse or Chris Otto’s explanation of the Starlight”). But what is most striking is the players’ tuning and structure of his violin octet—both dense cohesion as a unit. Listen to the trades between them, pieces that are difficult to follow. James Moore gives where there is an uninterrupted flow of musical ideas. many examples of “sonorous corpses”, collaborative Treat your ears to this Valentine to Oscar Peterson from works derived through a game played by a group of a talented and most ardent admirer. composers in the ‘40s. Other essays speak of the deeper meanings of For more information, visit swinginfox.com musical experiences; less definite, they are sometimes Almost Sunrise less satisfying, perhaps because music’s deepest Eyal Vilner Big Band (Gut String) by Donald Elfman meanings are the hardest to articulate. Jon Madof writes about music as an emanation from the Source, The sound of the big band is universal—excitement of cautioning against Avodah Zarab (idol worship). massed forces, writing for sections and statements of Bryce Dessner describes the ecstatic states he, his soloists make for a unique listening experience. Almost band and the audience experienced during a six- Sunrise is the second effort by Eyal Vilner, who has hour nonstop live performance of the song “Sorrow”. corralled a group of accomplished young players for A few articles are highly entertaining, especially arrangements that speak to the tradition and originals ’s well-written piece on how he demonstrating his skill as a composer. used Manhattan walks as a compositional algorithm Knockout tune “The Rabbit” screams into high or Raz Mesinai’s clever chapter on his ongoing battle Iron Path gear from the start. In three dazzling minutes the against Soundßoy, evil obstructer of the signal Flow, Last Exit (Virgin - ESP-Disk’) orchestra gives us a taste of Vilner’s sense of the past supplemented by photos, cartoons and graphic puns. by Clifford Allen à la Count Basie. The saxes play the theme punctuated One could quibble about the book’s patchy It’s not too surprising that the label of choice for by brass and then pianist Tadakata Unno shows why editing, predominance of white male voices, sense of reissuing avant garde improvisation supergroup Last he’s called a “young veteran”. In quick succession cronyism at work in the selection of artists or highly Exit’s lone ‘commercial’ attempt would be ESP-Disk’, comes solid blowing from trumpeter Matt Jodrell, the compressed and thus difficult to read music notation which, both in its ten-year heyday beginning in 1964 leader on alto, bassist Jennifer Vincent and drummer and graphics but, overall, this anthology, like earlier and its more recent incarnation, has proven that Joe Strasser. The whole thing is a lesson in expressivity volumes , is one of the best extant sources for getting unclassifiable music deserves a label home with a and economy. The Ellington aesthetic is never far and inside the heads of experimental music’s most committed aesthetic. Of the four musicians in Last it shows in two Ellington-ian classics, “It Don’t Mean a compelling personalities. Exit, only bassist has no recording history Thing” and “Lush Life”. The former befits its title with with ESP, though had the original label survived into hard-driving yet thoughtful solos from trumpeter For more information, visit tzadik.com the early ‘80s, perhaps the no wave and art rock scenes Dwayne Tucker, clarinetist Dan Block and Vilner and

30 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

However, without doubt it is Lesbros’ influence by Rivers (he states the theme and takes the first solo— that stays in mind for the longest after listening. She Shorter is absent) and here the ensemble is a bit more ranges between chanson and almost spoken word reflective of the yo-yoing postbop Williams was in the recitation, but also touching on scat and voice-derived process of reinventing, with nodes of constant harmonic noises as part of the sonic interplay. For the most part creativity threaded through a crisp, incisive swing— her lyrics are suitably poetic and the French interludes filigree that one might not totally miss if it wasn’t there, are undoubtedly beguiling, but occasionally they veer but which adds immeasurably to the experience. Spring into the irritating, as on the high-stepping “Chanteuse has a sort of nervousness that Miles’ ensemble in Blue”. Both words and music are credited to Lesbros performances didn’t usually exhibit, but the somewhat

Le bébé de Brigitte (Lost in Translation) on the final “Quand Vient La Nuit”, arranged by Jones, rough-hewn music mated to one of Blue Note’s most Darius Jones (AUM Fidelity) on which she also plays piano, alongside Jones and austere graphic parcels (sans liner notes!) makes for an by John Sharpe Pascal Niggenkemper’s abrasive bass. The former’s intriguing and mysterious avant garde gem. dog-like barks and latter’s groaning arco textures add a Saxophonist Darius Jones continues to make bold and welcome dose of grit, which might have produced For more information, visit bluenote.com unpredictable choices. While not as radical a move as pearls elsewhere as well. 2014’s all-vocal The Oversoul Manual, Jones’ new album has retained the vocal element, by integrating French For more information, visit aumfidelity.com. This project is ON SCREEN vocalist Emilie Lesbros with the direction taken on Book at The Jazz Gallery Aug. 20th. See Calendar. Of Mae’bul (2011), to create a program of five tuneful songs and one instrumental. What is unanticipated is Jones cedingpart of the responsibility for his artistic vision of Le bébé de Brigitte, part of a nine-album project, to Lesbros, who sings in a mixture of French and English and contributes the lyrics to three of the pieces. Jones otherwise maintains his supportive and empathetic quartet: Matt Mitchell (piano and Rhodes), Sean Conly (bass) and Ches Smith (drums). But it is the leader’s searing that provides the main focus. He deploys his soul-drenched tone and broad Charles Lloyd: Arrows into Infinity Spring Dorothy Darr & Jeffery Morse (ECM) vibrato for visceral emotional impact. His standout Anthony Williams (Blue Note) by Russ Musto declaration comes on “Universal Translator”, where his by Clifford Allen choked distortions soar above an ominously eddying Even in jazz, where individuality is more rule than rhythm section, before handing over to his partners for In phone conversations with the Mississippi-based exception, Charles Lloyd stands out, so it’s not a series of more straightforwardly melodic accounts. drummer Alvin Fielder, who was an early member of surprising that a documentary on his long career Jones similarly hews closer to the chordal frameworks the AACM, he’ll often ask “where the young folks” are should be one of the best portraits of a jazz artist elsewhere, even recalling Cannonball Adderley at times. in the music. And by young people, he wasn’t asking ever made. Directed by Lloyd’s longtime companion about players under 40 but musicians making a name Dorothy Darr and produced by filmmaker Jeffery for themselves at 16, 17 or 18 years of age. Even in the Morse, Charles Lloyd: Arrows Into Infinity is an “Young Lions” era, most of those musicians were long enlightening examination of the music, mind and in the tooth compared to when trumpeter , soul of a compelling artist. Blending concert footage saxophonist Jackie McLean or drummer Anthony and ‘home movie’ clips with dozens of interviews Williams came onto the scene—the latter turning and candid conversations with Lloyd himself, the professional in Boston at age 13. By the time he recorded film shines a spotlight on a truly creative spirit. Spring 50 years ago this month on Aug. 12th, 1965, his Lloyd speaks of his early years in Memphis, second LP as a leader for Blue Note, Williams was 19 growing up in a large home that often roomed and had been working internationally with Miles Davis touring musicians from the Ellington and Basie for two years, where he’d expanded on the plasticity of bands, being inspired by the music of Charlie Parker, Roy Haynes with an aggressive parallelism that in freer playing juke joints with Howlin’ Wolf and being Nick Fraser TOO MaNY cONTiNeNTs contexts could recall Milford Graves. mentored by pianist Phineas Newborn. The film Nick Fraser (drums, compositions), Williams’ first LP, Life Time, was primarily an traces his early years with Chico Hamilton and Tony Malaby (saxophones) kris Davis (piano) exploration of motion through tone colors, utilizing a Cannonball Adderley, leading up to the inception of piano-less group with saxophonist Sam Rivers and his legendary band with Keith Jarrett, Cecil McBee cD reLease cONcerT: bassists and , as well as or Ron McClure and Jack DeJohnette, the recording august 14, 8:30 and 10pm duets for drums and mallet instruments (Bobby of the-million selling album Forest Flower and iBeam Brooklyn 168 7th street, Brooklyn, NY Hutcherson) and bass and piano (Ron Carter and Herbie ensuing disillusionment with the music and two- $15 suggested donation will include a copy of Hancock). Spring is a bit more focused but arid enough decade withdrawal to Big Sur’s mountains. Too Many continents to nudge the parameters of what postbop sounded like The ‘second act’ of Lloyd’s is documented with (cF336cD) in 1965 and joins the drummer with Hancock, Rivers, excerpts of performances by bands he’s led since his nickfraserthedrummer.com Peacock and saxophonist Wayne Shorter on a program return and interviews with many of the musicians cleanfeed-records.com of five originals, including one solo percussion piece. from them, including Geri Allen, Larry Grenadier, ibeambrooklyn.com Interestingly, at this point the entire ensemble was made , Zakir Hussain, , Alicia up of then-current or recent alumni of Miles’ groups. Hall Moran and ; the latter asserts The opening “Extras” is without piano and revolves insightfully, “It’s not just a gig. It’s an experience. around a brusque tenor cascade, which quickly spills It’s a spiritual thing for us.” The film gradually out into a study in modulated tempi and harmonics, unfolds, marking the journey of the artist to his Williams almost pithy in his buzzing brushwork. Second current spiritual state as one of the music’s most soloist Rivers is painterly in his buildup of phrases and important elder statesmen. In the opening interview perhaps more delicate than Shorter (who gets nearly of the film, a serious young Lloyd wearing a grand Ayler-ish on “Tee”) in his caresses and barks while Afro, black suit and dark glasses announces, “I’m Peacock’s constant melodic thrum is a binding agent not always happy. I’m not always laughing. I’m no offset against steady forward motion. The solo “Echos” Tom. I don’t do a number.” In the film’s final clip, an (Byzantine mode, not a spelling error) follows, a study older, more tranquil man declares, “For me it’s the in melodic variation through dry, jagged expansion and last night of the play. They can boo or applaud, but I contraction, fleshing out rudiments with slick inversions have to sing my song … The winds of grace are and obsessive firecrackers that make the introduction of always blowing. We must set our sails high.” “time” seem like an afterthought. “Love Song” is a folksy piece reminiscent of “When For more information, visit ecmrecords.com the Saints Go Marching In” that could have been penned

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 31 MISCELLANY ON THIS DAY by Andrey Henkin

Davis Cup Testifying Turn Out the Stars Close to You Alone Walter Davis, Jr. (Blue Note) (New Jazz) Cecil McBee (Enja) Bill Evans (Dreyfus) (DIW) August 2nd, 1959 August 2nd, 1960 August 2nd, 1977 August 2nd, 1980 August 2nd, 1990 The Davis Cup is one of the most Long before he became Kahlid Yasin Cecil McBee’s leader discography has “Turn Out the Stars” was by Bill Pianist Stanley Cowell came up with prestigious international tennis prizes and was a crucial member of drummer been sparse—less than ten dates since Evans and appeared on numerous drummer Max Roach, saxophonist but is also the leader debut of pianist Tony Williams’ early fusion outfit 1974’s —no surprise for a albums since its debut in 1966. Here it and vibraphonist Walter Davis, Jr., recorded at age 26 Lifetime alongside guitarist John bassist who has played on over 500 is a live recording from London’s Bobby Hutcherson before debuting as after work with drummer Max Roach, McLaughlin and even before work albums, from George Bohanon in 1962 Ronnie Scott’s, made just over a month a leader and partnering with trumpeter trumpeter Donald Byrd and alto with Miles Davis, Grant Green and to allstar band The Cookers these days. before the pianist’s death at 51. In a on Strata-East saxophonist Jackie McLean (Davis Woody Shaw, Larry Young was a Music From The Source is McBee’s year where his Village Vanguard and Records. He recorded for Black Lion, would go on to appear on McLean’s 19-year-old organ player waxing his second album, a sextet date with Chico Keystone Korner runs were also ECM, Trio, Strata-East, Galaxy and and Vertigo). Byrd leader debut in a trio with Thornel Freeman (tenor saxophone, flute), Joe documented and posthumously SteepleChase before this second and and McLean are here along with Schwartz (guitar) and Jimmie Smith Gardner (trumpet, flugelhorn), Dennis released, this date featured Evans’ last last session for Japan’s DIW. Recorded bassist and drummer Art (drums), Joe Holiday (tenor Moorman (piano), Steve McCall trio: Marc Johnson (bass) and Joe in Tokyo with bassist Cecil McBee and Taylor for six Davis originals. saxophone) playing on two tracks. (drums) and (percussion), LaBarbera (drums). Three Evans drummer , the Sporadically away from jazz for Holiday contributed one track to the recorded live at NYC’s Sweet Basil and originals (including the title track) program is originals, including several years, Davis wouldn’t record date, Young two, the remaining four featuring a pair of McBee originals nestle against standards and tunes by “Equipoise”, and tunes by Burrage, Joe as a leader again for nearly a decade. jazz and songbook standards. alongside one Hal Galper tune. Steve Swallow and . Henderson and “Stella by Starlight”. BIRTHDAYS August 1 August 6 August 11 August 17 August 22 August 27 †Luckey Roberts 1887-1968 †Norman Granz 1918-2001 Peter King b.1940 † 1918-63 †Malachi Favors 1937-2004 †Lester Young 1909-59 †Elmer Crumbley 1908-93 †Buddy Collette 1921-2010 Steve Nelson b.1954 † 1920-85 Warren Daly b.1943 †Tony Crombie 1925-99 †Dorothy Ashby 1932-86 Russ Gershon b.1959 b.1931 Vernon Reid b.1958 †Rudolf Dašek 1933-2013 August 2 Joe Diorio b.1936 Donny McCaslin b.1966 †Duke Pearson 1932-80 Aruán Ortiz b.1973 † 1937-2007 † 1922-97 †Charlie Haden 1937-2014 Peter Martin b. 1970 †Sonny Sharrock 1940-94 †Albert Stinson 1944-69 †Baden Powell 1937-2000 August 12 Jeb Patton b.1974 August 23 Edward Perez b.1978 Nana Vasconcelos b.1944 † 1942-2012 †Bent Axen 1925-2010 Martial Solal b.1927 b.1961 Joseph Daley b.1949 Dave Lee b.1930 August 18 †Gil Coggins 1928-2004 August 28 Billy Kilson b.1962 Victor Goines b.1961 Pat Metheny b.1954 †Eddie Durham 1906-87 †Danny Barcelona 1929-2007 †Phil Seaman 1926-72 Zach Brock b.1974 Ramón López b.1961 Phil Palombi b.1970 †Don Lamond 1920-2003 Terje Rypdal b.1947 †Kenny Drew 1928-93 b.1965 †Chuck Connors 1930-94 Bobby Watson b.1953 b.1941 August 3 Andrew Bemkey b.1974 August 13 Adam Makowicz b.1940 Brad Mehldau b.1970 Stephen Gauci b.1966 August 5th, 1941 †Charlie Shavers 1917-71 †Stuff Smith 1909-67 John Escreet b.1984 Christoph Pepe Auer b.1981 The name Airto and the †Eddie Jefferson 1918-79 August 7 † 1919-2011 August 24 Robin Verheyen b.1983 sound of his inimitable †Dom Um Romao 1925-2005 † 1923-2002 †Benny Bailey 1925-2005 August 19 †Al Philburn 1902-72 percussion can be found on Tony Bennett b.1926 †Rahsaan Roland Kirk 1936-77 † 1927-2000 †Jimmy Rowles 1918-96 †Buster Smith 1904-91 August 29 nearly 2,000 recordings † 1940-82 Howard Johnson b.1941 †Mulgrew Miller 1955-2013 Danny Mixon b.1949 †Alphonso Trent 1905-59 †Charlie Parker 1920-55 since the ‘60s, from sessions Roscoe Mitchell b.1940 Marcus Roberts b.1963 b.1954 Chris Tarry b.1970 †Dinah Washington 1924-63 in his native Brazil and jazz b.1955 August 14 Marc Ducret b.1957 Jerry Dodgion b.1932 credits with Wayne Shorter, Tom Zlabinger b.1971 August 8 †Eddie Costa 1930-62 August 25 Bennie Maupin b.1940 Miles Davis, Donald Byrd, †Lucky Millinder 1900-66 Jimmy Wormworth b.1937 August 20 †Bob Crosby 1913-93 Florian Hoefner b.1982 John McLaughlin, Freddie August 4 †Benny Carter 1907-2003 Tony Monaco b.1959 †Jack Teagarden 1905-64 †Leonard Gaskin 1920-2009 Hubbard, Keith Jarrett, †Louis Armstrong 1901-71 †Jimmy Witherspoon 1923-97 Walter Blanding b.1971 †Frank Rosolino 1926-78 †Rune Gustafsson 1933-2012 August 30 and many others to all sorts of pop and †Bill Coleman 1904-81 Urbie Green b.1926 † 1927-95 Wayne Shorter b.1933 † 1924-72 rock acts. His own leader †Herb Ellis 1921-2010 Don Burrows b.1928 August 15 b.1939 †Carrie Smith 1941-2012 John Surman b.1944 discography is voluminous, b.1933 †Vinnie Dean 1929-2010 †Oscar Peterson 1925-2007 Milford Graves b.1941 Pat Martino b.1944 Bronislaw Suchanek b.1948 with discs for CTI, BMG, Bobo Stenson b.1944 Stix Hooper b.1938 Jiggs Whigham b.1943 Keith Tippett b.1947 Anthony Coleman b.1955 Reference, West Wind and b.1965 August 9 Günter “Baby” Sommer b.1943 Terry Clarke b.1944 Michael Marcus b.1952 b.1956 most recently Airflow Eric Alexander b.1968 Jack DeJohnette b.1942 Art Lillard b.1950 John Clayton b.1952 b.1975 Productions. Airto moved to Michäel Attias b.1968 Dennis Gonzalez b.1954 Reto Weber b.1953 Michael Dease b.1982 August 31 the States in 1968 with his August 10 Stefan Zeniuk b.1980 †Edgar Sampson 1907-73 wife, vocalist , August 5 †Arnett Cobb 1918-89 August 21 August 26 †Herman Riley 1933-2007 went on to be a part of the †Don Albert 1908-80 Chuck Israels b.1936 August 16 †Count Basie 1904-84 †Jimmy Rushing 1903-72 Gunter Hampel b.1937 original lineup of Weather Sigi Schwab b.1940 Denny Zeitlin b.1938 †Mal Waldron 1926-2002 †Art Farmer 1928-99 †Francis Wayne 1924-78 Wilton Felder b.1940 Report and can be found on †Lenny Breau 1941-84 Mike Mantler b.1943 dozens of CTI albums. He †Bill Evans 1929-80 †Malachi Thompson 1949-2006 †Peter Appleyard 1928-2013 Bengt Berger b. 1942 won the DownBeat Critics Airto Moreira b.1941 †Fred Ho 1957-2014 b.1950 Peter Apfelbaum b.1960 † 1941-99 Stefano Battaglia b.1965 Poll for percussion several Phil Wachsmann b.1944 Akiko Pavolka b.1965 Cecil Brooks III b.1959 Oscar Perez b.1974 Andrew Lamb b.1958 Evan Christopher b.1969 times. (AH) b.1951 Cyrille Aimée b.1984 Ellery Eskelin b.1959 Chris Dingman b.1980 Branford Marsalis b.1960 Tineka Postma b.1978 CROSSWORD

1 2 3 4 5 6 ACROSS DOWN

1. The InBetweens guitarist Mike 1. Bmaj7 D7 Gmaj7 Bb7 Ebmaj7 Am7 D7 7 7. Stefano Pastor/Ari Poutiainen tune Gmaj7 Bb7 Ebmaj7 F#7 Bmaj7 Fm7 Bb7 “Floating Under The _____” Ebmaj7 Am7 D7 Gmaj7 C#m7 F#7 Bmaj7 8 9 10 11 8. Colored saxophones have this Fm7 Bb7 Ebmaj7 C#m7 F#7 12. Senegalese expatriate violinist Mamadou 2. recording studio used by 13. Austrian Brazilian-style guitarist Stefan , Tim Daisy, 12 13 14. Late ‘60s Atlantic LP catalogue prefixes Ken Vandermark, et. al. 15. Miles Davis dedicated a tune to this 3. Multi-reed player Michael who works

14 15 producer on Someday My Will Come with John Vanore 16. Mid ‘70s Japanese Arista LP 4. Eric Dolphy inst. catalogue prefixes 5. Pianist/composer Schifrin 16 17 17. Rune Grammofon DVD catalogue prefixed 6. Poetic Monk title 18. ’s 1957-60 compilation 8. Repeated, a bassist _____ Fluté 9. Bassist Gus or drummer Ferenc 18 19 20 20. Defunct British label that released albums 10. Upper West Side jazz club by Milcho Leviev, Tubby Hayes, Gil Evans Cleopatra’s ______21 22 23 and Stan Tracey, among others 11. Soul jazz saxophonist Washington, Jr. 21. This Donald Byrd Blue Note album was 19. Mingus played the entirety of music released 14 years after it was recorded written for Monterey 1965 here the 24 24. composition following year “Darkwood _____” 20. Adam Rudolph record label 25. Arild Andersen wrote a song for one 22. Lena Horne’s “Get ___ of Monday” 25 of these on his 1975 ECM album 23. 1970 Albert Mangelsdorff MPS album Clouds In My Head Never Let It ____ By Andrey Henkin visit nycjazzrecord.com for answers 32 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD Rudresh Mahanthappa Depends on Yamaha.

“My YAS-62 is the only horn that allows me to express who I am with total ease and clarity regardless of style or genre.”

Rudresh Mahanthappa Downbeat 63rd Annual Critics Poll Winner Alto Saxophone Player of the Year Rising Star Composer Jazz Album of the Year for “Bird Calls” CALENDAR

Saturday, August 1 • Julie Benko Quintet with Jason Yeager, Riley Mulherkar, Danny Weller, Alex Wyatt êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Cornelia Street Café 8:30 pm $10 êOrrin Evans Captain Black Big Band êGerry Hemingway/Beth Warshafsky; Gerry Hemingway Quartet with Herb Robertson, • Eva Cortes Minton’s 5:30, 7, 8:30 pm $10-20 Smoke 7, 9 pm $9 Ellery Eskelin, The Stone 8, 10 pm $15 • Marianne Solivan Big Band with John Chin, Matthew Parrish, Chris Smith, • Max Weinberg Orchestra Rainbow Room 6:30 pm $34 • /Victor Gould Mezzrow 9:30, 11 pm $20 David Gibson, Stafford Hunter, Josh Evans, Freddie Hendrix, Sharel Cassity, • Jeremy Davis Trio Bar Next Door 8:30, 10:30 pm $12 • ’s Southern Comfort with Will Holshouser, Marvin Sewell, Chris Lightcap, yunie Mojica, Stacy Dillard; Johnny O’Neal Trio with Luke Sellick, Charles Goold; • Eileen Howard Tomi Jazz 8 pm Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 Behn Gillece Quartet with Nate Radley, Ugonna Okegwo, Jason Tiemann • Howard Williams Jazz Orchestra; Larry Corban Trio • John Pizzarelli Quartet with Strings and guests Smalls 4:30, 7:30, 10:30 pm $20 The Garage 7, 10:30 pm Birdland 8:30, 11 pm $45 • Terry Waldo’s Gotham City; Jade Synstelien’s Fat Cat Big Band; • Gypsy Jazz Caravan Radegast Hall 8 pm êBen Wolfe Quintet with Nicholas Payton, Stacy Dillard, Orrin Evans, Donald Edwards Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Nick Kadajski Quintet Silvana 6 pm Dizzy’s Club 7:30, 9:30 pm $45 • Sean Smith Duo Walker’s 8 pm • Sound Underground Shrine 6 pm • Jonathan Barber Dizzy’s Club 11:30 pm $20 • Noelle Tannen and The Filthy No-Nos; Vinyl Canvas • Deanna Witkowski Bryant Park 12:30 pm êJoe Farnsworth Quartet with , George Cables, ShapeShifter Lab 7, 8:15 pm $8 Smoke 7, 9, 10:30 pm $38 • Paula Shocron Proyecto IMUDA with Matt Lavelle, Ras Moshe, Shayna Dulberger, Tuesday, August 4 • Earl Klugh Blue Note 8, 10:30 pm $35 Pablo Díaz; Projection:Zero: Carsten Radtke, Blaise Siwula, Joe Hertenstein êLeo Genovese Quintet with Hal Crook, Dan Blake, John Lockwood, Bob Gullotti ABC No-Rio 7 pm $5 êFranklin Kiermyer with Lawrence Clark, Davis Whitfield, Nimrod Speaks; Village Vanguard 8:30, 10:30 pm $30 • Swing Session: Tony Melone, Kevin Thomas, Mike Petrosino The Tenth Muse: Matt Holman, Sam Sadigursky, Bobby Avey, Chris Dingman, êIngrid Laubrock with Vincent Chancey, Michael Formanek, , Tom Rainey Threes Brewing 9 pm $10 Richie Barshay Korzo 9, 10:30 pm The Jazz Gallery 8, 10 pm $22 • Suzanne Ross Trio Tomi Jazz 8 pm êSteve Kuhn Trio with Steve Swallow, • Joel Harrison 5 with Ralph Alessi, Peter Apfelbaum, Kermit Driscoll, Brian Blade • The Shrine Big Band Shrine 8 pm Birdland 8:30, 11 pm $40 Cornelia Street Café 9, 10:30 pm $10 • Regina Carter’s Southern Comfort with Will Holshouser, Marvin Sewell, Chris Lightcap, • Blue Note 8, 10:30 pm $35 • JC Hopkins Biggish Band with guests Brianna Thomas, Charles Turner Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. Minton’s 7:30, 9:30 pm $25-50 êBen Wolfe Quintet with Nicholas Payton, Stacy Dillard, Orrin Evans, Donald Edwards Jazz Standard 7:30, 9:30 pm $30 • Sandro Albert Trio with Sachal Vasandani, Michael O’Brien Dizzy’s Club 7:30, 9:30 pm $35 • Bill Frisell, Jason Moran, Alicia Hall Moran Bar Next Door 7:30, 9:30, 11:30 pm $12 êJoe Farnsworth Quartet with Warren Wolf, George Cables, Peter Washington The Stone 8, 10 pm $20 • Chuck Redd Quartet with Mike Ledonne; Ken Peplowski Quartet with Ted Rosenthal, Smoke 7, 9, 10:30 pm $38 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, Martin Wind, Matt Wilson; Philip Harper • Earl Klugh Blue Note 8, 10:30 pm $35 Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 Smalls 7:30, 10:30 pm 1:15 am $20 êLeo Genovese Quintet with Hal Crook, Dan Blake, John Lockwood, Bob Gullotti • John Ellis Sextet with Eric Miller, Kevin Hays, Mike Moreno, Ben Williams, • Raphael D’lugoff Quintet; Greg Glassman Jam Village Vanguard 8:30, 10:30 pm $30 kendrick Scott Dizzy’s Club 7:30, 9:30 pm $30 Fat Cat 10 pm 1:30 am • Alfredo Colon Band Silvana 6 pm • David Meder Dizzy’s Club 11:30 pm $5 • Tony Hewitt Quartet Birthday Bash with Larry Willis, Ed Howard, • Vivian Sessoms Saint Peter’s 5 pm • Gary Morgan and Panamericana with Bryan Davis, Chris Rogers, Steve Smyth, Jazz at Kitano 8, 10 pm $30 • Ben Monder solo Barbès 5 pm $10 Noah Bless, Nick Grinder, Josh Brown, Erin Paul, Michael Manley, Norbert Stachel, • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig êJohn Zorn’s Bagatelles: Asmodeus: , , Tyshawn Sorey Anton Denner, Dave Anderson, Frank Vacin, Terry Goss, Bob Quaranta, John Arbo, Zinc Bar 8 pm The Stone 3 pm $15 Ray Marchica, Memo Acevedo, Jacquelene Acevedo, Richard Boukas • Rome Neal’s Banana Puddin’ Jazz Nuyorican Poets Café 9:30 pm $15 • Louis Armstrong Birthday Tribute: Joey Morant and Catfish Stew NYC Baha’i Center 8, 9:30 pm $15 • Chris McNulty Café Noctambulo at Pangea 7 pm $20 Blue Note 11:30 am 1:30 pm $35 • Le Boeuf Brothers: Remy and Pascal Le Boeuf, Donny McCaslin, Linda Oh, • Luna and her Lunanos; Paul Lee Trio • Holy Crow Jazz Band Rainbow Room 12:30 pm $95 Peter Kronreif The Jazz Gallery 7, 9 pm $15 Tomi Jazz 8, 11 pm $10 • Matt Darriau’s Shabbes Elevator with Rufus Cappadocia, Nir Felder, Seido Salifoski • Theo Bleckmann/Shai Maestro; Geoffrey Keezer/Gillian Margot • Clifford Barbaro Trio Cleopatra’s Needle 8 pm City Winery 11 am $10 ShapeShifter Lab 8, 9:30 pm $15 • Dr. John Central Park Summerstage 2 pm • Melissa Stylianou Trio with , Ike Sturm • Queen Esther Minton’s 7, 8:30, 10 pm $10-20 • Elio Villafranca Trio Brooklyn Museum 7 pm North Square Lounge 12:30, 2 pm • Deanna Kirk Mezzrow 9:30, 11 pm $20 • Edge Of Silvana 6 pm • Kyoko Oyobe Trio; David Coss Quartet; Abe Ovadia Trio • Mike Rood Trio with Rick Rosato, Kenny Grohowski • Michael Morgan Trio Shrine 6 pm The Garage 11:30 am 6:30, 11 pm Bar Next Door 8:30, 10:30 pm $12 • Larry Newcomb Quartet; Eric DiVito Trio; Akiko Tsuruga Trio • Rick Stone Duo City Crab 12 pm • Spike Wilner; Theo Hill Quintet Smalls 7:30, 9:30 pm $20 The Garage 12, 6:15, 10:45 pm • Tad Shull Quartet; John Benitez; Craig Wuepper • Larry Corban Duo City Crab 12 pm Monday, August 3 Fat Cat 7, 9 pm 12:30 am • Ashley Daneman Quintet with Benje Daneman, Matt Davis, Sam Weber, Sunday, August 2 êDave Lombardo’s Philm with Gerry Nestler, Pancho Tomaselli Michael W. Davis Cornelia Street Café 8:30 pm $10 The Stone 8 pm $20 êTalibam!: Matt Mottel/ Lincoln Center Film Society 8 pm $10 êTrio NY: Ellery Eskelin, Gary Versace, Gerry Hemingway; BassDrumBone: Mark Helias, êRyan Keberle and Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob • Chembo Corniel Nuyorican Poets Café 9 pm $10 Gerry Hemingway, Ray Anderson The Stone 8, 10 pm $15 and guest Camila Meza Dizzy’s Club 7:30, 9:30 pm $30 • Pasquale Grasso Trio; Chris Carroll Trio êDarius Jones Quartet with Matt Mitchell, Sean Conly, Ches Smith êKatie Bull Group with Landon Knoblock, Joe Fonda, George Schuller, Jeff Lederer The Garage 6, 10:30 pm WhyNot Jazz Room 7, 8:30 pm $15 WhyNot Jazz Room 8 pm $10 • Jae Young Jeoung Duo; Omer Leshem Duo • Bill O’Connell Latin Jazz All-Stars with Steve Slagle, Conrad Herwig, Luques Curtis, • Chico Pinheiro/Mike Moreno Rockwood Music Hall Stage 3 8 pm $12 Tomi Jazz 8, 11 pm Adam Cruz, Roman Diaz Birdland 9, 11 pm $30 • Daniel Levin/; Amirtha Kidambi/Louise DE Jensen • Greg Skaff Trio Silvana 6 pm • Hendrik Meurkens/Gabriel Espinosa Quintet with Irina Zubareva, Misha Tsiganov, Delroy’s Cafe and Wine Bar 9, 10 pm $10 • Alex Wan’s Dream Orchestra Shrine 6 pm Adriano Santos Iridium 7:30, 9:30 pm $25 • Matt Pavolka Horns Band with Loren Stillman, Kirk Knuffke, Jacob Garchik, êAhmed Abdullah Rendall Memorial Presbyterian Church 12, 1 pm $15 • Pete Malinverni Mezzrow 9:30, 11 pm $20 Mark Ferber; Jonathan Barber Smalls 7:30 pm 1 am $20 • Deanna Witkowski Bryant Park 12:30 pm • Harold O’Neal; Jack Glottman; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am

Alex Norris orgAN QuArtet exteNsioN DeADliNe featuring – tenor sax / george Colligan – organ rudy royston – Drums now available on BJurecords

Alex Norris performs at: shapeshifter lab – August 5th, 7PM Ari Ambrose – tenor / Pat Bianchi – organ / steve Williams – Drums smalls – August 30th, 10:30PM Ari Ambrose- tenor; rick germanson- piano; Paul gill- bass; Brian Floody- drums alexpopenorris.com

34 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD Wednesday, August 5 • Troy Roberts Quartet with Manuel Valera, Linda Oh, E.J. Strickland; • Aakervinda Silvana 6 pm Nick Hempton Band with Tadataka Unno, Dave Baron, Dan Aran êJazzmobile: George Gee Big Swing Band; King Solomon Hicks Quintet êBill Frisell/; Bill Frisell/Chris Cheek Smalls 7:30, 10:30 pm $20 Great Hill in Central Park 4 pm The Stone 8, 10 pm $20 • Ai Murakami Quartet; Saul Rubin; Jared Gold • All Saints Brass Band Radegast Hall 3 pm êArt Lande Quartet with Bruce Williamson, Dean Johnson, Tony Moreno Fat Cat 7, 10 pm 1:30 am • Ray Parker Trio; Joe Pino Quartet; Virginia Mayhew Quartet Jazz at Kitano 8, 10 pm $15 • Cat Toren Band with Michaël Attias, Adam Hopkins, Nathan Ellman-Bell The Garage 12, 6:15, 10:45 pm • Peter Bernstein Mezzrow 9:30, 11 pm $20 Cornelia Street Café 8:30 pm $10 • Kyoko Oyobe Duo City Crab 12 pm êManuel Valera and The New Cuban Express with Troy Roberts, John Benitez, • and A Mighty Handful; The Swingaroos; Thinkin’ Big Band Obed Calvaire, Mauricio Herrera Smoke 7, 9, 10:30 pm $12 Zinc Bar 8 pm $15 Sunday, August 9 êThe Rodriguez Brothers Band: Rob and Mike Rodriguez, Carlos Henriquez, • Dheepa Chari Rockwood Music Hall Stage 3 7 pm $10 ludwig Afonso, Samuel Torres Dizzy’s Club 7:30, 9:30 pm $35 • Curtis Nowosad Quartet with Wayne Tucker, Michael King, Luke Sellick êBill Frisell/Julian Lage The Stone 8, 10 pm $20 • David Meder Dizzy’s Club 11:30 pm $5 WhyNot Jazz Room 9 pm $10 • E.J. Strickland and Transient Beings with David Gilmore, Tom Guarna, John Benitez • Alex Norris Organ Quartet with Pat Bianchi, Ari Ambrose, Steve Williams • Kevin McHugh/Matthew Nelson; ROMCOM: Kurt Kotheimer, Michael Coleman, and guests Alicia Olatuja, Gregoire Maret ShapeShifter Lab 7 pm $10 Matthew Nelson, Tim Bulkley ShapeShifter Lab 7, 8:15 pm $12 Jazz Standard 7:30, 9:30 pm $25 • Project Grand Slam: Robert Miller, Joel E. Mateo, Nathan Cepelinski, Ben Sher, • Samir Zarif Trio with Michal Olatuja, Dan Pugach êAdam Rudolph’s Go: Organic Orchestra Marcello Casagrandi, Yasser Tejeda Iridium 8, 10 pm $25 Bar Next Door 8:30, 10:30 pm $12 Brooklyn Conservatory of Music 7:30 pm $15 • Smooth Cruise: Dave Koz and Rick Braun with guest Kenny Lattimore • Benjamin Servenay Tomi Jazz 9 pm $10 • Gene Bertoncini The Drawing Room 7 pm $20 Pier 40 6:30, 9:30 pm $45-65 • Larry Newcomb Duet Cleopatra’s Needle 7 pm • Jason Lindner Rockwood Music Hall Stage 3 8:30 pm $10 êJazzmobile: Jeremy Pelt Grant’s Tomb 7 pm • Champian Fulton Quartet; Victor Jones Ochestrio • Dave Stryker Organ Quartet with Eric Alexander, Jared Gold, McClenty Hunter • Colin Stranahan’s Stranaband with Will Vinson, Chris Cheek, Rick Rosato; The Garage 6, 10:30 pm Birdland 9, 11 pm $30 Josh Bruneau Quintet with Jovan Alexandre, Taber Gable, Matt Dwonzsyk, • Baby Soda Jazz Band Radegast Hall 9 pm êRenku: Michaël Attias, John Hébert, Såtoshi Takeishi; Tony Malaby, Daniel Levin, Jason Tiemann; Sanah Kadoura Smalls 7:30, 10:30 pm 1:30 am $20 êThe Rodriguez Brothers Band: Rob and Mike Rodriguez, Carlos Henriquez, Mat Maneri; Tony Malaby’s New Apparitions with Ben Gerstein, Sean Ali, Trevor Dunn, • Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam ludwig Afonso, Samuel Torres Dizzy’s Club 7:30, 9:30 pm $35 Devin Hoff, Billy Mintz, Flin Van Hemmen Fat Cat 7, 9 pm 12:30 am • David Meder Dizzy’s Club 11:30 pm $10 Threes Brewing 8, 9, 10 pm $15 • Candice Hoyes Minton’s 7, 8:30, 10 pm $10 • Misha Piatagorsky Birdland 6 pm $25 êBrandee Younger Minton’s 5:30, 7, 8:30 pm $10-20 • Sylvia Mims with Bob Albanese, Myles Sloniker, Chris Smith êSteve Kuhn Trio with Steve Swallow, Joey Baron • Michel Reis with Aidan O’Donnell, Eric Doob Metropolitan Room 7 pm $20 Birdland 8:30, 11 pm $40 Cornelia Street Café 8:30 pm $10 • Queens Jazz OverGround Clinic and Jazz Jam • Bob James Blue Note 8, 10:30 pm $35 • Anaïs Maviel; Lena Bloch, Andrew Schiller, Deric Dickens Flushing Town Hall 6, 7 pm $10 êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. WhyNot Jazz Room 7, 8:30, 10 pm $10 • Nicolas Letman-Burtinovic, Chris Pitsiokos, Chris Carroll Jazz Standard 7:30, 9:30 pm $30 êChampian Fulton Bemelmans Bar 9 pm $15 Bar Chord 9 pm • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, • Renee Porcella Legendre and Trio with Pamela Hines, Belden Bullock, • Takao Heisho Quartet Tomi Jazz 8 pm Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 Andrew Atkinson Metropolitan Room 7 pm $20 • Yvonnick Prene Quartet; Darrian Douglas Trio • Brian Pareschi Quintet Silvana 6 pm • Ricardo D’Orlando; Carl Ludwig Hübsch and Friends The Garage 6, 10:30 pm • Luis Perdomo and Controlling Ear Unit with Mimi Jones, Rudy Royston ABC No-Rio 7 pm $5 • Gordon’s Grand Street Stompers Radegast Hall 9 pm Citigroup Center Plaza 12:30 pm • Terry Waldo’s Gotham City; Paris Wright Quintet; Brandon Lewis/Renee Cruz Jam êSteve Kuhn Trio with Steve Swallow, Joey Baron • Deanna Witkowski Bryant Park 12:30 pm Fat Cat 6, 8:30 pm 1 am Birdland 8:30, 11 pm $40 • Dana Reedy Trio Tomi Jazz 8 pm • Bob James Blue Note 8, 10:30 pm $35 Friday, August 7 • Three Daves Shrine 8 pm êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. êThe Cannonball Legacy Band: Vincent Herring, Freddie Hendrix, Rick Germanson, Jazz Standard 7:30, 9:30 pm $30 • Don Friedman Mezzrow 9:30, 11 pm $20 Dezron Douglas, Louis Hayes Smoke 7, 9, 10:30 pm $40 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, êThe Cannonball Legacy Band: Jeremy Pelt, Vincent Herring, Rick Germanson, êTed Nash Quintet with Warren Wolf, Steve Cardenas, Ben Allison, Matt Wilson Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 Dezron Douglas, Louis Hayes Smoke 7, 9, 10:30 pm $40 Dizzy’s Club 7:30, 9:30 pm $35 • Nick Grinder Group Silvana 6 pm êTed Nash Quintet with Warren Wolf, Steve Cardenas, Ben Allison, Matt Wilson • Bob James Blue Note 8, 10:30 pm $35 • Alex Bryson Quartet Shrine 6 pm Dizzy’s Club 7:30, 9:30 pm $40 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, • Marion Cowings/Ilya Lushtak Saint Peter’s 1 pm $10 • David Meder Dizzy’s Club 11:30 pm $10 Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Deanna Witkowski Bryant Park 12:30 pm êSylvie Courvoisier/Mary Halvorson; Sylvie Courvoisier, Mary Halvorson, • Alex Wyatt Silvana 6 pm Stephan Crump Cornelia Street Café 9, 10:30 pm $10 êCarl Ludwig Hubsch solo; Ben Stapp solo Thursday, August 6 • Charles Altura Group The Jazz Gallery 8, 10 pm $22 Downtown Music Gallery 5, 6 pm • JC Hopkins Quintet with Charles Turner, Joe Doubleday, Noah Jackson, Charles Goold • Benje Daneman’s Search Party with Ashley Daneman, Kris Allen, Angelo Di Loreto, • We Like It Like That! A Boogaloo Celebration: Joe Bataan with guests; Ray Lugo and Minton’s 7:30, 9:30 pm $25-50 Ike Sturm, Jaimeo Brown Saint Peter’s 5 pm the Boogaloo Destroyers with guest Richie Ray; ABAKUÁ Afro-Latin Dance Company; • Roni Ben-Hur Trio with , Victor Lewis • Ben Monder solo Barbès 5 pm $10 DJ Turmix Damrosch Park 7 pm Jazz at Kitano 8, 10 pm $30 êJohn Zorn’s Bagatelles: Trio with Brad Jones, Kenny Wollesen êBill Frisell/John Zorn; Bill Frisell/Mary Halvorson ê”Die on Me”—Burroughs, Corso and Ginsberg: Hal Willner, Kenny Wollesen, Bill Frisell The Stone 3 pm $15 The Stone 8, 10 pm $20 The Stone 8, 10 pm $20 • Fleur Seul Rainbow Room 12:30 pm $95 • Michelle Walker Quartet with Toru Dodo, Michael O’Brien, Willard Dyson êJazzmobile: Wycliffe Gordon Marcus Garvey Park 7 pm • Tommy Campbell’s “Vocal-Eyes” with Marcelino Feliciano, Tiffany Austin, Helio Alves, Jazz at Kitano 8, 10 pm $15 • Ches Smith’s We All Break with Matt Mitchell, Daniel Brevil, Markus Schwartz Harvie S Blue Note 11:30 am 1:30 pm $35 • Swing Under the Stars: Mike Davis and the Uptown Lowdown with guest Ted Rosenthal Ibeam Brooklyn 8:30 pm • Ronny Whyte Trio with Sean Harkness, Boots Maleson Riverdale Y 7:30 pm $20 • Rick Stone Trio with Marco Panascia, Joe Strasser North Square Lounge 12:30, 2 pm • Pedrito Martinez Group Subrosa 8, 10 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Lou Caputo Quartet; David Coss Quartet; Justin Lees Trio • Brandon Bain Smoke 7, 9, 10:30 pm $12 • Ralph Lalama Bop-Juice with Mike Karn, Clifford Barbaro; ; The Garage 11:30 am 6:30, 11 pm • Ralph Lalama Mezzrow 9:30, 11 pm $20 lawrence Leathers Smalls 7:30, 10:30 pm 1:30 am $20 • George Weldon Duo City Crab 12 pm • Alex Hoffman Quintet; Jared Gold; Alexi David Fat Cat 6, 10:30 pm 1:30 am • RighteousGIRLS: Gina Izzo/Erika Dohi with guests Andy Akiho, Ambrose Akinmusire, Justin Brown Joe’s Pub 7 pm $15 • Camila Meza Trio Neighborhood Church of Greenwich Village 8, 9:30 pm JAZZ AT SAINT PETER’S • Laurie Dapice/Michael Howell WhyNot Jazz Room 7 pm $10 • Shin Sakaino Trio Tomi Jazz 9 pm $10 • Libby Richman Trio Cleopatra’s Needle 8 pm • Evgeny Sivstov Trio; The Garage 6:15, 10:45 pm • Dylan Maida Trio Caffe Vivaldi 8:15 pm • Rob Silverman Indian Road Café 8 pm • Pedrito Martinez Group Subrosa 8, 10 pm $20 êSteve Kuhn Trio with Steve Swallow, Joey Baron Birdland 8:30, 11 pm $40 • Bob James Blue Note 8, 10:30 pm $35 • Camille Gainer Jones Blue Note 12:30 am $10 êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. Jazz Standard 7:30, 9:30 pm $35 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Ali Bello Silvana 6 pm • Deanna Witkowski Bryant Park 12:30 pm Saturday, August 8 êBill Frisell, Kenny Wollesen, Tony Scherr The Stone 8, 10 pm $20 • 3rio: John Menegon, Aquiles Navarro, Tcheser Holmes; Teri Roiger/John Menegon ShapeShifter Lab 7, 8:15 pm $10 êKris Davis Trio with John Hébert, Tom Rainey Cornelia Street Café 9, 10:30 pm $10 • Revive Big Band led by Igmar Thomas Ginny’s Supper Club 7:30, 9:30 pm $15 • Mike Baggetta Trio with Jeremy Stratton, Jeff Hirschfield Bar Next Door 7:30, 9:30, 11:30 pm $12 • Rodney Green Quartet; Ricky Rodriguez Group; Greg Glassman Jam Fat Cat 7, 10 pm 1:30 am • Katherine Vokes Trio Tomi Jazz 11 pm $10 • Clifford Barbaro Trio Cleopatra’s Needle 8 pm • Don Friedman Mezzrow 9:30, 11 pm $20 êThe Cannonball Legacy Band: Jeremy Pelt, Vincent Herring, Rick Germanson, Dezron Douglas, Louis Hayes Smoke 7, 9, 10:30 pm $40 êTed Nash Quintet with Warren Wolf, Steve Cardenas, Ben Allison, Matt Wilson Dizzy’s Club 7:30, 9:30 pm $45 • David Meder Dizzy’s Club 11:30 pm $20 • JC Hopkins Quintet with Charles Turner, Joe Doubleday, Noah Jackson, Charles Goold Minton’s 7:30, 9:30 pm $25-50 • Roni Ben-Hur Trio with Santi Debriano, Victor Lewis and guest Amy London Jazz at Kitano 8, 10 pm $30 • Winard Harper; Stacy Dillard Smalls 10:30 pm 1:15 am $20 êUri Gurvich Quartet with Kevin Hays, Peter Slavov, Francisco Mela WhyNot Jazz Room 8:30, 10:30 pm $10 • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig Zinc Bar 8 pm • Ches Smith’s We All Break with Matt Mitchell, Daniel Brevil, Markus Schwartz Ibeam Brooklyn 8:30 pm êSteve Kuhn Trio with Steve Swallow, Joey Baron Birdland 8:30, 11 pm $40 • Bob James Blue Note 8, 10:30 pm $35 • Manami Morita Blue Note 12:30 am $10 êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. Jazz Standard 7:30, 9:30 pm $35 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Opius Bliss: Michelle Walker, Sean Fitzpatrick, Jason Ennis, Michael O’Brien, Sean Dixon 55Bar 6 pm SAINT PETER’S CHURCH • Jon Latona Trio with Nick Brust, Sebastian Chiriboga and guest Rotem Sivan WhyNot Jazz Room 6 pm $12 619 LEXINGTON AVE @ 54th STREET

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 35 Monday, August 10 êBilly Hart Quartet with Mark Turner, , Ben Street • Karl Larson/Matt Evans Ibeam Brooklyn 8:30 pm $15 Village Vanguard 8:30, 10:30 pm $30 • Roz Corral Group with Gilad Hekselman, Orlando Le Fleming, Kenneth Salters êBruce Ackley with Mike Lockwood, Ikue Mori, Jen Baker êBen Allison Group with Jeremy Pelt, , Steve Cardenas, 55Bar 6, 7:45 pm The Stone 8, 10 pm $20 Rudy Royston Birdland 8:30, 11 pm $40 • Pat Carroll Quartet with Joshua Crumbly, Justin Brown • Peter Bernstein Mezzrow 9:30, 11 pm $20 • Edmar Castañeda World Ensemble with Andrea Tierra, Gregoire Maret, Itai Kriss, Beethoven Pianos 8 pm $15 • Michael Olatuja and The Promise Ensemble with Samir Zarif, Camille Thurman, Marshall Gilkes, Shlomi Cohen, Pablo Vergara, David Silliman, Rodrigo Villalon, • Daniel Bennett Group Tomi Jazz 8 pm $10 Aaron Parks, E.J. Strickland; Ari Hoenig Quartet with Gilad Hekselman, Will Vinson, Tamer Pinarbasi, Serio Krakowski Jazz Standard 7:30, 9:30 pm $25 • Rudi Mwongozi Trio Cleopatra’s Needle 8 pm Rick Rosato; Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 • Carrie Jackson/Noriko Kamo Saint Peter’s 1 pm $10 • Bill Mays Mezzrow 9:30, 11 pm $20 • Ned Goold Quartet; Billy Kaye Fat Cat 9 pm 12:30 am • Ayako Shirasaki Bryant Park 12:30 pm • Scott Robinson Quartet with Helen Sung, Martin Wind, Peter Van Nostrand; êJohn Fedchock NY Big Band Blue Note 8, 10:30 pm $15 Clarence Penn Quintet with Mike Rodriguez, Chad Lefkowitz-Brown, Manuel Valera, • Jim Strong/Zach Darrup; Chris Corsano solo Thursday, August 13 yasushi Nakamura; Philip Harper Smalls 7:30, 10:30 pm 1:15 am $20 Delroy’s Cafe and Wine Bar 9, 10 pm $10 • The Baylor Project: Jean and Marcus Baylor, Keyon Harrold, Keith Loftis, Eric Reed, • Michael Blanco Quartet with John Ellis, Kevin Hays, Clarence Penn êNeTTWork Trio: Charnett Moffett, , Jeff “Tain” Watts Corcoran Holt Smoke 7, 9, 10:30 pm $38 Cornelia Street Café 8:30 pm $10 Iridium 8, 10 pm $35 • JC Hopkins Quintet with Charles Turner, Joe Doubleday, Noah Jackson, Charles Goold • Shapes and Sounds Quartet: Kevin Quinn, Kyle Lashley, Jon Francke, John Luther; êTuck & Patti Blue Note 8, 10:30 pm $35 Minton’s 7:30, 9:30 pm $25-50 lost Brothers Quartet: Mark Dziuba, David Savitsky, Robert Kopec, Dean Sharp êCatherine Russell’s Sultry Summer Swing with Matt Munisteri, Mark Shane, Tal Ronen, êNeTTWork Trio: Charnett Moffett, Stanley Jordan, Jeff “Tain” Watts ShapeShifter Lab 7, 8:15 pm $8 Mark McLean Dizzy’s Club 7:30, 9:30 pm $40 Iridium 8, 10 pm $35 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Evan Sherman’s Jazz Party Dizzy’s Club 11:30 pm $10 êTuck & Patti Blue Note 8, 10:30 pm $35 êOrrin Evans Captain Black Big Band êCyrille Aimée with Michael Valeanu, Adrien Moignard, Shawn Conley, Dani Danor • John Raymond’s “Roots” Trio Blue Note 12:30 am $10 Smoke 7, 9 pm $9 Jazz Standard 7:30, 9:30 pm $30 êCatherine Russell’s Sultry Summer Swing with Matt Munisteri, Mark Shane, Tal Ronen, • Jazz House Kids Hosted by Christian McBride êGabriel Alegría Afro-Peruvian Sextet Zinc Bar 8 pm Mark McLean Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $35 • Diane Hubka Quartet with , Dean Johnson, Tim Horner • Evan Sherman’s Jazz Party Dizzy’s Club 11:30 pm $20 • Max Weinberg Orchestra Rainbow Room 6:30 pm $34 Jazz at Kitano 8, 10 pm $15 êCyrille Aimée with Michael Valeanu, Adrien Moignard, Shawn Conley, Dani Danor • Nora McCarthy Quartet with Pablo Vergara, Charles Goold • Mark Guiliana’s Beat Music Rockwood Music Hall Stage 2 10 pm $12-15 Jazz Standard 7:30, 9:30 pm $35 Bar Next Door 8:30, 10:30 pm $12 • Nate Radley Quartet with Loren Stillman, Matt Pavolka, Mark Ferber êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Craig Brann Quartet Tomi Jazz 8 pm Cornelia Street Café 8:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Lou Caupto Not So Big Band; Randy Johnston Trio • Mario Diaz de Leon/Andrew Hock; : Pauline Kim Harris, Conrad Harris, êBen Allison Group with Jeremy Pelt, Frank Kimbrough, Steve Cardenas, The Garage 7, 10:30 pm , The Stone 8, 10 pm $15 Rudy Royston Birdland 8:30, 11 pm $40 • Joe Breidenstine Quintet Silvana 6 pm • Painting: Emanuel Ruffler, Kassa Overall, Hideki Shiota • Asako Takasaki Shrine 6 pm • Jon Sheckler Trio Shrine 6 pm ShapeShifter Lab 7, 8:15 pm $10 • The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey, • Ayako Shirasaki Bryant Park 12:30 pm • Curtis Stewart Ensemble with Blake Whyte, Alex Hills, Alex Wyatt, Tyler Gilmore Philip Harper, Alex Grassel, Dave Gibson Beethoven Pianos 8 pm $10 Brownsville Heritage House 3 pm Tuesday, August 11 • Tim Hegarty Quartet with Jim Ridl, Doug Weiss, Adam Nussbaum • Cynthia Sayer Sparks Fly Quartet Louis Armstrong House 2 pm $18 Smalls 7:30 pm $20 • Jacob Deaton Trio; Joel Perry Trio The Garage 12, 6:15 pm êRoy Haynes Fountain of Band with Jaleel Shaw, Martin Bejerano, David Wong • Alan Palmer Trio; Greg Glassman Quintet; Paul Nowinski • Marc Devine Duo City Crab 12 pm Blue Note 8, 10:30 pm $45 Fat Cat 7, 10 pm 1:30 am êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Great on Paper: Kevin Sun, Isaac Wilson, Simón Willson, Robin Baytas Sunday, August 16 Village Vanguard 8:30, 10:30 pm $30 The Jazz Gallery 8, 10 pm $15 êBen Allison Group with Jeremy Pelt, Frank Kimbrough, Steve Cardenas, • Jacob Deaton Trio Bar Next Door 8:30, 10:30 pm $12 êDissident Arts Festival: Trudy Silver’s Where’s The Outrage with Sanae Buck, Rudy Royston Birdland 8:30, 11 pm $40 • Highliners Jazz Quintet: Melissa Fogarty, Debra Kreisberg, Steve Newman, Daniel Carter, Dixie Estes, Rosie Hertlein, Ras Moshe, Vincent Ivos; Safiya Martinez; êMarianne Solivan with Sharp Radway, Matthew Parrish, Jerome Jennings Ian Hutchison, Mark Farnsworth Tomi Jazz 9 pm $10 John Pietaro’s Literary Warrior Project with Ras Moshe, Laurie Towers and guest Dizzy’s Club 7:30, 9:30 pm $35 • Jazz Mix Cleopatra’s Needle 7 pm Adam Cadell; Patricia Nicholson-Parker; Chris Butters; Dissipated Face with • Evan Sherman Entourage Dizzy’s Club 11:30 pm $5 • Dre Barnes Project; Pablo Masis The Garage 6, 10:30 pm Steve “X Dream” Popkin, Will Dahl, Jonathan Wood Vincent and guests Bill Milkowski, • Edmar Castañeda World Ensemble with Andrea Tierra, Gregoire Maret, Itai Kriss, êA Tribute To Mulgrew Miller: Duane Eubanks Sextet with Abraham Burton, Daniel Carter ShapeShifter Lab 7 pm Marshall Gilkes, Shlomi Cohen, Pablo Vergara, David Silliman, Rodrigo Villalon, Steve Nelson, David Bryant, Dezron Douglas, Eric McPherson êAdam Rudolph’s Go: Organic Orchestra Tamer Pinarbasi, Serio Krakowski Jazz Standard 7:30, 9:30 pm $25 Smoke 7, 9, 10:30 pm $12 Brooklyn Conservatory of Music 7:30 pm $15 • Bob Arthurs Group NYC Baha’i Center 8, 9:30 pm $15 • Ben Wendel Mezzrow 9:30, 11 pm $20 êKen Peplowski Quartet Birdland 9, 11 pm $30 êMichaël Attias Quartet with Aruán Ortiz, John Hébert, Nåsheet Waits • Pedrito Martinez Group Subrosa 8, 10 pm $20 • Freddie Redd Mezzrow 9:30, 11 pm $20 Cornelia Street Café 8:30 pm $10 êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street êAllison Miller Boom Tic Boom with Carmen Staaf, Jenny Scheinman, Todd Sickafoose • Stephanie Richards’ Urban Surveyors with James Carney, Sam Minaie, Village Vanguard 8:30, 10:30 pm $30 Cornelia Street Café 8:30 pm $10 Andrew Munsey; Ches Smith’s We All Break with Matt Mitchell, Daniel Brevil, • Steve Johns Family with Debbie Keefe Johns, Daryl Johns and guest Bob Devos êBrianna Thomas Minton’s 5:30, 7, 8:30 pm $10-20 Markus Schwartz Korzo 9, 10:30 pm Birdland 6 pm $25 • Sound Minds Festival: High Life; Hearing Things; Bizingas; Air Ceremony; • Claire Chase, Joshua Rubin, Kivie Cahn-Lipman; Mario Diaz de Leon êBen Allison Group with Jeremy Pelt, Frank Kimbrough, Steve Cardenas, Miss Elie Sorbsel Experiment; Kate Gentile Quartet The Stone 8, 10 pm $15 Rudy Royston Birdland 8:30, 11 pm $40 Threes Brewing 7 pm $30 • Chris Tordini with Jeremy Viner, Kris Davis, Bobby Avey, Dan Weiss • Jon Gordon Silvana 6 pm • Emilio Solla y La Inestable; Johnny O’Neal Trio with Luke Sellick, Charles Goold The Jazz Gallery 8, 10 pm $15 • Yuki Shibata Trio Shrine 6 pm Smalls 4:30, 7:30 pm $20 • Queen Esther Minton’s 7, 8:30, 10 pm $10-20 • Nicki Parrott Quartet with Lisa Parrott, John di Martino, Matt Wilson • Terry Waldo’s Gotham City; Jon Davis Trio; Brandon Lewis/Renee Cruz Jam • Randy Ingram Mezzrow 9:30, 11 pm $20 Citigroup Center Plaza 12:30 pm Fat Cat 6, 8:30 pm 1 am • Haggai Milo-Cohen Trio with Ben Wendal, Ziv Ravitz • Ayako Shirasaki Bryant Park 12:30 pm • Mario Diaz de Leon/Nick Podgurski; Bloodmist: Jeremiah Cymerman, Toby Driver, Bar Next Door 8:30, 10:30 pm $12 Mario Diaz de Leon The Stone 8, 10 pm $15 • Angela Morris/Anna Webber Big Band with Jay Rattan, Adam Schneit, Eric Trudel, Friday, August 14 • Phase Reader: Sam Weinberg, Jake Henry, Andrew Smiley, Jason Nazary Josh Sinton, John Lake, Danny Gouker, Jake Henry, Kenny Warren, Tim Vaughn, WhyNot Jazz Room 7, 8:30 pm $10 Brian Drye, Jackson Hardaker, James Rogers, Patty Francheschy, Dustin Carlson, • Bill Mays Mezzrow 9:30, 11 pm $20 • Atom Family: Atom Rush, Brian MacCarry, John Chapman; Jeffrey Shurdut Ensemble Edward Johnson, Adam Hopkins, Jeff Davis • Tom Guarna Quartet with Jon Cowherd, Orlando Le Fleming, Kendrick Scott; ABC No-Rio 7 pm $5 Threes Brewing 7:30 pm $10 Clarence Penn Quintet with Mike Rodriguez, Chad Lefkowitz-Brown, Manuel Valera, • Marcus Goldhaber with Pete McCann and guest Vanessa Trouble • SK Orchestra; Leon Gruenbaum; diNMachine; Philippe Petit yasushi Nakamura Smalls 7:30, 10:30 pm $20 Symphony Space Bar Thalia 9 pm ShapeShifter Lab 7 pm $10 • Avi Rothbard Quartet; Greg Lewis; Will Terrill • Luna and her Lunanos Tomi Jazz 8 pm • Spike Wilner Trio; Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Fat Cat 6, 10:30 pm 1:30 am • The Baylor Project: Jean and Marcus Baylor, Keyon Harrold, Keith Loftis, Eric Reed, Theo Hill, Yasushi Nakamura, Kush Abadey • The Baylor Project: Jean and Marcus Baylor, Keyon Harrold, Keith Loftis, Eric Reed, Corcoran Holt Smoke 7, 9, 10:30 pm $38 Smalls 7:30, 9:30 pm $20 Corcoran Holt Smoke 7, 9, 10:30 pm $38 êNeTTWork Trio: Charnett Moffett, Stanley Jordan, Jeff “Tain” Watts • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop • Ben Monder Trio with Gary Wang, Ben Perowsky Iridium 8, 10 pm $35 Fat Cat 7, 9 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 êTuck & Patti Blue Note 8, 10:30 pm $35 • Dawn Clement, Max Johnson, Michael Sarin êDavid Virelles Group with Brandon Ross, Roman Filiú, Thomas Morgan, êCatherine Russell’s Sultry Summer Swing with Matt Munisteri, Mark Shane, Tal Ronen, Ibeam Brooklyn 8:30 pm $15 Eric McPherson The Jazz Gallery 8, 10 pm $22 Mark McLean Dizzy’s Club 7:30, 9:30 pm $40 • Conexión Nuyorican Poets Café 9 pm $10 êRemembering Warne Marsh: Noah Preminger Quartet with Aaron Goldberg, Kim Cass, êCyrille Aimée with Michael Valeanu, Adrien Moignard, Shawn Conley, Dani Danor • Michael Gallant Trio Tomi Jazz 8 pm Matt Wilson Jazz at Kitano 8, 10 pm $30 Jazz Standard 7:30, 9:30 pm $30 • Rob Edwards Quartet; Jim Piela The Garage 6, 10:30 pm êMatt Brewer with Ben Wendel, Charles Altura, Aaron Parks, Craig Weinrib êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Syl Du Benion Band Silvana 6 pm Cornelia Street Café 9, 10:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Joe Breidenstine Quintet Shrine 6 pm êNick Fraser Trio with Tony Malaby, Kris Davis • Jeff Morrison Quartet Silvana 6 pm • 3rd Annual Hot Strings Festival: The Tribeca Playboys: Sam Bardfeld, Charlie Giordano, Ibeam Brooklyn 8:30 pm $15 êKirk Knuffke, Mark Helias, Bill Goodwin Jeremy Chatzky, Larry Eagle; Cynthia Sayer • JC Hopkins Quintet with Charles Turner, Joe Doubleday, Noah Jackson, Charles Goold Saint Peter’s 5 pm City Winery 5:30 pm Minton’s 7:30, 9:30 pm $25-50 êLeap of Faith: David Pek, Glynis Lomon, Steve Norton, Yuri Zbitnov; êRené McLean Rendall Memorial Presbyterian Church 12, 1 pm $15 • Mario Diaz de Leon The Stone 8, 10 pm $15 Thomas Heberer Duo Downtown Music Gallery 5, 6 pm • Ayako Shirasaki Bryant Park 12:30 pm • Tomoko Omura Roots Quintet; Joshua Davis Love Salad with Tammy Scheffer, • Ben Monder solo Barbès 5 pm $10 Mark Shim, Ronen Itzik ShapeShifter Lab 8:30 pm $10 êTenors For Getz: Grant Stewart, Ada Rovatti, , Michael Cochrane, Wednesday, August 12 • Takenori Nishiuchi Tomi Jazz 9 pm $10 Steve Johns The West End Lounge 4 pm $25 • Matt Baker Trio Cleopatra’s Needle 8 pm êJay Clayton Perez Jazz 3 pm $20 • Summerstage: Marcus Garvey Park 7 pm • Tom Tallitsch Quartet; Peter Valera Jump Blues Band êJohn Zorn’s Bagatelles: Uri Caine Trio with Mark Helias, Clarence Penn êA Tribute To Mulgrew Miller: Duane Eubanks Sextet with Abraham Burton, The Garage 6:15, 10:45 pm The Stone 3 pm $15 Steve Nelson, David Bryant, Dezron Douglas, Eric McPherson • Rob Silverman Indian Road Café 8 pm • The Ladybugs Rainbow Room 12:30 pm $95 Smoke 7, 9, 10:30 pm $12 êNeTTWork Trio: Charnett Moffett, Stanley Jordan, Jeff “Tain” Watts • Mordy Ferber Organ Trio with Ron Oswanski, Ian Froman êSamuel Torres Group with Luis Perdomo, Mike Rodriguez, Will Vinson, Noah Bless, Iridium 8, 10 pm $35 Blue Note 11:30 am 1:30 pm $35 Ricky Rodriguez, Ludwig Afonso, Jonathan Gómez êTuck & Patti Blue Note 8, 10:30 pm $35 • Roz Corral Trio with Eddie Monteiro, David Silliman Zinc Bar 8 pm êCatherine Russell’s Sultry Summer Swing with Matt Munisteri, Mark Shane, Tal Ronen, North Square Lounge 12:30, 2 pm • Luba Mason Band with Felipe Fournier, Rafael Rosa, Dan Martinez, Joel Mateo, Mark McLean Dizzy’s Club 7:30, 9:30 pm $40 • Benjamin Healy Trio; David Coss Quartet; Will Terrill Trio Sara Caswell Dizzy’s Club 7:30, 9:30 pm $35 • Evan Sherman Entourage Dizzy’s Club 11:30 pm $10 The Garage 11:30 am 6:30, 11 pm • Evan Sherman Entourage Dizzy’s Club 11:30 pm $5 êCyrille Aimée with Michael Valeanu, Adrien Moignard, Shawn Conley, Dani Danor • Mayu Saeki Duo City Crab 12 pm êJazzmobile: Danny Mixon Quartet and Jazzmobile All Stars Jazz Standard 7:30, 9:30 pm $35 Grant’s Tomb 7 pm êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Monday, August 17 • Ben Monder/Yuhan Su; SeeSaw: Yuhan Su, Brian Krock, Marty Kenney, Village Vanguard 8:30, 10:30 pm $30 Nathan Ellman-Bell ShapeShifter Lab 8:15, 9:30 pm $8 êBen Allison Group with Jeremy Pelt, Frank Kimbrough, Steve Cardenas, êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Ben Wendel Mezzrow 9:30, 11 pm $20 Rudy Royston Birdland 8:30, 11 pm $40 êOrrin Evans Captain Black Big Band • Quartet with Dayna Stephens, Ugonna Okegwo, Eric Doob; • William “Chan” Hall Silvana 6 pm Smoke 7, 9 pm $9 Itamar Borochov Quintet with Joel Frahm, Michael King, Alexander Claffy, Jay Sawyer; • Ayako Shirasaki Bryant Park 12:30 pm • Alicia Olatuja with Jon Cowherd, Michael Olatuja, Davis Rosenthal, Ulysses Owens, Jr. Sanah Kadoura Smalls 7:30, 10:30 pm 1:30 am $20 Dizzy’s Club 7:30, 9:30 pm $30 • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam Saturday, August 15 êJazzmobile: Bobby Sanabria Multi-Verse Band Fat Cat 7, 9 pm 12:30 am Brooklyn Bridge Park 7 pm • Johnny O’Neal Minton’s 7, 8:30, 10 pm $10 êDissident Arts Festival: Raymond Nat Turner; Sumari: Jack DeSalvo, Matt Lavelle, • Mezzrow 9:30, 11 pm $20 • Pedrito Martinez Group Subrosa 8, 10 pm $20 Tom Cabrera; Sana Shabazz; The Red Microphone: John Pietaro, Ras Moshe, • Sebastian Chames Quintet with Jeremy Pelt, Greg Tardy, Gerald Cannon, • Noah Becker Trio With Diallo House, Lamy Istrefi; Jamie Baum and Short Stories with Rocco John Iacovone, Philip Sirois; Steve Dalachinsky/Rocco John Iacovone; Willie Jones III; Ari Hoenig Quartet with Tivon Pennicott, Gilad Hekselman, Gilad Hekselman, Andy Milne, Joe Martin, Jeff Hirshfield Bernardo Palombo; The 12 Houses Orchestra led by Matt Lavelle with Ras Moshe, Orlando Le Fleming; Jonathan Barber WhyNot Jazz Room 8, 10 pm $10 lee Odom, Charles Waters, Claire Du Brunner, Ras Miguel, Chris Forbes, John Pietaro, Smalls 7:30, 10:30 pm 1 am $20 • Tribute to Miles Davis: Scott and Tony Tixier with Karl McComas Reichl, Jack DeSalvo, Hilliard Greene El Taller LatinoAmericano 7 pm • The Goddess Band: Erika Kapin, Kallie Ciechomskie, Sara Schoenbeck, Mariel Berger, Jonathan Barber and guests Iridium 8 pm $25 êJohn Hébert Quartet with David Virelles, Ralph Alessi, Eric McPherson Martin Urbach; Patrick Breiner/Aaron Darrell • Mario Diaz de Leon/MV Carbon; Zeljko McMullen, Justin Craun, Nicholas Emmet, Cornelia Street Café 9, 10:30 pm $10 Delroy’s Cafe and Wine Bar 9, 10 pm $10 Mario Diaz de Leon The Stone 8, 10 pm $15 • Tom Browne Summer Show Ginny’s Supper Club 7:30, 9:30 pm $20 • Max Weinberg Orchestra Rainbow Room 6:30 pm $34 • Smooth Cruise: Jonathan Butler and Alex Bugnon êEd Cherry Trio Bar Next Door 7:30, 9:30, 11:30 pm $12 • Emily Braden Trio with Richard Padron, Shirazette Tinnen Pier 40 6:30, 9:30 pm $45-65 • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig Bar Next Door 8:30, 10:30 pm $12 • Marcellino Feliciano Quartet with Nicki Adams, Dan Stein, Kenneth Salters Zinc Bar 8 pm • Don and Camille Dietrich; Don and Camille Dietrich with Nate Wooley, Samara Lubelski, Jazz at Kitano 8, 10 pm $15 • Tim Horner Time Circle with Joe Locke, Matt Fries, Dean Johnson, Ema Mitrovic Brandon Lopez JACK 8, 9:30 pm $15 • Jeanne Gies with Choro Das Metropolitan Room 7 pm $20 Jazz at Kitano 8, 10 pm $30 • Chris Pitsiokos’ Potemkin Reality with Brandon Seabrook, , • Nick Grinder with Danny Gouker, Sam Anning, Matt Honor • Mivos Quartet: Olivia De Prato, Joshua Modney, Victor Lowrie, Mariel Roberts and Silent Barn 8 pm Cornelia Street Café 8:30 pm $10 guest Stephen Gosling; Mario Diaz de Leon solo • Kristen Lee Sergeant Duo Tomi Jazz 8 pm • Linda Presgrave Quartet with Stan Chovnick, Mister Fred, Seiji Ochiai The Stone 8, 10 pm $15 • Cecilia Coleman Big Band; Randy Johnston Trio Tomi Jazz 8 pm • Orlando Le Fleming; Greg Glassman Fat Cat 10 pm 1:30 am The Garage 7, 10:30 pm • The Anderson Brothers; Craig Brann Group • Victor Gould Trio with Ben Williams, Obed Calvaire • Alex Simon Gypsy Swing Radegast Hall 8 pm The Garage 6, 10:30 pm The Jazz Gallery 8, 10 pm $22 • Jae Young Jeong Silvana 6 pm êRoy Haynes Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, David Wong • Shoshke-Rayzl; Leap of Faith; David Pek, Steve Norton, Yuri Zbitnov, Glynis Lomon • Alaska Day/Nate Philips Shrine 6 pm Blue Note 8, 10:30 pm $45 New Revolution Arts 8, 9 pm • Larry Ham Bryant Park 12:30 pm

36 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD Tuesday, August 18 • Ray Parker; Point of Departure; Ray Gallon • Ron Carter Big Band with Jerry Dodgion, Steve Wilson, Bobby LaVell, Ivan Renta, Fat Cat 7, 10 pm 1:30 am Jay Brandford, Jon Owens, John Chudoba, Greg Gisbert, Alex Norris, Jason Jackson, • Ron Carter Big Band with Jerry Dodgion, Steve Wilson, Bobby LaVell, Ivan Renta, • Jason Ennis Trio with Michael O’Brien, Conor Meehan , James Burton, Douglas Purviance, Donald Vega, Lewis Nash Jay Brandford, Jon Owens, John Chudoba, Greg Gisbert, Alex Norris, Jason Jackson, Bar Next Door 8:30, 10:30 pm $12 Jazz Standard 7:30, 9:30 pm $35 Steve Davis, James Burton, Douglas Purviance, Donald Vega, Lewis Nash • Scot Albertson/Keith Ingham Duo Tomi Jazz 9 pm $10 êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Jazz Standard 7:30, 9:30 pm $35 • Ethan Mann Trio Cleopatra’s Needle 7 pm Birdland 8:30, 11 pm $40 êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Rick Stone Trio; Tomoko Omura Trio êGeri Allen Trio with Kenny Davis, Jimmy Cobb Birdland 8:30, 11 pm $40 The Garage 6, 10:30 pm Village Vanguard 8:30, 10:30 pm $30 êGeri Allen Trio with Kenny Davis, Jimmy Cobb • Howard Fishman and The Biting Fish Brass Band êConrad Herwig’s The Latin Side Of Horace Silver with , Igor Butman, Village Vanguard 8:30, 10:30 pm $30 Radegast Hall 9 pm , Bill O’Connell, Ruben Rodriguez, Robby Ameen, Richie Flores and guest êConrad Herwig’s The Latin Side Of Horace Silver with Alex Sipiagin, Igor Butman, • Curtis Lundy Mezzrow 9:30, 11 pm $20 Michel Camilo Blue Note 8, 10:30 pm $35 Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen, Richie Flores and guest • Cynthia Holiday Quintet Smoke 7, 9, 10:30 pm $12 • Trio Da Paz and Friends: , , , Michel Camilo Blue Note 8, 10:30 pm $35 • Ron Carter Big Band with Jerry Dodgion, Steve Wilson, Bobby LaVell, Ivan Renta, Harry Allen, Claudio Roditi, Maucha Adnet • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Jay Brandford, Jon Owens, John Chudoba, Greg Gisbert, Alex Norris, Jason Jackson, Dizzy’s Club 7:30, 9:30 pm $45 Harry Allen, Claudio Roditi, Maucha Adnet Steve Davis, James Burton, Douglas Purviance, Donald Vega, Lewis Nash • Shenel Johns Dizzy’s Club 11:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $40 Jazz Standard 7:30, 9:30 pm $35 • Dorian Devins Quintet with Scott Reeves, Lou Rainone, Bim Strasberg, Taro Okamoto • Shenel Johns Dizzy’s Club 11:30 pm $5 • Monday Michiru with Misha Tsiganov, Nir Felder, Hans Glawischnig WhyNot Jazz Room 6 pm $12 • , Francesca Tanksley, Otto Gardner, Jeff “Siege” Siegel Adriano Dos Santos Birdland 6 pm $25 • Kenneth Salters Band Silvana 6 pm NYC Baha’i Center 8, 9:30 pm $15 êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Sammy Miller and The Congregation • Hank Roberts Duo; Angelo Hart’s The Intrepid Birdland 8:30, 11 pm $40 Radegast Hall 3 pm ShapeShifter Lab 7:30, 9:30 pm $10 êGeri Allen Trio with Kenny Davis, Jimmy Cobb • Marc Edwards and Slipstream Time Travel • Nir Felder Trio Bar Next Door 8:30, 10:30 pm $12 Village Vanguard 8:30, 10:30 pm $30 Palisades 1 pm êMick Barr solo; M.N.D.L.S.B.L.S.T.N.G.: Mick Barr/Nondor Nevai êConrad Herwig’s The Latin Side Of Horace Silver with Alex Sipiagin, Igor Butman, • Marsha Heydt Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet The Stone 8, 10 pm $15 Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen, Richie Flores and guest The Garage 12, 6:15, 10:45 pm • Queen Esther Minton’s 7, 8:30, 10 pm $10-20 Michel Camilo Blue Note 8, 10:30 pm $35 • Lee Metcalf Duo City Crab 12 pm • Allegra Levy with Julian Shore, Sean Pentland • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Cornelia Street Café 8:30 pm $10 Harry Allen, Claudio Roditi, Maucha Adnet Sunday, August 23 • Ray Gallon Mezzrow 9:30, 11 pm $20 Dizzy’s Club 7:30, 9:30 pm $40 • Spike Wilner Trio; Josh Evans Big Band with Stacy Dillard, David Gibson, • Shenel Johns Dizzy’s Club 11:30 pm $10 êCharlie Parker Jazz Festival: Joe Lovano; Rudresh Mahanthappa’s Bird Calls with Bruce Williams, Theo Hill, Max Seigel, Stafford Hunter, Vitaly Golovnev, Frank Lacy, • Meg Okura Silvana 6 pm Adam O’Farrill, Matt Mitchell, Thomson Kneeland, Rudy Royston; yunie Mojica, Lauren Sevian Smalls 7:30, 9:30 pm $20 • Matt Dwonszyk Shrine 6 pm Myra Melford’s Snowy Egret with Ron Miles, Liberty Ellman, Stomu Takeishi, Ted Poor; • Saul Rubin Zebtet; Yoshi Waki Fat Cat 7 pm 12:30 am • Warren Wolf and Wolfpack with Alex Brown, Yasushi Nakamura, Brandon Sanders Michael Mwenso Tompkins Square Park 3 pm • Philip Dizack Quintet with Gilad Hekselman, Sam Harris, Daryl Johns, Jimmy MacBride Citigroup Center Plaza 12:30 pm • /Ed Laub Mezzrow 9:30, 11 pm $20 The Jazz Gallery 8, 10 pm $15 • Larry Ham Bryant Park 12:30 pm êAdam Rudolph’s Go: Organic Orchestra • Robert Sabin Tentet with Jeremy Noller, Mike Baggetta, Jason Rigby, Aaron Irwin, Brooklyn Conservatory of Music 7:30 pm $15 Dan Urness, Matt Holman, Nathan Koci, John Yao, Ben Stapp; Friday, August 21 êScott Robinson Doctette with , Ted Rosenthal, Pat O’Leary, John Yao’s 17-Piece Instrument Greenwich House Music School 7 pm Dennis Mackrel Birdland 9, 11 pm $30 • Hector Martignon Nuyorican Poets Café 9 pm $10 êCharlie Parker Jazz Festival: Big Band with Terry Greene, Alfred Patterson, êAmanda Monaco’s Kiss the Leslie with Brian Charette, Matt Wilson • Mats Dimming, Hampus Öhman-Frölund, Joanna Mattrey, John Lindaman Stafford Hunter, Aaron Johnson, Darius Jones, Bruce Williams, James Stewart, Gantry State Park 7 pm JACK 8 pm $15 Mike Lee, Alex Harding, Josh Evans, Greg Glassman, Nabate Isles, Freddie Hendrix, • Killer Ray Appleton Minton’s 5:30, 7, 8:30 pm $10-20 • Nick Morrison Trio Tomi Jazz 8 pm yoichi Uzeki, Robert Sabin, Chris Beck; King Solomon Hicks Trio; • Susan Alcorn solo Ibeam Brooklyn 8, 9:30 pm $10 • Linus Wyrsch; Andrew Van Tassel The Garage 6, 10:30 pm Michela Marino Lerman’s Bird Lives! • Norbert Stachel Quintet Rockwood Music Hall Stage 3 7 pm $10 • Dion Kerr Silvana 6 pm Marcus Garvey Park 6 pm êImprovitor: Mick Barr/Lev Weinstein; Mick Barr solo • Hajime Yoshida Band Shrine 6 pm êFred Hersch solo Rubin Museum 7 pm $30 The Stone 8, 10 pm $15 • Antoine Roney Rendall Memorial Presbyterian Church 12, 1 pm $15 êRoger Kellaway Trio with Jay Leonhart, • James Wengrow Group with Anna Webber, Adam Hopkins, Nathan Ellman-Bell; • Larry Ham Bryant Park 12:30 pm Jazz at Kitano 8, 10 pm $30 Edward Johnson, Tom Rainey, Jeremy Viner êWillie Jones III Quintet with Jeremy Pelt, Ralph Moore, Eric Reed, Gerald Cannon WhyNot Jazz Room 7, 8:30 pm $10 Wednesday, August 19 Smoke 7, 9, 10:30 pm $38 êChampian Fulton Bemelmans Bar 9 pm $15 • Aaron Parks’ Little Big with Greg Tuohey, Darren Beckett • Eyal Vilner Big Band with Charenée Wade, Nadia Washington, Charles Turner, • Curtis Lundy Mezzrow 9:30, 11 pm $20 The Jazz Gallery 8, 10 pm $22 Dan Block, Andrew Gould, Andy Farber, Lucas Pino, Eden Bareket, Bryan Davis, êRez Abbasi with Mark Shim, Ben Stivers, Kenny Grohowski êJC Hopkins Quintet with Brianna Thomas, Joe Doubleday, Noah Jackson, Wayne Tucker, Andy Gravish, Alphonso Horne, John Mosca, Ron Wilkins, Max Seigel, Cornelia Street Café 8:30 pm $10 Charles Goold Minton’s 7:30, 9:30 pm $25-50 Tadataka Unno, Jennifer Vincent, Joe Strasser • Brooklyn Jazz Underground Festival: David Smith/David Cook Duo; Rob Garcia 4 with • Misha Piatigorsky Septet with Tatum Greenblatt, Tivon Pennicott, Danton Boller, Smalls 4:30, 10:30 pm $20 Noah Preminger, David Cook, Joe Martin; Tammy Scheffer Sextet with Rudy Royston Zinc Bar 9:30, 11 pm 12:30 am $15 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam John O’Gallagher, Dan Pratt, Chris Ziemba, Ronen Itzik; David Cook Quintet with • Warren Wolf Mezzrow 9:30, 11 pm $20 Fat Cat 6 pm 1 am Ben Wendel, David Smith, Matt Clohesy, Ross Pederson; • Thad Wilson; Mike Boone Quartet with John Swana, Tim Brey, Anwar Marshall • While We Still Have Bodies: Michael Foster, Ben Gerstein, Sean Ali, Flin van Hemmen; Brooklyn Jazz Underground Ensemble: Tammy Scheffer, Adam Kolker, David Smith, Smalls 7:30, 10:30 pm $20 Mats Dimming, Hampus Öhman-Frölund, Lee Free, Sam Kulik David Cook, Anne Mette Iversen, Owen Howard, Rob Garcia • The Urban League; Nick Hempton Fat Cat 10:30 pm 1:30 am ABC No-Rio 7 pm $5 Smalls 7:30 pm $20 • Ricardo Grilli Trio with Joe Martin, Nasheet Waits • Marcus Goldhaber with Sean Harkness and guest Dawn Derow • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho; Ned Goold Jam Bar Next Door 7:30, 9:30, 11:30 pm $12 Symphony Space Bar Thalia 9 pm Fat Cat 7, 9 pm 12:30 am êOverishins: Mick Barr, Johnny Deblase, Chuck Bettis, ; : Mick Barr, • Swing Session: Jon De Lucia, Tony Melone, Norbert Farkas, Billy Mintz • Cynthia Holiday Quintet Smoke 7, 9, 10:30 pm $12 Nicholas McMaster, , Lev Weinstein Threes Brewing 9 pm $10 • Viktorija Gecyte and Go Trio with Gene Perla, Sean Gough, Jon Arkin with guest The Stone 8, 10 pm $15 • Rebecca Zola Duo Tomi Jazz 8 pm Joe Magnarelli Beethoven Pianos 8 pm $20 • Andrew Munsey Quintet with Stephanie Richards, Ochion Jewell, James Carney, • Juanma Trujillo; Tamuz Nissim Silvana 6, 8 pm • Bruce Harris Minton’s 7, 8:30, 10 pm $10 Sam Minaie Ibeam Brooklyn 8:30 pm $15 êWillie Jones III Quintet with Jeremy Pelt, Ralph Moore, Eric Reed, Gerald Cannon êOldest: Brooks Headley/Mick Barr; BarrSheaDahl: Mick Barr, Kevin Shea, Tim Dahl • Annie Chen Sextet with David Smith, Rafal Sarnecki, Glenn Zaleski, Rick Rosato, Smoke 7, 9, 10:30 pm $38 The Stone 8, 10 pm $15 Colin Stranahan ShapeShifter Lab 9:30 pm $10 • Ron Carter Big Band with Jerry Dodgion, Steve Wilson, Bobby LaVell, Ivan Renta, • Smooth Cruise: Najee Pier 40 6:30, 9:30 pm $45-65 • Kuni Mikami Trio Tomi Jazz 9 pm $10 Jay Brandford, Jon Owens, John Chudoba, Greg Gisbert, Alex Norris, Jason Jackson, • Mary F. Conklin Quartet with John di Martino, Ed Howard, Shinnosuke Takahashi • CJ Everet Trio Cleopatra’s Needle 8 pm Steve Davis, James Burton, Douglas Purviance, Donald Vega, Lewis Nash Jazz at Kitano 8, 10 pm $15 • Michika Fukumori Trio; Kevin Dorn and the BIG 72 Jazz Standard 7:30, 9:30 pm $35 êJazzmobile: Winard Harper’s Jeli Posse The Garage 6:15, 10:45 pm êGeri Allen Trio with Kenny Davis, Jimmy Cobb Grant’s Tomb 7 pm • Ron Carter Big Band with Jerry Dodgion, Steve Wilson, Bobby LaVell, Ivan Renta, Village Vanguard 8:30, 10:30 pm $30 • Big Butter And The Egg Men: Noah Garabedian, Kyle Wilson, Anna Webber, Jay Brandford, Jon Owens, John Chudoba, Greg Gisbert, Alex Norris, Jason Jackson, êConrad Herwig’s The Latin Side Of Horace Silver with Alex Sipiagin, Igor Butman, Curtis Macdonald, Kenny Warren, Alex Ritz; Walking Distance: Caleb Curtis, Steve Davis, James Burton, Douglas Purviance, Donald Vega, Lewis Nash Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen, Richie Flores and guest kenny Pexton, Shawn Baltazor, Adam Cote Jazz Standard 7:30, 9:30 pm $35 Michel Camilo Blue Note 8, 10:30 pm $35 ShapeShifter Lab 7, 8:15 pm $8 êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Elsa Nilsson Quintet with Jessica Lurie, Jeff McLaughlin, Alex Minier, Cody Rahn and Birdland 8:30, 11 pm $40 Harry Allen, Claudio Roditi, Maucha Adnet guest Tammy Scheffer Rockwood Music Hall Stage 2 7 pm êGeri Allen Trio with Kenny Davis, Jimmy Cobb Dizzy’s Club 7:30, 9:30 pm $40 • Racha Fora Trio Tomi Jazz 8 pm Village Vanguard 8:30, 10:30 pm $30 • Ken Simon Quartet with Lafayette Harris, Greg Maker, Eli Fountain • Marc Devine; Lawrence Clark Trio The Garage 6, 10:30 pm êConrad Herwig’s The Latin Side Of Horace Silver with Alex Sipiagin, Igor Butman, Saint Peter’s 5 pm • Hot Club of Flatbush Radegast Hall 9 pm Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen, Richie Flores and guest • John Zorn’s Bagatelles: Theatre Of Operations: Shanir Blumenkranz, • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, Michel Camilo Blue Note 8, 10:30 pm $35 kenny Grohowski, Brian Marsella The Stone 3 pm $15 Dan Silverstone Caffe Vivaldi 8:30 pm • Andrea Wolper Quartet with Michael Howell, Ken Filiano, Michael T.A. Thompson • Nightingale Jazz Band Rainbow Room 12:30 pm $95 • Ron Carter Big Band with Jerry Dodgion, Steve Wilson, Bobby LaVell, Ivan Renta, Blue Note 12:30 am $10 • The Chilean Project: Fareed Haque, Cristián Galvez, Alejandro Espinoza, Jay Brandford, Jon Owens, John Chudoba, Greg Gisbert, Alex Norris, Jason Jackson, • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Cristian Cuturrufo Blue Note 11:30 am 1:30 pm $35 Steve Davis, James Burton, Douglas Purviance, Donald Vega, Lewis Nash Harry Allen, Claudio Roditi, Maucha Adnet • Victor Prieto City Winery 11 am $10 Jazz Standard 7:30, 9:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $40 • Roz Corral Trio with Dave Stryker, Neal Caine êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Shenel Johns Dizzy’s Club 11:30 pm $10 North Square Lounge 12:30, 2 pm Birdland 8:30, 11 pm $40 • Liana Gabel Four Silvana 6 pm • Iris Ornig Quartet; David Coss Quartet; Maurício de Souza Trio with German Gonzalez, êGeri Allen Trio with Kenny Davis, Jimmy Cobb • MinJin Seo Quintet Shrine 6 pm Joonsam Lee The Garage 11:30 am 6:30, 11 pm Village Vanguard 8:30, 10:30 pm $30 • Larry Ham Bryant Park 12:30 pm • Pasquale Grasso Duo City Crab 12 pm êConrad Herwig’s The Latin Side Of Horace Silver with Alex Sipiagin, Igor Butman, Craig Handy, Bill O’Connell, Ruben Rodriguez, Robby Ameen, Richie Flores and guest Saturday, August 22 Monday, August 24 Michel Camilo Blue Note 8, 10:30 pm $35 • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, êCharlie Parker Jazz Festival: Dr. Lonnie Smith; Andy Bey; Jeff “Tain” Watts; êKamasi Washington Blue Note 8, 10:30 pm $25 Harry Allen, Claudio Roditi, Maucha Adnet Camille Thurman; Norma Miller Marcus Garvey Park 3 pm • Peter Bernstein Mezzrow 9:30, 11 pm $20 Dizzy’s Club 7:30, 9:30 pm $40 • Elio Villafranca Quartet with Peter Slavov, Matt Wilson, Arturo Stable and guest • Frank Lacy/Josh Evans Legacy Band with Stacy Dillard, Theo Hill, Rashaan Carter, • Shenel Johns Dizzy’s Club 11:30 pm $5 Eric Alexander Ginny’s Supper Club 7:30, 9:30 pm $20 kush Abadey Dizzy’s Club 7:30, 9:30 pm $30 • Jelani Bauman Silvana 6 pm êHathenter—Supermeld: Mick Barr, Colin Marston, Brandon Seabrook, Eliane Gazzard; • Sean Wayland; Ari Hoenig with Tivon Pennicott, Gilad Hekselman, Orlando Le Fleming; • Darrell Smith Trio Shrine 6 pm Mick Barr/Weasel Walter The Stone 8, 10 pm $15 Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 • Peter Mintun Saint Peter’s 1 pm $10 • Jeff Barone Trio with Pat Bianchi, Charles Ruggiero • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Larry Ham Bryant Park 12:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Bill O’Connell Trio Subrosa 8, 10 pm $12 • John Minnock Metropolitan Room 9:30 pm $20 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Thursday, August 20 • Todd Herbert Quintet; Jim Seely Quintet; Greg Glassman Jam êOrrin Evans Captain Black Big Band Fat Cat 7, 10 pm 1:30 am Smoke 7, 9 pm $9 • Jazzmobile: Bobby Sanabria Quintet • Standard Procedures; Aquiles Navarro Trio • JC Hopkins Quintet with Jazzmeia Horn, Joe Doubleday, Noah Jackson, Charles Goold, Louis Armstrong House 7 pm Tomi Jazz 8, 11 pm $10 Minton’s 7:30, 9:30 pm $25-50 êGabriel Alegría Afro-Peruvian Sextet • Satchmo Mannan Harlem Awakening 2.0 Jazztet • Max Weinberg Orchestra Rainbow Room 6:30 pm $34 Zinc Bar 8 pm Cleopatra’s Needle 8 pm • Adam Hopkins Trio with Anna Webber, Jason Nazary êDarius Jones Quartet with Matt Mitchell, Sean Conly, Ches Smith and guest êRoger Kellaway Trio with Jay Leonhart, Joe Cohn Delroy’s Cafe and Wine Bar 9, 10 pm $10 Emilie Lesbros The Jazz Gallery 8, 10 pm $15 Jazz at Kitano 8, 10 pm $30 • The Magic Trio: Chris McNulty, Paul Bollenback, Ugonna Okegwo êBrooklyn Jazz Underground Festival 2015: Anne Mette Iversen New Four with êWillie Jones III Quintet with Jeremy Pelt, Ralph Moore, Eric Reed, Gerald Cannon Bar Next Door 8:30, 10:30 pm $12 Adam Kolker, Ryan Keberle; The Relative Quartet: Chet Doxas, John Stetch, Smoke 7, 9, 10:30 pm $38 • Curtis Nowosad Quartet with Adam O’Farrill, Michael King, Daryl John Michael Bates, Owen Howard; David Smith Quintet with Dan Pratt, David Berkman, • Aaron Parks’ Little Big with Greg Tuohey, Darren Beckett Rockwood Music Hall Stage 1 8 pm Gary Wang ShapeShifter Lab 7, 8:15, 9:30 pm $15 The Jazz Gallery 8, 10 pm $22 • Kay Matsukawa Metropolitan Room 9:30 pm $20 êMarc Edwards/Mick Barr; Mick Barr, Brian Degraw, Tim Dewit êJC Hopkins Quintet with Brianna Thomas, Joe Doubleday, Noah Jackson, • Jackson Hardaker, Syberen van Munster, Stephen Harms, Nick Wight The Stone 8, 10 pm $15 Charles Goold Minton’s 7:30, 9:30 pm $25-50 ShapeShifter Lab 9:30 pm $8 • Melissa Hamilton Quartet with Lee Tomboulian, Kevin Hailey, Peter Runnells • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig • Akemi Yamada Trio Tomi Jazz 8 pm Jazz at Kitano 8, 10 pm $15 Zinc Bar 8 pm • Eyal Vilner Big Band; Kenny Shanker Quartet • Christian Sands Quartet with Marcus Strickland, Ben Williams, Marcus Baylor; • Warren Wolf Mezzrow 9:30, 11 pm $20 The Garage 7, 10:30 pm ken Fowser Band with Paul Gill, Steve Einerson, Josh Bruneau, Jason Tiemann • Fabio Morgera; Mike Boone Quartet with John Swana, Tim Brey, Anwar Marshall; • Megumi Hakuba Shrine 9 pm Smalls 7:30, 10:30 pm $20 Stacy Dillard Smalls 7:30, 10:30 pm 1:15 am $20 • Victor Lin Bryant Park 12:30 pm

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 37 Tuesday, August 25 • Will Vinson Quintet with Mike Moreno, Aaron Parks, Rick Rosato, Clarence Penn; êE.J. Strickland Group with Myron Walden, Marcus Strickland, Luis Perdomo, Linda Oh Ed Cherry Trio with Kyle Koehler, Anwar Marshall; Sanah Kadoura Birdland 6 pm $25 êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers Smalls 7:30, 10:30 pm 1:30 am $20 êCharlie Parker Birthday Celebration Sextet: Jeremy Pelt, Vincent Herring, Greg Osby, Jazz Standard 7:30, 9:30 pm $35 • Raphael D’lugoff Trio +1; Ned Goold Jam Don Friedman, , Victor Lewis êCharlie Parker Birthday Celebration Sextet: Jeremy Pelt, Vincent Herring, Greg Osby, Fat Cat 7 pm 12:30 am Birdland 8:30, 11 pm $40 Don Friedman, Lonnie Plaxico, Victor Lewis • Smooth Cruise: Rachelle Ferrell Pier 40 6:30, 9:30 pm $45-65 êGerald Clayton Quintet with Ben Wendel, , Joe Sanders, Birdland 8:30, 11 pm $40 • RighteousGIRLS Rockwood Music Hall Stage 3 8:30 pm $10-12 Justin Brown Village Vanguard 8:30, 10:30 pm $30 • Ethan Iverson Mezzrow 9:30, 11 pm $20 • Nicolas Letman-Burtinovic, Emilie Lesbros, Nathan Elman-Bell • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, êGerald Clayton Quintet with Ben Wendel, Logan Richardson, Joe Sanders, Bar Chord 9 pm Harry Allen, Claudio Roditi, Maucha Adnet Justin Brown Village Vanguard 8:30, 10:30 pm $30 • Setsuko Hata Trio Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $40 • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Kevin Hill Organ Trio; Nicholas Brust Quartet • Corey Wilcox Dizzy’s Club 11:30 pm $10 Harry Allen, Claudio Roditi, Maucha Adnet The Garage 6, 10:30 pm • The Stachel Quintet Shrine 6 pm Dizzy’s Club 7:30, 9:30 pm $40 • Brian Plautz Silvana 8 pm • Cynthia Sayer Sparks Fly Quartet with Adrian Cunningham, Jared Engel, Larry Eagle • Corey Wilcox Dizzy’s Club 11:30 pm $5 êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers Citigroup Center Plaza 12:30 pm • Paul Hefner Group NYC Baha’i Center 8, 9:30 pm $15 Jazz Standard 7:30, 9:30 pm $35 • Victor Lin Bryant Park 12:30 pm êEdward Johnson, Ingrid Laubrock, Max Johnson, Satoshi Takeishi; êCharlie Parker Birthday Celebration Sextet: Jeremy Pelt, Vincent Herring, Greg Osby, Jasmine Lovell-Smith’s Towering Poppies with Adam Schneit, Cat Toren, Don Friedman, Lonnie Plaxico, Victor Lewis Friday, August 28 Adam Hopkins, Kate Gentile Ibeam Brooklyn 8:30 pm $15 Birdland 8:30, 11 pm $40 • Brad Mulholland Group; Joe Goehle’s Cerebral People Project; Matterhorn • Ethan Iverson Mezzrow 9:30, 11 pm $20 êJazzmobile—Tribute To Max Roach: Eli Fountain, Jay Hoggard, Bobby Sanabria, ShapeShifter Lab 7, 8:15, 9:30 pm $10 êGerald Clayton Quintet with Ben Wendel, Logan Richardson, Joe Sanders, Warren Smith and guests Marcus Garvey Park 7 pm • Queen Esther Minton’s 7, 8:30, 10 pm $10-20 Justin Brown Village Vanguard 8:30, 10:30 pm $30 • Kenny Barron/ Mezzrow 9:30, 11 pm $20 • Jacob Teicherow Gantry State Park 7 pm • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, êEd Palermo Big Band with guest Napoleon Murphy Brock • Lucas Pino Trio with Or Bareket, Mark Whitfield, Jr. Harry Allen, Claudio Roditi, Maucha Adnet Iridium 8, 10 pm $30 Bar Next Door 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $40 • We Four: Javon Jackson, Jeremy Manasia, John Webber, Jimmy Cobb • Spike Wilner Trio; Peter Zak Smalls 7:30, 9:30 pm $20 • Corey Wilcox Dizzy’s Club 11:30 pm $5 Smoke 7, 9, 10:30 pm $38 • Saul Rubin Zebtet; Itai Kriss Gato Gordo; John Benitez Latin Bop • Andre Carvalho Shrine 6 pm • Chris Dingman Subliminal Trio with Fabian Almazan, Ryan Ferreira Fat Cat 7, 9 pm 12:30 am • Lincoln Mayorga Trio with Bill Ellison, Ray Marchica ShapeShifter Lab 10:30 pm $10 • Maudlin of the Well: Toby Driver, Greg Massi, Josh Seipp, Sam Gutterman, Saint Peter’s 1 pm $10 • Billy Newman with Leco Reis, Vanderlei Pereira, Michel Gentile, Jorge Continentino; Terran Olson, Jason Byron and guests Ron Varod, Mia Matsumiya • Victor Lin Bryant Park 12:30 pm livio Almeida Quartet Cornelia Street Café 9, 10:30 pm $10 The Stone 8, 10 pm $20 • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; • On The Way Out: Andy Haas/Mia Theodoratus; Ken Kobayashi/Jochem Van Dijk Thursday, August 27 Quartet + Strings with Freddie Hendrix, Benito Gonzalez, John Lee, Freddy’s Backroom 8:30, 10 pm $10 Hans Schuman, Chiara Fasi, Celia Hatton, Jennifer Vincent; Anthony Wonsey Trio • Willie Martinez y La Familia Sextet Nuyorican Poets Café 9 pm $10 • Jeb Patton Mezzrow 9:30, 11 pm $20 Smalls 7:30, 10:30 pm 1:30 am $20 • Keith Franklin Group with Catrice Joseph, Scot Hornick, Tom Papadatos • Saron Crenshaw Smoke 7, 9, 10:30 pm $12 • Ray Gallon; Point of Departure Fat Cat 6, 10:30 pm WhyNot Jazz Room 9:30 pm $10 • Brandon Wright Quartet with Dave Kikoski, Boris Kozlov, Donald Edwards • Peter and Will Anderson Quintet with Jeb Patton, Dave Wong, Kenny Washington • Alexander Bryson; Gioel Severini The Garage 6, 10:30 pm Jazz at Kitano 8, 10 pm $15 Jazz at Kitano 8, 10 pm $30 êKamasi Washington Blue Note 8, 10:30 pm $25 • Susan Pereira and Sabor Brasil with Chris Washburne, Manu Koch, Gustavo Amarante, • Richard Padron Trio with Dan Martinez, Kennny Grohowski • Tom Blatt Project Shrine 6 pm Vanderlei Pereira; Hendrik Meurkens Quartet with Misha Tsiganov, Gustavo Amarante, ‘ Bar Next Door 7:30, 9:30, 11:30 pm $12 • Fay Victor Rendall Memorial Presbyterian Church 12, 1 pm $15 Adriano Santos Cornelia Street Café 8:30, 10 pm $10 • Toby Driver, Greg Massi, Nick Hudson; Toby Driver solo • Victor Lin Bryant Park 12:30 pm • Tartar Lamb: Toby Driver, Mia Matsumiya, Jeremiah Cymerman, Tim Byrnes, The Stone 8, 10 pm $15 David Bodie; Toby Driver New Chamber Works • Takenori Nishiuchi Tomi Jazz 9 pm $10 Wednesday, August 26 The Stone 8, 10 pm $15 • Art Lillard Trio Trio Cleopatra’s Needle 8 pm • Pedrito Martinez Group Subrosa 8, 10 pm $20 • Masami Ishikawa Trio; Peter Valera Jump Blues Band êJazzmobile: Jimmy Heath Grant’s Tomb 7 pm • Brandon Coleman Trio with Matt Wiles, Jeff Mellot The Garage 6:15, 10:45 pm • Kenny Werner Quintet with Chris Potter, Ambrose Akinmusire, John Patitucci, Bar Next Door 8:30, 10:30 pm $12 • Kenny Werner Quintet with Chris Potter, Ambrose Akinmusire, John Patitucci, Marcus Gilmore Blue Note 8, 10:30 pm $35 • Anthony Fung Quintet with Wayne Tucker, Edmar Colon, Sharik Hasan, Shin Sakaino; Marcus Gilmore Blue Note 8, 10:30 pm $35 êEarth; Marc Ribot/Ikue Mori Le Poisson Rouge 8 pm $18 Dion Kerr Quartet with Jean Caze, Tal Cohen, Harvel Nakundi • Kazunori Kumagai with Alex Blake, Bill Ware, Samuel Torres êA Tribute to Wes Montgomery: John Webber Quartet ShapeShifter Lab 8:15, 9:30 pm $8 Blue Note 12:30 am $10 Smoke 7, 9, 10:30 pm $12 • Senri Oe Tomi Jazz 9 pm $10 êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers • Dezron Douglas Trio Minton’s 7, 8:30, 10 pm $10 • Ken Simon Trio Cleopatra’s Needle 7 pm Jazz Standard 7:30, 9:30 pm $35 • : Toby Driver, Greg Massi, Ron Varod, Sam Gutterman, Keith Abrams, • George Weldon; Pablo Masis The Garage 6, 10:30 pm êCharlie Parker Birthday Celebration Sextet: Jeremy Pelt, Vincent Herring, Greg Osby, Dan Means, Mia Matsumiya, Tim Byrnes, Terran Olson; Ichneumonidae/Kayo Dot: • Aaron Irwin; The Cerebral People Silvana 6, 8 pm Don Friedman, Lonnie Plaxico, Victor Lewis Toby Driver, , Russell Greenberg, Terran Olson, Keith Abrams, Tim Byrnes, • Kenny Werner Quintet with Chris Potter, Ambrose Akinmusire, John Patitucci, Birdland 8:30, 11 pm $40 Ron Varod, Mia Matsumiya, Dan Means Marcus Gilmore Blue Note 8, 10:30 pm $35 êGerald Clayton Quintet with Ben Wendel, Logan Richardson, Joe Sanders, The Stone 8, 10 pm $15 • Will Vinson Quintet with Mike Moreno, Aaron Parks, Rick Rosato, Clarence Penn; Justin Brown Village Vanguard 8:30, 10:30 pm $30 • AQUA: Russ Lossing, Michael Formanek, Mike Sarin Carlos Abadie Quintet with Peter Zak, Clovis Nicolas, Luca Santaniello • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Ibeam Brooklyn 8:30 pm $15 Smalls 7:30, 10:30 pm $20 Harry Allen, Claudio Roditi, Maucha Adnet • Or Bareket Quartet with Tivon Pennicott, Nitai Herskovits, Daniel Dor • Sharèl Cassity/Troy Roberts Quintet Dizzy’s Club 7:30, 9:30 pm $40 Cornelia Street Café 8:30 pm $10 Fat Cat 10 pm • Corey Wilcox Dizzy’s Club 11:30 pm $10 • Ms Blu Quartet with Billy Test, Iris Ornig, Ronen Itzik êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers • Brandon Coleman Trio Shrine 6 pm Jazz at Kitano 8, 10 pm $15 Jazz Standard 7:30, 9:30 pm $35 • Victor Lin Bryant Park 12:30 pm

Mario Pavone Donna Singer Featured Performer: August 30 + 31, 8:30pm Only one New York City appearance Cornelia Street Cafe Silvana, Harlem 29 Cornelia Street Wednesday, September 2nd, 2015 6 pm (212-989-9319 *** corneliastreetcafe.com Heartland Jazz Tour Kansas *** National Anthem Miami Dolphins Football Game CD Release event *** Blue Dialect Nebraska ‘Jazz in June’ Series (Clean Feed) *** Saratoga Arts Festival Mario Pavone Guest Artists: Amazon Review: 5 out of 5 stars Bass / Compositions *Ellery Eskelin JazzTimes: As the saying goes: if it ain’t broke and it ain’t broke, don’t fix it.’ Matt Mitchell Tenor Saxophone Brent Black @Critical Jazz: “Donna Singer is a first-call vocalist...with efferves- Piano *Dave Ballou cent spirit and impeccable phrasing there is certainly no lack of talent.” Tyshawn Sorey Trumpet , flugelhorn Drums *8/30 only (Sunday) World-renowned Donna Singer is an electrifying and dazzling showstopper with a remarkable repertoire of jazz, swing, . Her cool, sultry, vibrant and playful voice has wowed audiences in intimate café gatherings as well as theater and concert venues. Her music is heard on five continents, welcome Sydney, ! She is a graduate of the New York Academy of Theatrical Arts, with formal training at The Juilliard School.

mariopavone.com donna-singer.com

38 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD

Saturday, August 29 êNewk’s World—The Music of Sonny Rollins: Mark Soskin Trio with Bob Cranshaw, REGULAR ENGAGEMENTS Al Foster Jazz at Kitano 8, 10 pm $30 • Stern: Chuck Stern, Toby Driver, Keith Abrams, Tim Byrnes; Kayo Dot: Toby Driver, Mia Matsumiya, Terran Olson, Keith Abrams, David Bodie, Dan Means, Tim Byrnes, MONDAY Ron Varod The Stone 8, 10 pm $15 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Helio Alves Trio with Edward Perez, Alex Kautz; Zé Luis Quartet with Richard Padron, • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) Eduardo Bello, Kenny Grohowski Cornelia Street Café 9, 10:30 pm $10 • Richard Clements and guests 11th Street Bar 8 pm • JC Hopkins Quintet with Jazzmeia Horn, Joe Doubleday, Noah Jackson, Charles Goold • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8, 10 pm (ALSO TUE-SUN) Minton’s 7:30, 9:30 pm $25-50 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig • Joel Forrester solo Brandy Library 8 pm Zinc Bar 8 pm • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) • Paul Meyers Trio with Rusty Holloway, Tony Jefferson • Grove Street Stompers Arthur’s Tavern 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jazz Foundation of American Jam Session Local 802 7 pm • Steve Carrington; Greg Glassman Jam • Arthur Kell and Friends Bar Lunatico 8:30 pm Fat Cat 10 pm 1:30 am • Renaud Penant Trio Analogue 7:30 pm • Yuko Ito Trio; Yusuke Seki Tomi Jazz 8, 11 pm $10 • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm • Justin Lees Trio Cleopatra’s Needle 8 pm • Smoke Jam Session Smoke 11:30 pm • Kenny Barron/Ray Drummond Mezzrow 9:30, 11 pm $20 • Svetlana and the Delancey 5 The Back Room 8:30 pm êEd Palermo Big Band with guest Napoleon Murphy Brock • Gracie Terzian Bar Hugo 6 pm Iridium 8, 10 pm $30 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 • We Four: Javon Jackson, Jeremy Manasia, John Webber, Jimmy Cobb • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Smoke 7, 9, 10:30 pm $38 • James Zeller Duo Spasso 7 pm (ALSO SUN) • Mark Gross Quartet + Strings with Freddie Hendrix, Benito Gonzalez, John Lee, Hans Schuman, Chiara Fasi, Celia Hatton, Jennifer Vincent; Philip Harper TUESDAY Smalls 10:30 pm 1:15 am $20 • Kenny Werner Quintet with Chris Potter, Ambrose Akinmusire, John Patitucci, • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) Marcus Gilmore Blue Note 8, 10:30 pm $35 • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm Jazz Standard 7:30, 9:30 pm $35 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) êCharlie Parker Birthday Celebration Sextet: Jeremy Pelt, Vincent Herring, Greg Osby, • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) Don Friedman, Lonnie Plaxico, Victor Lewis • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Birdland 8:30, 11 pm $40 • Art Hirahara Trio Arturo’s 8 pm êGerald Clayton Quintet with Ben Wendel, Logan Richardson, Joe Sanders, • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Justin Brown Village Vanguard 8:30, 10:30 pm $30 • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm Harry Allen, Claudio Roditi, Maucha Adnet • Mona’s Hot Four Jam Session Mona’s 11 pm Dizzy’s Club 7:30, 9:30 pm $45 • Annie Ross The Metropolitan Room 9:30 pm $25 • Corey Wilcox Dizzy’s Club 11:30 pm $20 • Diego Voglino Jam Session The Fifth Estate 10 pm • Matt Panayides Group Silvana 6 pm • Chuck Braman Trio; Al Marino Quartet; Carl Bartlett Jr. Quartet WEDNESDAY The Garage 12, 6:15, 10:45 pm • Astoria Waltz-Astoria 6 pm • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Sunday, August 30 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm êMario Pavone’s Blue Dialect with Dave Ballou, Ellery Eskelin, Matt Mitchell, • Uta Habbig Jam Session Cellar 58 8:30 pm Tyshawn Sorey Cornelia Street Café 8:30 pm $10 • JAZZAMATAZ Gin Fizz Lounge 10 pm êAdam Rudolph’s Go: Organic Orchestra • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm Brooklyn Conservatory of Music 7:30 pm $15 • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • and The Mass Line Big Band • Les Kurtz Trio Cleopatra’s Needle 7 pm Birdland 9, 11 pm $30 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • The Tanks: Ches Smith, Brandon Seabrook, Toby Driver; Kayo Dot: Toby Driver, • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) Ron Varod, Keith Abrams, Daniel Means • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 The Stone 8, 10 pm $15 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Mekaal Hasan Band Joe’s Pub 7 pm $20 • Eve Silber Arthur’s Tavern 7 pm êChampian Fulton Bemelmans Bar 9 pm $15 • Camille Thurman Quartet Smoke 11:30 pm • Fred Stanton Minton’s 5:30, 7, 8:30 pm $10-20 • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm • George Gee Orchestra with Willard Dyson, Paul Nedzela, Alex Norris, • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm Marcus McLaurine, Steve Einerson, Hilary Gardner, Ed Pazant, Mike Sailor, Robert Edwards; Alex Norris Quintet with Ari Ambrose, Rick Germanson, Paul Gill, THURSDAY Brian Floody Smalls 4:30, 10:30 pm $20 Terry Waldo’s Gotham City; Brandon Lewis/Renee Cruz Jam • Jovan Alexandre Band Carroll Place 10 pm 12 am • • ’s The Harlem Sessions Gin Fizz Lounge 10 pm $10 Fat Cat 6 pm 1 am • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Adam Cadell solo; Kurt Nishimura, Evan Gallagher, Claire de Brunner, Blaise Siwula • Joel Forrester/Christina Clare Vespa 7:30, 9 pm ABC No-Rio 7 pm $5 • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Marcus Goldhaber with Ron Jackson and guest Kendra Shank • Jazz Jam Session American Legion Post 7:30 pm Symphony Space Bar Thalia 9 pm • Kazu Trio Cleopatra’s Needle 11:30 pm • Kengo Yamada Tomi Jazz 8 pm • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm • We Four: Javon Jackson, Jeremy Manasia, John Webber, Jimmy Cobb • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm Smoke 7, 9, 10:30 pm $38 • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Kenny Werner Quintet with Chris Potter, Ambrose Akinmusire, John Patitucci, • Yaacov Mayman Quartet Gambrinus Seafood Café 7 pm Marcus Gilmore Blue Note 8, 10:30 pm $35 • Sol Yaged Grata 8 pm • Nickel & Dime OPS Blue Note 12:30 am $10 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers Jazz Standard 7:30, 9:30 pm $35 FRIDAY êGerald Clayton Quintet with Ben Wendel, Logan Richardson, Joe Sanders, Justin Brown Village Vanguard 8:30, 10:30 pm $30 • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Gene Bertoncini Ryan’s Daughter 8 pm Harry Allen, Claudio Roditi, Maucha Adnet • Birdland Big Band Birdland 5:15 pm $25 Dizzy’s Club 7:30, 9:30 pm $40 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Kris Allen Quartet with Frank Kozyra, Matt Dwonszyk, Jonathan Barber • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Saint Peter’s 5 pm • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Ben Monder solo Barbès 5 pm $10 • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 John Zorn’s Bagatelles: Trigger: Will Greene, Simon Hanes, Aaron Edgcomb • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm The Stone 3 pm $15 • Bernard Linnette Jam Session University of the Streets 11:30 pm • Avalon Jazz Band Rainbow Room 12:30 pm $95 • Frank Owens Open Mic Room 53 7 pm $15 • Nanny Assis Group Birthday Blast with John di Martino, Edgar DeAlmeida, • Richard Russo Quartet Capital Grille 6:30 pm leo Traversa, Wesley Amorim, Graciliano Zambonin, Gil Oliveira, Arthur Lipner and • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) guests Janis Siegel, Sharon Clark Blue Note 11:30 am 1:30 pm $35 • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am • Roz Corral Trio with Yotam Silberstein North Square Lounge 12:30, 2 pm • Ray Blue Trio; David Coss Quartet; Jason Ennis Trio SATURDAY The Garage 11:30 am 6:30, 11 pm • Rob Anderson Jam Session University of the Streets 10 pm • Adam Moezinia Duo City Crab 12 pm • Avalon Jazz Quartet Matisse 8 pm • The Candy Shop Boys Duane Park 8, 10:30 pm Monday, August 31 • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Yoo Sun Nam The Grain 8 pm êOrrin Evans Captain Black Big Band • Johnny O’Neal and Friends Smoke 11:45 pm Smoke 7, 9 pm $9 • Skye Jazz Trio Jack 8:30 pm • Eyal Vilner Big Band with Charenée Wade, Nadia Washington, Charles Turner, • James Zeller Trio Spasso 1pm Dan Block, Andrew Gould, Andy Farber, Lucas Pino, Eden Bareket, Bryan Davis, Wayne Tucker, Andy Gravish, Alphonso Horne, John Mosca, Ron Wilkins, Max Seigel, SUNDAY Tadataka Unno, Jennifer Vincent, Joe Strasser Dizzy’s Club 7:30, 9:30 pm $35 • Avalon Jazz Quartet The Lambs Club 11 am Logan Richardson’s SHIFT with Sam Harris, Mike Moreno, Harish Raghavan, • The Candy Shop Boys The Rum House 9:30 pm • • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Tommy Crane; Jonathan Barber Smalls 7:30 pm 1 am $20 • Glenn Crytzer Group Pegu Club 6:30 pm • Robby Ameen and The Days in the Night Band with Bob Franceschini, Manuel Valera, • Isaac Darch Group Basik Bar 7 pm yunior Terry Subrosa 8, 10 pm $12 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm • Max Weinberg Orchestra Rainbow Room 6:30 pm $34 • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • redacted: Jaimie Branch, Jason Nazary, Andrew Smiley, Patrick Breiner; • Joel Forrester solo Grace Gospel Church 11 am Perfect Friend: Jake Henry, Nathaniel Morgan, Aryeh Kobrinsky, Cody Brown • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm Delroy’s Cafe and Wine Bar 9, 10 pm $10 • Bob Kindred Group; Trio Café Loup 12:30, 6:30 pm • Dana Reedy Trio with Bob Rodriguez, Harvie S • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Bar Next Door 8:30, 10:30 pm $12 • Tony Middleton Trio Jazz at Kitano 11:30 am $35 • Atsushi Ouchi Trio Tomi Jazz 8 pm • The Minton’s Players Minton’s 12, 1:30, 3 pm $10-20 • Rob Edwards Big Band; Lawrence Clark Trio • Artemisz Polonyi and Trio Indigo BarSix Restaurant 8 pm The Garage 7, 10:30 pm • Earl Rose solo; Tony DeSare Bemelmans Bar 5:30, 9 pm • Benjamin Furman Project Silvana 8 pm • Lu Reid Jam Session Shrine 4 pm êMario Pavone’s Blue Dialect with Matt Mitchell, Tyshawn Sorey • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm Cornelia Street Café 8:30 pm $10 • Ryo Sasaki Trio Analogue 7 pm • Frank Owens Bryant Park 12:30 pm • Milton Suggs Cávo 7 pm

40 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Drom 85 Avenue A (212-777-1157) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: F to Second Avenue www.dromnyc.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • 55Bar 55 Christopher Street (212-929-9883) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Palisades 906 Broadway, Brooklyn Subway: 1 to Christopher Street www.55bar.com Subway: C, E to Spring Street www.earinn.com Subway: J, M, Z to Myrtle Avenue www.palisadesbk.com • ABC Chinese Restaurant 34 Pell Street • El Taller LatinoAmericano 225 West 99th Street • Parlor Entertainment 555 Edgecombe Ave. #3F (212-346-9890) Subway: J to Chambers Street (212-665-9460) Subway: 1, 2, 3 to 96th Street (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com • ABC No-Rio 156 Rivington Street (212-254-3697) • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: J,M,Z to Delancey Street www.abcnorio.org Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • American Folk Art Museum 45 W 53rd Street (212-265-1040) • The Fifth Estate 506 5th Avenue, Brooklyn • Pegu Club 77 W. Houston Street (212-473-7348) Subway: E to 53rd Street www.folkartmuseum.org (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com • American Legion Post 248 West 132nd Street • Film Society of Lincoln Center 70 Lincoln Center Plaza • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-875-5610) Subway: 1 to 66th Street-Lincoln Center www.filmlinc.com • Pier 40 353 West Street (212-627-2020) Subway: 1 to Houston Street • Analogue 19 West 8th Street (212-432-0200) • The Flatiron Room 37 West 26th Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Arthur’s Tavern 57 Grove Street (212-675-6879) • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Prime and Beyond Restaurant 90 East 10th Street Subway: 1 to Christopher Street www.arthurstavernnyc.com (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Arturo’s 106 W. Houston Street (at Thompson Street) • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) • Radegast Hall 113 North 3rd Street (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: R to Prospect Avenue www.freddysbar.com/events (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Bflat 277 Church Street (between Franklin and White Streets) • Gambrinus Seafood Café 3100 Ocean Parkway • The Rainbow Room 30 Rockefeller Plaza Subway: 1, 2 to Franklin Streets (718-265-1009) Subway: B, Q to Brighton Beach www.gambrinusny.com (212) 632-5000 Subway: B, D, F, M to 47-50th Streets—Rockefeller Center • The Back Room 102 Norfolk Street • Gantry State Park 49th Avenue and Center Boulevard www.rainbowroom.com (212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street Subway: 7 to Vernon-Jackson Boulevard www.liveatthegantries.com • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 www.backroomnyc.com • The Garage 99 Seventh Avenue South (212-645-0600) (212-283-2928) Subway: 2, 3 to 135th Street • Bar Chord 1008 Cortelyou Road Subway: 1 to Christopher Street www.garagerest.com • Riverdale YM-YWHA 5625 Arlington Avenue (718-548-8200) (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Gin Fizz Lounge 308 Malcolm X Boulevard Subway: 1 to 242 Street—Van Cortlandt Park www.riverdaley.org • Bar Hugo 525 Greenwich Street (212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com • Rockwood Music Hall 196 Allen Street (212-477-4155) (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard Subway: F, V to Second Avenue www.rockwoodmusichall.com • Bar Lunatico 486 Halsey Street (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Room 53 314 W. 53rd Street (between 8th and 9th Avenues) (917-495-9473) Subway: C to Kingston-Throop Avenues • Grace Gospel Church 589 E. 164th Street (646-675-5341) Subway: 1, C, E to 50th Street; B, D, E to 7th Avenue • Bar Next Door 129 MacDougal Street (212-529-5945) (718-328-0166) Subway: 2, 5 to Prospect Avenue • Rubin Museum 150 West 17th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • The Graham 190 Graham Ave (718-388-4682) (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • BarSix Restaurant 502 Sixth Avenue Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Rue B 188 Avenue B (212-358-1700) Subway: L to 1st Avenue (212-691-1363) Subway: 1, 2, 3, F, M to 14th Street www.barsixny.com • The Grain 893 Broadway • The Rum House 228 W. 47th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (646-398-9663) Subway: 6 to 23rd Street www.thegrainnyc.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com Subway: F to 7th Avenue www.barbesbrooklyn.com • Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street • Ryan’s Daughter 350 E 85th Street • Beethoven Pianos 211 W 58th Street (212-765-7300) • Grata 1076 1st Avenue (212-842-0007) (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com Subway: 1, A, B, C, D to 50th Street www.beethovenpianos.com Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Great Hill in Central Park 105th Street Subway: B, C to 103rd Street www.ryerestaurant.com Subway: 6 to 77th Street www.thecarlyle.com • Greenwich House Music School 46 Barrow Street • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (212-281-0777) Subway: 2, 3 to 125th Street • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Birdland 315 W. 44th Street (212-581-3080) Subway: F to 4th Avenue www.ibeambrooklyn.com Avenues (212-832-0888) Subway: 6 to 51st Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Iguana 240 West 54th Street (212-765-5454) • Sapphire NYC 333 E. 60th Street (212-421-3600) • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Indian Road Café 600 West 218th Street @ Indian Road • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com www.seedsbrooklyn.org Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • ShapeShifter Lab 18 Whitwell Place • Brandy Library 25 N. Moore Street Subway: 1,2 to 50th Street www.theiridium.com (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-226-5545) Subway: 1 to Franklin Street • JACK 505 Waverly Avenue • Shell’s Bistro 2150 5th Avenue • Broadway Thai 241 West 51st Street (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • Showman’s 375 W. 125th Street at Morningside) • Brooklyn Bridge Park Furman Street and Atlantic Avenue • Jazz 966 966 Fulton Street (212-864-8941) Subway: A, B, C, D to 125th Street Subway: A, C to High Street; 2, 3 to Clark Street (718-638-6910) Subway: C to Clinton Street www.jazz966.com www.showmansjazz.webs.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Brooklyn Museum of Art 200 Eastern Parkway • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Silent Barn 603 Bushwick Avenue (718-638-5000) Subway: 2, 3 to Eastern Parkway Subway: N, R to 28th Street www.jazzgallery.org Subway: J, M, Z to Myrtle Avenue www.silentbarn.org www.brooklynmuseum.org • Jazz Museum in Harlem 104 E.126th Street between Park & Lexington • Silvana 300 West 116th Street • Brownsville Heritage House 581 Mother Gaston Boulevard Avenues (212-348-8300) Subway: 6 to 125th Street (646-692-4935) Subway: B, C, to 116th Street (718-385-1111) Subway: L to New Lots Avenue www.jazzmuseuminharlem.org • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: 1,2,3 to 14th Street www.smallsjazzclub.com Subway: 4, 5, 6 to 42nd Street www.bryantpark.org (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Smoke 2751 Broadway between 105th and 106th Streets • Café Carlyle 35 E. 76th Street (212-744-1600) • Joe G’s 244 W. 56th Street (212-765-3160) (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: 6 to 77th Street www.thecarlyle.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • S.O.B.’s 204 Varick Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Joe’s Pub at 425 Lafayette Street (212-243-4940) Subway: 1 to Varick Street www.sobs.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Spasso 551 Hudson Street • Café Noctambulo at Pangea 178 Second Avenue www.joespub.com (212-858-3838) Subway: 1 to Christopher Street www.spassonyc.com (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) • The Stone Avenue C and 2nd Street • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com Subway: F to Second Avenue www.thestonenyc.com Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Subrosa 63 Gansevoort Street (212-997-4555) www.caffevivaldi.com www.facebook.com/konceptions Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com • Capital Grille 120 Broadway • The Lambs Club 132 W. 44th Street • Sugar Bar 254 W. 72 Street between Broadway and West End Avenue (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com (212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com • Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard • Le Chéile 839 W. 181st Street • Swing 46 349 W. 46th Street (646-322-4051) between W. 132nd and 133rd Streets (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com Subway: A, C, E to 42nd Street www.swing46.com (917-435-2250) Subway: 2, 3 to 135th Street • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre • Cávo 42-18 31st Avenue, Astoria Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • Cellar 58 58 2nd Avenue (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Tagine 537 9th Ave. between 39th and 40th Streets (212-420-1300) Subway: F to Second Avenue www.cellar58.com • Louis Armstrong House 34-56 107th Street, Queens (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue (718-478-8274) Subway: 7 to 11th Street www.satchmo.net • Terraza 7 40-19 Gleane Street (718-803-9602) (212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org • L’ybane 709 8th Avenue (212-582-2012) Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Charley O’s 1611 Broadway at 49th Street Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Threes Brewing 333 Douglass Street (212-246-1960) Subway: N, R, W to 49th Street • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (718-522-2110) Subway: R to Union Street www.threesbrewing.com • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Tomi Jazz 239 E. 53rd Street Subway: C to Lafayette Avenue www.chezoskar.com • Marcus Garvey Park 120th Street between Mt. Morris Park and Madison (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Citigroup Center Plaza 53rd Street and Lexington Avenue (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street • Tompkins Square Park 7th to 10th Streets between. Avenue A and Avenue B Subway: 6 to 51st Street • Matisse 924 Second Avenue (212-387-7685) Subway: L to 1st Avenue; F, V to Second Avenue; • City Crab Park Avenue South at 19th Street (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com 6 to Astor Place (212-529-3800) Subway: 6 to 23rd Street • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Turnmill NYC 119 East 27th Street • City Winery 155 Varick Street Subway: N, R to 23rd Street www.metropolitanroom.com (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street • University of the Streets 2381 Belmont Avenue, 2nd Floor, Bronx • Cleopatra’s Needle 2485 Broadway (212-769-6969) www.mezzrow.com (212-254-9300) Subway: B, D to 182-183 Streets Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) www.universityofthestreets.org • Cornelia Street Café 29 Cornelia Street Subway: B, D, F, M to 47-50 Streets www.michikostudios.com • Vespa 1625 2nd Avenue (212) 472-2050 (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • Minton’s 206 West 118th Street (212-243-2222) Subway: 4, 5, 6 to 86th Street www.vespaitalianorestaurant.com www.corneliastreetcafé.com Subway: B, C to 116th Street www.mintonsharlem.com • Village Vanguard 178 Seventh Avenue South at 11th Street • Damrosch Park at Lincoln Center Broadway and 62nd Street • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: 1 to 66th Street www.mistharlem.com • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • Delroy’s Café and Wine Bar 65 Fenimore Street • Mona’s 224 Avenue B Subway: L to First Avenue • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • The West End Lounge 955 West End Avenue at West 107th Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Neighborhood Church of Greenwich Village 269 Bleecker Street (212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com • Domaine Wine Bar 50-04 Vernon Boulevard (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net • WhyNot Jazz Room 14 Christopher Street (718-784-2350) Subway: 7 to Vernon Boulevard-Jackson Avenue • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street (646-756-4145) Subway: 1 to Christopher Street www.whynotjazzroom.com www.domainewinebar.com www.jazzrightnow.com/new-revolution-arts-series • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • Nino’s Tuscany 117 W. 58th Street (718-384-1654) Subway: L to Bedford Avenue • Downtown Music Gallery 13 Monroe Street (212-473-0043) (212-757-8630) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Zeb’s 223 W. 28th Street Subway: F to East Broadway www.downtownmusicgallery.com www.ninostuscany.com 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • North Square Lounge 103 Waverly Place (212-254-1200) • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 41 (INTERVIEW CONTINUED FROM PAGE 6) to another at Columbia. It’s great to have that kind of a the excitement in this extraordinary location. support system. I think the big advantage at Motéma is Flutist Sam Most became a special favorite of when I was coming up in the ‘70s. I loved the way that the fact that the president of the company is a singer/ Schlitten’s. “Not only was he an incredible player, but, Verdine White of Earth, Wind & Fire performed. I songwriter in her own right. That’s a huge plus. v it turns out, he was a fine composer too!” From the Attic loved [Motown legend] James Jamerson and [Sly and of My Mind, recorded in 1978, documents those talents the Family Stone’s] Larry Graham. They were really For more information, visit charnettmoffett.net. Moffett’s with Barron, bassist George Mraz, percussionist Warren great electric bass players. NeTTWork Trio is at Iridium Aug. 13th-16th. See Calendar. Smith and drummer Walter Bolden. Finally, and breathtakingly, there’s Heavy Love, duets between Cohn TNYCJR: The number of people in jazz who have been Recommended Listening: and pianist Jimmy Rowles. Standards and the blues able to move back and forth between the electric bass • Wynton Marsalis—Black Codes (From The surprise and dazzle! and the acoustic bass is a pretty small number when Underground) (CBS-Columbia, 1985) Other artists to be included in 2015 and 2016 are you think about it. • Tony Williams—Angel Street (Blue Note, 1988) Barron, Coker, Teddy Edwards, Farrell, Kenny Drew, • Charnett Moffett—Planet Home (Evidence, 1993-94) Charles McPherson, Sam Jones, Cuber and more. CM: That’s true. You know, Jaco Pastorius and I spent • Ornette Coleman’s Sound Museum—Hidden Man/ Baritone saxophonist Cuber has special feelings a lot of time together hanging out in New York City. Three Women (Harmolodic-Verve, 1996) about Schlitten and Xanadu. “He was easy to work Jaco was one of the most beautiful human beings I ever • Charnett Moffett—For the Love of Peace (Piadrum, 2003) with, gave me total freedom on the projects I did for met. I learned a lot from Jaco, who also played upright • Charnett Moffett—The Bridge (Solo Bass Works) him.” Cuber is something of a legend and mainstay of bass—he just chose not to do it on his records. (Motéma Music, 2009) Latin music but he’s certainly a master of jazz Stanley, on the other hand, I remember seeing him improvisation as well and so Feldman, with Schlitten’s in 1978 in Berkeley, California; he was promoting his advice, chose Cuber Libre for upcoming release. “It was Modern Man album at that time and when he picked up a quartet session with Barry Harris, Sam Jones and an upright bass and played it in a solo capacity, I was (LABEL CONTINUED FROM PAGE 11) ‘Tootie’ Heath and it was recorded at the RCA studios like, “Wow, he can also do that. I want to be like that—I with huge rooms and 30-foot ceilings, which made for want to be able to play the electric bass and the acoustic Jimmy Heath’s Picture of Heath may be, according to the great sound,” recalls Cuber. bass.” And 37 years after that concert, I’m now doing saxophonist, “the only album I’ve ever done [as leader] Some of the Xanadu artists like the Heaths, Cuber it. I’m very thankful to Stanley and Jaco because you with just saxophone, piano, bass and drums.” It’s also and Harris are still making vital music but have to learn from the masters. one of the finest blowing sessions from the label. Pianist “unfortunately many of these artists are gone,” says Barry Harris made a tribute to Tadd Dameron, Barry Schlitten. “But these are some of my best works by TNYCJR: You’ve been with Motéma Music for seven Harris Plays Tadd Dameron, bassist Gene Taylor and some of my favorites.” The feeling is mutual. Says years now. drummer Leroy Williams completing a stellar trio. Jimmy Heath, “Don is my people. I’m delighted to hear The only two-disc set is Night Flight to Dakar/ that these sides are available again.” v CM: I’m very thankful that I have found a label that has Xanadu in Africa, documenting a trip to Senegal in 1980 allowed me to bring my artistic creativity to new by the Xanadu All-Stars: Al Cohn and Billy Mitchell on For more information, visit elemental-music.com. Artists horizons. And I think that’s a beautiful thing. If you tenor saxophones, neglected piano great Dolo Coker, performing this month include Jimmy Heath at Grant’s look at Miles Davis, he was on Columbia for a huge bassist and drummer . The Tomb Aug. 26th as part of Jazzmobile Summerfest and chunk of his career—and he was able to go from one era album features beautiful, extended jams and captures Kenny Barron at Mezzrow Aug. 28th-29th. See Calendar.

42 AUGUST 2015 | THE NEW YORK CITY JAZZ RECORD (EXIT ZERO CONTINUED FROM PAGE 13) groupings and Dadaist humor all grappled for space in and raw sounds generated by preparing the saxophone. the performance, sometimes propounded Finally, the interest of festivals comes from the a thorough understanding of the Monk classic’s form. simultaneously by competing factions. Arresting solos unique opportunity provided to experience live the Joined by bassist Chris Smith and drummer Sammy by Bynum, tenor saxophonist John Dikeman and others music of well-established artists. The 2015 Suoni Per Il Miller, the diminutive piano player then blazed spiced the ensembles. By way of theatricality Vatcher Popolo was no exception in that it invited American through an original arrangement of “Giant Steps”, bounced a bagful of table tennis balls on his cymbals composer Alvin Lucier, teaming up with Montréal- laden with dynamic shifts revealing keen and keyboardist Oscar Jan Hoogland shambled to the based string quartet Quatuor Bozzini to present his improvisational insight, and sensitive readings of front of the stage in faux drunken style to direct/ music over the course of two concerts, the first of “Lush Life” and “It Might As Well Be Spring”, chasten the band. But somehow they collectively which also included a composition by Pauline Oliveros. demonstrating maturity that belied his youth. His own ensured that it all hung together. The set ended with a The second concert turned out to be more memorable. “Ma Blues” exhibited an equally uncanny soulfulness. beautiful rendition of Mengelberg’s tearjerker “Weer is By confronting the audience with the challenge of Bountiful sunshine bathed festival attendees een dag voorbij” (Another Day Passed). listening not to the sounds produced by the Saturday afternoon for Jazz At The Estate, the festival’s Given two separate airings, works by members of instruments, but to the effects of their interaction with centerpiece, featuring a day of diverse offerings on the both DOEK and Tri-Centric vividly demonstrated the the room, the pieces performed—be it the ones for solo four-acre Emlen Physick Estate, which headquarters range of possible approaches, first in the intimate instrument and oscillator; 55-minute long “Small the Mid-Atlantic Center for the Arts & Humanities. confines of Zaal 100 and later in the opulent Bimhuis. Waves”; or “Bird and Person Dyning”, the latter Thelonious Monk International Jazz Saxophone Among the most noteworthy were the conductions by performed by Lucier himself—demonstrated the Competition winner Melissa Aldana kicked off the Bynum, in which swinging melodies alternated with richness of the composer’s musical universe. afternoon festivities with the latest edition of her Crash spiky improvisational combinations. But having The festival ended on a high note with the return Trio with bassist Pablo Menares and drummer Jochen witnessed the open rehearsals that afternoon when the of Dutch avant-rock band The Ex (Terrie Hessels, Rueckert. A set of mostly originals confirmed her musicians were first exposed to Bynum’s score and Arnold De Boer and Andy Moor: guitars; Katherina status as one of the most creative voices on her systems for navigating his piece, the results were Bornefeld: drums) to Montréal. Even though the band instrument today. Her distinctive tone—airily flute- nothing less than astonishing. That such a coherent may not have been as energetic as in the past and may like in the upper register, dark and earthy at its work could materialize from a series of fragmented have taken a little longer than usual for the concert to cavernous bottom—filled the air as she spun out lines sketches, given what seemed like cursory run- lift off, it was a powerful and joyful performance that with authority reminiscent of Sonny Rollins, to whom throughs, was testament to both the musicianship on got the crowd dancing and jumping. In fact, it got so the set’s final piece, her own “Sonny”, was dedicated. display and Bynum’s conception. hot in La Sala Rossa that the ventilation ducts started Coincidentally, vibraphonist Joe Locke opened up Bassist Carl Testa’s “Ultraviolet” subtly blended sweating because of condensation! As to the music his set with Rollins’ “No Moe” before showcasing acoustic and electronic noises as well as notated and itself, some of the songs had a touch of melancholy music from his latest effort, Love Is A Pendulum improvised materials to conjure a splendidly successful and, as such, explored a new register for the band. (Motéma Music). Fronting a quartet of pianist Robert piece, a sort of glacial minimalism expanded and The 2015 Suoni Per Il Popolo lived up to the Rodriguez, bassist Ricky Rodriguez and guest subverted by the electronic overtones, including a expectations it has itself created through its first 15 drummer Jeff “Tain” Watts, Locke played with intensity wonderfully squawky outburst by years of existence. One can only hope it will remain and sensitivity befitting the music’s subject matter. Fei. Cornet player Eric Boeren’s tremendous “Market this way for many more anniversaries. v The Rebirth Brass Band got people up and dancing Place” contained echoes of Braxton’s love of in tune with the dictum of their latest outing Move Your contemporaneous events, as a brass band vied with a For more information, visit suoniperilpopolo.org Body (Basin Street Records). The venerable New string quartet and included a barnstorming trumpet Orleans ensemble started off paying tribute to Louis solo by Nate Wooley over a funky groove. French horn USED Armstrong before funking it up with more player Vincent Chancey curated a tuneful and contemporary fare. They referenced Joe Zawinul’s polyphonic brass quintet, Draksler’s piece was a NEW “Mercy, Mercy, Mercy” as an intro to their arrangement probing examination of bass textures, Fei’s bristled of “Grazing In The Grass”, segued into a Michael with jostling horns and Ingrid Laubrock’s contrasted Jackson medley of “Shake Your Body” and “Billie Jean” slow moving ensembles with sudden crescendos. before bringing it back home with a Duke-ish “Rebirth Brief small-group encounters peppered the sets. Blues”, which included a Cab Calloway-styled vocal Most successful of these were a quietly conversational chorus, ending with a second line take on “ I Feel Like summit, confounding expectations, by Dikeman, Bustin’ Loose”. Seabrook and Chancey; a mercurial duet between Charenée Wade closed out the daytime festivities Moore on alto saxophone and Wooley bartering lyrical singing songs from her album Offering: The Music Of and timbral shards; and a rambunctious quartet of 236 West 26 Street, Room 804 Gil Scott Heron and Brian Jackson (Motéma Music). Laubrock, Seabrook, bassist Wilbert De Joode and New York, NY 10001 Accompanied by alto saxophonist Lakecia Benjamin, drummer Onno Govaert. vibraphonist Nikara “Nikki” Warren, pianist Brandon One last enjoyable surprise was the concluding Monday-Saturday, 10:00-6:00 McCune, bassist Paul Beaudry and drummer Darryl cycle tour, which shepherded participants between Green, the songstress breathed new life into the late four small venues across the city to hear sets sometimes Tel: 212-675-4480 Harlem bluesologist’s compelling lyrics. including yet more of Mengelberg’s tunes. Outstanding Later that night Dr. John and the Nite Trippers was the trio of cellist Tomeka Reid, Chancey and Fax: 212-675-4504 rocked a sold-out Convention Hall with a full menu of Norwegian cellist Harald Austbø, who charmed with New Orleans fare featuring the Crescent City legend’s their attractive harmonies and inspired communication. Email: [email protected] honky-tonkin’ piano. Backed by an ensemble that The threesome of ICP alumni later presented a Web: jazzrecordcenter.com included music director Sarah Morrow on trombone freewheeling communion of melody, extemporized and the ever-exciting drummer Herlin Riley, the good arrangements and interplay. On clarinet, Moore was LP’s, CD, Videos (DVD/VHS), doctor got things shaking with gritty takes of “” unostentatiously magnificent, using a whole host of Books, Magazines, Posters, and “Mardi Gras Day”, then invoked the spirit of Louis unconventional techniques to do just what the music Postcards, T-shirts, Armstrong with readings of “Wonderful World” and needed at any given point. In fact, that attitude Calendars, Ephemera “St. James Infirmary”. Strapping on a guitar, he wailed summed up the whole week as fantastic musicianship on a rollicking “Let The Good Times Roll” then embodied in a vast range of distinctive soloists came Buy, Sell, Trade returned to the piano for “Good Night Irene” before together in a program that delivered serious fun. v closing with his signature song, “Such A Night”. v For more information, visit doekfestival.org Collections bought For more information, visit exit0jazzfest.com and/or appraised Also carrying specialist labels (SUONI CONTINUED FROM PAGE 13) e.g. Fresh Sound, Criss Cross, (DOEK CONTINUED FROM PAGE 13) Ayler, Silkheart, AUM Fidelity, how she integrates different approaches into a coherent Nagel Heyer, Eremite, Venus, Wierbos, the legacy was in good hands as they raided whole. Indeed, unlike many other saxophone players, Clean Feed, Enja and many more his book: bawdy circus marches, classic Ellington-ian she brilliantly combines a strong melodic sense with swing, avant leanings, tightly voiced chamber the energy and techniques of the free music tradition

THE NEW YORK CITY JAZZ RECORD | AUGUST 2015 43 SHAPESHIFTER LAB AUGUST CALENDAR

9:30p Dissapated Face featuring Daniel Carter 8:30 Sana Nagano Quartet w/special guest Aug 2 / $8 Aug 11 / $10 Daniel Carter - reeds, trumpet Pravin Thompson 7:00p Noelle Tannen and The Filthy No-No’s 7:00p ShapeShifter+ Presents: Hot Summer Steve “X Dream” Popkin - drumset Sana Nagano - violin 8:15p Vinyl Canvas Electronics Will Dahl - bass Zack Clarke - piano SK Orchestra Jonathan Wood Vincent - keyboards Daniel Stein - bass Aug 4 / $15 Leon Gruenbaum special guest Bill Milkowski - guitar Will Mason - drums 8:00p ShapeShifter+ Presents: diNMachine Theo Bleckmann with Shai Maestro Pravin Thompson - guest guitarist Philippe Petit Aug 18 / $10 Theo Bleckmann - Voice 7:30p ShapeShifter+ Presents: The Intrepid Aug 24 / $8 Shai Maestro - Piano Aug 12 / cover tba Angelo Hart - piano 9:30p Jackson Hardaker - trombone ShapeShifter+ Presents Ben Monder/ Aug 4 / $15 Syberen van Munster - guitar Yuhan Su Duo & SeeSaw Aug 18 / cover tba 9:30p Geoffrey Keezer (piano) w/Gillian Stephen Harms - bass 8:15p Ben Monder (guitar), Yuhan Su 9:30p ShapeShifter+ Presents: Hank Roberts Margot (vocal) Nick Wight - drums (Vibraphone) Duo - Daughter/Father Tour 9:30p SeeSaw Aug 5 / $10 Aug 25 / $8 Yuhan Su - MalletKat Aug 19 / $10 7:00p ShapeShifter+ Presents: Alex Norris Live at ShapeShifter Lab Brian Krock - alto saxophone Noah Garabedian Double Bill Organ Quartet 7:00p Contraptions Marty Kenney - electric bass 8:15p Walking Distance Alex Norris - trumpet/ flugelhorn 8:15p Cerebral People Project Nathan Ellman - bell / drums Caleb Curtis - alto sax Pat Bianchi - organ 9:30p Matterhorn Kenny Pexton - tenor sax Ari Ambrose - tenor sax Aug 12 / Free Shawn Baltazor - drums Aug 26 / Free Steve Williams - drums 9:30-11:30p Adam Cote - bass 9:30-11:30p ShapeShifter+ JAM Session: ShapeShifter+ JAM Session: Aug 5 / Free 7:00p Big Butter And The Egg Men hosted by Jay Rodriguez hosted by Matt Garrison 9:30-11:30p ShapeShifter+ JAM Session: Noah Garabedian - bass Aug 27 / $8 hosted by Jay Rodriguez Kyle Wilson - tenor sax Aug 13 / $10 Anna Webber - tenor sax 8:15p Anthony Fung Quintet Aug 6 / $12 7:00p and 8:15p ShapeShifter+ Presents: Curtis Macdonald - alto sax Wayne Tucker - trumpet ShapeShifter+ Presents: Kevin McHugh & Painting Kenny Warren - trumpet Edmar Colon - tenor sax Matthew Nelson / ROMCOM Emanuel Ruffler - piano Alex Ritz - drums Sharik Hasan - piano 7:30p ROMCOM Kassa Overall - drums Shin Sakaino - bass Kurt Kotheimer - Fender bass Hideki Shiota - video Aug 19 / Free Anthony Fung - drums Michael Coleman - Casio 9:30-11:30p ShapeShifter+ JAM Session: Aug 14 / $10 Aug 27 / $8 Matthew Nelson - tenor saxophone hosted by Matt Garrison 7:15p ShapeShifter+ Presents: 9:30p ShapeShifter+ Presents: Tim Bulkley - drums Joshua Davis Love Salad Dion Kerr Quartet 9:00p AKNKVN (Kevin McHugh and Aug 20 / $15 for 3 sets / $10 for the last set Tomoko Omura “Roots” Quintet Dion Kerr - double bass special guest) with Matthew Nelson Brooklyn Jazz Underground Festival 2015 Tomoko Omura - violin 7:00p Anne Mette Iversen New Four Jean Caze - trumpet Aug 7 Glenn Zaleski - piano Adam Kolker - alto/tenor saxophone Tal Cohen - piano School for Improvisational Music - Jeff Miles - guitar Ryan Keberle - trombone Harvel Nakundi - drums Final Summer Intensive Student Concert Pablo Menares - bass Anne Mette Iversen - bass Aug 28-30 / $15 Friday, August 7th – 5:00pm, (no cover) Jay Sawyer - drums TBA - drums Industrial Percussive Alchemy Curated by SIM core faculty: Ralph Alessi, 8:30p Josh Davis Love Salad 8:15p The Relative Quartet GLANK and Line C3 Andy Milne, Michael Formanek, Tom Rainey, Tammy Scheffer - voice Chet Doxas - saxophone Friday and Saturday: 7:30 pm , Kris Davis, Mark Helias, Gerald Mark Shim - MIDI Wind Controller John Stetch - piano Sunday: 2 pm Cleaver (masterclass instructors: Tyshawn Ronen Itzik - kitchen implements Michael Bates - bass Joshua Davis - Omnibass & laptop Sorey, Dan Weiss, Kokayi, J. Granelli, Art Owen Howard - drums Aug 28 / $10 Lande, Andrew Cyrille, Peter Apfelbaum, 9:30pm David Smith Quintet Aug 16 / $15 10:30p Chris Dingman Subliminal Trio Katherine Keyes) David Smith - trumpet Chris Dingman - vibraphone “SIM helps individuals grow as creative DISSIDENT ARTS FESTIVAL Dan Pratt - saxophones 7:00p Trudy Silver’s “Where’s the Outrage?” Fabian Almazan - piano / electronics beings through a better understanding of David Berkman - piano Ryan Ferreira - guitar improvisation and creative music.” Trudy Silver - piano and words Gary Wang - bass Sanae Buck - Butto mime/voice Aug 30 / $15 Daniel Carter - alto sax/flute Aug 8 / $10 Aug 21 / $8 7:00p ShapeShifter+ Presents: Dixie Estes - recitation/voice 7:00p and 8:15p ShapeShifter+ Presents the NYChillharmonic An Evening with LT & The Ripple Rosie Hertlein - violin/voice JOHN MENEGON’S 3RIO + Teri Roiger/ 7:00p Darius John Effect Band Ras Moshe - tenor sax/flute John Menegon DUO 8:15p The NYChillharmonic Lora Tazewell - lead vocals, songs Vincent Ivos - free style/voice 3RIO features John Menegon (bass), Herb Maitlandt - musical director, 7:45p Safiya Martinez - spoken word Aquiles Navarro (trumpet), Tcheser Holmes Aug 21 / $10 guitar 7:55p John Pietaro’s Literary Warrior Project (drums). DUO features Teri Roiger (voice & 9:30p Annie Chen Sextet Joey D’Alessio - bass, songs John Pietaro - spoken word/hand piano), John Menegon (bass) Annie Chen - vocal & composition Bob Hunter - keyboards, songs drums; David Smith - trumpet Whitney Jackson - harmony vocals Aug 10 / $8 Ras Moshe - flute/soprano saxophone; Rafal Sarnecki - guitar Bryan McCaffrey - drums ShapeShifter+ Mentoring Program: Shapes and Laurie Towers - bass Glenn Zaleski - piano Jacob Paduano - guest keyboardist Sounds Quartet and The Lost Brothers Quartet Special Guest Adam Cadell - violin Rick Rosato - bass 7:00p Shapes and Sounds Quartet (Brisbane Australia) Colin Stranahan - drum Kevin Quinn - Guitar 8:35p Patricia Nicholson-Parker/ Kyle Lashley - Tenor Sax The Resurrection Revolution Quintet Aug 23 / $8 ShapeShifter Lab Jon Francke - Bass Jason Kao Hwang - violin ShapeShifter+ Mentoring Program: 18 Whitwell Place, Brooklyn, NY 11215 John Luther - Drums Michael TA Thompson - percussion Brillbird/Sana Nagano Quartet w/special guest shapeshifterlab.com 8:15p Lost Brothers Quartet Patricia Nicholson & Jason Jordan - Pravin Thompson shapeshifterplus.org Mark Dziuba - Guitar dance 7:30 Brillbird ShapeShifter+ is a non-profit organization David Savitsky - Reeds Bill Mazza - live Video painting Pravin Thompson - guitar Robert Kopec - Bass 9:15p Chris Butters Jason Smith - bass that supports and inspires arts and music. Dean Sharp - Drums Chris Butters - spoken word Thomas DeVinko - drums

ShapeShifter Lab’s August calendar is brought to you by the Robert D. Bielecki Foundation.