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MARCH 2014 - ISSUE 143 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM SING A SONG...

WOMEN IN JAZZ ISSUE BARBARA • INGRID • BERTHA • FIREHOUSE • EVENT CARROLL LAUBROCK HOPE 12 CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” JAZZ & SUPPER CLUB • HARLEM, CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm

Fri & Sat, Feb 28 & Mar 1 SMOKE Wed, Mar 5 Winter / Spring 2014 DAVID BERKMAN QUARTET GREGG AUGUST QUINTET Dayna Stephens (saxophone) • David Berkman () (soprano saxophone) • Stacy Dillard (tenor saxophone) Ugonna Okegwo (bass) • Rudy Royston (drums) (piano) • Gregg August (bass) Donald Edwards (drums) SESSIONS Fri & Sat, Mar 7 & 8 COMPACT DISC AND DOWNLOAD TITLES TIA FULLER QUARTET Wed, Mar 12 Tia Fuller (saxophone) • Shamie Royston (piano) BILL CANTRALL & AXIOM Mimi Jones (bass) • Rudy Royston (drums) Josh Evans () • Ian Hendrickson-Smith (alto saxophone) Stacy Dillard (tenor saxophone) • Bill Cantrall () Fri & Sat, Mar 14 & 15 Jeb Patton (piano) • (bass) • Montez Coleman (drums) Record Release Weekend Wed, Mar 19 QUARTET RECORD RELEASE EVENT Eric Alexander (tenor saxophone) • David Hazeltine (piano) CORY WEEDS QUINTET David “Happy” Williams (bass) • (drums) FEATURING Cory Weeds (tenor saxophone) • Steve Davis (trombone) Fri & Sat, Mar 21 & 22 Sullivan Fortner (piano) • Dezron Douglas (bass) Right On Time SSR-1402 The Uptown Shuffle SSR-1403 Live Recording Sessions UlyssesSPECIAL Owens, EVENT Jr. (drums) / 7:00, 9:00 & 10:30pm DR. EDDIE HENDERSON QUARTET Wed,Sun & MarMon, 26 Feb 9 & 10 Eddie Henderson (trumpet) • (piano) Doug Weiss (bass) • (drums) JOHNBRAD WEBBERMEHLDAU QUARTET & PETER BERNSTEIN “TRIBUTEBrad Mehldau (piano) TO WES• Peter BernsteinMONTGOMERY” () Fri & Sat, Mar 28 & 29 Music 7 Nights a Week & Sunday Brunch SOMETHING MORE No Music Charge (Sunday to Thursday) Bruce Williams (alto saxophone) • (piano) For Complete Music Schedule Visit Buster Williams (bass) • Lenny White (drums) www.smokejazz.com Expression SSR-1404 For All We Know SSR-1405 WWW.SMOKESESSIONSRECORDS.COM 212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE Our first Women in Jazz issue was so much fun, we decided to do it again. But just like any month can be jazz appreciation month, celebrate the contributions of New York@Night women to (jazz) history not only in March but year-round. The problem is not 4 finding compelling female artists but figuring out how to fit them all in! We’ve Interview: tried, in selecting our features and front-loaded CD Reviews section, to demonstrate that in no area of jazz are women novelties. What has made jazz so resilient is its by Katie Bull 6 dedication to the idea that if you can play, that’s good enough. And thus we have Artist Feature: singers and instrumentalists, traditionalists and innovators, elders and upstarts. In by Ken Waxman the second decade of the 21st century, the celebration of women in jazz is really just 7 an extension of the celebration of jazz as a whole. To prove our point, in this issue On The Cover: Annie Ross we are featuring women born as early as 1904 and as recently as the late ‘80s. 9 by Anders Griffen Scottish-born vocalist Annie Ross (On The Cover) is an NEA Jazz Master and a veteran in the jazz trenches since the late ‘40s. She appears weekly at Metropolitan Encore: Lest We Forget: Room. Pianist and sometimes vocalist Barbara Carroll (Interview), born in England, 10 Bertha Hope Valaida Snow was among the first women to play and continues to this day, with a weekly residency at Birdland. German-born, England-raised saxophonist Ingrid Laubrock by Ken Dryden by Donald Elfman (Artist Feature) has become a fixture on the New York scene with her numerous Megaphone VOXNews bands and collaborations, some of which can be heard this month at the Arts for Art 11 by Mimi Jones by Katie Bull series at Clemente Soto Velez Cultural Center, Cornelia Street Café and The Firehouse Space. Pianist Bertha Hope (Encore) has established her own career in Label Spotlight: Listen Up!: the decades since her husband ’s death; this month she performs as part of the annual Lady Got Chops Festival. Trumpeter Valaida Snow (Lest We Forget) 12 Firehouse 12 Brianna Thomas & Kaja Draksler was a legendary performer from the earliest days of jazz history. /vocalist by Brad Farberman Mimi Jones (Megaphone) is not just an in-demand player but also an entrepreneur CD Reviews: , Simona Premazzi, , with her Hot Tone Music label. And another label, Firehouse 12, features Mary 14 , Aki Takase, Ali Ryerson, Angelica Sanchez & more Halvorson, Myra Melford and Nicole Mitchell among its forward-thinking roster. We’ll see you out there... 38 Event Calendar Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 45 Club Directory On The Cover: Annie Ross (photo by Alan Nahigian) 47 Miscellany: In Memoriam • Birthdays • On This Day

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The Jazz Record www.nycjazzrecord.com - twitter: @nycjazzrecord - facebook.com/nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, New York, NY 10033 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Brian Charette, Brad Cohan, Anders Griffen, Advertising: [email protected] Mimi Jones, George Kanzler, Ken Micallef, Michael Steinman Editorial: [email protected] Contributing Photographers Calendar: [email protected] Christopher Baliwas, Alan Nahigian, Lydia Polzer, Julie Skarratt, James Szmidt, Jack Vartoogian VOXNews: [email protected]

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THE NEW YORK CITY JAZZ RECORD | MARCH 2014 3 NEW YORK @ NIGHT

David Krakauer’s spritely clarinet made an excellent Le Poisson Rouge became a house of sisterly love when stand-in for a singer in “Willkommen”, opening The Hot Tone records trotted out its hottest talent (Feb. 4th), Big Picture at the Museum of Jewish Heritage (Feb. beginning with label-founder/bassist Mimi Jones, who 9th). Halfway through its eight-show run, the program warmed up the crowd through an increasingly was love song through music, stories and video to the enthusiastic set with staunch support from pianist Luis silver screen. Covering decades in storytelling time, Perdomo, drummer Justin Faulkner and trumpeter Krakauer’s mirrored the vintage of the Igmar Thomas. Tenor saxophonist Camille Thurman films - spotlighting Sarah Caswell’s for the ‘30s was next, working the ‘swing shift’ and illumining the Patti setting of Cabaret and Sheryl Bailey’s for stage with her one-hundred-candle smile and tough- the ‘60s of Lenny. But the music was solid and talking horn, beginning with her hard-bopping consistent, each selection including a piece of animation “Origins”; her ballad “Pursuit With a Purpose”, duly incorporating the tone and character likenesses. Three enhanced by Anthony Wonsey’s sensitive pianisms; a Sings Woody Allen films brought the music of Sidney Bechet, vocal rendering of “Skylark” showcasing her expansive Johnny Green and Sergei Prokofiev, paying tribute to range and elastic tonal inflections; capped by “In the filmmaker, fellow clarinetist and jazz fan. John Duetime”, a Latin bubbler replete with yodeling vocals Hadfield’s heavy drumming would have been out of and double-dutch-style shout-outs - all exemplifying place in a Bechet band but Krakauer made “Body and Thurman’s unrestrained sense of freedom and fun. Soul” his own, even employing Rob Schwimmer’s Drummer/percussionist Shirazette Tinnin, who had theremin to evoke the titular Radio Days. Another trio amped up the groove for Thurman’s last number, E � a ! of films dealt directly with the holocaust under the kicked it (the groove) clear to the curb during her heading Shoah Trilogy. The harrowing pieces were closing set, laying down a ferocious pulse from her 6 followed by “Keep it Gay” from Mel Brooks’ The very first hand-strokes on the cajón solo opening to MARCH Producers, with a hilariously updated Dictionary of “Her Powerful Locs” through the powerful Yiddish video. “People”, from Funny Girl, was AfroCaribbean heartbeat of McCoy Tyner’s “Passion admirably belted by daughter Alicia Krakauer and the Dance” and the final rim-shots and -taps of the closing “Tradition” from Fiddler on the Roof was closing Brazilo-funk medley, “The Warmest Season/My transposed to the rockabilly tradition. The only Human Condition”. Tinnin was tangibly thrilled to be The Music complaint that might be made is: with such engaging, in New York and - as she put it - “share with my of Ella & tailor-made video, where is the DVD? - Kurt Gottschalk sisters.” - Tom Greenland Ellington: STARRING & The Orchestra P h o t b y J a m e s S z i d C h r i s t o p e B a l w n d R v M u c THE Sarah Caswell & Sheryl Bailey @ Museum of Jewish Heritage Camille Thurman @ Le Poisson Rouge

TOWN Poet, playwright and political dissident Amiri Baraka It’s hard to get too jaded/glutted on a steady diet of (né Leroi Jones), who died Jan. 9th in Newark at the age live jazz when someone like composer/pianist Helen HALL of 79, was remembered in fine fashion with an evening Sung can come along and suddenly swing your world. 123 W. 43rd St. of poetry, oratory and performance at Harlem’s Aided by what she referred to as her “Canadian crack New York, NY Schomburg Center for Research in Black Culture (Feb. contingent” (no drug reference intended) of trumpeter 8th). Along with speakers too numerous to mention, and tenor saxophonist and the long night included short sets by Baraka’s band her “tropical team” of bassist Reuben Rogers, drummer Blue Ark (with pianist Adegoke Steve Colson) and a Obed Calvaire and percussionist Samuel Torres, plus trio led by trombonist Craig Harris, who played the guest alto saxophonist/clarinetist Paquito D’Rivera, kind of music that fueled Baraka - exploratory, Sung delivered one of those cut-above performances at expository, transcendent, ever reaching. Harris grew Jazz Standard’s early set (Feb. 12th) to celebrate her slowly more fervent, pulling the pianist Donald Smith latest release, Anthem for a New Sun (Concord Music and bassist Calvin Jones behind him and then set a Group). “Chaos Theory”, the ever-so-tricky opener, quick rhythm of triplets, which the pianist and bassist amply proved that her band could, figuratively picked up on just as quickly. He worked that back into speaking, turn on a dime, negotiating the chart’s another ebullient theme but it was a slamming, Latin- complex rhythmic and harmonic elements with tinged piano solo that drew the most audience response. apparent ease. “Brother Thelonious” (commissioned by Following Harris’ solo, when the bassist returned to the the North Coast Brewing Company for its titular beer) Tickets available triplet theme, it was hard not to think of it as a free and the ’s title track, followed by creative march, a freedom march freely improvised for a man interpretations of Chick Corea’s “Armando’s Rumba” at the box offi ce whose walk along this particular path had ended. Later, (featuring a bravura dialogue between piano and in the midst of a recitation of Baraka’s “Am”, an clarinet), Monk’s “Bye Ya”, “Blue Moon” and Ellington’s and incendiary proto-rap revolving around references to “It Don’t Mean a Thing” (again highlighting the Sung- and the repeated line “The victory is D’Rivera intra-musical chemistry) all attested to the yours if you want it”, Umar Bin Hassan of the Last outstanding quality of Sung’s arrangements and the Poets forcefully intoned, “My country ‘tis of thee, land group’s collective efforts. But even the ever-ebullient of soprano saxophones and unwritten poems.” It was D’Rivera couldn’t out-shine Sung, whose laughing hard to not think of the lines Baraka will not be stage demeanor belied some seriously fine piano writing. (KG) playing. (TG)

4 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Saint Peter’s Church has had the sad honor of hosting Winner of the 2013 International mourning segments of the jazz community for decades. Jazz Saxophone competition, proved WHAT’S NEWS Normally its light wooden pews are filled with grey- herself most worthy of the prestigious award in a haired veterans celebrating the long and fruitful life of performance at the Tribeca Performing Arts Center as one of their peers. But this was not the case at a part of the annual Monk In Motion series (Feb. 8th). The deadline for Chamber Music America’s memorial for bassist Dwayne Burno (Feb. 1st), who Leading her Crash Trio of bassist and fellow Chilean New Jazz Works: Commissioning and Ensemble was only 43 when he died last December from kidney Pablo Menares and Cuban drummer , Development program, supporting US-based disease; those remembering him were the young saxophonist wielded her vintage Selmer ensemble of 2-10 members, is Mar. 7th. For more squarely in their prime, fronting bands that featured Mark VI horn with a breathtaking yet unassuming information, visit chamber-music.org. the once-indomitable Burno among their ranks. Spike virtuosity, revealing her as one of the most Wilner of , where Burno played his inventive young voices in today’s jazz scene. Opening The winner of the prestigious annual Sundance last gigs, put it best when he said that this was the first with her original composition “M&M”, the melodic Film Festival is Whiplash, a film written and memorial of his generation. Others used words like Ornette-ish line served as the launching pad for a directed by Damien Chazelle, exploring the “sensitive”, “devoted”, “integrity” and “dedication” daring improvisation. She leapt across bar lines and complex and often antagonistic and abusive to describe both man and . A powerful speech through registers with a flawless tone alternately airy relationship between a young jazz drummer and was given by Burno’s high school band and muscular, hearkening to both and his teacher. director, who stated, “He did what he was supposed to . On “A New Point” she playfully do, which was share music with all of you.” In between deconstructed her melody, traversing several moods as The winners of the 2014 Grammy Awards have the eulogies were musical offerings, including The she engaged her bandmates in narrative dialogues been announced. Best Jazz Vocal Album: Gregory New Jazz Composers Octet, of which Burno was a ranging from earthy to exotic. But it was her Porter, Liquid Spirit (Blue Note); Best Jazz co-founder, presenting his “Once” and “A Fork in the unaccompanied Rollins-esque reading of the ballad Instrumental Album: , Money Road”; ’ quartet playing Burno’s “Juanita” “Darn That Dream” that confirmed Aldana to be a Jungle: Provocative In Blue (Concord); Best Large and the members of Burno’s own group remembering masterful melodist with a harmonic acuity few could Jazz Ensemble Album: Randy Brecker, Włodek their fallen leader with his “Birdbath”. Even Burno’s approach alone. Menares distinguished himself as a Pawlik Trio & Kalisz Philharmonic, Night In Calisia trumpet-playing brother Jeff led an impromptu jam on composer and soloist on his “Tira Pie”, on which (Summit); Best Latin Jazz Album: Paquito D’Rivera ’s “Song for My Father”. But it was Aldana sang on her horn with bird- and Birdlike And Trio Corrente, Song For Maura (Sunnyside/ trumpeter , performing Burno’s “Backroad” lightness, before the group ended its set mightily with Paquito Records); Best Improvised Jazz Solo: Wayne in a trio with just piano and drums, who made the Mela’s “Peace, Love and Music” and “Dear Joe”. Shorter, Without A Net (Blue Note); Best Instrumental absence of Burno’s bass most felt. - Andrey Henkin - Russ Musto : “On Green Dolphin Street”, Gordon Goodwin, Gordon Goodwin’s Big Phat Band (Telarc); Best Instrumental Composition: “Pensamientos For Solo Alto Saxophone And Chamber Orchestra”, Clare Fischer, Music for Strings, Percussion and the Rest (Clavo); Best Contemporary Classical Composition: “Winter Morning Walks”, Maria Schneider, Winter o n t R w P h s Morning Walks (ArtistShare); Best Album Notes: Neil Tesser for John Coltrane’s Afro Blue Impressions (Remastered & Expanded) (Pablo/Concord). For

a r t o g i n / F more information, visit grammy.com.

A minor controversy is brewing as Swiss jazz and electronic musician Bruno Spoerri has accused rapper Jay Z of using the music from his 1978 A l a n N h i g composition “On The Way” for his recent song “Versus” without permission or compensation. P h o t g r a p © 2 0 1 4 J c k V P h o t b y Jeremy Pelt @ Saint Peter’s Church Melissa Aldana Crash Trio @ Tribeca Performing Arts Center Opera Philadelphia has commissioned an opera about the life of , to be composed by One needs to be brave to get in the middle of a musical One of the very few “super groups” in jazz today, the Daniel Schnyder and premiered in June 2015. partnership of long-standing, especially a duo and band 4 Generations Of Miles brings together a quartet even more especially a duo of husband and wife. But of former Davis sidemen culled from various bands led Alan S. Kaplinsky, head of the Consumer Financial Dan Peck plays tuba, which is often the metallic by the legendary trumpeter during his decades-long Services Group, has been named to the Board of elephant in the room, the room in this case being the career. Propelled by the swinging drums of Jimmy Directors of the National Jazz Museum in Harlem, salon-style parlor of Brooklyn space SEEDS and the Cobb, who came to fame during Davis’ Kind Of Blue founded in 1997 and “dedicated to preserving jazz duo that of tenor and alto saxophonist Ingrid Laubrock period in the late ‘50s, and anchored by bassist Buster history and promoting jazz music to the next and drummer . The threesome played a Williams, who was often heard in the celebrated ‘60s generation of listeners”. For more information, visit continuous 45-minute set based loosely on a single Miles quintet with Wayne Shorter, jmih.org. Laubrock composition and slowly developed an arc and Tony Williams, the ensemble featured fiery alto not so much linear as cumulative. Having a tuba in saxophonist Sonny Fortune (one of the most intensely Saxophonist Coat Cooke has stepped down as place of bass in the saxophone power trio had the effect passionate soloists to share the stage with Davis during Artistic Director of the NOW Orchestra Workshop of removing any hierarchical elements. Peck was not a the ‘70s), along with Mike Stern, whose guitar was an Society, after having founded the organization in rhythm section player, which is good because Rainey is integral part of the trumpeter’s reemergence in the 1978 as a Vancouver-based collective of musicians far too deceptively detailed to be used strictly for ‘80s. The latter got things started on the group’s second and overseen numerous international collaborations keeping time. The various segments of the de facto of a five-night run at Birdland (Feb. 5th), riffing and appearances. For more information, visit suite had wide variations in dynamics and density, rhythmically over a funky bass ostinato, Fortune nowsociety.org. often with sudden shifts and unusual textures. Peck blowing long dark tones that flowed into the melody and Rainey duets were like a Munich beer hall at the of “Love For Sale”, Cobb playing a soulful shuffle and Michigan Representative John Conyers Jr. intends to end of Oktoberfest while Laubrock and Peck in tandem climaxing in a series of eight-bar exchanges. Williams’ introduce legislation to Congress, the National had a faux-funereal quality. If Laubrock and Rainey are unaccompanied bass solo began the next piece, Preservation, Education and Promulgation Act, the better known quantities, separately and together, referencing the famous vamp from “All Blues”, with created in consultation with Jazz Forward Coalition, Peck impresses for his appealingly slippery approach, Cobb’s brushes navigating the band through a series of to declare jazz a “national American treasure worthy use of multiphonics and catholic tastes, such that he dynamic tempo changes, culminating in an extended of support”...whatever that means. For more can sound like Marcus Rojas one minute and Per-Åke tour de force rendition of “On Green Dolphin Street” information, visit conyers.house.gov. Holmlander the next, with Opus Croakus, rhythm tuba (the original 1958 Miles recording featuring Cobb), for Deathtöngue, bridging the gap. The best moment of followed by a fiercely bopping workout on rhythm the set came midway through, a maple syrup blues, changes that ultimately closed with Sonny Rollins’ Submit news to [email protected] dripping out slowly and sweetly. (AH) “Oleo”. (RM)

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 5 INTERVIEW

not blessed with a voice like Sarah Vaughan or any of those wonderful people. I’m not a singer, I’m a pianist who tries to interpret the song vocally - however I can get through it (laughter). But if I can get the message of Barbara the song across, that’s all I care about.

TNYCJR: I notice that you do the same storytelling in your piano playing; you are laying out a very simple clear melodic message and then building… Carroll BC: I think that’s what improvisation is about, as I see it. Naturally there are all kinds of ways to improvise. But I like to let the audience in on the secret, if you will. (CONTINUED ON PAGE 46)

© J u l i e S k a r t P h o g p y 2 0 1 4 by Katie Bull smalls jazz club Displayed on 89-year-old jazz pianist and singer Barbara to New York and met Marian McPartland and, of Carroll’s wall is an autographed black and white photograph course, there was Mary Lou Williams. There were a from her friend, pianist Marian McPartland, of the two of few of us. But, we were called “trailblazers”. Don’t you them side-by-side. It reads, “For my fellow survivor.” The love that term? (laughter) word survivor says everything about this octogenarian woman-in-jazz, as does the phrase “old friend” (from her TNYCJR: There are a lot of women who are debating Sondheim signature song). Carroll is on a best friend basis whether we should even be talking about women in with the jazz legacy. Carroll’s stories of clubs and bands jazz any more. embody the history of Swing and bebop. Her energy as a player encompasses the gracefully pristine, fierce, warmly BC: It is very interesting. Last night we went to see the delicate, penetrating and sassily humorous dimensions of show After Midnight on Broadway, about the Cotton 183 west 10th street her rich personality. No wonder she’s earned the MAC Club…it’s just a joy to watch the show. And, in the greenwich village, Lifetime Achievement and the Mary Lou Williams Awards. band is a young woman playing bass. There is no new york city 10014 mention of it on stage. It’s just that she’s there! So she’s The New York City Jazz Record: You were studying just a part of the band and what’s the big deal? Isn’t it www.smallsjazzclub.com classically, but your passion was jazz. Where and when wonderful that we’ve come this far?! did you first feel the jazz impulse? sign up for our FREE live video TNYCJR: When you arrived here from Boston, 52nd Barbara Carroll: I began playing when I was about Street and the village clubs were teeming. Can you talk four or five years old. It was nice to have a piano in the about the clubs when you got here? house because I was drawn to it, it seems - it was beckoning me, even at that young age….I used to hear BC: Oh, the village was wonderful. When I first came things on the radio and play them on the piano. And to New York I didn’t know anyone. I had played in a that was when I started improvising, I suppose. When little high school band…and we had a little trio and we I was about eight years old I began studying piano, used to work on weekends. We’d get four dollars each classical piano. And, I might say that I consider that a for every time we played….and by doing that I was great boon, a great gift, to be able to study classical able to save enough money to go to the New England music, because it gives you technique and the ability to Conservatory of Music, to pay my tuition. And when I play whatever you want. Then there came the day was in Boston going to the Conservatory I used to when the teacher would say, you better stop fooling work at night. There were big clubs in Boston such as around and play what’s on the printed page, (laughter). the Latin Quarter and the Mayfair. We would play So, she knew that I was interested in playing jazz. when the house band took an intermission. There was I had heard Nat Cole and , Art Tatum a smaller band that would come on and that was the - now I’m talking about, oh, I was about 12 years old, I Rumba band. I was part of the Rumba band…it was guess - and all those marvelous players of that era who fantastic. just opened my eyes to the possibilities of jazz piano When I got to New York, I met an agent who said, and I realized that’s what I wanted to do…maybe your “If you can get a trio together, I can book you in the readers don’t know, that in those days there used to be Downbeat Club.” Now the Downbeat Club was one of a lot of live broadcasts on the radio from certain venues the stellar attractions of West 52nd street, which was all over the country, from places in Boston, Cincinnati, ; the Three Deuces, the Downbeat, the and New York. The hotels would have Count Famous Door. People who played there were Billie Basie or . Great bands like that would Holiday, Art Tatum, Miles Davis, Charlie Parker, all be performing in the hotels and they would have an those greats - and his . And outlet with the radio stations that would play live this fellow said to me, “If you can get a trio I will book broadcasts, so we used to wait for those broadcasts you into the Downbeat Club opposite Dizzy Gillespie’s and, wow, what a thrill that was. big band.” One night we were standing outside of the Downbeat Club…and Charlie Parker said to me, “Oh TNYCJR: Did you feel like it was okay to be a young here comes Sassy.” Sassy was Sarah Vaughan. Now woman who wanted to play jazz? Sarah Vaughan played piano, a lot of people may not be aware of that... so Charlie Parker said, “I think it’s BC: Let me tell you that my mother’s friends used to time you two chick piano players met one another.” say, “How can you let her play that awful music with ...And that was the first time I met Sarah Vaughan. But those awful people?” That was the kind of feeling I love that: “You two chick piano players.” people had about jazz. Also, being a female was a drawback, because girls were not doing what I wanted TNYCJR: Do you think of yourself as a pianist first to do, girls were not playing jazz. Girls were playing and then a singer? - notice that I use the term girls because that was what we were called then, we weren’t called BC: Oh yes. Oh definitely. I’m not a singer-singer…I “young women” - nobody was playing jazz. Until I got consider myself lucky if I can get the story across. I’m

6 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit ingridlaubrock.com. Laubrock is at Clemente Soto Velez Cultural Center Mar. 3rd, 10th and 24th, The Firehouse Space Mar. 6th and Cornelia Street Café Mar. 14th-15th with Tom Rainey. See Calendar. Ingrid Recommended Listening: • Ingrid Laubrock Sleepthief - Eponymous (Intakt, 2007) • Kris Davis/Ingrid Laubrock/ - Paradoxical Frog (Clean Feed, 2009) • LARK - Eponymous (Skirl, 2011) Laubrock • Tom Rainey Trio - Camino Cielo Echo (Intakt, 2011) • Ingrid Laubrock Anti-House - (Intakt, 2012) • Ingrid Laubrock/Tom Rainey - …And Other Desert Towns (Relative Pitch, 2013) y d i a P o l z e r

P h o t b y L by Ken Waxman

One of the many non-American musicians who have we’d play, then eat, then listen to lots of different types set up shop in NYC, German-born saxophonist Ingrid of music. He helped me learn by experiencing it.” Laubrock has quickly become a presence on the local This experience eventually led to a long-time scene. But the soprano and tenor saxophonist was affiliation with ’s F-ire Collective. With UK already recognized for her playing and writing players often divided into camps - completely elsewhere - London’s highly competitive improv scene improvised versus bebop/postbop - F-ire was a refuge - before she crossed the ocean permanently in 2008. for those she terms, “open-minded musicians who Then again, Laubrock has always thrived on new somehow couldn’t be classified and therefore had a situations and challenges. And as someone who didn’t hard time getting their music performed.” Around this start playing the saxophone until her teens she declares, time Laubrock became confident enough to start “I didn’t really decide that I wanted to become a composing. “I reluctantly started in 1996,” she musician, it more or less happened...I sort of drifted remembers. “I had been content being a sidewoman into it.” Crucially her interest in avant jazz came about and had a real fear of it. I had so much respect for almost concurrently with her becoming a player. As a composers, I thought I just couldn’t do it. Now I can’t child she inherited some jazz singles from a deceased live without it. My compositions tend to be pretty epic uncle - including ones by Thelonious Monk, Sonny and go through many peaks and valleys. The JSnycjr0314 2/13/14 1:36 PM Page 1 Rollins and Charlie Parker - and also would tape jazz improvisational parts in them can be finding avenues radio programs. An excursion at 15 to the nearby to connect through-composed parts with each other at Münster Jazzfestival exposed her to everything from times and creating layers on top of composed material Ornette Coleman’s Prime Time to pianist Wolfgang at others. I like trying to create density and mystery, Dauner and trombonist . But it which still remains transparent. The language I use was hearing on Miles Davis’ when improvising finds its way into the writing and Kind of Blue that drew her to the sax. “I pestered my vice versa. I think improvisation and composition “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH SAT-SUN MAR 1-2 parents until they finally gave in when I was about 17 informing each other is a pretty common process - after QUARTET years old. My high school music teacher found us a all, it’s the same person doing both. If you’re honest LAFAYETTE HARRIS JR - MATTHEW PARRISH - CHIP WHITE super cheap alto that had been played in an Ivory with yourself your taste buds should determine the TUE-SAT MAR 4-8 Coast army band. It was a great saxophone, but it was outcome.” NEWPORT JAZZ badly patched up. When I first picked it up I just went Meanwhile her eventual move stateside came FESTIVAL:NOW 60 berserk on it and that felt great. The saxophone got run about after she tired of maintaining a long-distance ANAT COHEN - KARRIN ALLYSON - RANDY BRECKER - MARK WHITFIELD over by a bus after about three months and I only got a relationship with American drummer Tom Rainey. PETER MARTIN - BEN ALLISON - CLARENCE PENN SUN MAR 9 replacement when the insurance came through, about They married in 2010. “The first two years were kind of JAIMEO BROWN: TRANSCENDENCE a year and a half later. I didn’t really start playing hard,” she admits. “NYC definitely didn’t need another FEATURING CHRIS SHOLAR & JALEEL SHAW again until I moved to the UK when I was almost 19.” tenor player and I really missed my London community. TUE MAR 11 Laubrock had already relocated to - Tom was on tour a lot and I wasn’t, so the times I was NOAH PREMINGER QUARTET - MATT CLOHESY - RUDY ROYSTON “answering phones and working in bars” - when her here by myself were tough. But I also had time to WED MAR 12 then-boyfriend suggested they try the UK. “I didn’t compose, practice, focus and, of course, to check out : QUIET PRIDE enjoy the jobs I was doing, so I went for the adventure the millions of bands and musicians here. It was both THE ELIZABETH CATLETT PROJECT of trying a new country.” Soon she was busking, then lonely and exciting, a new playground. It was also THU-SUN MAR 13-16 playing restaurant gigs. It was in London that Laubrock really important to me not to use Tom, who is a really started taking saxophone seriously and put aside the established musician, as a shield and calling card. I PLUS SPECIAL GUEST PROJECT CHARLES ALTURA alto to concentrate on soprano and tenor. She studied didn’t want to be ‘the girlfriend’ who hustles everybody WALTER SMITH III - CHARLES ALTURA - SAM HARRIS - HARISH RAGHAVAN - JUSTIN BROWN with ex-Jazz Messenger Jean Toussaint and veteran her man plays with. I really wanted to find my own TUE MAR 18 Stan Sulzmann. “Jean was extremely helpful. We’d connections. That takes time and patience.” MICHAEL BLAKE’S WORLD TIME ZONE - BEN ALLISON - FERENC NEMETH have a lesson every few months, when I felt I had That patience paid off. She’s involved with many WED-SUN MAR 19-23 assimilated what he taught me. He used to play at me NYC bands, most notably Anti-House with pianist Kris 10TH ANNIVERSARY for hours and made me copy him, which is a great way Davis, guitarist Mary Halvorson, bassist John Hébert TOUR of learning, as it was aural rather than on paper. He and Rainey plus her yet un-named brass/wind quintet AVISHAI COHEN - MIGUEL ZENÓN - DAVID SÁNCHEZ - ROBIN EUBANKS also explained a lot about harmony and made me with alto saxophonist , tuba player Dan WARREN WOLF - EDWARD SIMON - MATT PENMAN - OBED CALVAIRE TUE-WED MAR 25-26 compose my own solos.” Peck, trombonist Ben Gerstein and Rainey. She’s even QUINTET During a master class with Dave Liebman, he told curating at the Evolving Music Series this month, one MARCUS STRICKLAND - DAVID VIRELLES - JEFF “TAIN” WATTS - PEPE ESPINOSA her she was talented but needed more practice. “After set of which involves a 29-piece orchestra. Meanwhile THU-SUN MAR 27-30 that I went back to live with my mum for six months to Sleepthief, her trio with London pianist FABIAN ALMAZAN’SRHIZOME practice eight to 10 hours a day.” In London Laubrock and Rainey still exists; she’s also part of two MEGAN GOULD - TOMOKO OMURA - KAREN WALTUCH PROJECT NOAH HOFFELD - CAMILA MEZA - BEN STREET - HENRY COLE also began an association with free music players such Amsterdam-based bands, Luc Ex’ Assemblée and HHHMINGUS MONDAYSHMINGUS MONDAYSHHH as bassist John Edwards, drummer Tony Marsh and Lily’s Déja Vu; plus there’s the co-op Paradoxical Frog MON MAR 3, 10, 17 & 24 MON MAR 31 MINGUS ORCHESTRA cellist Hannah Marshall. “They told me there were no with Davis and drummer Tyshawn Sorey. HJAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAYAT2PM [EXCEPT 3/23 & 3/30]-DIRECTEDBYDAVIDO’ROURKEH fast rules and I could figure music out myself by doing It’s no exaggeration to say that Laubrock has it a lot,” she recalls. Another influence was pianist managed to establish herself in NYC while remaining a Veryan Weston. “Veryan invited me to his house and respected musician of the world. v

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 7 presents

Jimmy Heath

Lalah Hathaway Sean Jones

Sunday, March 23 at 3 PM Ellington’s Sacred Music Glorious music from Duke Ellington’s sacred works are performed by jazz and soul luminaries , Lalah Hathaway, Sean Jones, the Jazz at Lincoln Center Youth Orchestra, and young singers from New York City schools.

Ellington’s Sacred Music is generously underwritten by Martha and Bob Lipp. Tickets start at $15. carnegiehall.org | 212-247-7800 Box Office at 57th and Seventh Photos: Student singers by Julien Jourdes, Heath by Jack Vartoogian, Jones by Raj Naik. Artists, programs, dates, and ticket prices subject to change. © 2014 CHC. Proud Season Sponsor ON THE COVER ANNIE ROSS SING A SONG... P h o t b y by Anders Griffen A l a n N h i g

Over the course of her almost 80-year performing her aunt, singer Ella Logan, probably best known for “I never practiced. I would just learn the song, then career, Annie Ross has been faceted and fascinating, her 1947 lead performance in Finian’s Rainbow. Ross work it,” she says, “Someone said ‘it’s a process.’ I which can be seen and heard weekly at the Metropolitan traveled with her aunt to her home in Los Angeles and don’t subscribe to the new terms. Learn a tune and Room. While appearing in stage productions, in movies soon after her arrival won a radio contest run by none know what the words mean. Convince the audience and on television, Ms. Ross is recognized as one of the other than Paul Whiteman, which led to her appearance they’re listening to a story, sing things that weren’t great jazz singers of all time. With rare range, dexterity in an episode of Our Gang in 1938, where she put on a familiar to the public and get a reaction.” The group and personality, she makes it seem easy. In 1959, spirited performance of “The Bonnie Banks o’ Loch made seven successful and won several awards Johnny Mandel, composer and longtime Lomond”. In 1943 she appeared as Judy Garland’s by the time Ross left in 1962. arranger, put it like this, “Annie Ross I think is the best sister, Rosie, in the film Presenting Lily Mars. She grew In 1963 she was briefly married to Sean Lynch singer I’ve ever heard - in just about all categories. I up and was educated in Los Angeles, but only saw her while they ran a London cabaret called Annie’s Room. think she’s a marvel and nobody can lay down time aunt between tours. The young Ross was alone more Acting next became her focus as Ross continued to like this girl. She’s got range [and] a voice that just than she would have liked, but was also exposed to a work on stage and television in England. In 1978, she does everything.” These qualities are central to some lot of music both on record and in person as she got to starred in the show Send in the Girls, in which she of her most famous work as the writer and performer know the likes of Duke Ellington and Erroll Garner. “I played Velma Hardy, a former trombonist with Ivy of her song “Twisted” and as a member of the jazz used to sing Duke’s songs while he played the piano,” Benson’s All Girls Band. This was during a time, as vocal group, Lambert, Hendricks & Ross. For decades she recalls. At 16 she briefly attended the American observed by Nichole T. Rustin and Sherrie Tucker in she was in constant motion between New York, Los Academy of Dramatic Arts in New York before their book, Big Ears, when emerging scholarship was Angeles, London, Glasgow (“I’m Scottish,” she’ll returning home in 1947. She quickly found work with “dedicated to unraveling issues of sex discrimination, quickly remind you), Paris and touring around the Bernard Hilda, Jack Hylton and Hugh Martin and marginalization and the effects of shifting and clashing world, never staying in one place for long. Nowadays toured the continent with Jack Diéval and . definitions of masculinity and femininity.” It’s not to she spends most of her time at home in New York. The influx of black jazz musicians in Paris - Coleman say that women were not heard and recognized in the Coincidentally, this issue comes out at the same time as Hawkins, Charlie Parker, Dizzy Gillespie, John Lewis, past. “How could you have Billie Holiday, Ella the completion of a two-year, grant-funded project at - persuaded her to stay there and she Fitzgerald, Sarah Vaughan, ,” the Institute of Jazz Studies at Rutgers University in lived in Paris from 1947-51. In 1950 she recorded her commented Ross, “without having articles and concerts Newark to arrange and describe the personal first 78, a date with pianist Diéval. Later that year she dedicated to women?” In the ‘80s-90s Ross appeared in collections of five women in jazz, Ross among them toured North Africa and with Hawkins, worked several films including Superman III, Throw Momma (newarkwww.rutgers.edu/IJS/WomenInJazz). an acting job with Orson Welles back in Paris and gave from the Train and Pump Up the Volume. Perhaps her Ross has been performing every Tuesday night at birth to a son, Kenny Clarke, Jr. best movie role came in 1993 in Short Cuts by Robert the Metropolitan Room in Manhattan for almost a Soon she was back in New York, working supper Altman. The movie is based on short stories by decade. Her full range, in terms of octaves, is no longer clubs and studying with . “He was Raymond Carver, except for the part of Tess Trainer, available but has expanded in other directions. While with Lena Horne for a long time. He opened a company, which Altman created for Ross. “I became infatuated she has lost some high notes, she has gained signing singers - like forming an act. It was an with her passion for her music,” said the director. “She considerable subtlety and refined a great depth and opportunity.” In 1952, the year Ross became DownBeat’s hears a whole band inside her head.” expanse of expression. She gets into character for each “New Star of the Year”, she recorded “Twisted”, which Throughout her career, Annie Ross has moved song and creates the atmosphere. “You must engage was originally recorded by tenor saxophonist Wardell easily between various film, theater and jazz the audience and convince them they’re listening to a Gray in 1949. Ross penned lyrics to the tune, a practice engagements. These collective experiences make her a story,” she says. It’s a thing of beauty and amazing to called , which she helped to make famous with unique artist. “It’s all related. It’s all connected,” she behold. She’s got the perfect supporting ensemble to the success of her new recording (available as a bonus says. “Engage the audience.” She is one of the few that realize her vision, her song - and they’re all her songs track on AVID Jazz’ two-CD set compiling four ‘50s can remember musical worlds and stages that no the way she renders them. While Ross is the focus and Ross albums). “Twisted”, with her lyrics, has since longer exist. Her performances at the Metropolitan impetus of the group, Warren Vaché is her right-hand been recorded by Bette Midler, Mark Murphy and, Room every Tuesday night are a treasure. Everybody man on the cornet and pianist Tardo Hammer acts as most famously, . This was followed by a who loves jazz and the legacy of popular song should musical director. Drummer Jimmy Wormworth, whose brief tour with before returning to go and enjoy this living legend live and in person. It’s association goes back to Lambert, Hendricks & Ross, England, where she worked until 1956. During this truly a New York experience, but it’s also part of grooves easily and, performing with brushes almost time she toured and recorded with bandleader Jack America’s cultural heritage. v exclusively, is incredibly articulate and Neal Miner Parnell, great saxophonist Tubby Hayes and drummer holds it down on the bass, smiling almost throughout Phil Seaman. “The straights would sit in the front of For more information, visit annieross.net. Ross is at each set. One recent February night, there were no the coach and the ravers at the back. I’d be in the back.” Metropolitan Room Tuesdays. See Regular Engagements. uptempo songs per se, but there were some hard- In 1957, she became the third member of Lambert, grooving ones like Horace Silver’s “Come on Home” Hendricks & Ross for her “ability to simulate Recommended Listening: with lyrics by and Louis Jordan’s instrumental sounds, extraordinary both in concept • Lambert, Hendricks & Ross - Sing a Song of Basie “Saturday Night Fish Fry”. “A Nightingale Sang in and execution,” said , “helped (ABC Paramount-Impulse, 1957) Berkeley Square” was deeply touching and “Violets for enormously by her range, which is twice that of the • Annie Ross - Sings A Song With Mulligan! Your Furs” was particularly poignant. average jazz singer.” Her instrumental sounds can be (World Pacific-EMI, 1957) Annie Ross was born Annabella Macauley Allan heard to great effect on “Everyday I Have the Blues” • Annie Ross - A Gasser! Short on Jul. 25th, 1930 in Mitcham, London to parents from their debut, Sing a Song of Basie. The group was (World Pacific-Pure Pleasure, 1959) who were Scottish vaudevillian performers. Already characterized, in part, by rapid-fire tempos, • Lambert, Hendricks & Ross - The Hottest New Group singing, a young Ross traveled with her parents by instrumental virtuosity and improvisation straight in Jazz (Columbia, 1959) ship to New York at age five with hopes she might from the heart of bebop. With all of the skill and • Annie Ross - Sings A Handful Of Songs become the “Scottish Shirley Temple”. Her parents precision required to perform such music, one might (Ember/DCC - , 1963) returned home after a brief stay, but Ross stayed with think Ross must have put in countless hours of practice. • Annie Ross - Let Me Sing (CAP, 2005)

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 9 ENCORE

We married in 1960.” She worked at the telephone today.” Besides seeking out jam sessions, Hope plays in Bertha Hope company when they settled in New York, then played the house band at the newly opened Minton’s. “They’re on the weekends. In 1961, Bertha made her recording well-seasoned and have played with almost everybody. by Ken Dryden debut with Elmo, playing several duets with him on Michael Max Fleming played with Mary Lou Williams his album Hope-Full. She recalled, “I was scared out of at the Cookery. Guitarist Michael Howell was with Bertha Hope is a superb my wits. It was an extraordinary opportunity. I wasn’t Dizzy Gillespie. Mike Camoia is a pianist who hasn’t been nearly ready to do that. Elmo was already well on his acolyte. Leroy Williams is one drummer, Rudy Lawless recorded nearly enough way in development; the music has stood the test of is the other. I’m having a wonderful time.” v during a career time. We used to go to NOLA Studios and practice, spanning over five four hands on one piano. It would have been interesting Hope is at First Reformed Church Of Jamaica Mar. 1st as decades. She remains if we could have played together in a club.” part of Lady Got Chops Fest and at Minton’s Playhouse active as a performer, After Elmo’s death in 1967, she returned to college, Mondays-Saturdays. See Calendar and Regular Engagements. arranger and teacher, along with promoting the work of completing a degree in early childhood education. “I her first husband, the late pianist Elmo Hope. played weekends with the Universal Jazz Coalition. In Recommended Listening: Hope’s musical roots are deep. She explained, “My 1982, I joined the Kit McClure Big Band, an all-women’s • Elmo Hope - Hope-Full (Riverside-OJC, 1961) father became a professional singer, touring the band that played great charts; it spawned the DIVA • Bertha Hope - In Search Of…Hope European circuit between 1915 and 1929 with Mabel band. I got involved working with women and put (SteepleChase, 1990) Mercer in his group. He was the stage manager for the together Jazzberry Jam with drummer Paula Hanson • Bertha Hope - Elmo’s Fire (SteepleChase, 1991) musical Showboat. In my family everybody took and bassist Carline Ray Russell. We worked a lot, • Bertha Hope - Between Two Kings (Minor Music, 1992) classical piano lessons. My father hired me as a kid to though we weren’t groomed to get into recording • Bertha Hope - Nothin’ But Love (Reservoir, 1999) play spirituals in church concerts that he gave.” Before situations. We did record ourselves at Kennedy Center. • Various Artists - Hope Is In The Air: The Music of long jazz beckoned her. “[Drummer] Billy Higgins and I have a CD that we only sold where we worked. I’ve Elmo Hope (Origin, 1998-99/2002) I went to the same school; we had the same interests in been encouraged to reproduce it and make it available.” music, especially Duke Ellington. A friend gave me a Hope met bassist Walter Booker around 1981. “He record, which turned my head. Listening to The was a neighbor. He had a studio where he helped Amazing Bud Powell was an all-day, all-night experience people do their private projects. I was introduced to for about a week. I was trying to play jazz by the time him and I wanted him to produce one that I was I met Elmo years later. I was playing in LA with Vi seeking grants for. Walter helped many young Redd, Teddy Edwards, Johnny Otis and Little Esther musicians at little or no cost. There were all-night jam Phillips when I was 16.” Hope listened to the Clifford sessions until he started touring a lot with Nat Brown-Max Roach band as it came into being, which Adderley. I learned so much about performing and featured Powell’s younger brother Richie on piano. “It how to put together a band from Walter. He was was a real education for me, I watched them practice interested in Elmo’s music, so we put together a until they were exhausted. I met Richie at ’s repertory band.” They were together for 23 years and house, where they rehearsed; I was there every day married in 2004, less than three years before his death. after my college classes.” Beginning in the early ‘90s, Hope started recording In 1957, Bertha met Elmo Hope when he came to as a leader, including noteworthy CDs for Minor Music, Los Angeles with ’s group. “He left the SteepleChase and Reservoir. The pianist teaches at a band because he wanted to stay in LA. He became one community school and continues to promote Elmo’s of the most sought-after pianists there when people legacy. “I’m trying to redevelop Elmo’s workshops to came alone from the East. I was already listening to his do his music and rework it. Many students are not music and wanted to convince him that I was trying to familiar with its place in musical history. Students have learn it, because it was so unique. I had already had shown interest in his music and want to form rehearsal heard Bud Powell and how they influenced each other. bands to go over it. It’s very fresh-sounding music

LEST WE FORGET

and, reportedly, one of Snow’s lovers, pianist Earl She performed throughout the rest of the ‘40s and Valaida Snow (1904-56) “Fatha” Hines. Snow claimed that she and Armstrong into the ‘50s, recording with Fletcher Henderson and, played together and that he had called her “Little strictly as a singer, for a number of labels including by Donald Elfman Louis”. Chess. There have also been reports that she became Beginning in 1926, Snow traveled to Asia and addicted to morphine later in her career. Unfortunately, Valaida Snow - trumpeter, singer, dancer - was one of Europe with bands led by clarinetist Albert Nicholas she never regained the fame or appeal she’d once the first women in the jazz world to achieve and pianist Sam Wooding. In 1931-32 she starred with experienced and faded from view. Snow died in international success. She was apparently something Ethel Waters in Rhapsody in Black, where one of her Brooklyn on May 30th, 1956. of a braggart but, in the end, this cannot diminish the roles was to conduct the orchestra in Gershwin’s Harlequin has compiled two discs of music from facts and accomplishments of an astounding career. “”. 1935-40 while Classics has done so for music from Snow was born on Jun. 2nd, 1904 in Chattanooga, She made her first recording in 1933, “Maybe I’m to 1933-36, 1937-40 and 1940-53. All display the versatility, Tennessee. By the time she was five, she was playing Blame”, with Hines for Brunswick. It wasn’t until 1934 humor and brilliance of this pioneering performer. In violin and dancing - one of her stage names was that she recorded under her own name. In four sessions, addition, she is the subject of two biographies: Mark “Valaida the Great” - with a group called the Pickaninny she cut ten tunes for Parlophone, including the Miller’s High Hat, Trumpet and Rhythm: The Life and Troubadours, led by her parents JV and Etta. Her sister delightful “I Wish I Were Twins”. More sides for that Music of Valaida Snow and Candace Allen’s Valaida. v Lavaida also appeared with the group. label and then a number for the Swedish Sonora label, Through her teenage years, Snow worked with total some 30 tracks in all - blues, torch songs, novelties Recommended Listening: another of the Troubadours, Jay Gould, as the Gold and more, including “Minnie the Moocher”, “St. Louis • Valaida Snow - Harlem Comes to London Dust Twins. She joined the cast of a revue led by Will Blues”, “Tiger Rag” and “Nagasaki”. (Swing-DRG, 1929-38) Mastin, Holiday in Dixieland, which toured New York Using Louis Armstrong as her main influence, she • Valaida Snow - The Chronological Valaida Snow: and other cities in the northern United States. In a sang and played the trumpet and, in Europe in the 1933-1936 (Classics, 1933-36) show that also featured pianist Willie “The Lion” ‘40s, recorded with guitarist Django Reinhardt. Snow • Valaida Snow - Vol. 1 (1935-1937) Smith, Snow sang, danced and sometimes brought out was in Denmark when the Nazis invaded that country (Harlequin, 1935-37) her trumpet in a period when female brass players and she later told of having survived a concentration • Valaida Snow - Vol. II (1935-1940) were very rare. camp. The story added to her legend as a colorful and (Harlequin, 1935-40) In the early ‘20s, Snow performed in cabaret and charming entertainer. In the novel Valaida, by John • Valaida Snow - The Chronological Valaida Snow: theater in Chicago in productions of revues by Noble Edgar Wideman, a fictional Snow says of the 1937-1940 (Classics, 1937-40) Sissle and Eubie Blake. At the Sunset Café, she sang experience, “They beat me … I was their maid. But I • Valaida Snow - The Chronological Valaida Snow: with a band that included trumpeter Louis Armstrong never sang in their cage … not one note.” 1940-1953 (Classics, 1940-53)

10 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

inspire the sound of the day. I pose the question works and music of their peers. There will ultimately Jazz Times in a New Era without having an answer myself, but just wondering be more music in the world than ever before, which what’s the fine line between preserving this music and will absolutely have an effect on this music. So let’s see by Mimi Jones completely losing the very essence of what this music what this era brings. v has been from the beginning - change. Jazz has always been music of the times, stemming So what happens next? For more information, visit mimijonesmusic.com. Jones is at from the blues, field hollers and spirituals, music that We are in a strange time now, where the generation Somethin’ Jazz Club Mar. 1st with Golden Ratio Project, had a definite function - to tell the news of the day, a of our jazz elders have been transitioning, the jazz Smoke Mar. 7th-8th with Tia Fuller and Ginny’s Supper release of shortcomings and celebration of all things masters that we read about in books and studied their Club Mar. 29th as a leader. See Calendar. good. Whether it was spiritual or secular, it clearly albums. We somehow felt like they would be here reflected what was going on. Players used music from forever. There is a shift that is taking place and young New York native Mimi Jones (aka Miriam Sullivan) is a previous eras as a guide and would add on modern musicians have an obligation to act accordingly, study multi-talented bassist, vocalist and composer whose elegant twists from their current time, sometimes before their (not only music but the history of the times), create to sound is an eclectic mix of genres based on a strong jazz time, like pianist Mary Lou Williams, pushing the the best of their ability and pass down in order to foundation. In 2009, she released her debut CD A New music forward, ultimately creating several different preserve what came before. Day. As a ‘sideman’ Jones has performed with the late great generations, sounds and structures of this music from Here are my questions to the world, good or bad: Lionel Hampton, , Tia Fuller, Sean Jones, and which to choose. Is the use of modern-day platforms and technology . A graduate from the Manhattan School of The music was something based upon life a blessing or a distraction? Are we more isolated by Music she has also studied with Lisle Atkinson, experience and you could hear it in their sound. You spending time online (YouTube, Facebook, Twitter) and . She has toured extensively could actually hear the various expressions of emotion than getting out to live sessions, concerts, conferences, throughout Europe, South America, the Caribbean Islands, within the music, like Billie Holiday’s “Don’t Explain”, meeting folks face to face? Asia, Africa and is a US Jazz Ambassador touring 13 the joy in Charles Lloyd’s “Forest Flower”, humor like Institutions - are they helping to preserve the countries throughout the world. in Fats Waller’s “Your Feets Too Big” or Max Roach music, giving the modern-day musicians the tools to and ’s protest in “Freedom Day”. The succeed, or killing the spirit of the music while creating list goes on. Today, because jazz has been so jobs? HYMN TO THE WORLD CONCERT institutionalized and society judges based on I did a master class out West last year with a big A BENEFIT FOR UN WOMEN perfection, there seems to be a lack of emotion in a lot band and I asked them to tune up. They all pulled out of the music that is being produced. The church, the their individual tuners. I was shocked. A simple act of April 3rd, 2014 • 7:00 pm humility, the suffering, the individuality and tuning by taking the lead instrument’s Bb or an A from appreciation and joy for it has lessened, thus making the piano builds character, confidence and importantly Saint Peter’s Lutheran Church the modern day sound studio perfect but, very often, ear training, but these are the times we are in - a tad 619 Lexington Avenue @54th St., NYC missing a soul. artificial you think? In the past few years there has been much Also how does a musician survive in New York Featuring: Heikki Sarmanto, piano with Jeannine Otis, vocals • Bim Strasberg, bass controversy based on ideas of what is and should not City, with the crazy inflation on the housing market Greg Bufford, percussion be defined as jazz. It would make sense that fusions of and food industry, and where will they find the time to jazz and various cultures including pop culture be develop, grow and … procreate? These concerns have Tickets $20 at www.finlandcenter.org or presented as jazz or alongside jazz at the festivals since and will continue to affect the industry and eventually $25 at the door. Intermission reception included. we live in a world that is connected by less than three the sounds of the times. Artists will definitely have to Supported by Arts Promotion Net proceeds to benefit UN Women. degrees of separation and jazz being music that reflects support one another to make it through this new Centre Finland, Finnish Performing the times. Jazz has reached so many corners of the history being created. Music Promotion Centre, Suomi-Seura, Consulate General earth and, although is still considered a minority, it is a In utilizing technology for survival as a musician, of Finland in New York, Finland fetish shared by millions of people. times honestly seem more hopeful being that an artist Center Foundation, Paul Tirri Fund It’s amazing to look at the timeline and see how can create, market and distribute their own works with and Samuel Rubin Foundation. much music has changed and how the times truly a few clicks. More musicians are producing their own

VOXNEWS

Speaking of new stories, a feminine energy is at known artists and newcomers in venues that span They Go To Our Head the creation mythology core of adventurous alto boroughs and serve full menus. Get your literal chops saxophonist Darius Jones’ new composition, “The at the Chops festival and try Shell’s Bistro, a Harlem by Katie Bull Oversoul Manual”, featuring the vocalists in his jazz supper club, where jazz veteran Teri Roiger will Elizabeth-Caroline Unit. The Jerome Foundation sing with her hallmark liquid ease (Mar. 21st). In honor of the sung and unsung female jazz masters Residency presentation of the event at Roulette (Mar. A female visual artist is the muse for veteran bass who have come and gone, stories must be retold, myths 5th) will spotlight the group’s vibrant singers from player Rufus Reid’s new release of his epic composition busted and women’s true place in jazz history revealed. varying roots, who meld their voices into one sonic in five movements, Quiet Pride – The Elizabeth Catlett Some might argue we are past the need to highlight “alien birthing ritual”. Amirtha Kidambli, Sarah Project (Motéma). The rounded planes of Catlett’s “women in jazz”. Others would say that in order for Dyson and jazz vocalists Kristin Slipp and Jean-Carla earthy sculptures are channeled through gutsy blues female jazz artists to be fully integrated into the mix Rodea will manifest a new melodic and percussive singer , who will swim in lithe unison they deserve the special Women’s History Month language Jones developed with a linguist. This could and harmony without words, alongside Reid’s very visibility. Either way, the music speaks for itself. As be the next chapter in women’s galactic history. large ensemble at Jazz Standard (Mar. 12th). lyricist Haven Gillespie and composer Fred Coots New generations in genre-bending forms promise A Women In Jazz celebration wouldn’t be might have said, you will find March’s singers “like a vigorous listening at the Ecstatic Music Festival. Hear enlightened if it were exclusionary and lacked mention kicker in a julep or two”. multi-instrumentalist ’s collaboration of male collaborators, as demonstrated by the inclusion Take the story of the legendary octogenarian jazz with the Grammy-winning Brooklyn Youth Chorus of the aforementioned Rufus Reid, Colin Stetson and master, pianist and vocalist Barbara Carroll. Often (Mar. 22nd) at Merkin Hall. A flock of pure, budding Darius Jones in this column. To that end, a light must characterized as “elegant”, she is also strong, with a voices, beautifully conducted by founder Dianne shine on the phenomenal German vocalist and sassy wit. Carroll is at Birdland with longtime Berkun-Menaker, will sing in pitch-perfect, precise yet orchestral leader Max Raabe & his Palast Orchester, collaborator and veteran bass player for fluid form, exploring Stetson’s arrangements of who will celebrate their new album Golden Age (Decca) the weekly Saturday 6 pm set (and headlining next original works that meld avant jazz with indie rock, at (Mar. 3rd). The album features nearly month Highlights in Jazz Apr. 10th). drawn from his most recent album New History Warfare, two-dozen meticulously reconstructed arrangements Grammy-nominated vocalist Roseanna Vitro Vol. 3: To See More Light (Constellation). of standards and Raabe originals, all in the style of the knows history and deeply embodies jazz tradition. She In honor of Women’s History Month, audiences ‘20s and ‘30s big bands, with Raabe’s lilting, almost sings in a hearty swinging simpatico with her longtime can flock to hear an array of bold and seasoned female androgynously haunting voice. pianist Mark Soskin at Jazz at Kitano (Mar. 29th). vocalists at the annual Lady Got Chops Festival, March vocalists will go to your head and spin Together they write new straightahead chapters, presented by bassist Kim Clarke. Designed to around in your brain, as Billie Holiday once sang, “like carrying forth the torch that Carroll helped light. “empower women artists”, the festival’s lineup boasts the bubbles in a glass of champagne.” Let’s toast! v

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 11 LABEL SPOTLIGHT

combined recording studio, venue and bar in New all the information isn’t there. So we really wanted to Firehouse 12 Haven that caters to the style, and Bynum was on the be able to really produce a package that is equal to the scene as a player, having already worked with bassist/ quality of the music.” by Brad Farberman keyboardist Alan Silva and Braxton. So the old friends Guitarist Mary Halvorson, who has released four discussed collaborating. When Bynum was recording albums as a leader on Firehouse 12, appreciates that So much of jazz is no-big-thing jazz. Players get his album The Middle Picture, he put down part of it at level of engagement. She can also be heard on the together, somebody calls a tune and it’s on: no big Firehouse 12. The thing about records, though, is that Braxton discs and three of Bynum’s four records for thing. You knock out the head, blow over the changes they need to be released, so Bynum and Lloyd did it the label. and hit the head again on your way out: no big thing. themselves and Firehouse 12 Records was born. “One of the things I love about Firehouse is just You do this over and over again, until the wee hours of The Middle Picture was the second-ever release from the the attention to detail,” says Halvorson of the the morning: no big thing. label, after Braxton’s 9 Compositions. From the start, organization - venue, studio, label and bar. “Everything But Firehouse 12 Records, the New Haven, Lloyd and Bynum were concerned with stretching out. is done with such care... they’re not cutting corners, Connecticut-based avant garde jazz label founded by “We were just kind of kicking around some ideas you know? They’re really serious about what they do engineer Nick Lloyd and cornet player Taylor Ho and one of the things that we felt early on we could try and they do a really good job.” Bynum in 2007, specializes in big things. It lives large. to do was to present music in a variety of formats and Mitchell is similarly impressed. The California- Flutist Nicole Mitchell’s dark Xenogenesis Suite, for also try to show a wider breadth of the type of thing based musician, whose is also a part of 9 instance, is influenced by the late science fiction author that could constitute a jazz record at a certain level,” Compositions, recorded Xenogenesis Suite at Firehouse Octavia Butler. Saxophonist ’s remembers Lloyd. “So the first project that we did was en route to the piece’s live debut at the 2007 Vision 9 Compositions (Iridium) 2006 documents some of the the Braxton nine-CD-and-DVD set, as a sort of really Festival in New York. leader’s “ghost trance music”. And Bynum’s own extreme example of that. [laughs] And also the idea of “Firehouse 12 is refreshing because they fearlessly Navigation (The Complete Firehouse 12 Recordings), which trying to mix some music that is captured in live support artists within their own creative vision, in dropped late last year, offers four looks - each one a settings alongside more traditional studio recordings.” spite of the economical challenges that the 21st century disc long - at an epic, constantly mutating composition. Bynum sees Firehouse 12 as a chance not only to go the music industry [faces],” says Mitchell. “They are bold In essence, Firehouse 12 aims higher than no big thing. extra mile artistically, but also in terms of accuracy and enough to do outlandish ideas for the sake of the art Low concepts need not apply. aesthetics. He aimed to do this for a pair of his itself regardless of the promise of great profit. I had a Though the label is not even a decade old - it turns employers. great time working with Nick and Taylor because they seven next month - its origins can be traced back to the “With the Braxton set and with the [2009] Bill are honest, forward-thinking and good business late ’80s. During that time, in Boston, Lloyd and Bynum Dixon set, those are two of my biggest heroes as artists people. Firehouse 12 as a studio is an incredible fashioned a childhood friendship. Life would split and I feel so often releases or rereleases of some of recording space and we had a great time working on them up, but when a reunion occurred in 2004, it their most important music is done in this really [Xenogenesis Suite] there as well.” turned out that both men were committed to the jazz shoddy way,” says Bynum. “Sort of fly-by-night people The latest release, Bynum’s sextet and “7-tette” avant garde. Lloyd was about to open Firehouse 12, a who pick up the rights and kick it out. There’s typos or (CONTINUED ON PAGE 46)

9 Compositions (Iridium) 2006 Xenogenesis Suite Illusionary Sea Life Carries Me This Way Navigation Anthony Braxton Nicole Mitchell Black Earth Ensemble Mary Halvorson Septet Myra Melford Sextet & 7-tette

LISTEN UP!

Vocalist BRIANNA THOMAS was born in Peoria, IL dream as they inspire me to new heights! My real dream accordion and orchestra entitled Orpheus and Eurydice, IN 1983. She moved to NYC in 2007 to attend The New is to tour with these amazing gentlemen. recorded and performed by Janez Dovč and Slovenian School. First taught by her father, drummer/vocalist Philharmony Orchestra. Apart from writing for her own Charlie Thomas, Thomas comes from a rich background Did you know? My first instrument was drums and my ensembles, she has been commissioned by the Slovenian of diverse musical influences. Since graduating in 2011, second instrument was alto saxophone. It wasn’t until Philharmonic Orchestra, Metropole Orchestra, EMJO, she has performed with , Wynton college in 2007 that I had my first voice lesson. Looptail, Big Band RTV Slovenia, Italian Instabile Marsalis, Russell Malone, The Count Basie Orchestra Orchestra and others. and longtime hero . For more information, visit briannathomas.com. Thomas is at Smoke Wednesdays. See Regular Engagements. Teachers: Marc van Roon, David Berkman, Vijay Iyer, Teachers: Charlie Thomas, Richard Harper and Kenneth , Richard Ayres, Joel Bons. Kamal Scott. Influences: There are many, but the most important Influences: Sarah Vaughan, , Dianne continues to be Thelonious Monk. Reeves, Dinah Washington. Current Projects: Solo; Feecho; Draksler-Santos Silva Current Projects: I recently released my debut album Duo; Čudars-Draksler Duo; BadBooshBand; Acropolis You Must Believe In Love on Sound On Purpose Records. Quintet. My first solo CD, The Lives of Many Others, was released last fall on .

By Day: I teach, practice, rehearse, write, listen, learn P h o t b y L i v u S e f a n and enjoy music for a living. Brianna Thomas Kaja Draksler By Day: I listen to music, people and myself; I practice. I read. I swim. I knew I wanted to be a musician when... I discovered KAJA DRAKSLER is a Slovenian pianist and composer Sarah Vaughan in the 7th Grade. Specifically it was her born in 1987, currently residing in Amsterdam, The I knew I wanted to be a musician when... I’ve played rendition of “Smoke Gets In Your Eyes” that stirred my Netherlands. In 2013, she finished classical composition piano for as long as I know. It just happened naturally. soul. When I heard Sarah deliver this song with all her Masters studies at The Conservatory of Amsterdam. She soulful swoops, tender highs, heavy lows and all around won the Deloitte Jazz Award in 2009 and her Acropolis Dream Band: Thomas Morgan and Tyshawn Sorey. big luscious sound I knew I wanted to sing. Quintet was chosen as one of the three best European groups for 12Points! Plus program in 2011. Since 2007, Did you know? I need to arrange objects in space in a Dream Band: I love my band: pianist Allyn Johnson, Draksler has worked with the European Movement Jazz particular way to feel comfortable. bassist Yasushi Nakamura, drummer Ulysses Owens Jr Orchestra, for which she’s been commissioned to write and trumpeter Marcus Printup. Playing with them is a music; in the same year she composed a concerto for For more information, visit kajadraksler.com

12 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Andrea Brachfeld Lady Of The Island (ZoHo Records) Featuring Bill O’ Connell, and Wycliffe Gordon available at

“Jazz flute aficionados should not overlook this CD, for Andrea Brachfeld is currently one of the best players of jazz on the instrument… Scott Albin - Contributing writer for JazzTimes and jazz.com

“There is something magical about the sound of the flute no matter how well it is played; and when it is played as masterfully as Andrea Brachfeld plays it on her album Lady of the Island it is not only magical but mystical as well… Raul da Gama - December 2012, latinjazznet.com

“Brachfeld is an incredibly skilled jazz player, her tone resonates and her lines pour out and hang in mid-air… Sample the title track and see how long it takes before you download this gem.” Marc Meyer - www.JazzWax.com

“…she stakes her claim as one of the top jazz flutists around today… …Lady of the Island is Andrea Brachfeld’s definitive recording thus far.” - Waxing Poetic Reviews, L.A. Jazz Scene

“… Her marvelous tone and technique are astonishing… She is definitely among those who deserves recognition not only among her peers, but the public in general.” Hubert Laws - 2011 NEA Jazz Master management: contact [email protected] andreabrachfeld.com CD REVIEWS

from three different continents face that history emotional. imaginatively with these releases. The Lives of Many Others finds Draksler at a American Myra Melford takes an ingeniously crossroads. While technically outstanding the pianist representative approach on Life Carries Me This Way, is still symbolically trying out others’ musical lives her first-ever solo disc, 11 compositions inspired by with her keyboard and compositions, deciding whether Sacramento-based visual artist Don Reich (1931-2010). to become an improviser or notated composer. Perhaps Although many of the tracks share titles with Reich with more experience she will discover that neither has paintings, Melford is a canny enough stylist to avoid to exclude the other. Certainly Melford and Fujii overt connections. For instance, her stark rendition of confirm that thesis with their own high-quality solo

Waiting For You To Grow “Japanese Music” reflects Reich’s muddy, muted sessions. Kris Davis Trio (Clean Feed) pastels without injecting any false Nipponese sounds. by Stuart Broomer Cubist inferences that suggest Léger, Braque and For more information, visit firehouse12records.com, Picasso appear in the paintings but, just as Reich’s librarecords.com and cleanfeed-records.com. Melford is at Pianist Kris Davis has distinguished herself in any techniques filtered these influences with a unique the Stone Mar. 2nd in duo with Ben Goldberg. See Calendar. number of settings, from solo to arranger for Tony blending of translucent layers of color to create greater Malaby’s Novela. She has also recorded in the depth, Melford’s composing and playing evolves in a traditional piano-bass-drums trio, a format repeatedly similar, singular fashion. Whereas the painting of redefined by musicians from Bud Powell and Bill “Piano Music” resembles an X-ray of the instrument’s Evans to The Necks and The Bad Plus, finding her own innards, Melford attains the same skeletal effect with paths with both bassist Eric Revis’ trio with drummer sparse lines, which emphasize low tones as she Andrew Cyrille (City of Asylum, Clean Feed) and her advances the theme through hunt-and-peck key clips own trio with bassist John Hébert and drummer Tom plus swift contrasting dynamics. Should some themes Rainey on Good Citizen (Fresh Sound-New Talent). draw on the angularity of Taylor and Monk, others Waiting For You To Grow is the second outing of reference earlier styles, blues and boogie-woogie the aforementioned trio, recorded following a syncopation strained through Lennie Tristano-like European tour, when Davis was seven months steeliness. The most obvious separation between the pregnant. The group is in optimum form, closely sonic and visual art is “Curtain”: Reich’s painting is attuned to one another’s nuances (they also work as placid and pastel but Melford’s music is studded with three fifths of Ingrid Laubrock’s Anti-House), while reverberating chinks and rushing percussiveness. Davis’ pregnancy, referenced in the title track, suggests Death and its consequences are also cited in Gen a keen experience of interiority that’s felt everywhere Himmel, Japanese pianist Satoko Fujii’s first solo in the music. Unlike the collectively improvised pieces session since 2004. Translated from the German as that characterized Good Citizen, the pieces here all have “Skyward”, the dozen brief meditations are obtusely composed elements. dedicated to recently deceased associates. But the The extended opening piece, “Whirly Swirly”, overall mood is tranquil and hopeful, not pitiable. seems to break the piano trio down into its fundamental Peaceful tracks such as “Summer Solstice” manage to components and realign them, the piano acting at once skirt melancholy as rhythmic key clips and echoing as string instrument and drum and thereby defining inner string plucks give the melodies buoyancy. With special and distinct timbral affinities with each of the some tunes more florid and others based on rhythmic other instruments. From Rainey’s solo opening, the pedal point, Fujii describes the affirmative virtue of work is marked by strong shifts in texture until the death’s transformative powers with her measured piano interior seems to define the group itself as drum. playing and the title of “I Know You Don’t Know”. “Berio” is as starkly analytical and exploratory as Heavily metrical “Take Right” is the most jazz-oriented anything the dedicatee might have composed while composition here, which doesn’t stop it from taking other pieces contrast spacious meditative passages the shape of a mini-concerto with koto inferences in and a heightened lyricism with sudden rapid-fire her methodical string swipes. Adding staccato slides interaction. plus nimble chord substitutions, it’s a descriptive The sense of interiority becomes strongest with instance of dazzling intensity. The concluding “Der that concluding title track, a piece in which the piano’s Traum” (“the dream”) is a summation of all that came harp, already used extensively, seems to reveal a larger before, more Europeanized in this context with identity, which happily embraces the other tempered harmonies. Using stop-and-start harmonies instrumental voices heard here. to mitigate sadness and acceptance, the piece is constructed out of constantly repeated simple phrases. For more information, visit cleanfeed-records.com. Davis is The final variant is never completed, with the gap at Cornelia Street Café Mar. 1st as a leader and 14th-15th suggesting loss and renewal. with Tom Rainey. See Calendar. Representing a different direction and mindset is Slovenian Kaja Draksler. The seven tracks on The Lives of Many Others, her sixth disc, appear to have as many non-jazz as jazz antecedents. Someone who has composed for the Slovenian Philharmony Orchestra and mixes Bach-inflected counterpoint and Chopin- esque flourishes with staccato runs and percussive resonation, only on “Army of Drops” does her speedy syncopation approach the sort of jazz-like interface that could have been suggested by her studies with

Vijay Iyer and Jason Moran. Yet even here swing

inferences are secondary to a virtuosic busyness seemingly endemic to so-called classical performers. Life Carries Me This Way Luckily she keeps this tendency in check and often Myra Melford (Firehouse 12) uses a reassuring Baltic romanticism to chisel the Gen Himmel rougher edges that appear characteristic of her playing. Satoko Fujii (Libra) Some tunes are all about the jagged rhythms that can The Lives of Many Others be scratched from stopped internal strings; others use Kaja Draksler (Clean Feed) the keyboard to express moods and colors without by Ken Waxman motion; many are segmented into several contrasting Solo piano sessions are demanding since, consciously sequences. The most typical and extended of these is or not, hovering in the background is the entire history, “Suite: Wronger: Eerier: Stronger Than (Just a Thought): from Jelly Roll Morton to . Three pianists I Recall”, where the appeal is technical rather than

14 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

program of 12 standards, near-standards and should- Premazzi’s spiraling compositions with a large and be-standards from Cole Porter, Jerome Kern, Matt resourceful appetite. The pairing of Aldana’s liquid Dennis, Hoagy Carmichael and . style and Premazzi’s cerebral effervescence, as in “One All of the pieces are freshly rendered with For Hunter S” or the New Orleans-inspired “Simona’s terseness, jagged edges, rolling investigations and Moods”, is a constant pleasure. Rueckert is also caught chiming clarity. Usually one approaches avant garde in Premazzi’s spell, swinging and marching madly in vocal jazz with an interest in how singers sound like “One For Hunter S”, hitting a New Orleans stride in other instruments rather than how lyrics and “Simona’s Moods” and adding impressionist cymbal enunciation operate on their own. Yet Slipp is a master flourishes in the off-kilter title track. That Premazzi

Swing For Your Supper! (featuring Bucky Pizzarelli) of the latter aspect, toying with cadence and creating isn’t better known is criminal; The Lucid Dreamer shows Molly Ryan (Loup-garous Prod.) condensed, seemingly atonal clamber as she twists and a talent definitely deserving wider recognition. by Suzanne Lorge stairsteps through “End of a Love Affair”, earnestly delivering words with material clarity. In her hands, For more information, visit innercirclemusic.net. Premazzi On her latest album, singer Molly Ryan brings together the song becomes less about lines than micro-phrases is at Korzo Mar. 11th. See Calendar. an impressive lineup of established musicians - guitarist one’s mind assembles into a larger whole. Manski’s Bucky Pizzarelli, bassist Vince Giordano and singers Wurlitzer adds chunky fuzz and glassine Banu Gibson and Maude Maggart. Each of these artists accompaniment to Slipp’s bright, specific delivery for UNEARTHED GEM works in early 20th century jazz idioms, in settings that a bouncy, muscular performance. They are a duo and it range from cabaret to big band. But, to be clear, Ryan is would be unfair to count out the keyboardist’s effect a formidable performer in her own right. Her happy, on the music - his sonic blocks float, -like, in bright voice evokes all of the optimism and carefree concert with Slipp and consistently alter the focus. flirtations of the Swing Era, but her spot-on phrasing “I Get Along Without You Very Well” is one of and lilting upper register speak to hours and hours of several loopy tag-team numbers, subtle pulses varying serious study as a jazz singer. The engaging their distance with a delivery that weaves and bucks in arrangements, by trombonist Dan Barrett and a twittering lope, reminiscent of Steve Lacy and Mal clarinetist/saxophonist Dan Levinson, are not only Waldron’s soprano-piano spars. Many of these tunes faithful to the first Swing masters but set off the singers’ are often heard without their linguistic content, or the voices magnificently. All but one of the 18 tunes come content is either too pedestrian or obscured. Slipp and in well under five minutes, perfect for airplay in those Manski remind listeners of the uncanny poetry residing Shapelifters Gunter Hampel Galaxie Dream Band (Birth) early radio days, but the shorter tune lengths mean less in words, melodies and their natural architecture. by Suzanne Lorge time for instrumental solos. The performances are so fresh and present, however, you hardly have time to For more information, visit sunnysiderecords.com. Slipp is Multi-instrumentalist Gunter Hampel emerged wonder about this deviation from the modern norm. at Roulette Mar. 6th with Darius Jones and Ibeam Brooklyn from the European free improv movement of the The singers collaborate on three trio selections; the Mar. 23rd. See Calendar. ‘60s as an adventurous bandleader and exciting standout is the title track for its tight harmonies, clever performer. On Shapelifters, a legacy disc recorded accompaniment and amusing, politically incorrect live on tour in 1973, Hampel plays , bass lyrics. Ryan also includes two surprisingly uplifting clarinet, contrabass clarinet, flute and piano and he medleys, “All God’s Chillun Got Rhythm/I’m Just Wild conducts and composes spontaneously with the About Harry” and “Save Your Sorrow/Look For The Galaxie Dream Band, his group of three horn players Silver Lining”, this last a duet with Maggart. Only one (Perry Robinson, clarinet; Mark Whitecage, tune slips into uncharacteristic melancholia: the ballad saxophone; Allan Praskin, saxophone), three strings “Hushabye Mountain”, also with Maggart, a gorgeously (Toni Marcus, violin; David Eyges, violincello; Jack sad and largely forgotten melody. But on the solo Gregg, bass violin) and vocalist Jeanne Lee. The two pieces, which make up the bulk of the album, Ryan compositions on the two-disc release are long; “73-1 explores a broad range of musical moods - innocence shapelifters” and “73-2 shapelifters” are 45 to 55 The Lucid Dreamer and warmth on the springing midtempo “You Must minutes in length and full of skittering runs, soaring Simona Premazzi (Inner Circle) Have Been A Beautiful Baby”, for instance, in contrast by Ken Micallef phrases and thrumming bass lines, with only a to the coyly seductive “My Heart Belongs To Daddy”. microsecond of time between the genesis of a An interesting footnote: Ryan paid for part of this Classically trained, Italian-born pianist Simona musical idea and its performance. Lee’s CD’s production through a Kickstarter campaign, a Premazzi creates beautiful music on her third album, improvisations command the most attention as she 21st-century way of swinging for your supper that the The Lucid Dreamer. Premazzi excels as both pianist and sighs, slides and utters emotional, percussive early jazz masters could hardly have imagined. composer, backed by a cast that not only understands vocalese syllables above the instrumental lines. her modernist, somewhat cubist/chordal approach but Hampel creates two distinct moods in these For more information, visit mollyryan.com. Ryan is at The also extends its logic and structure to superb heights. compositions. The first and longer cut begins with a Players Club Mar. 4th. See Calendar. What exactly constitutes a beautiful melody? Is it contemplative piano solo and ends with whispering relative or universal? Some studies claim that newborns horns; in contrast, “73-2 shapelifters” opens with

gravitate to mothers’ faces that are by any measure plaintive woodwind improvisations and ends with a universally beautiful. brash and defiant group improv. In between these The Lucid Dreamer’s melodies shimmer and flicker two distinctly different intros and outros, the like jewels. When improvised upon by 2013 Thelonious players assert their individual musical ideas without Monk International Jazz Saxophone Competition falling into a groove or pattern, dropping out one by winner Melissa Aldana, bassist Ameen Saleem and one to take a turn at soloing, then piling all back in drummer Jochen Rueckert, Premazzi’s music is in a together. Later, as these group improv sections near constant state of unfurling, her compositions an open- their apex, Hampel unites the band on a simple ended palette. Obviously influenced by Monk, but melody introduced by Lee, lighter and sweeter on equally by what sounds like Debussy and Ravel, “73-1 shapelifters”, lower and heavier on “73-2 A Thousand Julys Premazzi’s solos spin and dart, at times restarting mid- shapelifters”. Lee’s subtle shifts in vocal quality and Kristin Slipp/Dov Manski (Sunnyside) by Clifford Allen thought to follow a surprising, unexpected path. But energy act as a rudder to move the band into the her melodic spins never detract, they simply surprise. final statements of each composition. It’s good to hear a debut recording from a pair of She’s inventive, but always swinging. Her style can This vibrant recording, made only a year after musicians who have let their work gestate for nearly a sound light and playful, but she executes a dark stride Hampel formed the Galaxie Dream Band, chronicles decade, especially since the improvised music scene is pattern as easily as a fluttering, flowing run. As proof the early part of he and Lee’s creative collaboration. no stranger to undercooked collaborations. Brooklyn- of her unusual approach, opening track “Love Is Not Those years were an exciting time and legacy based vocalist Kristin Slipp and pianist Dov Manski All” samples the poem of the same name by Edna St. recordings like this one not only recall that both studied at the New England Conservatory, where Vincent Millay, Premazzi following the dark tone and excitement but foster it anew. they met in 2004, though both are from Maine. They’ve abrupt rhythms of Millay’s recitation like a DJ aligning been performing as a duo for several years, but A two contrasting records. For more information, visit gunterhampelmusic.de Thousand Julys is their first recording together, a Aldana is a delight throughout, roving over

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 15

The warmth of ’ tenor saxophone GLOBE UNITY: AUSTRIA provides a shimmering introduction for Vaughan as she begins the title track. The richness of her “Theeeey saaaay” immediately sweeps us up in the glory of her voice, with ’ piano cascading diamond ripples behind her. Inexhaustible is the word for the variety of her vocal palette. That truth is evinced when, only two days later, the beauty of ’ tenor saxophone is added to a second recording of the same

Thumbscrew song by Vaughan, Sims and Rowles in a richness Mary Halvorson/Michael Formanek/Tomas Fujiwara worthy of Rembrandt. (Cuneiform) Amid all this brilliance are several standout tunes. by Robert Milburn With a mix of strings and Rowles’ piano, Vaughan floats over the first of two renditions of “In A Hexaphone: The Cosmology of Improvised Music Guitarist Mary Halvorson has no qualms about taking Sentimental Mood”. By turns she soars and swoops Katja Cruz (featuring Oliver Lake) (Rudi) on conventional jazz aesthetics, her past work with around it with flawlessly creamy ease. Just how Trio Now! violinist Jessica Pavone and submitted as articulate she could be without words is demonstrated Tanja Feichtmair/Fredi Pröll/Uli Winter (Leo) evidence. On Thumbscrew, in typical Halvorsian- with a virtuoso “Chelsea Bridge” and her variety of Jazzista fashion, the eponymously-named trio is hell bent on finely crafted sounds with extended notes of seamless Gina Schwarz (Unit) pushing you to the edge of your seat. Make no mistake, length. It’s total communication wordlessly. by Tom Greenland if you’re looking for straight-up swinging standards, “I’m Just a Lucky So and So” radiates humor laced In honor of the many women musicians who make this album is probably not for you. A lot of able-bodied with a sensual bluesiness, illuminated with golden jazz, this column is proud to recognize three vibrant jazz groups can satiate those wants but for something a trumpet sounds from Waymon Reed. The interplay female artists hailing from Austria. bit more intense, if not occasionally esoteric, between them gets hotter and hotter as she and Reed Vocalist Katja Cruz enlisted drummer Howard Thumbscrew more often than not fits that bill. Bassist roar to an intense climax. There’s more Rowles magic Curtis, multi-reedist Patrick Dunst and electronic Michael Formanek’s “Still... Doesn’t Swing” seems to in an extended duet on “I Didn’t Know About You”. sonic/visual engineer Patrik Lechner (Austrians poke fun at the group’s far-flung interests beyond the Vaughan’s mixture of words and more bop-flavored all), plus Italian guitarist Andrea Massaria and US realms of jazz. Even drummer Tomas Fujiwara’s wry riffing makes for a perfect mating with Rowles’ relaxed alto saxophonist Oliver Lake for Hexagon: The use of brushes doesn’t seem to save it from becoming accompaniment. In contrast to lots of big brass Cosmology of Improvised Music, a compelling live an engaging platform for all involved to flail in a mosh brilliance in the collection, this is a kick-your-shoes- concert/DVD project held in Graz. Cruz’ music, pit of distorted aggression. off-baby-and-stay-a-while moment. inspired by “geometric forms of the platonic The uniqueness in approach alone is worthy of a Possessed of a voice of magnificence like no other, bodies”, is best experienced in video, where free listen. The songs have an ebb and flow of frenetic and gone since 1990, these vibrant sides of Vaughan’s improvisations on her graphic scores are enhanced energy, which gyrates between a throbbing, albeit are a gift for the ages. by Lechner’s back-screen projections of zooming, dressed-down hard rock led by Halvorson’s intense rotating, morphing shapes, further mixed into riffing (“Cheap Knock Off”) and spare tunes that revel For more information, visit concordmusicgroup.com double-exposures of fractal-ized visual effects that in their spiraling uncertainty (“Fluid Hills In Pink”). breathe in and through the music like a solar Nothing seems to land where you expect. windstorm. Cruz’ rich alto, Curtis’ sympathetic The songwriting is evenly split between the trio. mallet work and Lake’s charismatic outbursts form Fujiwara’s “Goddess Sparkle”, for instance, seems to the backbone of this collective audio-visual odyssey. wade in Halvorson’s searing extrapolation before Trio Now! is the eponymous debut of alto finally erupting in its testosterone-pumped melody. saxophonist Tanja Feichtmair, drummer Fredi Pröll The group is fairly consistent conceptually, with the (both from Ulrichsberg, home of the Kaleidophon melody serving more as a road map for some improvised music festival) and cellist Uli Winter sophisticated group abstraction. At the album’s close, (from nearby Klaffer), though the trio previously Halvorson’s “Line To Create Madness” is merely icing recorded on The Zipper (Leo) as three-fourths of on the cake: Fujiwara raps and taps his entire , Lull. In contrast to free players that quickly Formanek rips at his bass strings with relish and accelerate into overdrive and hold the pedal down Halvorson scuttles around her guitar in a flurry of with extended techniques and bombast, the Upper cerebral intensity. Austrians adopt a more graceful and melodic approach, sketching skeletal melodies in acoustic For more information, visit cuneiformrecords.com. This timbres, which, when they eventually do achieve group is at Cornelia Street Café Mar. 21st. See Calendar. climactic plateaus, are never overextended and thus

sound all the more dramatic in context. Running the & emotional gamut from plaintive ‘ballads’ like “The Gift” or “Flyblood” and the subtle forest-scape of “Free Eggs” to the more frenetic exchanges on “Walter” or “Now!”, the trio concludes with a SONGS ABOUT humorous exercise in primal scream therapy, THIS AND THAT shouting out the lyrics to “Over the Rainbow”. (MEANTIME RECORDS) -based bassist Gina Schwarz has firm control of Jazzista, her leader debut, penning and “It would be hard to find two talents arranging all the tracks, doubling horns on many of more well-matched than Norwegian : The Duke Ellington Songbook Collection the melodies and featuring herself prominently as a singer Karin Krog and British Sarah Vaughan (Pablo-Concord) soloist. The sound is based on the trio of herself, multi-instrumentalist John Surman. by Andrew Vélez These nine songs, jointly composed, gritty rock-edged guitarist Heimo Trixner and bring out the special qualities of drummer Harry Tanschek, expanded by a frontline The splendid wonder that was “The Divine” Sarah them both.” of trumpeter Bastian Stein, saxophonist Bernhard Vaughan’s voice can be heard again at its ravishing - , The Guardian Wiesinger and trombonist Robert Bachner, with peak on Sophisticated Lady: The Duke Ellington Songbook guest support from pianist Philipp Jagschitz and Collection, a double-disc reissue of 1979-80 sessions. As AVAILABLE ON: bandoneonist Ingrid Eder. The results are compelling if those fine original sessions weren’t enough, this ITUNES if not groundbreaking, with tight ensemble work, collection opens with six previously unreleased Benny mercurial mood shifts and a few surprises. Carter-orchestrated and conducted gems. Throughout AMAZON.COM these sides Vaughan, who was born 90 years ago this MUSIKKOPERATORENE.NO For more information, visit rudirecords.com, month, is nestled in the sure accompaniment of some leorecords.com and unitrecords.com of the greatest musicians of the day. The splendors of this collection are apparent from the opening song. KARINKROG.NO

16 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

She’s joined by a trio of fellow up-and-comers: her delicacy and depth of feeling. Unfortunately, her drummer Albert “Tootie” Heath, who had already accompanists occasionally seem to be taking their own played with John Coltrane, and the respected bassist paths. Berry is correct yet more ornate than swinging Jimmy Bond, a frequent Chet Baker sideman. Together, and the spirited traditional septet on the remaining they help Simone put her special stamp on a selection tracks is exuberant yet distracting. Humes had the of ten standards and one Simone original. good fortune to record with much more sensitive The album is a pretty straightforward jazz date, pianists - Count Basie, Jimmy Rowles, Gerald Wiggins with less focus on the soul, pop, R&B and other eclectic and Ellis Larkins - who provided more intuitive material that Simone would delve into later in her accompaniment than is found here. Still, her charmingly

Flying Soul career. Included are definitive readings of jazz iridescent voice comes through beautifully on this Aki Takase La Planète (Intakt) mainstays like George and Ira Gershwin’s “I Loves You overdue release. by Fred Bouchard Porgy”, which became her first hit, and Duke Ellington’s “”. For more information, visit jazzology.com/audiophile_ Netsuke - charming figurines beloved by Japanese as Simone shows she can swing hard on “Love Me or records.php talismans and keepsakes - are unveiled by the dozen in Leave Me”, with its Bach-inspired piano solo in the pianist Aki Takase’s quartet staffed with members of middle, and rock gently on “My Baby Just Cares for the French avant garde. Each presents its individual Me”, familiar to many from its use decades later in a DEBORAH LATZ texture and character through discrete, speedy cameos. Chanel No. 5 perfume commercial. She steams things These lyric gestures last but a moment or two, spinning up on the sultry ballad “Don’t Smoke in Bed” and permutations of Takase’s bright, focused piano, Louis sings sweetly on the gorgeous Rodgers-Hart title track, CORNELIA STREET CAFE Sclavis’ scurrying bass clarinet, Dominique Pifarély’s which utilizes the Christmas carol “Good King Sun., March 9 / 1 set 6pm violin and Vincent Courtois’ sonorous . Wenceslas” as a classical prelude. She also shows off Deborah Latz, vox The CD’s first half - Flying Soul, a suite inspired by her considerable piano chops on three instrumental Dario Boente, piano modern Japanese author Yoko Tawada’s eponymous numbers, including ’s “Good Bait”, Ray Parker, bass mythical novel - conjures up a woodland sisterhood of Rodgers-Hammerstein’s “You’ll Never Walk Alone” Reservations (212) 989 9319 imaginative, colorful beings via brief ensemble and her own “Central Park Blues”. passages linking a whirlwind of improvisational solos It’s an auspicious and memorable debut for an “Latz is right there among the and duos: “Rouge Stone” is portrayed by explosive artist who would prove herself one of the most original, higher echelon of jazz singers.” piano chords and bold string glissandi; “Wasserspiegel” provocative and beloved performers in jazz or any — George Fendel, JAZZSCENE (Water Mirror) by shimmering sustains under exotic, other genre for the next five decades. wistful violin; “Morning ” is a gangly fawn for Takase’s Satie exercise; dramatic solo snippets spurt For more information, visit bethlehemrecords.com www.deborahlatz.com serially through “Intoxication”. The title track is itself www.facebook.com/DeborahLatzJazzNY a mini-suite: Takase’s power ostinati stoke a headlong www.twitter.com/@DeborahLatz train-ride as shadows fly by the windows, kids chant a iTunes/Amazon/CD Baby haunting schoolyard ditty and Sclavis eerily caterwauls. The second half’s four longer tracks invoke varied expressionistic scenarios: a tarantella breaks down into clarinet swirls; a 12-tone melody (by Takase’s husband pianist Alexander von Schlippenbach) in pastel BRIA SKONBERG gouache; a jaunty, raggy “Moon Cake” enticingly pits ...the trumpet of New Orleans! clarinet against celeste, plus tiptoe cello and fiddle Sings Ballads & Blues obbligato. The leisurely ambling finale recalls Chico (Audiophile) Hamilton’s West Coast chill, minus the swing: arch by Michael Steinman Paul Horn clarinet, -like piano rumination and musing Fred Katz cello elegy. Echoes abound The very distinctive singer Helen Humes (1913-81) throughout of Stravinsky (especially Histoire du Soldat), lived longer but is less well known than her Swing Era Ravel’s bluesy Violin Sonata, Poulenc’s precocious contemporaries, particularly Billie Holiday, whom she piano suites and Messaien’s galactic vistas, all within a replaced in the 1938 Count Basie band. Although group that thoroughly engages both left and right Humes had a number of hit records (including her brains of 20th century music. blues “Million Dollar Secret”) and recorded with the very best, including Red Norvo, , Jay For more information, visit intaktrec.ch McShann and even , she seemed content to be out of the limelight for periods of time.

Humes is not well represented on CD, so this reissue of two 1974 sessions is welcome. She was often typecast as a blues singer specializing in innocently salacious lyrics, so it is an additional pleasure that 10 presented by The Milt Hinton Jazz Series and of the 15 tracks on this disc are standards with an emphasis on ballads and medium tempo songs: “Wrap Your Troubles In Dreams”, “More Than You Know”, THU. MARCH 6, 2014 @ 7PM “Until The Real Thing Comes Along”, “Good-For- $25 TICKETS | $15 FOR STUDENTS Nothing Joe”, “Embraceable You”, “A Hundred Years From Today”. On those ten selections, Humes is Engelman Recital Hall, Level B2, NVC Little Girl Blue accompanied by a trio featuring her old friend, pianist (Bethlehem-Verse Music Group) Rising Jazz artist Bria Skonberg performs her classic New by Joel Roberts Connie Berry. For the remainder, a more traditional Orleans-influenced music in concert at Baruch Perfoming Arts group featuring cornetist Ernie Carson (sounding like Center as the final installment in our yearlong Milt Hinton Great If there’s one thing Nina Simone doesn’t sound like on Wild Bill Davison) joins her. Cities of Jazz series. The Vocalist and trumpeter received Little Girl Blue, her recently reissued 1958 Bethlehem Humes, rather like Mildred Bailey, had a debut album, it’s a young woman making her very first surprisingly girlish voice and she sang with great a Bistro Award for Outstanding Jazz Performer, a 2013 record. Though still in her early 20s, Simone was sensitivity to the mood of the song, improvising Jazz Journalists Association nomination for Up and Coming Jazz already a fully formed artist with a rich contralto voice beautifully in the process. These later performances Artist of the Year, and is included in Downbeat Magazine’s 2013 far more mature and worldly than her years and a are fine realizations of her sound and approach, Rising Star Critics Poll. unique singing approach that’s both regal and down- showing that her voice had lost none of its subtle home bluesy. Her piano playing is also highly evocative power. Baruch College: 55 Lexington Ave (enter 25th St. bet. Lexington & 3rd Aves.), NYC developed and distinctive, mixing her classical training Listeners who concentrate on Humes will learn BOX OFFICE 646.312.5073 | www.baruch.cuny.edu/bpac with the language of bebop. much about the art of jazz singing and be captivated by

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 17

SPRING 2014 SPECIAL SELECTIONS FROM

Game Changer Lady Of The Island Kolibri NAXOS OF AMERICA Ali Ryerson Jazz Flute Andrea Brachfeld Iro Haarla Sextet (TUM) Big Band (Capri) (ZOHO) by Stuart Broomer by Ken Dryden Iro Haarla has played a significant role in Finnish Jazz The flute has typically been a doubling instrument for since the ‘80s, when she first began arranging the saxophonists more than a primary axe for jazz compositions of her husband Edward Vesala and JAZZinstrumentalists. Flutists haven’t always been welcome playing piano in what would become Sound and Fury. & in small groups or big bands, so many of them lead Since his death in 1999, Haarla’s own work has come to their own small bands, becoming more plentiful on the the fore, including two ECM CDs by her Finnish- NEW MUSIC PARTNERS jazz scene in recent years. Norwegian quintet. Here her sextet is an all-Finnish Ali Ryerson has been one of the major jazz flutists ensemble, with long-standing partners in trombonist HELEN CARR | DOWN IN THE DEPTHS OF THE 90TH FLOOR over the past two decades, recording extensively as a Jari Hongisto, tenor saxophonist Kari Heinilä and leader and the one-off project Flutology with fellow bassist Ulf Krokfors. In addition to playing with “You take the records to your pad (home, apartment) still mumbling Helen-Helen-Carr-Carr-Carr, you put a black grooved disc on your players Holly Hofmann and Frank Wess. For Game Krokfors, drummer Markku Ounaskari has phonograph and it starts to spin. Suddenly the sound of “I Don’t Want To Cry Anymore” makes you realize in an atom-flash that here is no Changer, she invited 15 fellow flutists, along with three distinguished himself in his adaptation of Finnish folk stranger, but a friend you have yet to meet…” guest soloists and a top-drawer rhythm section (pianist melodies while youngest member, trumpeter Verneri –SID GARRIS, KBLA Mark Levine, bassist Rufus Reid and drummer Akira Pohjola, has recently worked in Haarla’s quintet. BETHLEHEM RECORDS Tana) and commissioned arrangements by Levine, Haarla is a rare jazz composer, combining gifts for cd: BCP1027 • 689466687057 lp: BCP1027LP • 689466687309 Mike Wofford, Bill Cunliffe, Michael Abene, Billy Kerr melody and color with a deep-seated regard for JUTTA HIPP | LOST TAPES: THE GERMAN RECORDINGS (1952-1955) and Steve Rudolph. The experiment proves to be a improvisation, letting it grow and fuse with composed The great Leonard Feather wrote Dear Jutta and promised her a great resounding success, due to the enthusiasm of the elements. Much of the music has a Balkan feel to it, career in the USA. So in late 1955 she left for New York. Alfred Lion signed her to Blue Note; three recordings in just eight months; an object participants and the inspired arrangements. Levine’s which includes brooding melodies and dissonant of awe in the clubs – the Frauleinwunder. And then it was all over as spirited setting of “Daahoud” provides a rich backdrop harmonies suddenly giving way to flashes of light. quickly as it had started. for soloist Paul Lieberman, heard on both C and bass There’s a bright spaciousness to her playing and it FROM 2013 NYC JAZZ OF THE YEAR, JAZZHAUS . Jazz fans will remember the original version of shines on limpidly beautiful ballads like “Nightjar”, cd: 101723 • 807280172393 lp: 101721 • 807280172195 ’s “Stolen Moments” as a showcase for the title track and “Sad but True”. When she plays the flutist Eric Dolphy. Hubert Laws’ approach on alto chen, a kind of Taiwanese , it can give the ANDREW LITTON | A TRIBUTE TO OSCAR PETERSON flute is more laid back and lyrical, though he does impression of a microtonal piano interior. Collecting all of Peterson’s recordings over the years, Litton realized incorporate a few rapid-fire runs, playing a potent Haarla’s brilliance as an orchestrator is evident, that his admiration was shared by many of the classical musicians that he met during his ‘day job’ as a conductor. As he kept learning new chart by Wofford. Cunliffe’s scoring of the flutes in the whether it’s the way churning group improvisations improvisations, a dream took shape – to record his own performances introduction to “Con Alma” adds a soaring feeling, arise in “Procession” or “Legend of Cranes” or how an of some of these transcriptions as a tribute to his hero. with Nestor Torres achieving a bird-like sound in his C evocative melody becomes a tapestry of voices. The BIS flute solo. Abene arranged ’s sauntering, hip welling beauty of the concluding “Vesper” arises first BIS-SACD-2034 • 7318599920344 ballad “Girl Talk”, showcasing Hofmann’s whimsical from trombone amid scraped and sustained C flute. Ryerson takes center stage on alto flute in piano tones before it passes to trumpet, eventually • | WESTERN WIND 45TH ANNIVERSARY COMMISSIONS While noted for its performances of early music, The Western Wind Wofford’s richly textured setting of ’s “Sail involving every member of the band as solos are Vocal Ensemble, is also a leader in the performance of new works. This Away”. The inspired results of Game Changer merit a seamlessly integrated into the unfolding performance. recording of Meredith Monk’s ‘Basket Rondo’ and Eric Salzman’s ‘Juke- box In The Tavern Of Love’ celebrates the ensemble’s 45th anniversary follow-up record date. Every musician stands out in this group and there with two commissioned works that address contemporary issues in Andrea Brachfeld isn’t as well known, in part are brilliant unaccompanied moments from Haarla and fascinatingly original musical styles. EARLY MAY RELEASE PARTY AT ROUGH because she didn’t always focus on jazz, though she Pohjola (the latter’s unaccompanied solo on “Legend TRADE, NYC - DATE AND TIME T.B.A.! merits wider recognition. For Lady Of The Island, she of Cranes” begins in reed terrain and eventually LAB 7094 • 790987709422 LABOR RECORDS utilizes different combinations of musicians from one develops a bird-like cry that virtually qualifies as inter- TIMO LASSY BAND | Live with Lassy track to the next, with material that includes jazz species music), but it’s the exalted sense of collective

“If you would ask me how to tell a great band apart from all the quite standards, pop and originals. Brachfeld starts with an creation that consistently distinguishes this music. good ones, my answer would be to just listen to any given group live for impressive original, “Bebop Hanna”, featuring her three nights in a row. See if you still think they sound fresh for your ears during the encore of the third show. Timo Lassy Band does.” choice bop licks and Wycliffe Gordon’s sassy trombone, For more information, visit tumrecords.com - Matti Nives along with Bill O’Connell’s engaging piano. The joyful “Little Girl’s Song” is a portrait of Brachfeld’s daughter, SCHEMA RECORDS SCLP465 • 8018344114651 LIMITED 2LP + CD SPECIAL EDITION! featuring bassist Andy Eulau. She also penned the haunting ballad “In the Center”, in which she and LESLIE PINTCHIK TRIO YVES LÉVILLÉ | essences des bois O’Connell achieve an intimate musical conversation. Difficult to resist are the flood of imagery and the muffled waves of the Her “Four Corners” is a breezy Latin jazz vehicle with Friday, March 7th woodwinds set in motion by the latest album from the composer/pianist Sets at 7:30 PM, 9:30 PM & 11:30 PM Yves Léveillé. Shifting from the pursuit of ideal phrasing to the complex a sizzling trumpet solo by Yasek Manzano, followed by and the lyrical, Léveillé persistently strives for jazz-like beauty. Bob Quaranta’s driving piano. ’s Bar Next Door “Birdlike” is a neglected gem from early in his career 129 MacDougal St. NYC (212) 529-5945

EFFENDI and O’Connell does a masterful job blending Latin jazz “...enormous gifts as a composer, arranger and pianist.” FND131 • 690579013121 and hardbop in an arrangement that features All Music Guide Gordon’s powerful trombone solo. Ellington’s “I Got It bud powell | birdland 1953 Bad (And That Ain’t Good)” proves to be a magical Leslie Pintchik - keyboard “Having spent more than sixteen months in various mental institutions, where he was subjected to electroshock therapy, the great pianist duet between Brachfeld (on alto flute) and O’Connell, Scott Hardy - bass was released in early 1953. Subsequently, the regularity of work that Michael Sarin - drums Powell had during that period facilitated his regaining a great deal as they stretch it out and add many embellishments, of the virtuoso technique that had often eluded him in the wake of repeated nervous breakdowns. Despite the previous availability of the rather than following the usual path. If there is a weak material, this set is a valuable addition to the jazz discography because New CD of its vastly improved sound quality- the fruits of producer Michael link to this release, it is Graham Nash’s bland title Anderson’s hard work and keen ear.” IN THE NATURE OF THINGS - Russ Musto, The New York City Jazz Record ballad, which resists the best efforts to make it a Latin available March 25th at ESP4073 • 825481407328 jazz vehicle. Amazon and iTunes ESP-DISK, LTD.

www.lesliepintchik.com available at : fasdlfkjdaflshalsdkhfldaksnvl For more information, visit caprirecords.com and zohomusic.com

18 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD over the years - but as experimental as the playing and Surman are energetic yet subdued, pulling the gets, the two aren’t afraid to expose earlier jazz forms. listener along into new emotional terrain, willingly or Though two of the first European free jazz players, unwillingly. The duo also leads a team of four musicians pianist, 72 and percussionist, 76, can create vibrant through the album’s maze of songs: one hears how blues à la and Papa Jo Jones or rap out a delicately bassist , vibraphonist prototypical bebop line with the aplomb of a Bud and drummer Tom Olstad weigh passion against Powell, Favre’s vigorous kinetics adding a free-jazz restraint in their respective solo sections on “Moonlight overlay. Schweizer improvises with bombast while Song”; guitarist Bjorn Klakegg demonstrates the same

Favre, who has recorded with atypical partners like a ability on “Cherry Tree Song”. By the end of the

pipa player and a vocal ensemble, is fundamentally a recording one becomes so used to the pendulum melodic stylist. From the first notes of “Black Mirror”, swinging from passion to restraint, from questions to Twine Forest the two set up the modus operandi of the CD: answers, that this movement becomes the message. Angelica Sanchez/Wadada Leo Smith (Clean Feed) percussive keyboard runs that also outline the melody, Gardener plus supple and sinuous drum commentary. Schweizer For more information, visit karinkrog.no Chris Abrahams/Magda Mayas (Relative Pitch) swirls and slithers her way through the program, Live in Zürich adding other motifs, from march tempos and silent- Irène Schweizer/Pierre Favre (Intakt) movie accompaniment menace to Viennese school IN PRINT by Ken Waxman digressions and basic jazz forms. Favre’s steady swing With the piano a mini-orchestra, instrumentalists is punctuated with distinctly European-timed wood who partner with pianists in a duo must bring block and cymbal raps and galloping clip-clops. “Night prodigious chops as well as quick reflexes, becoming Flights” is the culmination of their skill. The decidedly crucial in measuring a session’s quality. non-bluesy blues never stops swinging, but after piano Piano-trumpet duets have been part of jazz since attains a sophisticated plateau during a double-timed Louis Armstrong and and pianist Angelica solo, wooden thumps prolong the now-toughened Sanchez and trumpeter Wadada Leo Smith add to this excitement, without losing any relaxed tastefulness. distinguished lineage on Twine Forest. It is Smith’s Each of these piano duos has created an original extended techniques that stretch sounds into take on the form but the most notable set up involves unexpected tangents as Sanchez, who plays in Smith’s two veterans who have long perfected the concept. Golden Quartet, depends on more chromatic lines to How It Feels To Be Free: Black Women Entertainers and the Civil Rights Movement keep the program flowing. The most common scenario For more information, visit cleanfeed-records.com, Ruth Feldstein (Oxford University Press) is set up on selections such as “Echolocation” and relativepitchrecords.com and intaktrec.ch. Sanchez is at by Marcia Hillman “Light Black Birds”. During his resolute march up the Downtown Music Gallery Mar. 23rd. See Calendar. scale, Smith wrenches tough phrases from his horn, ecause of their high profiles, entertainers always B which are subtly woven back into those compositions’ have the opportunity to be outspoken and active fabrics by a combination of two-handed syncopation about causes. Noting this, Ruth Feldstein (Asst. and romantic harmonies from Sanchez. The trumpeter’s Professor of History at Rutgers University) has brassy sprints and half-valve actions may be decided to focus on black women entertainers and spectacular, yet they maintain a connection with the successfully produced a detailed, informative and underlying narrative. And though the pianist’s relaxed easy read, which firmly places these talented ladies keyboard sweeps provide continuum, this doesn’t in the history of the civil rights and feminist mean that she can’t forcefully propel her ideas with a movements of the ‘50s-70s. kinetic sprawl, as on “Veinular Rub”, or layer Lena Horne, who initially established herself in percussive elements alongside Smith’s radical timbre film as a singer and one of the first black “glamor Songs About This And That deconstruction on “Retinal Sand”. Sanchez expresses girls”, later became more overt in her activism with Karin Krog/John Surman (Meantime) rushing excitement most audaciously during the by Suzanne Lorge her choice of musical material and her visible several false climaxes on the title track. As brass motifs involvement in events such as the 1963 March on range from alphorn-like resonations to bellicose spits, On Songs About This And That, singer Karin Krog and Washington. Nina Simone used her music to protest her multi-note responses modify Smith’s parts, leading saxophonist John Surman offer up a cycle of nine loudly, as in the performances of her “tell it like it to a relaxed, yet still electrifying finale. original compositions, each expressing a specific poetic is” composition “Mississippi Goddam” (one of Piano duos probably reached their zenith of and musical concept. The longtime collaborators use a which was done at the Washington march). Miriam popularity during the boogie-woogie craze of the late variety of elements to express these concepts: free Makeba also used her music (especially her “Click ’30s. Magda Mayas and Chris Abrahams will never be improv, spoken word, folk melodies, unstructured Song”) to draw attention to South Africa’s apartheid confused with Meade Lux Lewis and Albert Ammons, percussion lines, traditional jazz grooves, a blues riff state, making the connection between that condition however; in fact, the cerebral tone investigation they here or there. Through the judicious use of these and the civil rights struggle in America. bring to Gardener is even far removed from modern elements they carefully construct distinct moods, all of Diahann Carroll made her important statements duos like that of Howard Riley and Keith Tippett. them contemplative and evocative. on stage as well as on television. In her starring role Using their instrument as an unaffiliated sound source, While the album title may imply a hodgepodge of in ’ musical No Strings, she the two avoid forthright, linear work, plus play unrelated tunes, the recording itself holds together as portrayed a black woman involved in a romantic passages on harpsichord and harmonium. However, one composition in its own right, even if this was not relationship with a white man. As the lead in the TV the resonances and sharpness available from those Krog and Surman’s intent. The abbreviated opener, series Julia, an unusual piece of casting for the time, essentially parlor keyboards is limited, rising from “Mirror Song”, with spare accompaniment and wind- she played an independent woman dealing with among other textures from time to time, but never with like percussion, is a simple repetition of a short poem life’s day-to-day problems. Abbey Lincoln also enough force to make a substantial showing. And the about the questioning of one’s identity; this tune lays made her presence known on several fronts - in two-piano interface, as expressed on pieces such as the musical and emotional groundwork for the films and as a singer. Her choice of material strongly “Ash Canopy”, is almost as rigidly formal as a so-called remaining tunes as they move from contentment reflected her politics and she was active in classical piano duo. There is hope though. On “The (“Cherry Tree Song”), discontentment (“Question supporting the Congress of Racial Equality and Changes Wrought by the Recurring Use of Tools”, Song”), happiness (“Happy Song”) and loss other organizations and even protested at the UN. are extended with internal preparation and the (“Moonlight Song”). Each song challenges the listeners Cicely Tyson made her statements with outstanding result is much clearer. Using the squeaking, plucking to see themselves in a different manifestation of performances in the film Sounder and the TV series and rubbing of internal strings as unusual leitmotifs existence, be it something in nature (trees, moonlight, “Roots”, portraying characters that emphasized the opens up the track and decorating the theme with rain, pebbles) or in concept (questions, circles). The injustices committed against blacks. rococo patterns from the harpsichord and smeared cycle closes with an ode to Thelonious Monk (“Monk Pieces of trivia: The book’s title is taken from harmonium pulses suddenly makes more sense. Song”), driving home the point that music can serve as the lyric to a song performed by Simone. Both Horne Pianist Irène Schweizer and drummer Pierre a bridge between disparate, confounding experiences. and Carroll were married to white men - Horne to Favre, who have been improvising together on and off It would be easy for a listener to get stuck in any Lennie Hayton and Carroll to Vic Damone. since 1966, offer pure exuberance on Live in Zürich. one musical mood here, but the thought-provoking Drums and piano pairing are common in jazz - as lyrics and the alluring melodies, punctuated with For more information, visit global.oup.com doyen Schweizer has demonstrated on many duo discs insistent bursts of Surman’s horn, don’t linger. Krog

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 19 1935 with the debut of the then 18-year-old Ella Jane commercially oriented, and white, arranger took BOXED SET Fitzgerald (1917-96), who soon dominated the band’s over most of the vocal charts for the band, producing records, more than 85 percent of them featuring her records that catapulted Fitzgerald to popular fame. vocals, a tradition that continued after she took over Most of that fame was achieved with bright, lilting nominal leadership of the band upon Webb’s death. songs imbued with an irresistible sense of fun. Here Fitzgerald was one of the luminaries of popular was a voice that could, figuratively, lift spirits in the music - which was big band and in the Great Depression, a swing voice that was the joyous, later ‘30s-early ‘40s - a crossover star who appealed innocent equivalent of such silver screen child stars to all audiences. In fact, some of her records of the era as Shirley Temple and Judy Garland. competed and shared hit status with vocal ones by Webb, soon sharing billing with Fitzgerald, the Glenn Miller Orchestra. Yet most jazz fans today increasingly moved to commercial success with Tin know her later, mid-’50s-on career, exemplified by Pan Alley songs, many of them novelties. A couple of The Complete Chick Webb & Ella Fitzgerald the “Songbook” albums for and her years before “A-Tisket A-Tasket” there were songs Decca Sessions (1934-1941) electrifying live concert recordings of the LP era. Her like “When I Get Low I Get High” (Fitzgerald Chick Webb/Ella Fitzgerald (Decca-Mosaic) Swing Era career is often reduced to “A-Tisket releasing an early melismatic warble and seemingly by George Kanzler A-Tasket”. Unlike Billie Holiday, whose early years oblivious to the drug double-entendre) and “(If You have been lovingly and painstakingly documented Can’t Sing It) You’ll Have to Swing It”, the latter Chick Webb (1905-1939) was the first great Swing on attractive compilations, Fitzgerald’s Decca work surviving in her act for decades as “Mr. Paganini”. drummer and led a black big band that was a with Webb only merited one reissue in the CD era, Although she didn’t scat much, her talent for it template for the white bands of the Swing Era. He the four-disc Ella: The Legendary Decca Recordings set seems already fully formed on a 1936 “Organ reigned at the Savoy Ballroom in Harlem - “Stompin’ from GRP in 1992. So this eight-disc set from Mosaic Grinder’s Swing”. at the Savoy” was written by Webb’s arranger Edgar comes as a revelation, a broad and comprehensive There are a lot of forgettable songs here, done by Sampson, who also wrote “Don’t Be That Way” for unfolding of the talent of one of jazz’ greatest an incredible voice, but we also get to hear some Webb. Of course Benny Goodman’s white Swing singers. indelible standards in early Fitzgerald versions, from band had the bigger hit records on both. The two Not that her talent needed much unfolding. On “Jim” and “My Man” (both devoid of any pathos) to bands duked it out at one historic battle-of-the-bands her first two recording dates in June and October “I Want to Be Happy” and a glowing “Moon Ray”. night at the Savoy and by all accounts Webb’s scored 1935, Fitzgerald already displays the buoyant tone, Even in the six years here, ending when she was only a KO. Unfortunately most of the Webb band’s swing rhythmic pliability and blithe, girlish spirit that 24, we can hear Fitzgerald’s voice evolving, acquiring triumphs and exploits remain legendary, would be a hallmark of her singing throughout most a rich resonance to complement the girlish spirit; her undocumented on record, although the first disc in of her career. She swings Sampson’s “I’ll Chase the last, small group, dates here yielding mature this boxed set has some tasty examples of the early Blues Away” with insouciant aplomb, revealing for masterpieces in “You Don’t Know What Love Is” and band, including a couple of Benny Carter charts from the first time, in what would be a 57-year recording “This Love of Mine”. 1931 and the 1934 session that produced “Don’t Be career, that unmistakable voice. That Way”. Sampson soon departed for staff work with For more information, visit mosaicrecords.com. An Ella But the strategy of the band changed radically in Goodman and others and Van Alexander, a more Fitzgerald tribute is at Town Hall Mar. 6th. See Calendar.

COBI NARITA’S OPEN MIC NOW TAKES PLACE AT 519 8TH AVE, 12TH FLOOR, STUDIO A Cobi Narita’s Open Mic is at the Pearl Studios, 519 8th Ave (an elevator building), 12th Floor, Studio A, every Friday night. The day is the same, but the time has changed. It is now 7:30pm to 10:30pm. But the cost remains the same, only $10 for one of the best Open Mics in the city! And it’s all due to FRANK OWENS, our host and pianist, whom everyone says is the BEST PIANIST to accompany singers! So please come - Singer, Tap Dancer or Audience Member, you can’t beat the price! And it’s a great show! SUNDAY MARCH 9, 2014, SWING 46 & THE GEORGE GEE SWING ORCHESTRA Present COBI NARITA’S 88th Birthday Celebration Singers, tap dancers & other entertainers, featuring the GEORGE GEE SWING ORCHESTRA with FRANK OWENS on the piano. FRANK will host the Open Mic portion of the evening. Cover: $25; plus $20 food/drink min. Doors open 4:30 p.m., party is from 5 to 9 p.m. RESERVATIONS ABSOLUTELY A MUST. For reservations, call Cobi @ 516.624.9406 or email: [email protected]. Reservations will be held until 5 p.m. If you re going to be late and wish to hold a table, call or email Cobi to make arrangements. SWING 46, 349 W 46TH St, (bet. 8th & 9th Aves), Manhattan. SATURDAY, MARCH 22, 2014 COBI NARITA PRESENTS AT ZEB’S: THREE AFTER DARK Vocalists Kumiko Yamakado, Jo Marchese and Ron Saltus, with the Frank Owens Trio: Frank Owens, Music Director, piano; Lisle Atkinson, bass; Greg Bufford, drums. You will greatly enjoy these three delightful singers. They sold out the house two times before, so COME EARLY! Light refreshments will be served. 7 p.m. $15. ZEB’s is located at 223 W 28 St (bet 7th & 8th Aves), 2nd Fl Walk-Up, Manhattan. MONDAY, MARCH 31, 2014 A CELEBRATION OF PAUL J. ASH’S LIFE & GIFTS At Saint Peter’s Church, , from 5:30 to 9:30 p.m. The Jazz Memorial Tribute for Cobi Narita’s beloved husband, Paul, who died February 5, 2014, at Syosset Hospital, Syosset, N.Y., will be hosted by the Rev. Dale R. Lind, Jazz Pastor Emeritus of Saint Peter’s Church. Many of Paul’s artist friends will be performing for him: singers, tap dancers, instrumentalists, poets, comedians, story-tellers. Because he loved each one,Paul’s spirit will see, hear and enjoy. Followed by a Coffee & Dessert reception, the Memorial is free and open to the public. For further information, call Cobi at 516-624-9406; the Rev Dale R. Lind at 212-477-3510; or the Church at 212-935-2200. Saint Peter’s Church is at 619 Lexington Ave., at the corner of E. 54th St.

20 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

is palpable. Berkman seems always to know where Cables’ meditative, moving interpretation of “Come Harrell is going as he spins his tale, catching every Sunday” and a delightful romp through Bobby chord alteration and rhythmic stab with perfectly Hutcherson’s “Little B’s Poem” finds the trio at the voiced comps. As the disc begins with the John Lewis peak of its powers with its spot-on interaction. Bill bebop workout “Milestones”, Harrell makes you forget Evans’ “Very Early” has long been a jazz standard and about the complicated half-step changes with his Cables’ powerful arrangement captures the flavor of effortlessly melodic improvisation. Berkman switches the composer’s own trios. The pianist dives full force easily from funky blues to modern harmony while into Joe Henderson’s quirky, midtempo blues “Isotope” always keeping the thread of his motif intact. On and wraps the session with a touching, brief solo take

303 “Body and Soul”, a -esque intro paves the of ’s melancholy ballad “Blue Heart”. Rudy Royston () way for Harrell’s breathy entrance. Later in the cut, by Tom Conrad Berkman plays full stride, has a few phrases with a For more information, visit jazzdepot.com. Cables is at Monkish whimsy and creates an interesting hemiola Dizzy’s Club Mar. 1st-2nd and Jazz at Kitano Mar. When Rudy Royston came east from Denver in 2006, on the pedaled bridge, replete with subtle sidestepping. 14th-15th. See Calendar. no one had heard of him. Now you could be forgiven Berkman also contributes three original for thinking he plays drums on half the jazz records compositions. “Ghost Wife” begins with a pensive Ed getting made. His résumé includes major bands like JD Howard bass solo followed by Gypsy-inspired melisma Allen’s trio, ’s Big Sur string ensemble and from Berkman and Johnathan Blake’s eerie hand ’ new quintet, to name only three. percussion. Berkman gently accompanies Harrell’s 303 (Denver’s area code), his debut as a leader, is melody, then lays out to give some space. Suddenly we a drummer’s album. The first impression is its wealth are into a hard-swinging romp, which quickens then of illustrative percussion information. But the virtues slows, ending in the avant garde with two-handed that make Royston in high demand as a sideman are overlapping lines and drum explosions. “Small apparent. He does not impose himself on a project but Wooden Housekeeper” is a medium swinger where the rather lights it up from within, with a rare balance of pianist gets a nice chance to stretch out. Dig the sly power, polyrhythmic erudition, clarity and finesse. descending pentatonic riff amid the bop lines and the He also has a light, deft touch as a composer and perfect intonation of Howard’s solo. creates fresh ensemble concepts. Pieces like “Prayer Berkman is a thoughtful and charismatic pianist (for the people)”, “Mimi Sunrise” and “Miles to Go and composer. His interplay with Harrell and the (Sunset Road)” are concise melodic gestures submerged relentless groove of the rhythm section make this a in deep atmospheres, with no solos as such. Royston thoroughly enjoyable live set. has assembled a septet of exceptional emerging players. When it comes time for solos, they kill. For more information, visit smallslive.com. Berkman is at “Goodnight Kinyah”, for Royston’s daughter, is a Smoke Mar. 1st and Smalls Mar. 7th-8th. See Calendar. lullaby with a strong waltz pulse. Nir Felder (guitar) and Nadja Noordhuis () are quietly, fervently lyrical. (tenor saxophone) is poetic and tender, but edgy. On the title track, Sam Harris (piano) comps with jagged provocation, then drones RECOMMENDED dramatically, then spills free and flows far away. Continuous percussion commentary unifies this NEW RELEASES album. Pieces as different as “High and Dry”, Felder finding new ornate implications in Radiohead’s theme, • Steve Cardenas - Melody in a Dream (Sunnyside) and “Prayer (for the earth)”, a hovering final ceremony • - Twelve (Plus Loin) of solemn piano chords and two throbbing basses, are Icons & Influences • Jozef Dumoulin - A Fender Rhodes Solo episodes within one large design. Not many debuts George Cables (HighNote) (BEE Jazz) make Top Ten lists. 303 may get there in 2014. by Ken Dryden • Vijay Iyer - Mutations (ECM) • Mehliana - Taming the Dragon (Nonesuch) For more information, visit greenleafmusic.com. Royston is George Cables doesn’t get the attention he merits in • Catherine Russell - Bring It Back at Smoke Mar. 1st with David Berkman and 7th-8th with spite of his extensive discography as a leader and (Jazz Village) Tia Fuller, Jazz Standard Mar. 11th with Noah Preminger, sideman with , , Art Pepper, David Adler, New York@Night Columnist 92nd Street Y Soul Jazz Festival Mar. 15th with Brian Max Roach, and Frank Morgan, • Aram Bajakian - There Were Flowers Landrus and Village Vanguard Mar. 18th-23rd with Bill among others. The versatile pianist has proven himself Also in Hell (Sanasar) Frisell. See Calendar. in high-energy bop settings, along with being a gifted, • Nils Davidsen - Noget at Glæde Sig Til lyrical composer. Icons & Influences is mostly a tribute (ILK Music) album, with works by musicians whom Cables admires, • Jon Irabagon - It Takes All Kinds plus three thoughtful originals dedicated to several of (Jazzwerkstatt) them. His rhythm section includes an old friend, • - Right on Time drummer , with whom he’s shared (Smoke Sessions) bandstands and studios over several decades, plus the • Max Raabe & Palast Orchester - talented young bassist Dezron Douglas. Golden Age (Decca) • Revolutionary Snake Ensemble - “” salutes the late piano giant, who Live Snakes (Accurate) died just a month before the recording session. Cables’ Laurence Donohue-Greene jubilant piece blends an infectious Latin undercurrent Managing Editor, The New York City Jazz Record with a driving hardbop setting, buoyed by his potent (feat. Tom Harrell) rhythm section. “Farewell Mulgrew” honors Mulgrew • Diego Barber + - Tales David Berkman (smallsLIVE) (Sunnyside) by Brian Charette Miller, another beloved piano giant who died suddenly in 2013. Cables’ intricate work initially has a meditative, • Free Nelson MandoomJazz - malls has the vibe of a jazz club from the heyday and soulful air, then takes on a different character in the The Shape of Jazz to Come/Saxophone Giganticus S (RareNoise) that electricity can be clearly heard on David Berkman’s interlude when Lewis’ drumming explodes from the • Jon Irabagon - It Takes All Kinds new live album. The pianist, who has been a staple on background while Douglas’ unison lines with the (Jazzwerkstatt) the city’s jazz scene since 1985, has worked with leader add to its beauty. The engaging blues • Eric Revis - In Memory Of Things Yet Seen countless heavies including , , “Happiness” was written in the mid ‘60s and was (Clean Feed) and Dave Douglas and also won many Cables’ first composition. • Alfredo Rodriguez - The Invasion Parade accolades for his recordings as a leader. Dave Brubeck’s “The Duke” is itself a tribute to (Mack Avenue) This release features the most lyrical and enigmatic Duke Ellington, though Cables infuses it with a • Dan Weiss - Fourteen (Pi) of the modern trumpeters, Tom Harrell. Berkman and bluesier-than-usual flavor, accompanied by subdued Andrey Henkin Harrell have worked together before and their rapport bass and whispering brushes. Ellington is honored by Editorial Director, The New York City Jazz Record

22 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

written for the Marx Brothers movie A Night at the Opera. And in a tune Raabe wrote with German producer Annette Humpe, the two have decided that “One Cannot Kiss Alone”, with words that are deftly goofy. From start to finish this is music that is well played and invites its audiences to smile and, yes, dance.

For more information, visit deccaclassics.com. This group is at Stern Auditorium Mar. 3rd. See Calendar.

Golden Age Max Raabe & Palast Orchester (Decca) maria schneider by Donald Elfman

Max Raabe and Palast Orchester are keeping alive a style of music that thrived throughout America and Europe in the ‘20s-30s. It may seem, at first, a novelty act, but it soon becomes clear that this is a loving tribute to sounds that delighted huge audiences. Raabe himself is reminiscent of Dick Powell or Fred Astaire in vocals suggesting a mixture of innocence and experience. Golden Age is a collection of the favorite numbers of the vita brevis Encounters Bergman/Jordan/Parker/ Abdelhaï Bennani Trio Orchester and it celebrates the pre-World War II period Wimberly (Somerealmusic) (JaZt TAPES) when American jazz came to Germany via recordings and Europeans started to include these styles and colors by Kurt Gottschalk in their own music. It cannot but be stated at the outset that vita brevis is (or With great audacity, this recording opens with an at least purports to be) the last recording made by arrangement of the theme from perhaps the best of all pianist Borah Bergman, who died in 2012 at the age of American film musicals, Singin’ in the Rain. Since it’s a 85. A dexterous and inventive pianist whose photo by whit lane movie about the time when silent films became “talkies”, improvisations ran easily from thick, blocky clusters to and marylene mey it’s beautifully appropriate for a ‘modern’ band that beautifully delicate melody lines, Bergman persevered plays vintage music. After a bouncy instrumental intro to only occasional acclaim - rare enough that to call this mar 14–15 • 7pm, 9:30pm - the amassed sections of this tight little band state the release a “swan song” would seem a bit grand. The familiar theme backed by a bouncing riff from the horns studio session was laid down 16 months before his MARIA SCHNEIDER and some nifty percussion from Vincent Riewe - Raabe death so it was doubtfully seen as a final statement. It is, ORCHESTRA sings the old Gene Kelly showcase and his voice is high however, good reason to listen anew. The quartet Composer-arranger Maria Schneider and sweet and quite unaffected by any other, newer (saxophonist Kidd Jordan, bassist William Parker and modes of vocalizing. The band comes back with a drummer Michael Wimberly) kicks off with a midtempo and her award-winning 17-member syncopated reading of the melody, which quietly leads freeblow, before making its way into a lovely, lyrical orchestra with Raabe’s whistle and then vocal, to the end. ballad, Bergman’s “When Autumn Comes”. They After a few familiar chestnuts from the Great continue apace for another Bergman composition and mar 15 • 8pm American Songbook by Irving Berlin and Cole Porter, then a Jordan piece, exhibiting the hive mind interplay Raabe takes on a tune by Austrian Walter Jurmann, who that often comes only with age. The album concludes TOMATITO: AN EVENING wrote songs in America that became famous in movies, with a ten-minute soundcheck, the only headless jam of etc. “Though You’re Not the First One” was a tango the set. The audio isn’t as clean and under other OF FLAMENCO included in a 1931 film with WC Fields and, again, circumstances a complaint might be lobbied that it Guitarist and 2013 Latin Grammy® Raabe’s lovely vocal, buoyed by the piano of Christoph doesn’t add anything, but as a part of a final document Award-winner Tomatito and his sextet Israel, makes the song charmingly emotional. The it’s worth including. Another bit of this small goodbye with Flamenco dancer Paloma Fantova audience at this live performance responds affectionately. is worth mentioning and that’s producer Joe Chonto’s This collection also includes four other Jurmann tunes liner notes. Written after Bergman’s death, the short including “All God’s Children”. Raabe also tackles Kurt essay provides a loving and candid look at the driven mar 21–22 • 7pm, 9:30pm Weill, offering the oft-recorded “Moon of Alabama” in and cantankerous pianist. the spirit of its earliest performances. Parker is at the bass again on Encounters, a trio BEYOND JOBIM: There are some real novelties here as well. “Sex session led by the Moroccan-born saxophonist Abdelhaï NEW VOICES OF BRAZIL Bomb” was originally performed by Tom Jones in 1999 Bennani with Alan Silva on piano and synth. The one With vocalists Luísa Maita and and it’s amusing to hear it done with a dance fever-like long track was recorded live in Paris back in 2000, silliness. “Cosi Cosa”, also penned by Jurmann, was shortly after the release of Bennani’s Enfance, which Clarice Assad featured Silva on bass, certainly his strongest instrument. He sticks mostly to piano here, holding his not-always- apr 4–5 • 8pm adored “celestial ” at bay for much of the set. Parker is, of course, steadfast and Bennani’s tenor HUGH MASEKELA: explorations are fresh and vital. While the playing is strong, the recording unfortunately is not, seeming to be CELEBRATING 75 YEARS an audience recording and issued in limited supply by Hugh Masekela celebrates his JaZt TAPES, the very name suggesting a recording unit birthday with special guests on a nightclub table, which is most likely how this was captured. The CD-R label was founded by Jan Ström after he retired from Ayler Records, which released Bennani’s 2009 There Starts the Future. Ström burns the jalc.org discs 100 in a run on his home computer so they are rather like bootlegs with artist blessing. As with jazz at lincoln center bootlegs, the releases are for the diehards, but for them Venue Frederick P. Rose Hall it’s a chance to hear something often worth seeking out. Box Office Broadway at 60th, Ground Fl. Encounters documents a little-known saxophonist and a CenterCharge 212-721-6500 moment in time, already passed and now reclaimed. LEAD CORPORATE SUPPORTER Beyond Jobim: New Voices of Brazil For more information, contact [email protected] and visit janstrom.se. William Parker is at Clemente Soto Velez Cultural Center Mar. 3rd. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 23

royalty, Ellington, with , composed and and jazz instrumentals won Grammys. recorded The Queen’s Suite after having met Queen Even “Memorial” and “Ernest/Protector”, hard- Elizabeth in 1958 and then had the only publicly driving forums for Felder’s amazingly clean quick released pressing presented to her. He often played the runs, have bassist Matt Penman and Smith ensuring suite’s piano solo feature, “Single Petal of a Rose”, in that these remain appealing ensemble pieces. “Slower person and the band did perform excerpts, especially Machinery” is a complex rhythmic adventure with a “Sunset and the Mocking Bird”, but Ellington would direction-changing hook while “Before the Tsars” is an not allow it to be released during his lifetime. The elegant group statement. Golden Age may conclude former is hypnotically reflective, the latter richly with reference to the end of the American Dream but

Maybe September impressionistic, as are the other movements, with their that notwithstanding, Felder’s first effort as a leader is Ken Peplowski (Capri) panoply of tones, rhythms and colors. a melodic triumph of pop/rock-informed jazz. by Alex Henderson Strayhorn died before the other suites here were composed and recorded, proving Ellington’s For more information, visit okeh-records.com. This project Tenor saxophonist/clarinetist Ken Peplowski is the continuing creativity. We hear hints of serialism and is at Le Poisson Rouge Mar. 10th. See Calendar. essence of a swing-to-bop improviser, favoring a minimalism, as well as suggestions of the fragmented traditionalist approach, yet is quick to point out that he nature of modern art in The Goutelas Suite. Abrupt is a major rock fan and not a jazz snob. And as Maybe changes of tempo and mood, jump cuts if you will, and Swing Era September reminds us, he isn’t afraid to take chances constantly shifting instrumental leads and even fugues Molly Ryan Songbird when it comes to choosing material. suggest how much this late period of Ellington has This 2012 session, Peplowski leading a cohesive influenced ’ composing. The Uwis MarCH 4th - 7pm quartet of pianist , bassist Martin Wind Suite was composed and premiered during an Ellington The Players Club (16 Gramercy Park South) and drummer Matt Wilson, has one foot in swing and band residency at the University of Wisconsin at with the other in early bop. While Peplowski maintains a Madison in the summer of 1972. The first movement, the Grand strong mid ‘40s influence, he doesn’t restrict himself to “Uwis”, is a delightfully self-referential piece that Street Stompers songs from that era. He performs some Tin Pan Alley seems to sum up various Ellingtonian strategies for “...worldly wise beyond songs (including Harry Warren’s “I’ll String Along both the band and approaching the blues. “Klop” is her years, wonderfully with You” and Irving Berlin’s “All Alone by the Duke’s only polka, composed after he seriously gentle and lyrical…” - Will Friedwald, Telephone”) and the hit “Moon Ray”, but immersed himself in polka records. And the last The Wall Street Journal also The Beatles’ “For No One”, Brian Wilson’s movement, “Loco Madi”, is the final in a long line of “Caroline, No” and Harry Nilsson’s “Without Her”. Ellington train pieces with locomotive rhythms. The And he even touches on country with an interesting electric bass added for “Loco Madi” also appears on Benny Goodman-ish arrangement of Bill Trader’s the orchestral and rhythmically dense “The Kiss”. “(Now and Then There’s) A Fool Such as I”. There is no shortage of energy on Duke Ellington’s For more information, visit concordmusicgroup.com. for Performances, Bookings “Main Stem” or Peplowski’s exuberant “Always a Ellington tributes are at Town Hall Mar. 6th and Stern & Recordings, visit mollyryan.com Bridesmaid” but most of the performances are on the Auditorium Mar. 23rd. See Calendar. introspective side and the leader shows how masterful a ballad player he can be on “Caroline, No”, “I’ll String Along with You”, “For No One”, “All Alone by the Telephone” and the title track. Through it all, the rhythm section provides solid support. Full of surprises, Maybe September is yet another memorable outing from Peplowski and proves that traditionalism need not be dull or predictable.

For more information, visit caprirecords.com. Peplowski is at Tribeca Performing Arts Center Mar. 6th as Guest of Golden Age Honor at Highlights in Jazz. See Calendar. Nir Felder (OKeh) by Elliott Simon Over the past eight years, through performance and March 4th sideman work, Nir Felder has become an elite working Frank Perowsky Big Band NYC jazz guitarist. However, unlike many of his conservatory-trained cohorts, he didn’t appear with CD in hand showcasing his chops. Instead, he played March 11th the clubs and developed a sense of his music that is and the New York very apparent on this unusually mature debut. State of the Art Jazz Ensemble Felder is a student of both music and history and with Ira Hawkins on several cuts he combines the two. Opener “Lights” The Ellington Suites (OJC) Duke Ellington & His Orchestra (Pablo-Concord) and “Sketch 2” have Felder and drummer Nate Smith March 18th by George Kanzler providing the soundtrack for historical speeches and The Makanda Project featuring sound bites. The mood can be upbeat, even Pollyanna- Craig Harris and Eddie Allen Originally released a couple of years after Duke ish, as breezy chords with a hint of pathos provide a Ellington’s death in 1974, the three suites here were backdrop for Adlai Stevenson, Lou Gehrig, Richard privately recorded and produced by Ellington: The Nixon and others. But disinterested chords and a March 25th Queen’s Suite in 1959; The Goutelas Suite in 1971 and The relentless propulsive rhythm buttress Mario Cuomo’s Russ Kassoff Orchestra with Uwis Suite in 1972. Included for the first time is the 1984 Democratic Convention Speech and Elie Wiesel’s Catherine Dupuis only recording of Ellington’s “The Kiss”. They all Millennium Lecture on Indifference. This is heady stuff represent Ellington’s “late” period, a style widely that does more than just question if America’s Golden divergent from his halcyon Swing Era period, yet also Age has been more gilt than gold. New York Baha’i Center reliant, as he was then, on short forms - the rarely Historical commentary aside, the session contains 53 E. 11th Street longer than five- or six-minute movements, songs or numerous melodic gems. “Bandits”, “Lover” and (between University Place and Broadway) dances of the suites. There is an ongoing debate over “Bandits II” showcase Felder’s advanced songwriting how much, or little, thematic unity there is in the and leadership talents while the elegiac “Code” cleverly Shows: 8:00 & 9:30 PM suites, but their structure and the way Ellington often deconstructs “Auld Lang Syne” to fashion a new New Gen Adm: $15 Students $10 played excerpts in concerts suggest he thought of them Year’s hymn. Pianist is melodically like- 212-222-5159 often as collections of self-contained miniatures. minded and together they fashion tunes reminiscent of bahainyc.org/nyc-bahai-center/jazz-night In a gesture of noblesse oblige worthy of true a time when jazz and pop were not afraid to embrace

24 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Really OK Ruins Chris Speed Trio Chris Speed/ (Skirl) Zeno De Rossi (Skirl) by Brad Cohan Saxophonist/clarinetist Chris Speed’s two decades- descent into New York City’s underground jazz realm has proven a multi-pronged mission. Not only has myriad groups he’s either led or assumed membership in been vital in levitating the local scene but the multi- reedist has also helped document the innovators roiling the landscape via his Skirl Records imprint. Speed had a banner year in 2013: a collaboration with intrepid electro-acoustic trio Lama (Lamaçal, Clean Feed); another set of intertwining wizardry from Endangered Blood (Work Your Magic, Skirl); rock/jazz hybrid of ’s AlasNoAxis (Antiheroes, Winter & Winter) and post-jazz sprawl of The Claudia Quintet (September, Cuneiform). Now, in these early days of 2014, it turns out Speed has wasted nary a minute in both further highlighting his craft and imprint, equipped with not just a single release, but a pair of disparate recordings. Speed’s modus operandi has long been underscored by his effortless penchant for mellifluous phraseology mated to tasteful improvisational moxie and on Really OK, he runs that gamut - and then some. Leading a trio of bassist Chris Tordini (Tyshawn Sorey; ) and drummer Dave King (The Bad Plus), the results are decidedly striking in their spirited, full-toned and deep resonance. Speed’s immaculate rapport with his oft- collaborator King has already been rooted on efforts by the drummer’s Trucking Company ensemble and in duo settings (a particular raucous set last year at Barbès comes to mind) and Really OK - comprised of seven original Speed compositions, a standard (“All of Me”), plus tunes by John Coltrane (“26-2”) and Ornette Coleman (“Round Trip”) - illustrates that vernacular between the veteran twosome and the neophyte Tordini. The requisite term often attached to Speed’s aesthetic has been described as “warm” but in assuming the leader role and ignited by Tordini and King’s rambunctious oomph and the bass-drums clinic they dish out, the tenor saxophonist is anything but. Excluding the subtle rendition of “All of Me”, the trio boasts intense rhythmic fire on cuts such as the Tordini- King-dominated “Nimble Demons”, soul-searching epic “Delaware” and breathless energy music of “Argento”. Ruins, the unofficial companion piece to Really OK, is ostensibly its antithesis. An alliance with the Italian drummer Zeno De Rossi has produced a minimalist, abstract effort teeming with complexities evocative of its bleak title. A collaborator of Marc Ribot, and Jamie Saft, among others, De Rossi has shown a dizzying manifold of angular, experimentally-minded brushes, strokes and beats on previous jaunts and here his polyrhythmic counterpoint to Speed’s swinging, gyrating, occasionally distorted swells manifests a revelatory match. A Paul Motian cover (“Abacus”) kicks off Ruins, setting its slow-burning tenor, which is sustained by the chugging and sparse “Retrogression” (a remade Human Feel track from 1994) and the weird apocalyptic clatter of the title track, “Scratch” and “Sweet and Aggressive”, a trifecta concluding the record with a doom mindset.

For more information, visit skirlrecords.com. Speed is at The Stone Mar. 11th-16th and 30th, ShapeShifter Lab Mar. 20th and SEEDS Mar. 26th, both with Simon Jermyn. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 25

“Mother and Child”, for example, features lovely turns Square One, with guitarist Yotam Silberstein and from Reid, bass clarinetist Carl Maraghi and trumpeter drummer Mark Ferber, Charette displays the vision to Ingrid Jensen. “Tapestry in the Sky”, another gorgeous take the jazz organ confidently into the 21st century. and nuanced piece, spotlights the quartet with Jensen This album crackles from the first note, driven by and reed players Scott Robinson and Erica von Kleist. slick funk/bop amalgams like “Aaight!”, “If” and “Yei And Riley is featured on the straightahead “Singing Fei”, songs bursting with virtuosity and rhythmic Head”, along with saxophonists Steve Wilson and Tom savvy. Charette gives a bob and weave to the classic Christensen and trumpeter Freddie Hendrix. boogaloo songs of the ‘60s with a smooth version of the Reid notes there’s “no absolute correspondence” Meters’ “Ease Back” and burns on the percolating

Quiet Pride (The Elizabeth Catlett Project) between the sections and the Catlett sculptures that “Time Changes” and rush hour express train ride “Ten Rufus Reid (Motéma Music) inspired them, but one can see (images are included in Bars for Eddie Harris”. There are slow jams, too: by Joel Roberts the booklet) how they’re connected on, for example, soulful “True Love” and the heartwarming waltz the majestic closing movement “Glory”, based on a “Three for Martina” give the album balance. Quiet Pride is the title of bassist Rufus Reid’s new striking sculpture of a female face. While the individual Delightfully eccentric yet playful “People on album, an ambitious classical-meets-jazz homage to sections work on their own, this is a case of the sum Trains” and the rock-infused military march of “A visual artist and civil rights activist Elizabeth Catlett, being larger than its parts and it takes listening to the Fantasy” nicely balance harmonic convention with but it’s also an apt description of Reid himself. Now work as a whole truly to appreciate Reid’s achievement. old-fashioned psychedelic phantasmogorica. “Things 70, Reid spent years in the background, lending You Don’t Mean”, whose opening licks echo the bridge support to a who’s who of jazz giants before fronting For more information, visit motema.com. This project is at from The Twilight Zone theme, is a grand techno- his own groups and more recently turning his focus to Jazz Standard Mar. 12th. See Calendar. nightmare. All these tunes include outré sound effects composing. A distinguished jazz educator as well, by co-producer Marc Free, aural exclamation points

Reid’s latest project has him leading a large ensemble presenting Charette as a mischievous storyteller. in a five-part suite inspired by Catlett’s life and work. Charette’s slow burns, lowdown growls and Reid’s composing and arranging recalls, at times, screeches vibrate beneath the skin and invigorate a the modern big-band approaches of the - much explored instrument. Ferber is crisp, robust, Orchestra or even Gil Evans. His style is rhythmically intricate and whispers when necessary meticulous and subtle, never flashy, even when his (although one might wish that he was recorded a little writing gets harmonically complex. Reid’s 20-piece better to capture his full power). The haunting group includes a core quartet of Steve Allee (piano), sophistication and fluidity of Silberstein’s playing is so Vic Juris (guitar) and Herlin Riley (drums), plus an impressive that sometimes it sounds like his trio. allstar lineup of horn players. Charenee Wade’s Telepathic interplay, seamless exchanges and split- Square One wordless vocals, heard throughout the suite, serve as Brian Charette Trio (Posi-Tone) second execution of ideas are what make Square One an essential ingredient in Reid’s musical formula. by Terrell Holmes such an exciting album. As effective as the larger group is, it’s welcome to hear them drop out occasionally and let the quartet Organist Brian Charette has a distinctive, exciting For more information, visit posi-tone.com. This project is at and selected soloists take center stage. The heartfelt brand of groovin’ in the best Hammond tradition. On Smalls Mar. 12th. See Calendar.

26 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

blows soft sounds over the gently intertwining ; The driving “Memo (g. learson)” features brisk Taborn finds his place between them, practically statements from tenor saxophonist Walter Smith III disappearing in their harmonic flow. Opening track and Altura while jagged “Bubbles (john william “Laxness” is representative, a fragmented, falling sublett)” gives bassist Harish Raghavan ample space to melody between instruments like sunlight touching tangle with pianist Sam Harris’ rapid-fire phrases over various leaves on the same tree. “Kong Oscar” picks up a hypnotic groundswell and drummer Justin Brown’s the tempo, the combined rolling melody and plucked skittering funk. Elsewhere, haunting textures creep instrumentation recalling a large Thumbelina. Bro is like fog. Vocalist Becca Stevens appears on her “Our definitely part of the Frisell school of guitar, the two at Basement (ed)”. The sparse arrangement deals in

December Song times sounding like mirror images. December Song silence with pulsating strings, heightening Stevens’ Jakob Bro (Loveland) advances slowly, as if disturbing the surrounding air impassioned quaver. The same strings weave a nearly by Ken Micallef might break the music’s delicate spell. Celtic palette for “The Beauty of Dissolving Portraits”, allowing Akinmusire to sputter over a chamber group’s Danish guitarist Jakob Bro is a musician for whom For more information, visit jakobbro.com. Bro is at Cornelia long tones. Vocalist Theo Bleckmann continues that time, space and melody seem relative and related Street Café Mar. 13th. See Calendar. misty backdrop, accompanied primarily by solo piano things. A luminous composer whose guitar is more a on “Asiam (joan)”, his multi-tracked vocals spinning vehicle for cerebral exploration than for solo spectral dust over the bare landscape. expressions, Bro’s latest album, December Song, is the “Rollcall for Those Absent” is Akinmusire’s most final in a trio of recordings that started and ended with direct social statement. The tune features him glacially drummer Paul Motian in mind. Bro was a member of surveying on a Juno keyboard as a child recites the Motian’s Electric Bebop Band and the drummer played names of recent high-profile, unarmed murder victims on Bro’s Balladeering and Sidetracked albums. By the like Amadou Diallo and Kendrec McDade. The time the sessions for December Song began, Motian had repeated invocation of the names Trayvon Martin and passed. But Bro’s music capitalizes on the late Oscar Grant are particular reminders of the hostility drummer’s idea of the group as a collective organism, young black men like Akinmusire can face without where solos rise and fall at will and directing merit and without warning. The Imagined Savior is Far Easier to Paint improvisation is as often a collective determination as Not surprisingly, Akinmusire’s return exudes Ambrose Akinmusire (Blue Note) a single musician’s effort. by Sean O’Connell confidence. He has a way with intervallic leaps that are Bro guides his group of guitarist Bill Frisell, bassist uniquely his and shows great patience in embracing Thomas Morgan, alto saxophonist and After a highly praised Blue Note debut, trumpeter the more languid instincts of his pen, the same one that pianist Craig Taborn through ethereal, shimmering and Ambrose Akinmusire has returned with an album that seems to relish cryptic song titles. He can blow like even spectral, music, which floats, rises in intensity, maintains a kitchen-sink embrace of styles and nobody’s business but seems more intent on then dissipates - calm, intricate ruminations gelling, textures. He penned all but one of the tunes, showcasing his way with emotion and instrumentation. then melting away. Performed without drummer, this collaborating with a handful of vocalists and adding collective breathes as one. That breath is at times a mist, the explosive guitarist Charles Altura. But with a few For more information, visit bluenote.com. This project is at other times a slowly undulating, delicate breeze. Konitz exceptions, this is an unquestionably somber record. Jazz Standard Mar. 13th-16th. See Calendar.

FEB 27–MAR 2 MAR 17 the music of dexter gordon: music of the trio a celebration MAR 18–20 MAR 3 hugh masekela & larry willis combo nuvo: nyu steinhardt jazz studies faculty ensemble MAR 21 newish jewish music festival anat fort MAR 4 carnival caravan: from recife MAR 22 newish jewish music festival to new orleans oran etkin: reimagining benny goodman MAR 5–9 eliane elias MAR 23 newish jewish music festival steven bernstein’s MAR 10 diaspora soul new york youth symphony jazz MAR 24 MAR 11-12 msm jazz orchestra joe farnsworth quartet MAR 25–26 featuring harold mabern -lew tabackin MAR 13 jazz quartet charles turner cd release MAR 27–30 MAR 14–16 quintet jazz meets flamenco: dani de morón & MAR 31 monday nights with wbgo aruán ortiz orbiting quartet

swing by tonight set times 7:30pm & 9:30pm jalc.org / dizzys

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 27 Luis Perdomo and bassist Joe Sanders and it’s obvious that the groove comes first, with Green doing a get cool schooled yeoman’s job of keeping it ‘on-the-bounce’. Blake takes full advantage of the wide open spaces to stretch out his musical imagination, showcasing his ability to transmogrify shorter ideas into long-limbed swing combinations, following sequences in diverse directions and discovering various melodic riffs, hooks and signposts along the way to give his longer improvisations an episodic quality, heard to best effect university on Cole Porter’s “Get Out of Town”, Wayne Shorter’s “This Is for Albert”, Green’s “The Citadel” and Monk’s “Bemsha Swing”. Perdomo is one of those musicians jazz at lincoln center that leaves no (s)tone unturned, a restless quester who Reeds Ramble hits his stride on the Will Vinson ballad “Believer”. spring term Seamus Blake/Chris Cheek (Criss Cross) The Blake/Sipiagin frontline reappears on the The Artistry Of The Standard trumpeter’s From Reality and Back, backed by the stellar Misha Tsiganov (Criss Cross) team of pianist Gonzalo Rubalcaba, bassist Dave Live at Smalls Holland and drummer Antonio Sánchez. Like the Jazz 301 Rodney Green Quartet (smallsLIVE) with Phil schaaP From Reality and Back lineup for Tsiganov’s release, this is an ensemble that (5Passion) can handle pretty much anything the leader cares to mar 19 – may 7 by Tom Greenland throw at them and Sipiagin’s tunes are brazenly (optional exam may 21) cutting-edge, often written with hocketing lines that Seamus Blake was among the wave of mainstream ping-pong back and forth between trumpet and tenor, tenor saxophonists that flooded New York in the early many of them in complex odd meters that come off Jazz 101 ‘90s and, 20-something years later, he remains one of effortlessly. Sipiagin’s style, a blend of ’s with Vincent gardner the most accomplished contemporary stylists. Four fastidious intellect and Freddie Hubbard’s stentorian march 31 – june 2 recent projects attest to his ongoing artistry. bravado, is consistently excellent, most notably on Reeds Ramble recalls an earlier Criss Cross release, “Chain Reaction”. Blake is the leader’s consummate The Bloomdaddies, which also featured Blake and Chris foil, whether remaining mellow on a motivic “With the Jazz 201 Cheek on tenor saxophones. Pianist Ethan Iverson, Tide” or matching Sipiagin phrase-for-phrase with with Vincent gardner bassist Matt Penman and drummer Jochen Rueckert taut postbop logic and creative intensity. fill out the quintet on a program featuring an original april 1 – may 27 by each leader and an eclectic menu of covers: Brazilian For more information, visit crisscrossjazz.com, smallslive.com composer Chico Buarque’s “Na Carreira”; Eddie and 5passion.com. Reeds Ramble is at Smalls Mar. 13th-15th. The ChiCagoans: Harris’ “1974 Blues”; Jim Beard’s “Holodeck Waltz”; Blake is also at ShapeShifter Lab Mar. 18th. See Calendar. The FirsT garage Band Elmo Hope’s “De Dah”; Beach Boy Brian Wilson’s “’Til I Die”, a transcription of Monk’s version of “I Surrender with Phil schaaP Dear” and Canadian composer Vickie Lang’s “Lady in march 18 – april 22 Languor”. The date is notable for the relaxed ambiance between the two titans, Cheek’s warmer and relatively Thelonious Monk laid-back sound in the right channel, Blake’s edgier excursions emanating from the left, with Iverson, a with larry ridley postmodern ‘de-composer’ extraordinaire providing march 17 – april 7 not-so-solid harmonic beneath. Some of the best moments are saved for last: the traded tenor phrases rounding out “I Surrender Dear”; Blake’s disCography turbo-charged bop on “All of Me” (his original based with ed Berger on “All of You” changes), followed by Cheek laying may 6 – 27 back-of-the-pocket with beautiful legato lines, and Cheek’s reflective melancholia on “Lady in Languor”. Russian pianist Misha Tsiganov hired four-fifths CeCil Taylor of Opus 5 (Blake, trumpeter Alex Sipiagin, bassist with Ben young Boris Kozlov and drummer Donald Edwards) to realize may 14 – june 4 his collective musical vision on The Artistry of the Standard. The setlist, with the exception of Stevie all classes are held in the Wonder’s “Make Sure You’re Sure” (from Spike Lee’s Jungle Fever), contains familiar titles but Tsiganov has irene diamond education center. given these chestnuts a thorough re-roasting, rendering them in dense, highly convoluted arrangements only classes 6:30pm – 8:30pm, an ‘A-team’ of improvisers could navigate with jazz 301 ends at 9:30pm. apparent nonchalance. Tsiganov, whose classical background provides him with chops to spare, gets deep inside the charts’ form, adding rich textures and dazzling flourishes while Blake and Sipiagin deliver short but powerfully packed solos: the former’s work on Charlie Parker’s “Ah-Leu-Cha” and Rodgers-Hart’s “Falling in Love with Love” shows his amazing control and creativity across the horn; the latter’s lines on John Coltrane’s “Mr. Day” and “Make Sure You’re Sure” lead corPorate sPonsor reveal a dazzling technique that never overshadows the narrative arc. And the fact that Kozlov and Edwards ENROLL TODAY can ‘swing’ through all of it is a small miracle in itself. 212-258-9922 • jalc.org / swingu Drummer Rodney Green’s Live at Smalls lies at the jazz at lincoln center gratefully acknowledges the irene other end of the aesthetic spectrum: short, sparsely diamond fund for its leadershiP suPPort of Programming arranged tunes (half of them penned by the leader), in the irene diamond education center. with plenty of room for the soloists to expand and expound. The quartet is completed by Blake, pianist

28 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Also Available on Cellar Live

Vancouver, BC est 2000

Cellar Live presents a Record Release Event

Pete Mills Sheryl Bailey 3 Sweet Shadow A Meeting of Wednesday March 19th, 2014 The Minds 7, 9, 10:30 pm Upcoming on Cellar Live

CORY WEEDS QUINTET with STEVE DAVIS - Let’s Go

Cory Weeds - tenor saxophone Steve Davis - trombone Sullivan Fortner - piano David Fathead Cory Weeds Dezron Douglas - bass Ulysses Owens Jr. - drums Newman Quartet with Cellar Groove Harold Mabern As of Now

requires trust, so Rainey enlisted frequent collaborators: better fit (as happened on an earlier CD reissue, Groove saxophonist Ingrid Laubrock, trumpeter Ralph Alessi, Brothers), it’s hard to see how anyone would complain. pianist Kris Davis and bassist . The result is This is a strong, relaxed session notable for the fact that a curious blend of familiarity and surprise, with the sticks exclusively to vibes and for known tunes deconstructed and sometimes only a program of tunes, which, with the exception of “Stella obliquely stated within the swirling spontaneity. by Starlight” and “Bud’s Beaux Arts”, Wes never Whipsaw renditions of “Just in Time” bookend the recorded elsewhere. As noted, the Brothers band was CD. Rainey and Gress’ humming bass propel the not as adventurous as other contexts, but the focus on raucous opener while Alessi and Laubrock spar amid blending vibes and guitar voicings on tunes like Duke

Good and Evil Davis’ interjections. Twin horns open “In Your Own Pearson’s “Jeanine” or ’s “Snowfall” The Moon (577 Records) Sweet Way” with a fluttering dialogue before tinkling is richly rewarding in its own right. by Marc Medwin piano and subdued rhythmic support join in. On “Long Ago and Far Away”, the bassist and drummer start For more information, visit concordmusicgroup.com. A When is a duo not simply a duo? When it’s The Moon, with a quick exchange highlighting their deep rapport, Montgomery tribute is at Smoke Mar. 26th. See Calendar. whose Good and Evil pushes the boundaries of form and then develop a jaunty groove for the group. Laubrock timbre far enough to sound like several different tenderly teases the theme of Monk’s “Reflections” ensembles. The juxtapositions are melodious, humorous amid wistful drums and bass, until Alessi’s darting Daniel Levin’s Coelacanth and jarring by turn, but they’re also always intriguing. phrases spur tart responses and bluesy lines. - Russ Lossing - wurlitzer/piano A year or so ago, The Moon did, in fact, release a “Secret Love” is the only tune explicitly stated Daniel Levin - cello live album, but in a very limited edition. This is, for all upfront before veering into a spirited run powered by Gerald Cleaver - drums intents and purposes, their debut and is nothing if not Gress’ cutting line. Rainey steps out with a propulsive diverse, down to the smallest detail. Guitarist Adam yet musical solo on “Prelude to a Kiss”; the piece Coelacanth brings together four of today’s Caine’s opening solo veers between the tastefully slowly unfolds with muted trumpet buzzes, the gentle most original voices to distorted melodies for which he is now well-regarded interpretation contrasting the opening gambit. “You create a multi-dimensional, and some gorgeous upper partials as he morphs each Don’t Know What Love Is” starts as a patiently probing richly textured world of sound and experience sonic gesture. He rips in and out of the blues, paving the piano trio before a subtle groove ushers in crisp way for equally varied drumming from Federico Ughi, trumpet lines mirrored by saxophone and bound by who slams into jazz mode hard; his spritely accents and Davis’ fluid runs. The unexpected twists and their Papa Jo Jones-inflected cymbals bring whimsy and elegant flow testifies to the players’ empathy and tradition to the proceedings, a perfect synchronicity of demonstrates the malleability of these enduring tunes. freedom and heavy swing. Then, by contrast, as if to deny that any such jazz inflections have been in play, For more information, visit intaktrec.ch. This project is at the duo lays “Underwater Electrics” on the unsuspecting Cornelia Street Café Mar. 14th-15th. See Calendar. March 30 - 8 PM 509 Atlantic Avenue, Brooklyn listener, an intelligent foray into distorted arpeggios General Admission: $20 Students/Seniors: $15 and glassy percussion meterlessness. www.roulette.org If jazz as a point of reference returns throughout the disc, it is only in the service of other allusions. The Derek Bailey/Tony Oxley evocations of “Cardboard” are counterbalanced by the psychedelic explorations of “Floyd”, which pits cinematically spacey rattles and rumbles from Ughi against scraps and shards of BRANDON stringed tonality, both forward and in reverse. Far from the gimmick it could be, the effect is tasteful and somehow provocative. Yet, nothing prepares for the So Much Guitar! (OJC) seasickness induced by the old-world organ Caine (Riverside/Fantasy - Concord) SEABROOK somehow coaxes from his arsenal of electronics during by Duck Baker “Dawn at the Edge of the Universe”. It’s an apt title if ever one was, Caine plumbing the spaceways and Marc Myers opens his liners with the premise that So coming back to Earth to conjure shades of The East, Much Guitar has not received its due as one of the most CACAW Ughi scraping against the walls of slow swing and outstanding of the 11 records Wes Montgomery made funk, as comfortable outside time and tempo as he is for Riverside between 1960-63, on par with The inside them. The album’s title tells the story of Incredible Jazz Guitar of Wes Montgomery. This reviewer GLUE GUN OPTIMISM dichotomy that the music conveys so perfectly. is not sure that this is really the case, however. Many listeners always gravitated immediately to the For more information, visit 577records.com. This project is Montgomery dates that placed him with top-notch at Ibeam Brooklyn Mar. 14th. See Calendar. hardboppers rather than the somewhat safer context of the Montgomery Brothers dates and a lot of them have

associated the two records owing to their having been packaged together in the ‘70s as the LP twofer called While We’re Young. In any case, Myers is perfectly correct about the music here rising to a similarly lofty altitude. The earlier date was a guitar-plus-piano trio session and that format is augmented here by the inclusion of Ray Barretto’s on about half the numbers. seems as perfect as did on the other session. The two things that

make the rhythm section sound unique are Ron Obbligato Tom Rainey (Intakt) Carter’s expanded role in an early appearance for the by Sean Fitzell bassist and of course the interplay between Barretto’s congas and Lex Humphries’ drums. After two CDs with his predominately improvising It is commendable that Concord has filled the CD trio, drummer Tom Rainey extends his sonic range as a by including another record here, though the fact that leader on Obbligato, employing a quintet on a program The Incredible Jazz Guitar has already been reissued FRIDAY MARCH 21 of classics. Of course his readings are not rote head- precludes a CD version of While We’re Young. The solo-head arrangements, but instead another way to companion record chosen is The Montgomery Brothers in 7:30PM instigate collective improvisation. The thematic Canada, originally issued on Fantasy. Apart from the material provides a reference point from which the fact that pairing this particular record with the other players may quote or roam. Successful execution Fantasy Montgomery Brothers record would seem a SPECTRUM|121 LUDLOW ST NYC

30 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD performing arts center • one center street, newark, nj

Road Scholars Live Artistry Alumni Kim Richmond Concert Band (Summit) Jazz Orchestra (MAMA) Jazz Songbook with by Marcia Hillman The music of legendary bandleader/pianist/composer and arranger Stan Kenton is alive and well. During his lifetime, his musical vision was delivered in two : different formats - a smaller band and his large orchestra - and two new CDs recreate the Kenton Duke Ellington sound in both formats. The Kenton Alumni Band, directed by trumpeter Bill Charlap, Ernie Andrews, Mike Vax, is composed of 19 musicians (12 of whom , Sean Jones, are Kenton band alumni) plus two vocalists. Road Scholars Live, recorded during the band’s 2013 US tour, Houston Person, Steve crisscrossing the country as the big bands in the proverbial bus did during the ‘30s-40s, captures all the Nelson, energy of performing before an audience. The and Lewis Nash repertoire covers standards, originals and an operatic aria with arrangements by Kenton, and Saturday, April 5 at 7:30pm various members of the alumni band. The distinctive “wall of sound” that defined Kenton’s music is ever present in the smooth performance of the sax section Houston Person and the piercing tones of the . There is much to listen for here, but some of the highlights are Vax’ powerful reading of the aria “Nessun Dorma”; saxophonist Rick Condit’s soulful rendition of Jerome Kern’s “Yesterdays”; Jennifer Latham’s basswork on a really swinging version of “Stompin’ At The Savoy”; My Favorite Things: the tight sound of the entire sax section on the Kenton original “Reed Rapture” and the vocals by Ginger Richard Rodgers Berglund and Scott Whitfield (“Stockholm Sweetnin’” and “Cinnamon & Clove”), which are done in and out Bill Charlap, Sandy Stewart, of unison and are delightfully reminiscent of Jackie Jaleel Shaw, Terrell Stafford, and Roy. Artistry by the Kim Richmond Jazz Orchestra John Allred, Peter Washington, presents the concert stage aspect of Kenton’s music. It Willie Jones and Freddy Cole was recorded in Capitol Records’ Studio A (the same studio in which Kenton recorded) on Oct. 31st-Nov. Friday, May 9 at 7:30pm 1st, 2012; according to the liner notes, “the latter date marks the seventy-second anniversary of Stan Kenton’s first recording for Capitol Records in 1940.” The personnel here consists of 23 musicians and one Sandy Stewart vocalist (who sings wordlessly on two tracks). The material is a collection of standards, two Kenton originals and four originals by the leader. The CD appropriately opens with the Kenton theme “Artistry Dorthaan’s Place In Rhythm” but Richmond takes a fresh approach by Join in NJPAC’s series of intimate jazz brunches at NICO Kitchen + Bar, rearranging all of the original elements of the composition, this time with a Latin feel but keeping the hosted by jazz icon Dorthaan Kirk at 11am and 1pm on Sundays . big brass finish. The other Kenton original (“Intermission Riff”) is done with the traditional arrangement and features the trombone solo from a ‘50s recording played in an ensemble The Antoinette Eric Alexander, setting. Notable also is Richmond’s “Zippidy Altered”, which is really “Zip-A-Dee-Doo-Dah” completely Montague Harold Mabern deconstructed, displaying a wonderful sense of humor. Quartet and There are excellent solos, too numerous to mention, March 23 Joe Farnsworth but the major pleasure of this musical voyage is the many colors and textures created by the total orchestra April 27 as they duplicate the Kenton experience. Despite the Kenton “no ghost band” clause, the passion of both Vax and Richmond has succeeded in Antoinette Montague Harold Mabern perpetuating his musical vision and the sound is just as energizing and exciting as it was decades ago.

For more information, visit summitrecords.com and For tickets and full schedule mamajazz.org. A Kenton tribute is at Lafayette Avenue visit njpac.org or call 1-888-GO-NJPAC Presbyterian Church Mar. 30th. See Calendar.

NYCjazzrecord_feb_6.25x12_march.indd 1 2/20/14 11:09 AM THE NEW YORK CITY JAZZ RECORD | MARCH 2014 31 Fimav_Ad_NYCJR_2014.02.13.pdf 1 2014-02-13 08:50

The Complete Strata-East Sessions Clifford Jordan (Mosaic) by Stuart Broomer

By the late ‘60s tenor saxophonist Clifford Jordan, who died 21 years ago this month, had built up an impressive CV, as a leader on Blue Note and Jazzland and as an inventive and dependable sideman. Jordan had also developed a particularly strong bond with Eric Dolphy, commemorated when Jordan had a chance to produce records, dubbing them the Dolphy Series. Jordan had discussions with Harvey Brown, who had started Frontier Press, about an analogous Frontier Records, Jordan ultimately supervising sessions from January 1968 to the spring of 1969. The project fell apart and the recordings sat on the shelf until the early ‘70s when Jordan talked to pianist about releasing the recordings on the Strata-East label. It’s a remarkable series - some with, others without Jordan - and it opens a special window on late ‘60s jazz. If histories tend to emphasize the ideological gulf between hardbop and free jazz, Jordan presents a world in which serious artists work within a collective heritage. Jordan’s own In the World, from septet and octet sessions in the spring of 1969, immediately reveals the breadth of his conception, most apparent on the 17-minute “Vienna”, which mixes pianist Wynton Kelly and trumpeter Don Cherry with such inside/outside Chicago associates as trombonist and dual bassists and Richard Davis to create layered music that seems to oscillate in time. The octet tracks have and Eddie Blackwell on drums. At the conservative end of the spectrum here, Jordan recorded Zodiac by veteran baritone saxophonist Cecil Payne, who fronts a boppish quintet with Kelly, Ware and trumpeter Kenny Dorham. It begins with a powerful elegy for the recently assassinated Martin Luther King. The sole session here that’s released for the first time is The Shades of Edward Blackwell, half of the drummer’s session a quartet with Cherry, Ware and A HISTORICAL EDITION! saxophonist Luqman Lateef, the other half devoted to an adventurous six-member percussion ensemble that includes Billy Higgins and Denis Charles. Ware and Blackwell are frequent presences here - both under- With Meredith Monk, Fred Frith, recognized giants - and they turn up as well on Ware’s Super Bass, a tremendous quartet date with Jordan and François Carrier, Ken Vandermark, Maja Ratkje Cherry and plenty of solo space for the bassist. The younger saxophonist Charles Brackeen’s René Lussier, Sarah Neufeld, Colin Stetson Rhythm X features some of Ornette Coleman’s finest sidemen - Cherry, Blackwell and bassist Charlie Haden - and it’s appropriate: Brackeen hadn’t yet found his and many others… original voice, but he turns in a brilliant transposition of Coleman from alto to tenor. A contemporary of Brackeen Full program at www.fimav.qc.ca who had already found his own voices, one warm and reflective, another infernal screaming, leads a virtual percussion orchestra on Izipho Zam (My Gifts), the equal of his contemporaneous Impulse dates. Disc Six is not one of the Frontier sessions, but was the summit of the Dolphy Series: Jordan’s two-LP set Glass Bead Games from October 1973. There are two 15 to 18 May 2014 quartets present, Higgins anchoring one with pianist Cedar Walton and bassist , another with Cowell and bassist Bill Lee. The evolution in Jordan’s playing is palpable: his sense of roots is magnified and with it comes greater timbral fluency and freedom of line, achieving a simultaneous lightness and depth as he negotiates changes and breaks free of them.

For more information, visit mosaicrecords.com

32 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

with strings, winds and voice; the next, a stark solo alto saxophone cry provided by Kris Allen has an a cappella feature. Chris Dingman’s vibraphone gives the album yet another color. On “Lester”, organ and vibes spin a pentatonic melody reminiscent of Larry Young and Bobby Hutcherson. After the recapitulation of the melody, Jimmy Greene’s tenor adds a burning solo, slowly climbing into the altissimo before handing it off

Ripples to guesting jazz piano luminary Kenny Barron. His Noah Baerman (Lemel) pensive and mature solo is supported beautifully by by Brian Charette the counterpoint of talented young bassist, Linda Oh, who appears on two tracks. The drum chair is shared One wouldn’t expect a modern jazz pianist’s recording by in-demand sidemen, Johnathan Blake and Vinnie to start with a countrified violin riff that morphs into Sperrazza. Both gentlemen provide the perfect support, altered pentatonic harmony, closely followed by the whether backing up the bigger chamber pieces or the entrance of an unusual string/wind ensemble and more minimal small group features. choir, but then again, Noah Baerman is full of surprises This is a very enjoyable disc, full of interesting on his new CD. The album is dedicated to Baerman’s sonic treats, unusual ensembles and surprise bolstered aunt Margie Pozefsky and other individuals who have by Baerman’s profound composition and vision. endured life hardships. Baerman himself has struggled with a rare disorder called Ehlers-Danlos Syndrome. For more information, visit lemelrecords.com. This project You can hear in his soulful playing that Baerman is at The Jazz Gallery Mar. 13th. See Calendar. has paid his dues. He has something else going for him too: the ability to orchestrate with the prowess of classical composers of old. Baerman has surely studied orchestration and combines his unusual ensembles deftly with a jazz rhythm section. We hear Baerman on Rhodes and even ripping on organ with walking bass before his elegant and deliberate piano touch emerges from the gorgeous string fog of “The Outer Circle”. Just when you think you’ve heard everything, Baerman wails an incredible slide guitar solo on the funky straight eights of “Peeling the Onion”. The texture of Unsung Heroes, Vol. 2 the album is always in motion; one moment a lone (Holistic MusicWorks) piano melody appears amid a dense harmonic structure by Ken Dryden Brian Lynch is one of the most versatile jazz trumpeters. He was in the last edition of Art Blakey’s Jazz Messengers and has spent over two decades in the Quintet. Unsung Heroes Vol. 2 is the second of three planned CDs dedicated to honoring under- appreciated trumpet masters. Using the same personnel as Vol. 1 (tenor saxophonist Alex Hoffman, pianist Rob Schneiderman, bassist David Wong and drummer Pete Van Nostrand, plus guest alto saxophonist ), Lynch arranged eight mostly obscure compositions by five trumpeters. Tommy Turrentine’s performing career ended prematurely due to illness, with only one solo album and some sideman dates. His “It Could Be” is a midtempo hardbop gem while “Gone But Not Forgotten” is a heartfelt ballad showcasing Lynch’s expressive flugelhorn, backed solely by the rhythm section. Joe Gordon died in a fire in his mid 30s, but not before recording with Art Blakey and Charles Mingus, along with two dates of his own. Lynch is supported by the rhythm section for his warm rendition of Gordon’s intricate ballad “Heleen”. The full sextet is back for the peppy take of Howard McGhee’s “Sandy”, highlighted by superb solos all around. had a long career but spent much of it working in Europe; Lynch includes three Sulieman works: easygoing ballad “Short Steps” opens with the rhythm section alone for a chorus, paving the way for Lynch’s rich flugelhorn; “Out/Dancing Shoes” proves to be the most compelling sextet track, with a punchy, twisting theme and Lynch is back on flugelhorn for the lush “Orange Blossoms”, a ballad played with the rhythm section almost whispering behind him. The late needs no introduction; his “I’m Excited By You” serves as an upbeat closing track, with potent solos by Lynch and Wong. Lynch‘s two originals nicely round out his enjoyable tribute CD.

For more information, visit hollisticmusicworks.com. Lynch is at 92nd Street Y Soul Jazz Festival Mar. 14th with Joey DeFrancesco. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 33

at KITANO JAZZMusic • Restaurant • Bar “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD LIVE JAZZ EVERY WEDNESDAY - SATURDAY $15 WED./THUR + $15 Minimum/Set. $30 FRI./SAT. + $15 Minimum/Set 2 SETS 8:00 PM & 10:00 PM

JAZZ BRUNCH EVERY SUNDAY TONY MIDDLETON TRIO Kin 11 AM - 2 PM • GREAT BUFFET - $35 Pat Metheny Unity Group (Nonesuch) OPEN JAM SESSION MONDAY NIGHTS • $15 MINIMUM Haptikon Elliott Sharp (Long Song) by Alex Henderson 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG In The Pelagic Zone (Live at Porgy & Bess) SOLO TUESDAYS IN FEB. • 8:00 PM - 11:00 PM • $15 MINIMUM Studio Dan/Elliott Sharp (Jazzwerkstatt/Lotus) ver the years, one of Pat Metheny’s strong points has YOUNG PIANO SHOWCASE • MARCH 4, 11, 18 & 25 - JASON YEAGER O Quintet Elliott Sharp Aggregat (Clean Feed) been his willingness to jump into a wide variety of SAT. MARCH 1 CHANTALE GAGNE QUINTET by Kurt Gottschalk musical situations. The veteran guitarist was at his most “THE HORACE SILVER PROJECT” accessible on easy-to-absorb fusion efforts such as 1987’s CHANTALE GAGNE, or a musician as capable of such a variety of work as Still Life (Talking) and 1989’s Letter from Home, but his FREDDIE HENDRIX, , F $30 COVER + $15 MINIMUM Elliott Sharp it would be a mistake to think that any one more abstract and cerebral side asserted itself when he WED. MARCH 5 key could unlock the whole cabinet. But certainly, solo teamed up with Ornette Coleman on 1985’s Song X and STEVE PICATAGGIO QUARTET multi-tracked recordings often provide a good deal of John Scofield on 1994’s I Can See Your House from Here. CD RELEASE EVENT “TWO FEET ON THE GROUND” insight and Haptikon is a particularly clear lens through Metheny adds to the diversity with Kin by his current STEVE PICATAGGIO, JOE ALTERMAN DAAN KLEIJN, MARTIN WIND - which to view the mathematical bluesman. On six working Unity Group of multi-reedist Chris Potter, $15 COVER + $15 MINIMUM tracks, we hear him as composer, improviser and digital bassist Ben Williams and drummer Antonio Sánchez, THURS. MARCH 6 architect, playing a variety of electric guitars and basses adding multi-instrumentalist Giulio Carmassi. REBECKA LARSDOTTER QUARTET REBECKA LARSDOTTER, EMMET COHEN but also programming drums, manipulating samples Lyrical offerings like “Sign of the Season”, “We Go CORCORAN HOLT, MCCLENTY HUNTER and employing a variety of other electronic On” and the 15-minute opener “On Day One” are fairly $15 COVER + $15 MINIMUM FRI. MARCH 7 augmentations. Sharp has the sensibility to employ not accessible, recalling the melodies that Metheny and RICHIE BEIRACH DUO just a variety of instruments but a variety of voices, keyboardist Lyle Mays brought to the Pat Metheny WITH JAMIE BAUM saving the music from feeling static. While making the Group’s ‘80s output. And the Latin and folk elements $30 COVER + $15 MINIMUM record he first laid down drum tracks, repurposing that Metheny often favored back then also assert SAT. MARCH 8 THE WESTERN JAZZ QUARTET them from sessions with his bands Carbon and themselves. But one thing the Pat Metheny Group WESTERN MICHIGAN UNIVERSITY Terraplane into a sometimes disorienting amalgam of didn’t have in the ‘80s was a star saxophonist and CELEBRATING THE 100TH ANNIVERSARY OF THE WMU SCHOOL OF MUSIC acoustic and processed sounds. He then proceeded to Potter is featured extensively. From the gentle CD RELEASE CONCERT “FREE FALL” ANDREW RATHBUN, JEREMY SISKIND lay guitar and bass tracks over that and then took the introspection of “Born” and “Kqu” to the flamenco TOM KNIFIC, KEITH HALL $30 COVER + $15 MINIMUM mixes and edited them to construct new pieces. The fit- leanings of “Rise Up”, Potter is a vital part of the Unity WED. MARCH 12 and-start rhythms are sometimes reminiscent of his Group’s sound. Metheny isn’t shy about letting Potter PRIVATE PARTY recordings with Carbon, but the bluesy playing atop stretch out on no less than six different instruments: JAY SEIDEN 70TH BIRTHDAY gives it a new feel. Haptikon is among Sharp’s best tenor saxophone, soprano saxophone, clarinet, bass ABOUT THE SWING PROJECT bands, even if he’s the only member. clarinet, alto flute and bass flute, giving some postbop THURS. MARCH 13 Such layering is evident as well on In the Pelagic appeal to essentially fusion material (all by Metheny). BOOM TIC BOOM ALLISON MILLER, GARY VERSACE Zone, a 40-minute work performed by a 14-piece Carmassi’s contributions are also impressive: in KIRK KNUFFKE, CHRIS LIGHTCAP chamber orchestra with Sharp on the eight-string addition to acoustic piano, he plays everything from $15 COVER + $15 MINIMUM FRI. & SAT. MARCH 14 & 15 guitarbass. Moving quickly through 11 sections, the trumpet to French horn to trombone and occasionally GEORGE CABLES TRIO piece works in string-line polyrhythms, wavering reed contributes wordless, Brazilian-flavored background GEORGE CABLES, , VICTOR LEWIS drones, melodic percussion counterpoints and gurgling vocals that recall those of Pedro Aznar for the Pat $30 COVER + $15 MINIMUM WED. MARCH 19 electronics to passages setting Aaron Copland-esqe Metheny Group in the late ‘80s-early ‘90s. ANDY SUVALSKY QUARTET melodies against instrumental intrusion and No less than 40 years have passed since the late ANDY SUVALSKY, ASEN DOYKIN MARTIN DOYKIN, YUTAKA UCHIDA improvised passages. The layering here is quite overt, bassist featured a 19-year-old Metheny $15 COVER + $15 MINIMUM even down to section titles (which refer to layers of the on his Jaco album. Metheny’s airy, -influenced THURS. MARCH 20 PEDRO GIRAUDO SEXTET earth) and given depth by Studio Dan, who premiered style of guitar playing is as distinctive and recognizable PEDRO GIRAUDO, ALEJANDRO AVILES and recorded the piece at Vienna’s Porgy & Bess. And as ever and, with Kin, he continues to excel as a soloist, JONATHAN POWELL, RYAN KEBERLE ADAM BIRNBAUM, FRANCO PINNA while Sharp isn’t foremost, his serpentine guitar riffing composer and group leader. $15 COVER + $15 MINIMUM is featured nicely in the seven-minute “On the Beach”. FRI. MARCH 21 RUSS NOLAN QUARTET Sharp is heard more prominently on Quintet, an For more information, visit nonesuch.com. This project is at CD RELEASE EVENT “RELENTLESS” expanded version of his Aggregat trio (with bassist Town Hall Mar. 28th. See Calendar. RUSS NOLAN, MANUEL VALERA MICHAEL O'BRIEN, BRIAN FISHLER Brad Jones and drummer ) heard on the $30 COVER + $15 MINIMUM 2012 Clean Feed release that now gives the group its SAT. MARCH 22 name. That project was a foray into sax-trio territory, BOB FRANCESCHINI & MARK SHERMAN “PROJECT THEM” although Sharp did pick up his guitar on occasion BOB FRANCESCHINI, MARK SHERMAN alongside the tenor and soprano saxophones. This time ARTURO O'FARRILL, FELIX PASTORIUS, BEN PEROWSKY $30 COVER + $15 MINIMUM out he sticks to the reeds, adding bass clarinet to his WED. MARCH 26 arsenal and a pair of brass players (trumpeter Nate SEAN SMITH QUARTET Wooley and trombonist Terry L. Green). The Aggregat SEAN SMITH, LOREN STILLMAN NATE RADLEY, RUSSELL MEISSNER project is by far Sharp’s jazziest work to date and while $15 COVER + $15 MINIMUM on both albums they’re playing from lead charts, the THURS. MARCH 27 AYAKO SHIRASAKI TRIO three-horn frontline gives Quintet an even fuller, free- CD RELEASE EVENT “SOME OTHER TIME” jazz feel. It’s an exciting feel as well, with layers (again) AYAKO SHIRASAKI, NORIKO UEDA, SHINNOSUKE TAKAHASHI $15 COVER + $15 MINIMUM of horn interaction and polyrhythm and fantastic FRI. MARCH 28 playing (including the lesser known Green, who rises ROB DERKE & THE NY JAZZ QUARTET confidently to the occasion). Listening to the three ROB DERKE, ARUAN ORTIZ CARLO DE ROSA, albums alongside one another, it’s an intriguing $30 COVER + $15 MINIMUM surprise to discover that the most unexpected thing SAT. MARCH 29 MARK SOSKIN/ROSEANNA VITRO DUO Sharp can do seems also to be the most traditional. “GREAT AMERICAN COMPOSERS SERIES 1” $30 COVER + $15 MINIMUM For more information, visit longsongrecords.com, RESERVATIONS - 212-885-7119 VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork jazzwerkstatt.at and cleanfeed-records.com. Sharp is at www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St. Roulette Mar. 12th-13th. See Calendar.

34 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD

by trombonist Curtis Fuller; “Lord Walton”, deft and Havana. Nolan’s take on Ellington’s “Solitude” is fleet, has a touch of “” in its veins (Walton pretty standard, Valera’s synths adding odd colors, his played on an alternate take of the Coltrane classic); acoustic solo a study in regal beauty. “Mr. Moore”, a Hazeltine cribbed a Walton arrangement for the band’s midtempo clave with lush saxophone atop percolating strutting version of “My Ship”. The touching title rhythms, reaffirms the album’s central Latin theme, ballad sums up the homage to Walton and, given the pursuing an unusual syncopated rhythm that seems to circumstances, the quartet plays this song as a tender revolve around bars of 5/4 and 4/4 with a deftly reflection on the fragility and evanescence of life. placed rest. “Abakua” closes the proceedings with a The nominal second half of the album has a languorous mambo, Nolan and Co. gracefully

Stellar Power different focus but loses none of its energy. In some launching into heated double-time solos before Landon Knoblock’s CACAW (Skirl) ways it picks up, as proven by the hard-edged R&B returning to their safe Latin oasis of sound. by Elliott Simon vibe on “Eddie Harris” and the smooth “Imagination”. The band has a great time with the darting-among- For more information, visit russnolan.com. This project is CACAW, led by keyboardist Landon Knoblock, is a raindrops head of Charlie Parker’s “Cheryl” and at Jazz at Kitano Mar. 21st. See Calendar. synthesizer-based power trio whose shrill noise- Brazilian breezes invoked by Hazeltine’s bossa nova making ability is only a small piece of its Stellar Power. original “A.D. Bossa”. And despite the futuristic atmosphere that their songs Hazeltine assembled a great group for these sets. Billy Lester about neutron stars and robots engender, this release is Tenor saxophonist Seamus Blake can blow with a is accepting new jazz piano students, more of a modern jazz take on ‘70s jazz-rock fusion feathery lightness, or honk and growl with the most offering an original approach to jazz than a new genre. Their styles cover gut-wrenching impassioned Coltrane acolytes. Bassist David Williams creativity, technique, theory and ear jazz-rock, spaced-out grooves and freeform jazz, and drummer Joe Farnsworth are dynamite on rhythm training to students of all levels. sometimes intermixed within the same song. But the and their ability to build off the phrases of the others common thread is cohesive synth/sax repartée between show why they are first-call players. But Hazeltine is Re: Storytime - Billy’s solo piano CD: Knoblock and saxophonist Oscar Noriega. the central force, the steady hand. He plays with Noriega is a wonderful improviser and he is not lyricism, occasional cleverness and constant elegance, “Connoisseur jazz...at an ever higher level overpowered by Knoblock’s expansive playing and leading with a self-assurance that never devolves into of daring and mastery.” broad compositions. He eerily becomes one with the self-indulgence. For All We Know isn’t exactly a ground- -Howard Mandel, President, electronics and also provides much welcomed organic breaking album (although who says it has to be?) but Jazz Journalists Association reality checks. Knoblock has lots of mind-boggling Hazeltine and his quartet have put together a work “You won’t get any better than this.” sounds and combinations at his disposal and Noriega worthy of high praise. impresses with an ability to stay right with him without -Rotcod Zzaj, rotcodzzaj.com the aid of any electronics. This is the case whether the For more information, visit smokesessionsrecords.com. “Solo jazz piano at its best” two are playing organized quick-stepping sections Hazeltine is at Smoke Mar. 14th-15th. See Calendar. - Scott Albin, Jazz Times in-tandem or individually taking the music to its www.billylester.com extremes. studio in Yonkers, NY The roots of this synchronicity may be from the band’s origin as an acoustic trio, keeping Knoblock hyper-aware of maintaining a group dynamic. Repeated listening though exposes drummer Jeff Davis as a central structuralist who gives meaning to the musical interactions. Davis turns the overly spacey “Tabletop Glances Before Dawn” and closer “Neutron Star, Eating its Binary Neighbor” into strong avant- jazz romps. The music is at its best, however, when all Relentless three hang together and produce a driving cosmic Russ Nolan (Rhinoceruss Music) stew. These moments, such as the hook on “Eyes Heart by Ken Micallef Race”, melody of “Electro-Darwinism” and much of opener “Double Dagger” may be too few for some Jazz musicians have an endless fascination with what listeners but Stellar Power gets its muscle from are generically called “Latin rhythms”, be they Cuban interconnecting across a wide-ranging soundscape. guaguanco, Brazilian samba or even Argentine waltz. Usually stylizing the rhythms to fit the American ear, For more information, visit skirlrecords.com. This project is musicians as diverse as to Chick Corea to at Spectrum Mar. 21st. See Calendar. Dave Valentin have found success working with these ~The Makanda Project ~ below-the-border trademarks. Soprano and tenor

saxophonist Russ Nolan falls hard for samba, baiao, featuring Craig Harris & songo and of course, clave, on his fourth album, Eddie Allen Relentless. Nolan and his quartet of pianist Manuel Valera, and the music of bassist Michael O’Brien and drummer Brian Fishler Dr. Makanda Ken McIntyre joyously navigate the leader’s tunes, their penchant for speed apparent on the samba-infused title track, which begins with a serpentine 16th note melody before Tuesday, March 18th settling (a relative term) into a roller-coaster, quasi 8:00 and 9:30 pm AfroCuban Mozambique. For All We Know Valera is Relentless’ ringer, his airy, flowing lines New York City Baha’i Center David Hazeltine (Smoke Sessions) by Terrell Holmes and chunky chordal assaults all drenched deep in his 53 East 11th Street native Cuban style, the album’s kinetic spark. If New York, NY 10003 Last September pianist David Hazeltine brought a anything, Valera leading these musicians to drink (between Broadway & University) quartet to Smoke and over a couple of nights recorded recalls Michel Camilo’s role in popular early ‘80s outfit Admission is $15.00 per show, the live album For All We Know, a fine mix of time- French Toast (the launching pad for future drum star $10.00 for students. For more information, call 212-222-5159 honored standards and originals. This is essentially a Dave Weckl). The two groups’ sounds and styles are tale of two albums. While For All We Know isn’t similar, though French Toast included additional horns with: officially a tribute album, the influence of pianist and in trumpeter Lew Soloff and baritone saxophonist Kurtis Rivers / Arni Cheatham / Sean Berry Hazeltine mentor Cedar Walton, who had passed away Ronnie Cuber. Jason Robinson / Charlie Kohlhase / Eddie Allen a few weeks earlier, is prominent on the first five songs, A deep well, Latin rhythms are endlessly pliable, Jerry Sabatini / Craig Harris / Robert Stringer three of which are Hazeltine originals: hard-swinging as heard to further effect in Nolan’s “It Ain’t Child’s Bill Lowe / Diane Richardson / John Kordalewski “Et Cedra” is a clever anagram of “Cedar”; delightful Play”, a dancing samba augmented by percussionist Wes Brown / Warren Smith “Pooh” takes its title from a nickname given to Walton Yasuyo Kimura, featuring a Valera solo that is pure

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 35

his peak period and well documented later in his life. means of [their] voices and instruments … those In his case it’s not so much a lack of opportunities to outside sound situations.” Lucier allows that the stretch out, owing to the confines of both his status as recording be done by memory, note-taking or with a a sidemen in era and the time limitations recording device but requires the performance to of 78-rpm records. Young’s postwar playing was less reflect an unedited span of listening time. otherworldly but still wonderful; the Savoy and This session is, first off, a wonderfully pleasant Aladdin sides are consistently strong and many of the abstract listen, held together for the most part by the Verve sessions also stand up very well. The live unceasing sauntering of guitarist Wiek Hijmans (billed recordings he left from the postwar years are, if here as “Wiek Humans”). Grumbling bass clarinet

Heroes + Misfits anything, even better, at least regarding his own lines by Gareth Davis and passing flute interjections Kris Bowers (Concord) playing. The live material really began to appear in the from Anne La Berge plus seemingly sparser statements by Sean O’Connell ‘70s on bootleg LPs from fly-by-night labels, usually from pianist Reinier van Houdt and bassist Dario with no information as to who, where or when. But Calderone give shape to the sonic setting, the whole of Two and half years have passed since pianist Kris shoddy packaging, lo-fi sonics or crummy pressings which is sustained like banana slices in a Jell-O mold Bowers won the Monk Piano Competition. Aside from could not hide the fact that Lester was blowing great by the electronics employed by La Berge, Van Houdt the generous check he got, he was also awarded a live jazz in the late ‘40s-early ‘50s. and Yannis Kyriakides. All of this is executed with the Concord recording contract. Now 24, Bowers did a lot Boston 1950 presents more of this great music, but performers listening to their audio recordings on of learning about the piano and what he intended to do there is nothing shoddy about the packaging, which headphones, doing their best not to interact with each with his debut in that timespan. He popped up on Jay features well-written, detailed notes and great photos other. This raises interesting questions about the notion Z and Kanye West’s Watch the Throne and traveled the in a 20-page booklet. Sound quality is a step up from of group performance, something that would, again, world with vocalist José James. The results reflect the vinyl boots and the fact that the material has never be interesting if it weren’t so appreciable. those experiences, dishing out as much R&B as solo- previously been released is the icing on the cake. The It would seem to be Kyriakides who called the oriented jazz. One of the more unexpected influences, first 14 tracks date from 1950 Hi-Hat broadcasts and affair to order. He is the one, in any event, who penned however, would be New Wave Briton Joe Jackson. feature trumpeter Jesse Drakes, whose steady the liner notes and he already has a catalogue of work Following the ambient chirps and swirling piano personality is probably what accounted for him being based on sound and memory, from his manipulations of brief album opener “Forever Spring”, Adam Agati’s Young’s regular frontline partner during this period. of Greek rebetika music with The Ex guitarist Andy jagged guitar introduces “Wake the Neighbors”. His soloing is certainly adequate but rarely much more Moore to a beautiful record of childhood vacation Bowers springs in with a sound that all but begs for a than that. Young Kenny Drew contributes some good remembrances. If (Amsterdam) Memory Space doesn’t cover of Jackson’s 1982 radio staple “Steppin’ Out”. piano solos and it’s interesting to hear Connie Kay apply to every listener’s memory of the city, or if not It’s a curious vibe and probably a bit of a shock for a sounding like a bebop drummer, as he does on the every listener has been there, it still might evoke the listener expecting renditions of “Blue Monk”. uptempo numbers. But the main attraction is Young crossing paths and conflicting tempos of urban life. It Unfortunately for them, things only get more eclectic and no fan of his playing will want to miss his soloing will at least likely please most listeners open to from there. The most youthful and trendy gesture is here. “Too Marvelous For Words” and “Jeepers experiencing non-centered music. naming a song after a hashtag. “#TheProtestor”, driven Creepers” could easily be descriptions of the tenor by drummer Jamire Williams’ pinpoint funk, pushes solos on these numbers and it’s an extra treat to hear For more information, visit unsounds.com. The Music of saxophonists Casey Benjamin and Kenneth Whalum III him on “Slow Boat to China”, of which no other known Lucier is at Roulette Mar. 28th-29th. See Calendar. to work in tandem over a pounding backbeat. recording exists. The last two tracks are from 1953 and Meanwhile, vocalist Julia Easterlin lays down a bed of feature Horace Silver on piano. Though Young is not bouncy overdubs for her sensual outpouring on quite as brilliant on these two numbers, they are very “Forget-Er” before bassist Burniss Earl Travis II pulls worthwhile bonus tracks. the band out of the clouds for a minute with a sparse but twisting line. “WonderLove”, evoking mid ‘70s For more information, visit uptownrecords.net Stevie Wonder, swirls with headphone magic, a compelling vocal performance from Chris Turner and another unbreakable beat from Williams. The saxophonists get a lot of grooving and unexpected honks for such a radio-friendly gem. José James shows up to close out the proceedings on the oscillating “Ways of Light”, bringing his swoon-inducing croon to maximum seduction levels. Bowers takes a spirited but all too short solo, full of straightahead potential. The album is a varied collection of ambitious tunes that should help Bowers fill some concert venues (Amsterdam) Memory Space and reach some young record buyers. He has a wide Alvin Lucier / MAZE (Unsounds) range of interests and investigates nearly all of them in by Kurt Gottschalk less than an hour for a fairly cohesive package, evoking recent albums by artists like Robert Glasper and Alvin Lucier’s 1970 composition Memory Space is very Thundercat. It will be interesting to see where he much a product the age of directive art, sitting squarely focuses his spotlight on the next release. alongside Yoko Ono’s action paintings and some of the Fluxus instructional compositions. Such works weren’t For more information, visit concordmusicgroup.com. This concerned with dictating the sound of the piece so project is at Rockwood Music Hall Mar. 20th. See Calendar. much as the means of arriving at it, generally reflecting some aesthetic philosophy and, perhaps, providing an

illuminating experience for the interpreter. It’s the very root of “concept art” (a term coined by Fluxus composer and visual artist Henry Flynt), wherein the work is not a score or a painting but just the concept of what might be put on the staves or canvas. An intellectual exercise to be sure and one that runs the risk of being little more than interesting unless (subjective as it is) something appreciable happens. And happily, given the nearly 45 years between the

composition and MAZE’s realization, (Amsterdam) Boston 1950 Lester Young (Uptown) Memory Space is not mere avant garde archeology. by Duck Baker Following the instructions of the score, the six members of the group separately set out upon Amsterdam to Like many another jazz icon, Lester Young (who died record the “sound situations” of the environment, then 55 years ago this month) was under-recorded during reconvened to (as per the score) “re-create, solely by

36 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD the invasion parade is a celebration of freedom, and the best way i have in order to celebrate and express who i am is creating alfredo music from my experiences. we'd love to invite every rodríguez person to be a part of our the celebration. invasion parade - alfredo rodríguez

alfredo rodríguez with peter slavov henry cole roman filiu billy carrion and javier porta

special guests: pedrito martinez

produced by and alfredo rodríguez

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NYC JAZZ RECORD - 1/2 PAGE - 9.5” X 6” B/W

LIVE MUSIC 7 NIGHTS BROADWAY AND 51ST • RESERVATIONS: 212-582-2121 • BUY TICKETS AT: WWW.THEIRIDIUM.COM MARCH 2014 LIKE US FOLLOW US MAR 1 / 8:00PM & 10PM MAR 6-7 / 8:00PM & 10PM MAR 8 & 10 / 8:00PM & 10PM MAR 14 / 8:00PM & 10PM MAR 15 / 8:00PM & 10PM

MARTY BALIN JIMMY WEBB EDGAR WINTER CRIS JACOBS MIKE PETERS

MAR 17 / 8:00PM & 10PM MAR 19-20 / 8:00PM & 10PM MAR 21 / 8:00PM & 10PM MAR 26-28 / 8:00PM & 10PM APRIL 26 / 8:00PM & 10PM

MATT SCHOFIELD LEE DEWYZE SHEMEKIA COPELAND SIMON KIRKE HOLMES BROTHERS

1650 Broadway (51st) New York, NY 10019 Reservations: (212) 582.2121 • www.theiridium.com LIVE MUSIC 7 NIGHTS CALENDAR

Saturday, March 1 Monday, March 3 • Groover Trio Fat Cat 9 pm • Roger Davidson; Mark Radcliffe; Joe Alterman êLady Got Chops Fest: Bertha Hope Quartet with Lakecia Benjamin, Kim Clarke, êBenefit for Dwayne Burno: Branford Marsalis and Friends Caffe Vivaldi 7:15, 8:30, 9:30 pm Lucianna Padmore First Reformed Church Of Jamaica 1 pm Village Vanguard 8:30, 10:30 pm $25 • Alex Rivas/Adam Ramsay Collective with Shawn Whitehorn Jr, Lluis Capdevila, êThe Spring Quartet: Jack DeJohnette, Joe Lovano, Esperanza Spalding, Leo Genovese; êThink Shadow: Sean Conly/Michaël Attias; William Parker/Ingrid Laubrock; Curtis Ostle; Alignment: Andrew Pereira, Vaughn Stoffey, Mitchell Cheng, Jeff Dingler, Cécile McLorin Salvant Rose Hall 8 pm $30-120 Content Provider: Brandon Seabrook, Briggan Kraus, Ingrid Laubrock, Andrew Drury Michael Winnicki Somethin’ Jazz Club 7, 9 pm $10-12 êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis, Justin Faulkner Clemente Soto Velez Cultural Center 7:30 pm $22 • Claire Duncan Tomi Jazz 8 pm $10 Village Vanguard 8:30, 10:30 pm $25 êMax Raabe & Palast Orchester Stern Auditorium 8 pm $10-90 • Aimee Lauren Jules Bistro 8 pm êQuest: Dave Liebman, Richie Beirach, Ron McClure, êUri Caine Trio; Jean-Michel Pilc Trio with Richard Bona, Obed Calvaire; • Yvonnick Prene Quartet The Garage 7 pm Birdland 8:30, 11 pm $40 Spencer Murphy Jam Smalls 7:30, 10:30 pm 12:30 am $20 • Coyote Anderson Quartet Brooklyn Heights Cinema 9 pm êHouston Person Quartet with Lafayette Harris, Matthew Parrish, Chip White • Kenny Werner and Janis Mann with Martin Wind, Tim Horner • Joe Pino Quintet Silvana 7 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 Blue Note 8, 10:30 pm $15 êNewport Jazz Festival - Now 60: Karrin Allyson, Randy Brecker, Anat Cohen, êDexter Gordon Legacy Ensemble: George Cables, Jerry Weldon, Rufus Reid, • Combo Nuvo: David Schroeder, Lenny Pickett, Billy Drewes, Brad Shepik, Mark Whitfield, Peter Martin, Ben Allison, Clarence Penn Victor Lewis Dizzy’s Club 7:30, 9:30 pm $40 Rich Shemaria, Mike Richmond, John Hadfield Jazz Standard 7:30, 9:30 pm $35 êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole Dizzy’s Club 7:30, 9:30 pm $30 êBarry Harris Trio with Ray Drummond, Leroy Williams Miller Theatre 8 pm $20-30 êShayna Dulberger Quartet with Yoni Kretzmer, Chris Welcome, Village Vanguard 8:30, 10:30 pm $25 • Brentano String Quartet with guest Vijay Iyer Roulette 8 pm $20 êBilly Hart Quartet with , Ethan Iverson, Ben Street 92nd Street Y 8 pm $35 • Camille Thurman Quartet Bronx Museum 7 pm Birdland 8:30, 11 pm $40 êDavid Berkman Quartet with Dayna Stephens, Ugonna Okegwo, Rudy Royston êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êDonald Harrison, Ron Carter, Billy Cobham Smoke 7, 9, 10:30 pm $38 • Lindsey Wilson and The Big Guns with Reggie Sylvester, M.E. Grant, Ted Simmons, Blue Note 8, 10:30 pm $35 • Bill Evans Soulgrass with Marco Benevento, John Popper, Ryan Cavanaugh, Michael Trottman; Kevin Farrell Trio with Mike Bono, Jimmy Macbride • Yusuke Seki Quintet Shrine 6 pm Dave Anderson, Mitch Stein, Josh Dion ShapeShifter Lab 7, 8:15 pm $10 • Bob Rodriguez, Lee Marvin, Kresten Osgood Blue Note 8, 10:30 pm $35 • Scott Tixier Quartet Fat Cat 9 pm Lehman College 5 pm • Darren Lyons Group Blue Note 12:30 am $10 • Melissa Stylianou Trio with Steve Cardenas, Gary Wang • Celebrating Marian McPartland: Emily Bear/Peter Slavov êBen Goldberg, Craig Taborn, Ches Smith; Unfold Ordinary Mind: Rob Sudduth, Bar Next Door 8:30, 10:30 pm $12 Winter Garden 12:30 pm Ellery Eskelin, Craig Taborn, Ben Goldberg, Ches Smith • Anthony Cekay Organ Trio with Ben Paterson, Christian Coleman The Stone 8, 10 pm $15 LIC Bar 7:30 pm Thursday, March 6 êKris Davis Trio with Sean Conly, Tom Rainey • Ark Ovrutski Zinc Bar 9 pm Cornelia Street Café 9, 10:30 pm $15 • Swingadelic Swing 46 8:30 pm êHighlights in Jazz - Salute to Ken Peplowski: Bucky Pizzarelli, Houston Person, êSusie Ibarra and Mirah Yom Tov Zeitlyn with Steven Reker, Alex Guy, Matt Gold • Jason Prover Sneak Thievery Orchestra Derek Smith, Nicki Parrott, Chuck Redd Merkin Concert Hall 7:30 pm $25 Radegast Hall 8 pm Tribeca Performing Arts Center 8 pm $40-45 êMelissa Aldana/Kevin Hays The Jazz Gallery 9, 11 pm $20 • Matt Baker/Marissa Mulder Le Cirque Café 8 pm • The Music of Ella and Ellington: Patti Austin with The Duke Ellington Orchestra • Richie Vitale Quintet; Rick Germanson Quartet with Eddie Henderson, Gerald Cannon, • Antonio Ciacca Group Measure 8 pm Town Hall 8 pm $51.50-81.50 Willie Jones III Smalls 7:30, 10:30 pm $20 • Tango Organ Trio: Julio Botti, Eduardo Withrington, Franco Pinna; êDarius Jones’ The Oversoul Manual with Elizabeth-Caroline Unit: Amirtha Kidambli, • Nicky Parrot/Jill McCarron Knickerbocker Bar and Grill 9:45 pm $5 Carol Sudhalter Quartet Somethin’ Jazz Club 7, 9 pm $10-12 Sarah Dyson, Kristin Slipp, Jean-Carla Rodea • Chantale Gagne Horace Silver Project with Grant Stewart, Freddie Hendrix, • Misa Ogasawara Tomi Jazz 8 pm $10 Roulette 8 pm $20 John Webber, Carl Allen Jazz at Kitano 8, 10 pm $30 • Leco Reis Jules Bistro 8 pm • Herb Robertson, Mat Maneri, Ed Schuller, Randy Peterson, Kresten Osgood; êMara Rosenbloom solo and Trio with Adam Lane, Jeff Davis • Howard Williams Jazz Orchestra The Garage 7 pm Michael Blake, Charlie Burnham, Alex Blake, Kresten Osgood Ibeam Brooklyn 8:30 pm $15 • Raviv Markovitz Band; Victor Baker Band Cornelia Street Café 8:30, 10 pm $10 • Sofía Rei Sextet with Josh Deutsch, JC Maillard, Eric Kurimski, Jorge Roeder, Silvana 6, 10 pm êAndrew Drury’s Content Provider Trio with Ingrid Laubrock, Briggan Krauss; Tupac Mantilla Jamaica Performing Arts Center 7 pm Colonic Youth: Dan Blake, Philip White, James Ilgenfritz, Kevin Shea • Negroni Trio; Raphael D’Lugoff Quintet; Edin Ladin Quartet Tuesday, March 4 The Firehouse Space 8 pm $10 Fat Cat 7, 10 pm 1:30 am • Carolyn Leonhart/’s Soul Stop • Patrick Cornelius Trio with Linda Oh, Eric Doob êNewport Jazz Festival - Now 60: Karrin Allyson, Randy Brecker, Anat Cohen, Ginny’s Supper Club 8:30 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 Mark Whitfield, Peter Martin, Ben Allison, Clarence Penn êRuss Lossing, Billy Mintz, Nicolas Letman-Burtinovic; Three Part Invention: • Lady - Celebrating Women “Hertory” Month: Linda Hudson, Adi Meyerson, Jazz Standard 7:30, 9:30 pm $35 Russ Lossing, , Ralph Alessi Kathleen Doran, Josephine Morena Cuevas, Carolyn Holmes, Noel Simon’ Wippler, êBarry Harris Trio with Ray Drummond, Leroy Williams Spectrum 7:30, 9 pm Lia Chang Nuyorican Poets Café 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $25 êBria Skonberg and Friends with Evan Arntzen, Sean Cronin, Darrian Douglas, • Sophie Allso Zinc Bar 7 pm êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Dalton Ridenhour Baruch Performing Arts Center 7 pm $25 • Morrie Louden Group ShapeShifter Lab 8:15 pm Birdland 8:30, 11 pm $40 • Isaiah Jamel and Friends with Les Cleveland, Tabreeca Woodside, Felicia Grosvenor, • Linda Presgrave Quartet with Stan Chovnick, Fred Weidenmueller, Seiji Ochiai; êDonald Harrison, Ron Carter, Billy Cobham Cheryl Grigg; Stephen Gauci/Yoni Kretzmer Quartet with Ken Filiano, Michael Wimberly; Ben Rosenblum Group with Ben Ruben-Schnirman, Ben Zweig; Harrison Young; Blue Note 8, 10:30 pm $35 Rafael Rosa Group with Joel Mateo, Jan Kus, Dan Martinez, Carlos Homs Golden Ratio Project: ArcoIris Sandoval, Mimi Jones, Karina Colis • Carnival Caravan: Scott Ketter, Fabiana Masili, Mark Marshall, Ze Grey, ShapeShifter Lab 7, 8:15, 9:30 pm $10 Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 Aaron Shafer-Haiss and guests Brian Drye, Petr Cancura • Rebecka Larsdotter Quartet with Emmet Cohen, Corcoran Holt, McClenty Hunter and • The Complete Unknowns; Sean McLuskey Trio Dizzy’s Club 7:30, 9:30 pm $35 guest Wycliffe Gordon Jazz at Kitano 8, 10 pm $15 Tomi Jazz 8, 11 pm $10 • Frank Perowsky Big Band NYC Baha’i Center 8, 9:30 pm $15 • Saul Rubin Zebtet Fat Cat 10 pm • Antonio Ciacca Group Measure 8 pm êPeter Evans/Cory Smythe; Rebekah Heller, Ryan Muncy, Morgan Krauss • Ben Flocks Trio with Ross Gallagher, Evan Hughes • George Stella Quartet Cleopatra’s Needle 8 pm The Stone 8, 10 pm $15 Bar Next Door 8:30, 10:30 pm $12 • Jordan Young Jules Bistro 8:30 pm êMatt Mitchell, Chris Tordini, Dan Weiss; Sebastien Amman/Jacob Teichroew Quartet • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm • 13 Moons: Gray Hawk Perkins and Mezcal Jazz Unit Korzo 9, 10:30 pm • Kyle Armbrust/Kivie Cahn-Lipman; Dan Peck Silvana 8 pm • Jack Jeffers and the New York Classics with Monika Oliveira The Stone 8, 10 pm $15 • Andy Bianco Quartet Shrine 6 pm Zinc Bar 8, 10 pm • Lakecia Benjamin Pianos 9 pm • Larry Newcomb Quartet; Hide Tanaka Trio; Akiko Tsuruga Trio • Matt Pavolka Horns Band with , Loren Stillman, Jacob Garchik, • Baby Soda Jazz Band Radegast Hall 9 pm The Garage 12, 6, 10:30 pm Mark Ferber Barbès 9 pm $10 • Michael Webster’s Standard Fresh Trio with Dan Loomis, Ryan Hayden; Corina Bartra • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Josh Evans, with Matt Stackler, Billy Newman, Dan Kaufman, Uri Klainman, Perico Diaz; Sunday, March 2 Stacy Dillard, Frank Lacy, Theo Hill, Rashaan Carter, Kush Abadey; Tamuz Nissim Quartet with Giorgos Nazos, Nadav Lachish, Dani Danor Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 Somethin’ Jazz Club 7, 9, 11 pm $10-12 êBoogaloo Sunday with Lou Donaldson êMolly Ryan with the Grand Street Stompers • Kuni Mikami Tomi Jazz 9 pm $10 Blue Note 8, 10:30 pm $30 The Players Club 7 pm • Nathan Brown Trio Cleopatra’s Needle 7 pm êBen Goldberg/Myra Melford; Ben Goldberg, Devin Hoff, Ches Smith • Dollshot: Rosalie Kaplan, Noah Kaplan, Wes Matthews, Peter Bitenc, Mike Pride • George Weldon Trio The Garage 7 pm The Stone 8, 10 pm $15 ShapeShifter Lab 9:30 pm $10 • Eliane Elias with Steve Cardenas, Marc Johnson, Marco Zottarelli • Henry Cole Trio with Adam Rogers, Joe Sanders • Jonathan Greenstein Trio with Tamir Schmerling, Colin Stranahan Dizzy’s Club 7:30, 9:30 pm $45 Cornelia Street Café 8:30 pm $10 Bar Next Door 8:30, 10:30 pm $12 êPeter Bernstein Quartet with Sam Yahel, Doug Weiss, Bill Stewart; Emmet Cohen Trio êThomas Heberer/Ken Filiano; Michael Foster, Pascal Niggenkemper, Michael Evans; • Jason Yeager solo Jazz at Kitano 8 pm with Russell Hall, Mark Whitfield Jr. Alex Weiss’ Fighter Planes & Praying Mantis with Eyal Maoz, Rick Parker, • Eric DiVito with John Yao, Corcoran Holt, Ronen Itzik Smalls 9:30 pm 12:30 am $20 Dmitry Ishenko, Yoni Halevi Legion Bar 8, 9, 10 pm $10 Austin’s Ale House 7 pm êRandy Napoleon Group Measure 8 pm • Lezlie Harrison; Johnny O’Neal with Paul Sikivie, Charles Goold; • Ichka; Siach Hasadeh Stephen Wise Free Synagogue 7:30 pm $15 êNewport Jazz Festival - Now 60: Karrin Allyson, Randy Brecker, Anat Cohen, Dmitry Baevsky Quartet with Jeb Patton, Mike Karn, Joe Strasser • Steve Nelson Trio with Andrew Freedman, Adi Meyerson; Les Machines Volantes: Mark Whitfield, Peter Martin, Ben Allison, Clarence Penn Smalls 7:30, 10 pm 12 am $20 Lukas Pfeil, Antonello Parisi, Jeremy Heuler, Tanguy Stevenart; Forest Band: Jazz Standard 7:30, 9:30 pm $35 • Jill McCarron solo Measure 8 pm Itamar Shatz, Yoav Shlomov, Tomer Bar, Max Oleartchik, Itay Morchi êBarry Harris Trio with Ray Drummond, Leroy Williams • Nick Lyons solo; Jabberclaw: Brian Drye, Mike McGinnis, Jon Arkin; Somethin’ Jazz Club 7, 9, 11 pm $10 Village Vanguard 8:30, 10:30 pm $25 Schimscheimer Family Trio: Michael Coleman, Kasey Knudsen, Jon Arkin • Ben Charnley Tomi Jazz 8 pm $10 • Trio Shalva: Assaf Gleizner, Koby Hayon, Nadav Snir-Zelniker Ibeam Brooklyn 8:30, 9:15, 10 pm $10 • Luke Franco Jules Bistro 8 pm Birdland 6 pm $20 • Tiger Speak; The Love Experiment ShapeShifter Lab 8:15, 9:30 pm $10 • Randy Johnston Trio The Garage 7 pm êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Scot Albertson/Dan Furman Klavierhaus 7 pm • Wren Marie Harrington Silvana 8 pm Birdland 8:30, 11 pm $40 • Fat Cat Big Band Fat Cat 8:30 pm • Antonio Ciacca Group Measure 8 pm êDonald Harrison, Ron Carter, Billy Cobham • Broc Hempel, Sam Trapchak, Christian Coleman with guest Ochion Jewell • Ekah Kim Quartet Shrine 6 pm Blue Note 8, 10:30 pm $35 Dominie’s Astoria 9 pm • Paul Abler/James Weidman Whole Foods Columbus Circle 6 pm • Marie-Claire Metropolitan Room 7 pm $20 Wednesday, March 5 êJoe Fiedler Trio with Rob Jost, Michael Sarin • Patrick Derivaz, Cornelius Dufallo and guest Martha Mooke Silvana 6 pm Spectrum 7 pm êMary Lou Williams Tribute - The Next Generation: Kris Bowers, Courtney Bryan, • Evan Gallagher Ensemble ABC No-Rio 8 pm $5 Gerald Clayton, Harlem Stage Gatehouse 7:30 pm $20 • The Restrictor: Adam Dym, Damien Olsen, Kevin Rozza, Anthony Delio • Eliane Elias with Steve Cardenas, Marc Johnson, Marco Zottarelli The Firehouse Space 8 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 ANDREW RATHBUN • Kathleen Potton; Philipp Gerschlauer Microtonal Band with Kuba Chichocki, êPeter Bernstein Quartet with Doug Weiss, Sam Yahel, Bill Stewart; Jon Beshay Quartet saxophones Marty Kenney, Marekie Wiening; Brothers of Contrapuntal Swing: Jimmy Halperin, Smalls 9:30 pm 12:30 am $20 JEREMY SISKIND Larry Meyer, Dave Frank, Bill McCrossen, George Hooks êValery Ponomarev “Our Father Who Art Blakey” Big Band piano Somethin’ Jazz Club 5, 7, 9 pm $12 Zinc Bar 8 pm • Nightingale Jazz Band; John Lander Trio êTree Way: Ryan Keberle, Justin Carroll, Jeff Davis and guest Jonathan Goldberger; TOM KNIFIC Caffe Vivaldi 8, 9 pm Control This!: Michael Blake/Kresten Osgood bass êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis, Justin Faulkner Ibeam Brooklyn 8:30, 9:30 pm $10 KEITH HALL Village Vanguard 8:30, 10:30 pm $25 • Joe Farnsworth Quintet with Eric Alexander, Andrew Beals, Harold Mabern, drums êHouston Person Quartet with Lafayette Harris, Matthew Parrish, Chip White John Webber An Beal Bocht Café 8, 9:30 pm $15 with special guest Jazz Standard 7:30, 9:30 pm $25 Gregg August Quintet with Sam Newsome, Stacy Dillard, Luis Perdomo, • TIM HAGANS êDexter Gordon Legacy Ensemble: George Cables, Jerry Weldon, Rufus Reid, Donald Edwards Smoke 7, 9, 10:30 pm trumpet Victor Lewis Dizzy’s Club 7:30, 9:30 pm $40 • John O’Gallagher Trio with Johannes Weidenmuller, Mark Ferber; Maria Grand Trio with êBrandon Seabrook solo 61 Local 6 pm $10 Jon Michel, Craig Weinrib SEEDS 8:30, 10 pm • Daniel Carter, Kurt Ralske, Jonathan Wood Vincent, Miriam Atkin • Molly Tiger: Mitch Marcus, Chris Hiatt, Ezra Gale, Damon Grant, Tom Diehl v i s it: wmu ja z z . com Downtown Music Gallery 6 pm Barbès 8 pm $10 • Charles Caldarola Quartet Silvana 6 pm • Steve Picataggio Quartet with Joe Alterman, Daan Kleijn, Martin Wind new CD F ree Fa l l available on • Ike Sturm and Evergreen Saint Peter’s 5 pm Jazz at Kitano 8, 10 pm $15 iTunes & Amazon.com • Radiance 2 Festival: Akua Dixon, Cecil Bridgewater, Fredrika Krier, Ariadna Kryazheva, • Bridget Kibbey/James Austin Smith; ICEstorm Jennifer Axelson, Megan Atchley, Charisa Dowe-Rouse, Pamela Hamilton, The Stone 8, 10 pm $15 Saturday March 8th 8 & 10 PM Nioka Workman, Nicole Vederosa, Melissa Slocum, Riza Printup • Pedro Giraudo Sextet with Alejandro Aviles, Jonathan Powell, Mike Fahie, WJQ Manna House Workshop 4 pm Jess Jurkovic, Franco Pinna Terraza 7 9:30 pm $7 • Alicia Olatuja Abyssinian Baptist Church 4 pm • Thomas Heberer, Nathan Ellman-Bell, Nicolas Letman-Burtinovic CD T H E KI TA NO êAruán Ortiz Orbiting Quartet with , Rashaan Carter, Eric McPherson Bar Chord 9 pm 66 Park Avenue at East 38th St Abrons Arts Center 3 pm • TheTakeOffCollective: , Matt Garrison, Marko Djordjevic; Dan Lehner’s RELEASE êBob Dorough’s Schoolhouse Rock Memory Field with Nathan Hook, Sammy Weissberg, Dan Kurfirst; New York NY 10016 Joe’s Pub 12 pm $20 Nathan Hook’s Mobiustrip ShapeShifter Lab 7, 8:15, 9:30 pm $10 EVENT • Rich Perry’s NYU Jazz Ensemble Blue Note 11:30 am 1:30 pm $29.50 • Michael Gold Quintet with Bob Arthurs, Gary Levy, Charles Sibirsky, Taro Okamoto Tel: 212- 885- 7000 • Kelley Suttenfield Trio with Tosh Sheridan, Matt Aronoff Cornelia Street Café 6 pm $10 North Square Lounge 12:30, 2 pm • Lady Got Chops Fest: Carolina Calvache with Tivon Pennicott, Yasushi Nakamura, R sv n: 1- 800 - KI TA NO-NY • Kyoko Oyobe Trio; David Coss Quartet EJ Strickland Cornelia Street Café 8:30 pm $10 w w w. k ita n o. co m /Ja z z - Sc h e d u l e The Garage 11:30 am 7 pm • Randy Napoleon Group Measure 8 pm

38 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Friday, March 7 • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig Zinc Bar 7:30 pm êRichie Beirach/Jamie Baum Jazz at Kitano 8, 10 pm $30 • Leo Genovese’s The Favela in You with Machi Rufino, Uri Gurvich, Dan Blake, êTim Berne, Dave King, Ryan Ferreira; Dave King Trucking Company George Mel, Francesco Marcocci, Mariano Gil, Juan Oholeguy, Claudio Altesor, ShapeShifter Lab 8:15, 9:30 pm $15 Sergio Camaran Whynot Jazz Room 8:30 pm êNate Wooley Quintet with Josh Sinton, Matt Moran, Eivind Opsvik, Harris Eisenstadt • The Western Jazz Quartet Celebrating the 100th Anniversary of the Western Michigan Greenwich House Music School 8 pm $15 University School of Music: Andrew Rathbun, Jeremy Siskind, Tom Knific, Keith Hall 2 ê Jazz at Kitano 8, 10 pm $30 0

Scott DuBois Quartet with Jon Irabagon, Thomas Morgan, Kresten Osgood 1

Cornelia Street Café 9, 10:30 pm $15 • Steve Carrington; Ben Meigners Sextet; Will Terrill 4 êTia Fuller Quartet with Shamie Royston, Mimi Jones, Rudy Royston Fat Cat 7, 10 pm 1:30 am Smoke 7, 9, 10:30 pm $38 • Tom Dempsey Trio with Ron Oswanski, Alvin Atkinson MARCH 8 • Ben van Gelder The Jazz Gallery 9, 11 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 êThe New York Standards Quartet: Tim Armacost, David Berkman, Ugonna Okegwo, • Vampillia; Mick Barr/Chuck Bettis; Colin Marston Gene Jackson; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Silent Barn 9 pm Cameron Brown, Anthony Pinciotti; Anthony Wonsey Trio êSatchmo Mannan Band with Wink Ellington Flythe, Brian McKenzie, Vinnie Ruggiere, Smalls 7:30, 10:30 pm 1 am $20 Norbert Massius, Darrell Smith, Yurie Fukuyawa, Teri Davis, David Gilmore, Makiko • Marika Hughes and Bottom Heavy with Kyle Sanna, Fred Cash, Charlie Burnham, Cleopatra’s Needle 8 pm Tony Mason BAMCafé 9 pm • MUSOH: Jostein Gulbrandsen, George Dulin, Trifon Dimitrov, Yutaka Uchida; êLeslie Pintchik Trio with Scott Hardy, Alvin Atkinson YA DIG?!: Keith Jordan, Herb Lewis, Fred Pratt, Vince Warren, Jose Ramon Rosario; Bar Next Door 7:30, 9:30, 11:30 pm $12 Craig Hartley Trio with Carlo De Rosa, Jeremy “Bean” Clemons; Taeko Sebe Trio with • Nanny Assis/John di Martino Knickerbocker Bar and Grill 9:45 pm $5 Harvie S, Steve Williams and guest Kenji Herbert • Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 Barbès 8 pm $10 • Yoshiki Miura Trio; Jeff Richardi Tomi Jazz 8, 11 pm $10 • The JazzFakers: Pas Musique, Raphael Zwyer, David Tamura, Matt Luczak • Chuck Braman Jules Bistro 8:30 pm The Firehouse Space 8 pm $10 êTia Fuller Quartet with Shamie Royston, Mimi Jones, Rudy Royston • Manuel Valera Quartet Terraza 7 9:30 pm $7 Smoke 7, 9, 10:30 pm $38 • Lady Got Chops Fest: Salute to George Duke, Don Blackman, Jef Lee Johnson and êJaimoe’s Jasssz Band with Junior Mack, Dave Stoltz, Bruce Katz, Paul Lieberman, Sugarfoot: Aziza Miller, Portia Rolle, Deborahlyn Cole, Kit McClure, Kim Clarke, Kris Jensen, Reggie Pittman Lucille’s at BB King’s Blues Bar 12 am $20 Camille Gainer Zinc Bar 7 pm • Ben van Gelder with Thomas Morgan, Sam Harris, Peter Schlamb, Craig Weinrib • Lady Got Chops Fest: LoWood Quartet The Jazz Gallery 9, 11 pm $20 Shell’s Bistro 9 pm êThe New York Standards Quartet: Tim Armacost, David Berkman, Ugonna Okegwo, • Pedro Costa Experimental Intermedia 9 pm Gene Jackson; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, • Jared Gold/David Gibson Fat Cat 10:30 pm Cameron Brown, Anthony Pinciotti • Cheryl Richards/Connie Crothers Duo; Carol Liebowitz, Ron Horton, Smalls 7:30, 10:30 pm $20 Maryanne de Prophetis; Andrea Wolper/Ken Filiano • Nanny Assis/John di Martino Knickerbocker Bar and Grill 9:45 pm $5 Ibeam Brooklyn 8 pm $15 • Eliane Elias with Steve Cardenas, Marc Johnson, Marco Zottarelli • Cynthia Sayer’s The Show Joe’s Pub 7 pm $20 Dizzy’s Club 7:30, 9:30 pm $50 • Claire Chase/Joshua Rubin; Peter Tantsits/Phyllis Chen êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street 8pm The Stone 8, 10 pm $15 Birdland 8:30, 11 pm $40 • James Moore solo Spectrum 8:45 pm êRandy Napoleon Group Measure 8 pm 12am • Rocco John Iacovone Trio; Attention Screen êNewport Jazz Festival - Now 60: Karrin Allyson, Randy Brecker, Anat Cohen, Goodbye Blue Monday 8, 9 pm Mark Whitfield, Peter Martin, Ben Allison, Clarence Penn F E A Jazz Standard 7:30, 9:30, 11:30 pm $35 T • Alan Leatherman; Somethin’ Vocal with Matt Baker Trio; Joao Martins Quartet with U ê R Yongmun Lee, Stephen Harms, Ekah Kim Trio with Ray Drummond, Leroy Williams IN Somethin’ Jazz Club 7, 9, 11 pm $10-12 Village Vanguard 8:30, 10:30 pm $25 G • John Malino Duo Tomi Jazz 8 pm $10 êDonald Harrison, Ron Carter, Billy Cobham • Masami Ishikawa Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $35 • Peter Brendler Jules Bistro 8:30 pm • (718): Matthew Fries, Phil Palombi, Eric Halvorson • Nick Moran Trio; Jason Prover Sneak Thievery Orchestra Blue Note 12:30 am $10 The Garage 6, 10:30 pm • Moth To Flame Shrine 6 pm • Rob Silverman Indian Road Cafe 8 pm • Olivier Court Trio Silvana 6 pm • Adam and The Argentinians; Feedel Band • Regina Carter’s Reverse Thread with Yacouba Sissoko, Will Holshouser, Vocals & Soprano Sax Silvana 6, 10 pm Chris Lightcap, Otis Brown III, Charlotte Blake Alston Zankel Hall 1 pm $12-18 • Eliane Elias with Steve Cardenas, Marc Johnson, Marco Zottarelli HARLEM AWAKENING 2.0 Dizzy’s Club 7:30, 9:30 pm $45 • Daniela Schaechter Trio; Champian Fulton Quartet; Kevin Dorn and the BIG 72 êRandy Napoleon Group Measure 8 pm The Garage 12, 6 pm êNewport Jazz Festival - Now 60: Karrin Allyson, Randy Brecker, Anat Cohen, Mark Whitfield, Peter Martin, Ben Allison, Clarence Penn Sunday, March 9 Jazz Standard 7:30, 9:30, 11:30 pm $35 SATCHMO MANAAN BAND êBarry Harris Trio with Ray Drummond, Leroy Williams êThe Improvised Traumdeutung - The Austrian Scene: Martin Philadelpy, Village Vanguard 8:30, 10:30 pm $25 Seppo Gründler, Josef Klammer; Franz Hautzinger/Isabelle Duthoit; Martin Siewert/ êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Dieb13; Burkard Stangl/Billy Roisz; Flugfeld: Helge Hinteregger, Martin Zrost, Birdland 8:30, 11 pm $40 Paul Skrepek; John O’Gallagher’s Webern Project with Matt Moran, Pete McCann, êDonald Harrison, Ron Carter, Billy Cobham Russ Lossing, Johannes Weidenmuller, Tyshawn Sorey, Margret Grebowicz Blue Note 8, 10:30 pm $35 Le Poisson Rouge 5 pm • Sérgio Galvão Group with Amanda Ruzza, Leni Stern, Alex Nolan, Mauricio Zottarelli êDave King/Matt Mitchell; Golden Valley Is Now: Dave King, Reid Anderson, Blue Note 12:30 am $10 Craig Taborn ShapeShifter Lab 8:15, 9:30 pm $10 • Yoshiki Miura Group Shrine 6 pm • Shelley Hirsch, Jim Black, Jim Meneses Roulette 8 pm $20 Saturday, March 8 • Jaimeo Brown’s Transcendence with Jaleel Shaw, Chris Sholar Jazz Standard 7:30, 9:30 pm $20 • Zawinul Legacy Band: Scott Kinsey, Robert Thomas Jr., Hadrien Feraud, Michael Baker, êPeter Evans with Ron Stabinsky, Cory Smythe Katisse Buckingham Zankel Hall 9:30 pm $43-50 The Firehouse Space 8 pm $10 êJerome Cooper/Kresten Osgood; Franz Hautzinger with Nate Wooley, Isabelle Duthoit êMary Halvorson/Jon Irabagon; Pascal Niggenkemper Group Ibeam Brooklyn 8:30, 10 pm $10 Legion Bar 8, 9 pm $10 êDave King Trucking Company; The Gang Font • Trio; Peter and Will Anderson Octet; Johnny O’Neal with Paul Sikivie, ShapeShifter Lab 8:15, 9:30 pm $10 Charles Goold Smalls 7:30, 10 pm 12 am $20 êBrandon Ross/Stomu Takeishi Greenwich House Music School 8 pm $15 • Jay Clayton’s Different Voices with Amanda Bloom, Carol Flamm, Karen Goldfeder, • Takuya Kuroda Ensemble with Corey King, Takeshi Ohbayashi, Rashaan Carter, Nora McCarthy, Alexis Parsons, Kendra Shank, Judi Silvano, Andrea Wolper Keita Ogawa, Adam Jackson Asia Society 8 pm $17 WhyNot Jazz Room 7:30 pm $10 • David Byrd-Marrow, Gareth Flowers, , Dan Peck, Nathan Davis, Jeff Synder, • Jennifer Curtis, David Bowlin, Tyshawn Sorey; Dan Lippel Sam Pluta; Ross Karre/Jacob Greenberg The Stone 8, 10 pm $15 The Stone 8, 10 pm $15 • Sheryl Bailey Quartet with Jim Ridl, Gary Wang, Joe Strasser • Rez Abbasi Quartet with Bill Ware, Michael Bisio, Eric McPherson Fat Cat 9 pm Cornelia Street Café 9, 10:30 pm $15 • Alberto Pizzo solo Measure 8 pm • Alicia Olatuja Ginny’s Supper Club 7:30, 9:30 pm $15 • Stefano Bassanese/Ben Thigpen Experimental Intermedia 9 pm • Broc Hempel, Sam Trapchak, Christian Coleman with guest Michael Blake Dominie’s Astoria 9 pm MERKIN CONCERT HALL KAUFMAN MUSIC CENTER • Eva Kano/Yako Quintet with Alan Eicher, Dan Asher, Andrew Swift; Suzanne Pittson with Jeff Pittson, Jeff Carney, Dave Meade; Yiorgos Kostopoulos Quartet with Livio Almeida, Bryan Cambell, George Mel Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Eliane Elias with Steve Cardenas, Marc Johnson, Marco Zottarelli Dizzy’s Club 7:30, 9:30 pm $40 THU • MAR 13 êBarry Harris Trio with Ray Drummond, Leroy Williams Village Vanguard 8:30, 10:30 pm $25 Suggested Donation THU • MAR 13 êDonald Harrison, Ron Carter, Billy Cobham Blue Note 8, 10:30 pm $35 ADM $10 • Martin Philadelphy/Kresten Osgood Downtown Music Gallery 6 pm • Deborah Latz Trio with Dario Boente, Ray Parker Cornelia Street Café 6 pm $10 NATHAN êCobi Narita 88th Birthday Celebration with George Gee Swing Orchestra, Frank Owens and guests Swing 46 5 pm $25 KOCI • Mike Holober Group Saint Peter’s 5 pm WED • MAR 19 êTribute To Roy Campbell: Will Connell, Ras Moshe, Matt Lavelle, Ken Filiano, John Pietaro; Louis Belogenis Trio with Hill Greene, Michael Wimberly; Daniel Carter, Ras Moshe, Andrew Lamb, Larry Roland, Rashid Bakr, Juan Quinonez Launch Pad Gallery 3 pm $11 • Laila Biali SubCulture 3 pm $10-15 SAT • MAR 22 êBob Dorough’s Schoolhouse Rock Joe’s Pub 12 pm $20 • Masami Ishikawa Blue Note 11:30 am 1:30 pm $29.50 • Frank Senior Trio with Richard Clements, Yoshi Waki North Square Lounge 12:30, 2 pm • Lou Caputo Quartet; David Coss Quartet The Garage 11:30 am 7 pm , • Kenwood Dennard Master Class and MetaJam WED • MAR 26 Manna House Workshop 10 am $20 ecstaticmusicfestival . c o m

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 39 Monday, March 10 • Paul Jones Sextet with Alex LoRe, Matt Davis, Sullivan Fortner, Johannes Felscher, êChris Speed Trio with Chris Tordini, Dave King Jimmy MacBride; Matt Marantz 4 with Frank LoCrasto, Zack Lober The Stone 8, 10 pm $15 êMary Halvorson/Ingrid Laubrock; Isabelle Dutoit/Franz Hautzinger; ShapeShifter Lab 8:15, 9:30 pm $10 • Alex Wintz Group Measure 8 pm XXL: Ingrid Laubrock, Daniel Carter, James Brandon Lewis, Steven Leffue, • Aaron Wright Quartet with Chris McBride, Willerm Delisfort, Darrell Green • Paul Abler Duo Whole Foods Midtown East 6 pm Catherine Sikora, Briggan Krauss, Travis Laplante, Michaël Attias, Patrick Breiner, Spectrum 7:30 pm • Noah MacNeil Shrine 6 pm Yoni Kretzmer, Mike McGinnis, Isabelle Dutoit, Josh Sinton, Sara Schoenbeck, • CTMD Tantshoyz: Alex Kontorovich’s German Goldenshteyn Memorial Orchestra • Lenore Raphael/Jack Wilkins Saint Peter’s 1 pm $10 Ras Moshe, Michel Gentile, Jen Baker, Brian Drye, Ben Gerstein, Kirk Knuffke, with guest Naum Goldenshteyn Stephen Wise Free Synagogue 7:30 pm $15 • Celebrating Marian McPartland: Elena Bezprozvannykh; Joanne Brackeen Thomas Heberer, Ben Syversen, Franz Hautzinger, Dan Peck, Tom Rainey • Jason Yeager solo Jazz at Kitano 8 pm Winter Garden 12:30 pm Clemente Soto Velez Cultural Center 7:30 pm $22 • Gypsy Jazz Caravan Radegast Hall 8 pm • Nir Felder’s Golden Age with Aaron Parks, Orlando Le Fleming, Nate Smith • Japan Tsunami Relief Concert: Yuka Mito with Allen Farnham, Chris Berger, Thursday, March 13 Le Poisson Rouge 10 pm $18 Tim Horner; Marc Schwartz Quintet with Adam Horowitz, Ben Bishop, Fumi Tomita, • Omar Hakim Blue Note 8, 10:30 pm $25 Jeff Krol Somethin’ Jazz Club 7, 9 pm $10-12 êA Conversation With Mary Lou: Geri Allen with Kenny Davis, Kassa Overall and guest • Shoko Nagai’s tAKE’N sHADOWS with Todd Reynolds, Stomu Takeishi, Jim Black, • Michael Gallant Trio Tomi Jazz 8 pm $10 Carmen Lundy Harlem Stage Gatehouse 7:30 pm $45 Jonathan Goldberger, Luke DuBois Roulette 8 pm $20 • Brian Charette Jules Bistro 8 pm êAlex Hoffman Group with Emanuele Basentini; Reeds Ramble: Seamus Blake, • TRI-FI: Phil Palombi, Matthew Fries, Keith Hall; Ari Hoenig Quartet; • Rob Edwards Quartet The Garage 7 pm Chris Cheek, Kevin Hays, Matt Penman, Jochen Rueckert; Carlos Abadie Quintet Spencer Murphy Jam Smalls 7:30, 10:30 pm 12:30 am $20 • Alex Wintz Group Measure 8 pm Smalls 9:30 pm 12:30 am $20 • New York Youth Symphony Dizzy’s Club 7:30, 9:30 pm $30 • Fay Victor/Anders Nilsson The Lexington Hotel 6 pm êBoom Tic Boom: Allison Miller, Gary Versace, Kirk Knuffke, Chris Lightcap êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Jazz at Kitano 8, 10 pm $15 • Swingadelic Swing 46 8:30 pm Wednesday, March 12 êHuman Feel: Andrew D’Angelo, Chris Speed, Jim Black and guest Mary Halvorson; • Common Quartet: Nitzan Gavrieli, Pablo Menares, Alex Wyatt, Seth Trachy yeah NO: Chris Tordini, Jim Black, Jonathan Finlayson, Chris Speed and guest Peter Bernstein Vodou Bar 8 pm êRufus Reid’s Quiet Pride - The Elizabeth Catlett Project with , Tim Hagans, The Stone 8, 10 pm $15 • Heights; Darius Christian Jones and MOZZY; Drew Williams Nonet Mike Rodriguez, Freddie Hendrix, Steve Wilson, Erica von Kleist, Tom Christensen, • Ambrose Akinmusire Project with Walter Smith III, Charles Altura, Sam Harris, ShapeShifter Lab 7, 8:15, 9:30 pm $10 Scott Robinson, Carl Maraghi, John Clark, Vincent Chancey, Michael Dease, Harish Raghavan, Justin Brown, Theo Bleckmann • Scott Sharard Trio with Ben Stivers, Diego Voglino Luis Bonilla, Ryan Keberle, Dave Taylor, Vic Juris, Steve Allee, Johnathan Blake, Jazz Standard 7:30, 9:30 pm $25 Bar Next Door 8:30, 10:30 pm $12 Charenee Wade Jazz Standard 7:30, 9:30 pm $30 êJakob Bro Trio with Thomas Morgan, Andrew Cyrille • Alex Minasian Le Cirque Café 8 pm êElliott Sharp’s SysOrk with Andrew Drury, Terry Greene, James Ilgenfritz, Judith Insell, Cornelia Street Café 8:30 pm $10 • Alex Wintz Group Measure 8 pm Ron Lawrence, Leopold, Jenny Lin, Chris McIntyre, Oscar Noriega, Jessica Pavone, • Misha Piatigorsky’s Sketchy Black Dog with Conor Szymanski, Danton Boller, • Cettina Donato with Jessi Lee, Jared Henderson, Roberto Giaquinto; Reuben Radding, Danny Tunick Roulette 8 pm $25 Frederika Krier, Nadya Meykson, Celia Hatton, Agnes Nagy Ben Eunson Group with Tamir Shmerling, Diego Joaquin Ramirez êHarold Mabern Trio Fat Cat 9 pm Zinc Bar 9, 10:30 pm Somethin’ Jazz Club 9, 11 pm $10 • Jesse Elder, Blanca Cecilia González, Petr Salidar; Jesse Elder Trio with Chris Smith, • Noah Baerman Jazz Samaritan Alliance with Jimmy Greene, Kris Allen, Chris Dingman, • Takenori Nishiuchi Tomi Jazz 8 pm $10 Andrew Atkinson Cornelia Street Café 8:30, 10 pm $10 Henry Lugo, Johnathan Blake The Jazz Gallery 9, 11 pm $15 • Leco Reis Jules Bistro 8 pm • Bill Cantrall and Axiom with Josh Evans, Ian Hendrickson-Smith, Stacy Dillard, • Charles Turner with Takeshi Ohbayashi, Yasushi Nakamura, Ulysses Owens êCecilia Coleman Big Band The Garage 7 pm Jeb Patton, Montez Coleman Smoke 7, 9, 10:30 pm Dizzy’s Club 7:30 pm $35 • NanJo Lee Trio Shrine 6 pm • Brian Charette Trio with Yotam Silberstein, Mark Ferber; • Queen Esther Brooklyn Public Library Central Branch 7 pm • Ekah Kim Quartet Silvana 6 pm Darryl Yokley Sound Reformation Smalls 9:30 pm 12:30 am $20 • Dimensional States Trio: Sten Hostfalt, Shayna Dulberger, Dave Miller; • Brad Linde’s Underwater Ghost with Anthony Pirog, Nathan Kawaller, Allison Miller; Dimensional States Orchestra: Constance Cooper, Lilliana Santon, Robyn Siwula, Tuesday, March 11 Sebastien Ammann 4tet with Ohad Talmor, Dave Ambrosio, Eric McPherson Takuya Nakamura, Stan Nishimura, Claire de Brunner, Noah Preminger, Evan Gallagher, SEEDS 8:30, 10 pm Sten Hostfalt, Matthew Garrison, Shayna Dulberger, Jimmy Weinstein, Dave Miller, êAl Foster Quartet with Dayna Stephens, Adam Birnbaum, Doug Weiss êAnthony Burr Trio with Edward Johnson, Victor Clark Savina Theodorou, Rachel Wynne ShapeShifter Lab 8:15, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $25 Barbès 8 pm $10 • Assaf Kehati Trio with Ehud Ettun, Ronen Itzik • Joe Farnsworth Prime Time Quartet with Eric Alexander, Harold Mabern, John Webber • Kevin Hays New Day Trio with Rob Jost, Greg Joseph Bar Next Door 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $30 55Bar 7 pm • Albert Marques, Walter Stinson, Zack O’Farrill • Kevin Mahogany Birdland 8:30, 11 pm $40 • Alberto Pizzo Trio with Fabrio Sotti, Mino Cinelu Caffe Vivaldi 9 pm • Spyro Gyra Blue Note 8, 10:30 pm $35 Metropolitan Room 9:30 pm $20 • Fidel Cuéllar/Luiz Ebert Group with Livio Almeida, Will Caviness, Edward Perez • Noah Preminger Quartet with Fred Hersch, Matt Clohesy, Rudy Royston • Amanda Ruzza Group with Mauricio Zottarelli, Alex Nolan, Leni Stern, Sérgio Galvão; Terraza 7 9:30 pm $7 Jazz Standard 7:30, 9:30 pm $20 ZB Trio ShapeShifter Lab 8:15, 9:30 pm $8 • Hallveig Agustsdottir Experimental Intermedia 9 pm • Mike Longo and the New York State of the Art Jazz Ensemble with Ira Hawkins • Grand Street Stompers Radegast Hall 9 pm • Bastien Brison Trio; Cristian Mendoza Sextet with Francisco Lelo de Larrea, NYC Baha’i Center 8, 9:30 pm $15 • Nick Dunston Group with Adam Larson, Zen Groom, Nick Greenberg, James Francies, Felipe Fournier, Rey David Alexandre, Alex Apolo Ayala, Joel E. Mateo êChris Speed Trio with Chris Tordini, Dave King Julius Rodriguez; Liam Sillery Quintet with Matt Blostein, Jesse Stacken, Somethin’ Jazz Club 7, 9 pm $10-12 The Stone 8, 10 pm $15 Peter Brendler, Jeff Davis; Little Vikings: Joe Kozlowski, Wills McKenna, Noah Berman, • Scot Albertson/Lee Tomboulian Tomi Jazz 9 pm $10 êDave Chamberlain’s Band of Bones with guest Hendrik Meurkens Christian Li, Matt Krol, Jeff Krol Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Kate Cosco Trio Cleopatra’s Needle 7 pm Zinc Bar 8, 10 pm • Luke Franco Jules Bistro 8 pm • Dylan Meek Trio The Garage 7 pm êSimona Premazzi Group Korzo 9 pm • Javier Santiago Trio Tomi Jazz 8 pm $10 • Matt McDonald Quartet; Tarana Silvana 6, 11 pm • Lucas Pino No Net Nonet with Matthew Jodrell, Alex LoRe, Andrew Gutauskas, • The Anderson Brothers The Garage 7 pm êElliott Sharp’s SysOrk with Andrew Drury, Terry Greene, James Ilgenfritz, Judith Insell, Glenn Zaleski, Desmond White, Colin Stranahan; Kyle Poole and Friends • Bryan Campbell Silvana 8 pm Ron Lawrence, Leopold, Jenny Lin, Chris McIntyre, Oscar Noriega, Jessica Pavone, Smalls 10:30 pm 1 am $20 êAl Foster Quartet with Dayna Stephens, Adam Birnbaum, Doug Weiss Reuben Radding, Danny Tunick Roulette 8 pm $25 • Stan Killian and The Armengott Experience with Jose Armengott, Lluis Capedevila, Village Vanguard 8:30, 10:30 pm $25 êAl Foster Quartet with Dayna Stephens, Adam Birnbaum, Doug Weiss Bryan Copeland, Kush Abadey 55 Bar 7 pm • Joe Farnsworth Prime Time Quartet with Eric Alexander, Harold Mabern, John Webber Village Vanguard 8:30, 10:30 pm $25 • Out of the Box Big Band Metropolitan Room 7 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • Kevin Mahogany Birdland 8:30, 11 pm $40 • Hashem Assadullahi Trio with Gary Versace, Matt Wilson • Kevin Mahogany Birdland 8:30, 11 pm $40 • Spyro Gyra Blue Note 8, 10:30 pm $35 Bar Next Door 8:30, 10:30 pm $12 • Spyro Gyra Blue Note 8, 10:30 pm $35 • Alex Wintz Group Measure 8 pm

ENJOY JAZZ LEGENDS, NIGHTLY 8-11 PM, MEASURE LOUNGE

March 1-4, 14-22, 29,31 March 5-8 March 10-13 March 24-28 ANTONIO CIACCA RANDY NAPOLEON TRIO/QUARTET ALEX WINTZ TRIO/QUARTET EMMET COHEN TRIO/QUARTET Ciacca continues his tenure as Artist This American jazz guitarist, composer Guitarist Alex Wintz is quickly Jazz piano prodigy at 23, Emmet in Residence at Measure Lounge. He and arranger is a member of the becoming a name in the Cohen, plays with astonishing will celebrate his birthday the week of Freddy Cole Quartet and Trio and has international jazz community, having technique and engenders a deep 16-22 by inviting many surprise toured with Benny Green, the CHJO had the opportunity to perform musical bond with his audience. guests to perform with him. Orchestra and Michael Buble. around the world at a young age.

PIANO SOLO SUNDAYS: March 2: JILL McCARRON March 9: ALBERTO PIZZO March 16: PETER BERNSTEIN with ANTONIO CIACCA March 23 and 30: ALBERTO PIBIRI

ALBERTO PIZZO

MEASURE | 400 Fifth Avenue, New York, NY 10018 | 212.695.4005

40 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Friday, March 14 ê92Y Soul Jazz Festival: DJ Logic and Friends with Lamont McCain, James Hurt; Joey DeFrancesco All-Star Band with Brian Lynch, , Nir Felder, Billy Hart 92nd Street Y 8 pm $20 êGeorge Cables Trio with Essiet Essiet, Victor Lewis Jazz at Kitano 8, 10 pm $30 • Maria Schneider Jazz Orchestra Allen Room 7, 9:30 pm $45-55 • Darcy James Argue’s Secret Society The Jazz Gallery 9, 11 pm $20 êAlan Licht/Brian Chase; Mary Halvorson/Joe Morris Issue Project Room 8 pm $15 êThe Clarinets: Oscar Noriega, Anthony Burr, Chris Speed; Pachora: Brad Shepik, Jim Black, Chris Tordini, Chris Speed The Stone 8, 10 pm $15 êDavid Hazeltine Quartet with Eric Alexander, David Williams, Joe Farnsworth Smoke 7, 9, 10:30 pm $38 êTom Rainey’s Obbligato with Ingrid Laubrock, Ralph Alessi, Kris Davis, Drew Gress Cornelia Street Café 9, 10:30 pm $15 • Flamenco Meets Jazz: Aaron Diehl and Dani De Morón with Rosario Toledo, Guillermo McGill Dizzy’s Club 7:30, 9:30 pm $40 êTrumpeters of Queens: Ron Horton Sextet; Josh Deutsch’s Pannonia Flushing Town Hall 8 pm $15 • Ronny Whyte, Boots Maleson, David Silliman Knickerbocker Bar and Grill 9:45 pm $5 • Richard Boukas Trio with Gustavo Amarante, Mauricio Zottarelli Bar Next Door 7:30, 9:30, 11:30 pm $12 soul Jazz êThe Moon: Adam Caine/Federico Ughi Ibeam Brooklyn 8:30, 10 pm $10 • PJ Rasmussen and Another Adventure with Steve Davis, Lauren Sevian, Ben Hankle, Nate Giroux, Jim Ridl, Jon Di Fiore, Adrian Moring; Scott Tixier Quartet with Sharik Hasan, Marco Panascia, Andrew Atkinson; Matt Savage’s Jazz Is Young with Seth Weaver, Elena Pinderhughes, Hoo Kim, Curtis Nowosad ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Yunie Mojica/Raynel Frazier’s UMOJA Fat Cat 10:30 pm • Lady Got Chops Fest: Carol Sudhalter Band Shell’s Bistro 9 pm • Verena McBee Zinc Bar 7 pm • Antonio Ciacca Group Measure 8 pm Débora Watts and Roger Davidson Trio with David Finck, Adriano Santos festival • Metropolitan Room 9:30 pm $20 BRIAN LANDRUS, ARTISTIC ADVISOR • Steve Kaiser Quartet with Kevin Golden, Lewis Porter, Jason Burger; Nina Mya/Tuomo Uusitalo Somethin’ Jazz Club 7, 9 pm $10-12 • Allegra Levy Duo Tomi Jazz 9 pm $10 • Joel Forrester Trio Cleopatra’s Needle 8 pm • Brian Charette Jules Bistro 8:30 pm • Masami Ishikawa Trio; Peter Valera and the Jump Blues Band Fri, Mar 14 7:30 pm The Garage 6, 10:30 pm • The Black Butterflies; Robert Mwamba Band Silvana 6, 8 pm êA Conversation With Mary Lou: Geri Allen with Kenny Davis, Kassa Overall and guest Carmen Lundy Harlem Stage Gatehouse 7:30 pm $45 êMichael Kanan Trio; Reeds Ramble: Seamus Blake, Chris Cheek, Kevin Hays, DJ Logic & Friends Matt Penman, Jochen Rueckert; Jeremy Manasia Trio Smalls 7:30, 10:30 pm 1 am $20 Combining the sounds of soul jazz and nu jazz, DJ Logic and his closest • Ambrose Akinmusire Project with Walter Smith III, Charles Altura, Sam Harris, Harish Raghavan, Justin Brown, Theo Bleckmann friends present an evening of unexpected, evocative songs. Jazz Standard 7:30, 9:30, 11:30 pm $30 êAl Foster Quartet with Dayna Stephens, Adam Birnbaum, Doug Weiss DJ Logic, turntables Justin Tyson, drums Village Vanguard 8:30, 10:30 pm $25 • Kevin Mahogany Birdland 8:30, 11 pm $40 Lamont McCain, bass Igmar Thomas, trumpet • Spyro Gyra Blue Note 8, 10:30 pm $35 DJ Logic • Al MacDowell’s “Just Ornette” Quartet with Tony Falanga, Pete Drungle, Tony Lewis James Hurt, keys Blue Note 12:30 am $10 Saturday, March 15 ê92Y Soul Jazz Festival: Brian Landrus Kaleidoscope with Leo Genovese, Nir Felder, joey defrancesco all-star Band Lonnie Plaxico, Rudy Royston, Mark Feldman, Joyce Hammann, Judith Insell, Jody Redhage, Ryan Truesdell; Esperanza Spalding and guests 92nd Street Y 8 pm $20 Performing with funk, pulse and sweeping melodies from êEndangered Blood: Michael Formanek, Oscar Noriega, Chris Speed, Jim Black and other greats. The Stone 8, 10 pm $15 • James Keepnews solo; Chemistry Set: Daniel Carter, James Keepnews, Rebecca Schmoyer Ibeam Brooklyn 8, 9 pm $10 Joey DeFrancesco, organ Nir Felder, guitar • Three Worlds X Four - Pittsburgh Collective 10th Anniversary Celebration: Meridian Arts Ensemble; IMPetus: Maria Tegzes, Geoff Burleson, Dave Fabris; Brian Lynch, trumpet Billy Hart, drums Pittsburgh Collective: Ted Levine, Kelley Hart-Jenkins, Steve Moran, Brad Hubbard, Joey DeFrancesco George Garzone, tenor sax Tim Leopold, Jon Nelson, Wayne du Maine, Sycil Mathai, Hugh Ragin, Mike Christianson, Jim Messbauer, Ben Herrington, Steve Gehring, Ray Stewart, Dave Fabris, Geoff Burleson, Brad Maestas, Michelle Lou, Mark Raynes, John Ferrari, Theo Moore, David Sanford; Urban Sun with opening act ShapeShifter Lab 3, 5, 7:30, 9:30 pm $20 • Point of Departure Fat Cat 10 pm • Banda Magda Joe’s Pub 9:30 pm $18 • Joel Forrester Indian Road Cafe 8 pm Misha Piatigorsky Trio with Danton Boller, Ari Hoenig Brian Landrus Kaleidoscope • Zinc Bar 7:30 pm • Jostein Gulbrandsen Trio with Mike McGuirk, Andrew Swift Electric Quintet and String Quartet Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jonathan Karrant Metropolitan Room 7 pm $20 • JJ Quartet: Dawoon Jung/Sunseek Jun; Michael Sarian Quintet with Ricky Alexander, Manuel Schmiedel, Teddy Motz, Josh Bailey; Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor; Brad Clymer and his Facebook Friends Brian Landrus Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 Sat, Mar 15 8 pm • Yuko Ito; Silver Moon Tomi Jazz 8, 11 pm $10 • Alan Rosenthal Trio Cleopatra’s Needle 8 pm • Ethan Mann Jules Bistro 8:30 pm êGeorge Cables Trio with Essiet Essiet, Victor Lewis Jazz at Kitano 8, 10 pm $30 • Maria Schneider Jazz Orchestra Allen Room 7, 9:30 pm $45-55 • Darcy James Argue’s Secret Society Esperanza Spalding: The Jazz Gallery 9, 11 pm $20 êDavid Hazeltine Quartet with Eric Alexander, David Williams, Joe Farnsworth Smoke 7, 9, 10:30 pm $38 êTom Rainey’s Obbligato with Ingrid Laubrock, Ralph Alessi, Kris Davis, Drew Gress Cornelia Street Café 9, 10:30 pm $15 • Flamenco Meets Jazz: Aaron Diehl and Dani De Morón with Rosario Toledo, New Songs Guillermo McGill Dizzy’s Club 7:30, 9:30 pm $45 • Ronny Whyte, Boots Maleson, David Silliman Esperanza Spalding The three-time Grammy® Award-winning jazz bassist and vocalist Knickerbocker Bar and Grill 9:45 pm $5 • Antonio Ciacca Group Measure 8 pm presents an evening of new songs with guest artists. êA Conversation With Mary Lou: Geri Allen with Kenny Davis, Kassa Overall and guest Carmen Lundy Harlem Stage Gatehouse 7:30 pm $45 êChris Byars Sextet; Reeds Ramble: Seamus Blake, Chris Cheek, Kevin Hays, Matt Penman, Jochen Rueckert Smalls 7:30, 10:30 pm $20 • Ambrose Akinmusire Project with Walter Smith III, Charles Altura, Sam Harris, Harish Raghavan, Justin Brown, Theo Bleckmann 92Y.org/souljazz 212.415.5500 Jazz Standard 7:30, 9:30, 11:30 pm $30 êAl Foster Quartet with Dayna Stephens, Adam Birnbaum, Doug Weiss Village Vanguard 8:30, 10:30 pm $25 Tickets sell fast—order today! Tickets from $20 • Kevin Mahogany Birdland 8:30, 11 pm $40 • Spyro Gyra Blue Note 8, 10:30 pm $35 Lexington Avenue at 92nd Street | accessible at 86th Street • Outer Bridge Ensemble Blue Note 12:30 am $10 • Clement Piezanowski Sextet Shrine 6 pm • Bobby Katz Quartet Silvana 6 pm

• Larry Newcomb Quartet; Mark Marino Trio; Virginia Mayhew Quartet An agency of UJA-Federation The Garage 12, 6, 10:30 pm

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 41 Sunday, March 16 • Nate Radley Group; Chris Carroll 5tet with Roman Filiu, Alejandro Aviles, Rez Abbasi, • Meklit SubCulture 7:30 pm $20-25 Thompson Kneeland SEEDS 8:30, 10 pm • Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan; Florencia Gonzalez • Harriet Tubman: JT Lewis, Brandon Ross, Melvin Gibbs and guest • JC Sanford with Mike Baggetta, Aidan Carroll, Russ Meissner Candombe Project with Jonathan Powell, Matt McDonald, Carlos Cuevas, BRIC House Ballroom 7:30 pm $22 Barbès 8 pm $10 Mariana Iranzi, Franco Pinna Somethin’ Jazz Club 7, 9 pm $10-12 êChris Speed The Stone 8, 10 pm $15 • Edward Perez Group Terraza 7 9:30 pm $7 • John David Simon Trio Cleopatra’s Needle 8 pm êMostly Other People Do the Killing: Peter Evans, Jon Irabagon, Moppa Elliott, • Pat Carroll Quartet with Victor Gould, Joe Sanders, Colin Stranahan • Luke Franco Jules Bistro 8:30 pm Kevin Shea, Ron Stabinsky Cornelia Street Café 8:30 pm $10 Cornelia Street Café 8:30 pm $10 • Adam Rongo Trio; Kevin Dorn and the BIG 72 êGene Bertoncini The Drawing Room 7 pm $20 • Choban Elektrik; Lana Is Trio with Jesske Hume, Peter Kronreif The Garage 6, 10:30 pm êBucky Pizzarelli/Ed Laub; Johnny O’Neal with Paul Sikivie, Charles Goold; ShapeShifter Lab 8:15, 9:30 pm $10 êSFJAZZ Collective: Avishai Cohen, Miguel Zenón, David Sánchez, Robin Eubanks, Mike Bond Quintet Smalls 7:30, 10 pm 12 am $20 êLady Got Chops Fest: Ms Blue with Cecilia Coleman, Iris Ornig, Sylvia Cuenca Warren Wolf, Edward Simon, Matt Penman, Obed Calvaire êScapula Hoes: Jonathan Goldberger, Briggan Krauss, Devin Gray; Zinc Bar 7 pm Jazz Standard 7:30, 9:30, 11:30 pm $35 Yoni Kretzmer 2Bass Quartet with Reuben Radding, Adam Hopkins, Mike Pride • Andy Suvalsky Quartet with Asen Doykin, Martin Doykin, Yutaka Uchida êNow This: Gary Peacock, , Joey Baron Legion Bar 8, 9 pm $10 Jazz at Kitano 8, 10 pm $15 Birdland 8:30, 11 pm $40 • Quintet Fat Cat 8:30 pm • Melissa Stylianou Quintet with Pete McCann, Jamie Reynolds, Gary Wang, Mark Ferber • Bill Frisell’s Beautiful Dreamers with , Rudy Royston with guests • Kaleidos Duo: Sayun Chang/Yovianna Garcia; Newman Taylor Baker/Marvin Sewell 55Bar 7 pm Greg Osby, Thomas Morgan Village Vanguard 8:30, 10:30 pm $25 WhyNot Jazz Room 7:30, 9 pm $10 • The Red Microphone: John Pietaro, Ras Moshe, Rocco John Iacovone, • Gonzalo Rubalcaba, Giovanni Hidalgo, Jose Gola, Horacio Hernandez • Shayna Dulberger/Chris Welcome Goodbye Blue Monday 10 pm Nicolas Letman-Burtinovic Bar Chord 9 pm Blue Note 8, 10:30 pm $35 • Tribute - Euphoria: Paul Ramsey, Evan Schwam, Jeremy Carlstedt, • Jason Prover Sneak Thievery Orchestra • Outer Bridge Ensemble Blue Note 12:30 am $10 Mayu Saeki, Nick Demopolous Drom 7:15 pm $20 Radegast Hall 9 pm • Antonio Ciacca Group Measure 8 pm • Scot Albertson/Dr. Joe Utterback Klavierhaus 7 pm • Luis Camacho with Roberto Agron, Victor Molina; Geo Progulakis Trio with • Peter Bernstein/Antonio Ciacca Measure 8 pm Tony Lannen, David James Somethin’ Jazz Club 7, 9 pm $10 Saturday, March 22 • Pascalito Neostalgia; Bobby Katz Quintet with Sung Ho Choi, Marcus Choi, • Kathryn Allyn Duo Tomi Jazz 8 pm $10 Jonathan Toscano, David Jimenez Somethin’ Jazz Club 5, 7 pm $10-12 • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, êNewish Jewish Music Festival: Oran Etkin’s Reimagining Benny Goodman with • Joe Lander Trio Caffe Vivaldi 9 pm Dan Silverstone Caffe Vivaldi 8:30 pm Jason Marsalis, James Weidman, Matt Wilson • Flamenco Meets Jazz: Aaron Diehl and Dani De Morón with Rosario Toledo, • Aimee Lauren Jules Bistro 8 pm Dizzy’s Club 7:30, 9:30 pm $45 Guillermo McGill Dizzy’s Club 7:30, 9:30 pm $40 • Marc Devine Trio The Garage 7 pm êColin Stetson with Brooklyn Youth Chorus and with Greg Fox, Shahzad Ismaily, • Ambrose Akinmusire Project with Walter Smith III, Charles Altura, Sam Harris, • Eric Plaks Trio; Sergio Galvao Band Silvana 6, 8 pm Stuart Bogie, Ryan Ferreira Merkin Concert Hall 7:30 pm $25 Harish Raghavan, Justin Brown, Theo Bleckmann êFriends: Hugh Masekela and Larry Willis êJoel Press Quartet with Spike Wilner, Aidan O’Donnell, Taro Okamoto; Jazz Standard 7:30, 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $35 Tim Green Quartet Smalls 7:30, 10:30 pm $20 êAl Foster Quartet with Dayna Stephens, Adam Birnbaum, Doug Weiss êNow This: Gary Peacock, Marc Copland, Joey Baron êSonelius Smith Trio Cleopatra’s Needle 8 pm Village Vanguard 8:30, 10:30 pm $25 Birdland 8:30, 11 pm $40 • Rebeca Vallejo’s The Flame Cornelia Street Café 6 pm $10 • Spyro Gyra Blue Note 8, 10:30 pm $35 • Bill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston êMario Pavone’s ARC Trio with Matt Mitchell, Tyshawn Sorey • Federico Ughi/Yoni Kretzmer Downtown Music Gallery 6 pm Village Vanguard 8:30, 10:30 pm $25 Cornelia Street Café 9, 10:30 pm $15 • Webster Groves Band Saint Peter’s 5 pm • Gonzalo Rubalcaba, Giovanni Hidalgo, Jose Gola, Horacio Hernandez êJimmy Greene The Jazz Gallery 9, 11 pm $20 • Emily Braden Perez Jazz 2 pm $20 Blue Note 8, 10:30 pm $35 • Tim Keiper’s Eclipticalia with John Lee, Chris Dingman, Edward Perez, Cyro Baptista • The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew • Antonio Ciacca Group Measure 8 pm The Stone 8, 10 pm $15 Lucille’s at BB King’s Blues Bar 1 pm $25 • Russ Kassoff Big Band Saint Peter’s 1 pm $10 • The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski; • Erika Matsuo Blue Note 11:30 am 1:30 pm $29.50 Fabio Morgera Fat Cat 7, 10 pm • Roz Corral Trio North Square Lounge 12:30, 2 pm Thursday, March 20 • Trio with Gary Wang, Diego Voglino • Michika Fukumori Trio; David Coss Quartet Bar Next Door 7:30, 9:30, 11:30 pm $12 The Garage 11:30 am 7 pm êRemembering Marian - A Celebration of the Music and Life of Marian McPartland with • Bob Franceschini/Mark Sherman Project Them Jon Weber, Kenny Barron, Chris Brubeck, Barbara Carroll, Bill Charlap, Bill Crow, Jazz at Kitano 8, 10 pm $30 Monday, March 17 Bill Dobbins, Jon Faddis, Nnenna Freelon, Eddie Gomez, Doug Kassel, Mike Kaupa, • Daniel Kelly’s Rakonto with Jean Rohe, Joel Harrison, Matt Pavolka, Rob Garcia; Grace Kelly, Helen Merrill, Bria Skonberg, Helen Sung Rob Garcia’s Soap Box with Jean Rohe, Michel Gentile, Daniel Kelly, Kermit Driscoll êBern Nix Quartet with Matt Lavelle, Francois Grillot, Reggie Nicholson; 92nd Street Y 7:30 pm Brooklyn Conservatory of Music 8 pm $10 Rob Brown Quartet with Kenny Warren, Peter Bitenc, Juan Pablo Carletti; Daniel Carter, • Interpretations: Thomas Buckner with Bradyworks • Sara Serpa and André Matos with Pete Rende, Richie Barshay Ehran Elisha, Jeremy Harlos Clemente Soto Velez Cultural Center 7:30 pm $22 Roulette 8 pm $15 BAMCafé 9 pm • Rhythm Is Our Business - The Music of The Nat King Cole Trio: Chris Pattishall • Theo Bleckmann Neue Galerie Café Sabarsky 7 pm $110 • Fay Victor Classon Social Club 8 pm Dizzy’s Club 7:30, 9:30 pm $25 • Kris Bowers Rockwood Music Hall Stage 2 8:30 pm • Debo Band; Raya Brass Band Mercury Lounge 7:30 pm $10 • George Braith Fat Cat 9 pm • Pedro Giraudo Sextet with Alejandro Aviles, Jonathan Powell, Ryan Keberle, • Trevor Saint/Bill Solomon The Firehouse Space 8 pm $10 • Spelman College Jazz Ensemble The Schomburg Center 8:30 pm $25 Franco Pinna Jazz at Kitano 8, 10 pm $15 • Swingadelic Swing 46 8:30 pm êLady Got Chops Fest: Jazz Foundation Lady Got Chops Jam with Kim Clarke, • Imi Rep La Vor: Andrew D’Angelo, Aaron Dugan, Keith Witty, Tim Keiper; • Bob Bennett Quintet with Eric Burns, Erica Seguine, Charlie Dougherty, Little Annie, Monnette Sudler, Julie Bluestone, Dinah Vero, Tim Siciliano Tim Keiper solo The Stone 8, 10 pm $15 Gusten Rudolph; Faure at Play: Louise Rogers/Mark Kross; Charles Sibirsky; Local 802 7 pm • Point of Departure Fat Cat 10 pm Jon LaTona Quartet with Michael Sachs, Eric Neveloff • Sean Chen/Dan Tepfer SubCulture 7:30 pm $30 • Gregg August Group; Nick Hempton Band Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 • Glenn Zaleski solo; Ari Hoenig Quartet; Spencer Murphy Jam Smalls 9:30 pm 12:30 am $20 • Daniel Bennett Group; Annie Chen Trio Smalls 7:30, 10:30 pm 12:30 am $20 • Bryan and the Aardvarks: Bryan Copeland, Aaron Parks, Camila Meza, Chris Dingman, Tomi Jazz 8, 11 pm $10 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Jesse Lewis, Joe Nero Cornelia Street Café 8:30 pm $10 • Nico Soffiato Goodbye Blue Monday 8 pm • Eliane Amherd Trio with Gustavo Amarante, Colin Stranahan • Sam Harris Trio with Martin Nevin, Craig Weinrib • Ethan Mann Jules Bistro 8:30 pm Bar Next Door 8:30, 10:30 pm $12 The Jazz Gallery 9, 11 pm $15 êEddie Henderson Quartet with Kevin Hays, Doug Weiss, Bill Stewart • Swingadelic Swing 46 8:30 pm • The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Smoke 7, 9, 10:30 pm $38 • The New Jazz Messengers: Liam Werner, Ryan Park-Chan, Isaiah Thompson, Matt Zebroski; The Four Bags: Brian Drye, Mike McGinnis, Jacob Garchik, Sean Moran • Beyond Jobim - New Voices of Brazil: Clarice Assad and Luísa Maita Nick Dunston, Julius Rodriguez; Alex Clough Barbès 7, 8 pm $10 Allen Room 7, 9:30 pm $45-55 Somethin’ Jazz Club 7, 9 pm $10-15 • Victor Prieto Trio with Jorge Roeder, Eric Doob • Okkyung Lee The Kitchen 8 pm $15 • Ayumi Ishito Trio Tomi Jazz 8 pm $10 Terraza 7 9:30 pm $7 • Russ Kassoff/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5 • Cole Rumbough Le Cirque Café 8 pm • Nick Stefanacci; Simon Jermyn Trio with Chris Speed, Lander Gyselinck êSFJAZZ Collective: Avishai Cohen, Miguel Zenón, David Sánchez, Robin Eubanks, • Antonio Ciacca Group Measure 8 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10 Warren Wolf, Edward Simon, Matt Penman, Obed Calvaire • Chuck Braman Jules Bistro 8 pm • Steve Kovalcheck Trio with Marco Panascia, Lawrence Leathers Jazz Standard 7:30, 9:30, 11:30 pm $35 • Howard Williams Jazz Orchestra The Garage 7 pm Bar Next Door 8:30, 10:30 pm $12 êNow This: Gary Peacock, Marc Copland, Joey Baron • Doug White Quartet with Chris Casey, Steve Porter, Tido Holtkamp Birdland 8:30, 11 pm $40 Tuesday, March 18 Metropolitan Room 9:30 pm $20 • Bill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston with guests • NJPAC Wells Fargo Jazz for Teens David Rubenstein Atrium 7:30 pm Greg Osby, Thomas Morgan Village Vanguard 8:30, 10:30 pm $25 êFriends: Hugh Masekela and Larry Willis • Dave Wilson Quartet with Bobby Avey, Tony Marino, Alex Ritz; Mike Wilkens Quartet • Gonzalo Rubalcaba, Giovanni Hidalgo, Jose Gola, Horacio Hernandez Dizzy’s Club 7:30, 9:30 pm $35 with Matt Panayides, Sam Trapchak, Christian Coleman Blue Note 8, 10:30 pm $35 êNow This: Gary Peacock, Marc Copland, Joey Baron Somethin’ Jazz Club 7, 9 pm $10 • Antonio Ciacca Group Measure 8 pm Birdland 8:30, 11 pm $40 • Takeshi Iwasaki Tomi Jazz 9 pm $10 • Samantha Carlson Shrine 6 pm • Bill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston with guest • Frank Russo Sextet Cleopatra’s Needle 7 pm • Marsha Heydt and the Project of Love; Paul Francis Trio Village Vanguard 8:30, 10:30 pm $25 • Jay Collins Jules Bistro 8 pm The Garage 12, 6 pm • Gonzalo Rubalcaba, Giovanni Hidalgo, Jose Gola, Horacio Hernandez • Rick Stone Trio The Garage 7 pm Blue Note 8, 10:30 pm $35 êSFJAZZ Collective: Avishai Cohen, Miguel Zenón, David Sánchez, Robin Eubanks, Sunday, March 23 êMichael Blake’s World Time Zone with Frank Kimbrough, Ben Allison, Ferenc Nemeth Warren Wolf, Edward Simon, Matt Penman, Obed Calvaire Jazz Standard 7:30, 9:30 pm $20 Jazz Standard 7:30, 9:30 pm $35 êNewish Jewish Music Festival: Steven Bernstein’s Diaspora Soul êThe Makanda Project: Kurtis Rivers, Arni Cheatham, Sean Berry, Jason Robinson, êFriends: Hugh Masekela and Larry Willis Dizzy’s Club 7:30, 9:30 pm $35 Charlie Kohlhase, Eddie Allen, Jerry Sabatini, Craig Harris, Robert Stringer, Bill Lowe, Dizzy’s Club 7:30, 9:30 pm $40 êMary Halvorson/Tim Keiper Duo; Motions: Kaoru Watanabe, Chris Dingman, Diane Richardson, John Kordalewski, Wes Brown, Warren Smith • The Puppeteers: Jaime Affoumado, Arturo O’Farrill, Alex Blake, Bill Ware Tim Keiper, Matt Kilmer The Stone 8, 10 pm $15 NYC Baha’i Center 8, 9:30 pm $15 Birdland 6 pm $20 • John Merrill Trio with Andrew Klein, Jason Brown; Johnny O’Neal with Paul Sikivie, • The Webb City Project: Seamus Blake, Gary Fisher, , Morrie Louden, êNow This: Gary Peacock, Marc Copland, Joey Baron Charles Goold; The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Lionel Cordew ShapeShifter Lab 8:15 pm $10 Birdland 8:30, 11 pm $40 Matt Zebroski Smalls 7:30, 10 pm 12 am $20 • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Frank Lacy, • Bill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston with guest • Livio Almeida Quartet with Vitor Gonçalves, Eduardo Belo, Zack O”Farrill; Josh Evans, Stacy Dillard, Theo Hill, Rashaan Carter, Kush Abadey; Thomas Morgan Village Vanguard 8:30, 10:30 pm $25 Luiz Ebert/Fidel Cuéllar Group with Will Caviness Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 • Gonzalo Rubalcaba, Giovanni Hidalgo, Jose Gola, Horacio Hernandez Cornelia Steet Café 8:30, 10 pm $10 • Lena Bloch with Frank Carlberg, Dave Miller, Billy Mintz Blue Note 8, 10:30 pm $35 • Federico Ughi Quartet with David Schnug, Kirk Knuffke, Jeff Snyder; Salmagundi Club 8 pm $15 • Antonio Ciacca Group Measure 8 pm Denver General: Kirk Knuffke, Jonathan Goldberger, Jeff Davis • Jason Anick Quartet with Jason Yeager, Greg Loughman, Mike Connors • Pancake Trio Silvana 6 pm Legion Bar 8, 9 pm $10 Cornelia Street Café 6 pm $10 • Carlo Costa solo; Twins of El Dorado: Joe Moffett/Kristin Slipp; Patrik Breiner/ • Arthur Kell Quartet with Brad Shepik, Nate Radley, Mark Ferber Friday, March 21 Flin van Hemmen Quartet Ibeam Brooklyn 8:30 pm $10 Cornelia Street Café 8:30 pm $10 • Malcolm Campbell Trio with Zwelakhe-Duma Bell le Pere, Charles Burchell; • Joel Forrester solo Spectrum 9 pm êNewish Jewish Music Festival: Anat Fort Brad Whiteley Quintet with Andrew Lim, Daniel Foose, Kenneth Salters, Erika Lloyd • Lucas Pino Trio with Ugonna Okegwo, Colin Stranahan Dizzy’s Club 7:30, 9:30 pm $40 ShapeShifter Lab 7, 9:30 pm $10 Bar Next Door 8:30, 10:30 pm $12 êEddie Henderson Quartet with Kevin Hays, Doug Weiss, Bill Stewart • Alberto Pibiri solo Measure 8 pm • Jason Yeager solo Jazz at Kitano 8 pm Smoke 7, 9, 10:30 pm $38 • CJP Jam Session: Yoko Arima; Electronic Global Jazz Duo • Antonio Ciacca Group Measure 8 pm êHal Galper Trio with Jeff Johnson, John Bishop; Tim Green Quartet Somethin’ Jazz Club 5, 9 pm $10 • Jack Gulielmetti 3 with Ethan Cohn, Julius Rodriguez; Dorian Wallace and Smalls 7:30, 10:30 pm $20 êSFJAZZ Collective: Avishai Cohen, Miguel Zenón, David Sánchez, Robin Eubanks, The Free Sound Ahn-somble Somethin’ Jazz Club 7, 9 pm $12 • Beyond Jobim - New Voices of Brazil: Clarice Assad and Luísa Maita Warren Wolf, Edward Simon, Matt Penman, Obed Calvaire • Kristina Koller Trio Tomi Jazz 8 pm $10 Allen Room 7, 9:30 pm $45-55 Jazz Standard 7:30, 9:30 pm $35 • Peter Brendler Jules Bistro 8 pm êThumbscrew: Mary Halvorson, Michael Formanek, Tomas Fujiwara • Bill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston with guest • Chris Beck Trio The Garage 7 pm Cornelia Street Café 9, 10:30 pm $15 Jason Moran Village Vanguard 8:30, 10:30 pm $25 • Nick Grinder Group Silvana 8 pm • Okkyung Lee The Kitchen 8 pm $15 • Gonzalo Rubalcaba, Giovanni Hidalgo, Jose Gola, Horacio Hernandez • Dave Hassell Quintet Shrine 6 pm êDezron Douglas’ Black Lion The Jazz Gallery 9, 11 pm $20 Blue Note 8, 10:30 pm $35 êBanquet of the Spirits: Cyro Baptista, Brian Marsella, Shanir Ezra Blumenkranz, • Jerry DeVore Trio Indian Road Cafe 8 pm Wednesday, March 19 Tim Keiper The Stone 8, 10 pm $15 • Omar Tamez/Angelica Sanchez Downtown Music Gallery 6 pm • Richie Vitale Quintet Fat Cat 10:30 pm • Andy Bianco Quintet Silvana 6 pm êJohn Zorn’s Masada Songbook - The Book Beriah: Marc Ribot, Uri Caine, • Skeletons: Matt Mehlan, Jason McMahon, Greg Fox, Mike Pride, Justin Frye, • Newish Jewish Music Festival: The Klezmatics Present Havana Nagila with , Steve Lehman, Vijay Iyer, Tyshawn Sorey, John Medeski, Jon Madof Matt Nelson, Nathaniel Morgan, Sam Kulik, Mike Gallope, Sam Sowyrda, Arturo O’Farrill, Sofía Rei, Lewis Kahn, Reinaldo de Jesus and Zion 80, Frank London, Matt Darriau, Abraxas, Cyro Baptista and Banquet of the Caley Monahan-Ward Roulette 8 pm $20 Town Hall 5 pm $40-50 Spirits, Many Arms, Sofía Rei, Eyvind Kang, Ikue Mori, Mark Feldman, Erik Friedlander, • Russ Nolan Quartet with Manuel Valera, Michael O’Brien, Brian Fishler • Michael Webster’s Leading Lines Saint Peter’s 5 pm Jamie Saft, Cleric, Uri Gurvich Town Hall 8 pm $45-65 Jazz at Kitano 8, 10 pm $30 êEllington’s Sacred Music: David Berger, Nicole Cabell, Lalah Hathaway, êSFJAZZ Collective: Avishai Cohen, Miguel Zenón, David Sánchez, Robin Eubanks, • Brandon Seabrook; CACAW: Landon Knoblock, Oscar Noriega, Jeff Davis; Rufus Bonds Jr., Jimmy Heath, Sean Jones, Jason Samuels Smith, Warren Wolf, Edward Simon, Matt Penman, Obed Calvaire Glue Gun Optimism: Ed Rosenberg, James Hirschfeld, Justin Carroll, Simon Jermyn, Jazz at Lincoln Center Youth Orchestra, Vincent Gardner, Jazz Standard 7:30, 9:30 pm $35 Alex Wyatt Spectrum 7:30 pm Celia Cruz Bronx High School of Music, Forest Hills High School, êHarold Mabern Trio with Essiet Essiet, Joe Farnsworth; • Hot Jazz Gang: Antoine Drye, Michael Hashim, Alex Goodman, Trifon and School of the Arts, Songs of Solomon, Talent Unlimited High School, Jeremy “Bean” Clemons Quartet Smalls 9:30 pm 12:30 am $20 Dimitar Dimitrov Lucille’s at BB King’s Blues Bar 7, 9:30 pm $20 Wadleigh Secondary School for the Performing & Visual Arts, Damien Sneed, êCory Weeds Quintet with Steve Davis, Sullivan Fortner, Dezron Douglas, • Russ Kassoff/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5 Wynton Marsalis Stern Auditorium 3 pm $7.50-35 Ulysses Owens Jr. Smoke 7, 9, 10:30 pm • Mark Cocheo Trio with Mark Zaleski, Brian Adler • Yoko Miwa Trio with Will Slater, Scott Goulding • Randy Ingram Quartet with Mike Moreno, Matt Clohesy, Jochen Rueckert Bar Next Door 7:30, 9:30, 11:30 pm $12 Blue Note 11:30 am 1:30 pm $29.50 The Jazz Gallery 9, 11 pm $15 • Manhattan School of Music Afro-Cuban Jazz Orchestra • Roz Corral Trio with Roni Ben-Hur, Paul Gill • Edward Johnson Quartet with Victor Clark, Ellery Eskelin, Tom Rainey Borden Auditorium 7:30 pm $7 North Square Lounge 12:30, 2 pm Greenwich House Music School 8 pm $15 êLady Got Chops Fest: Teri Roiger Shell’s Bistro 9 pm • Iris Ornig Quartet; David Coss Quartet • Don Hahn Fat Cat 9 pm • The Hot Sardines Joe’s Pub 9:30 pm $15 The Garage 11:30 am 7 pm

42 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD Monday, March 24 • Nicky Schrire with Glenn Zaleski, Desmond White, Arthur Hnatek Cornelia Street Café 8:30 pm $10 êBucky Pizzarelli/Ed Laub Duo Zinc Bar 9, 11 pm • John Yao and His 17-piece Instrument; Stephen Harms Large Ensemble • Meshell Ndegeocello The Schomburg Center 8:30 pm $25 ShapeShifter Lab 8:15, 9:30 pm $10 • : , Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood • Timothy Hayward Trio with Peter Mazza, Thomson Kneeland InternatIonal Highline Ballroom 8 pm $25 Bar Next Door 8:30, 10:30 pm $12 • Anna Saeki with Maurizio Najt, Pedro Giraudo, Mikhai Kuchuk, Ariel Iud • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Josh Evans Big Band with ImprovIsatIon Blue Note 8, 10:30 pm $35 Vitaly Golovnev, Frank Lacy, Lauren Sevian, Theo Hill, Ameen Saleem, Chris Beck, êInterstellar Space 40 years: James Brandon Lewis/Haim Peskoff; Bruce Williams, Yunie Mojica, Ned Goold, Stacy Dillard, David Gibson, Freddie Hendrix, FeStIval Ingrid Laubrock/Tom Rainey; Taylor Ho Bynum/Tomas Fujiwara Max Seigel, Stafford Hunter; Kyle Poole and Friends Clemente Soto Velez Cultural Center 7:30 pm $22 Smalls 7:30, 10:30 pm 1 am $20 • Dred Scott Trio with Spencer Murphy, Bill Campbell; Ari Hoenig Quintet; • Jason Yeager solo Jazz at Kitano 8 pm Spencer Murphy Jam Smalls 7:30, 10:30 pm 12:30 am $20 • Gadadu: Nicki Adams/Hannah Selin; AC5: Alex Cummings, Pat Adams, Julia Chen, • Manhattan School of Music Jazz Orchestra Daniel Stein, Austin Vaughn Launch Pad Gallery 8 pm $5 Dizzy’s Club 7:30, 9:30 pm $35 • Troy Roberts Group Somethin’ Jazz Club 9 pm $10-12 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Gioel Seyerini Tomi Jazz 8 pm $10 • Dimitrije Vasiljevic solo Weill Recital Hall 8 pm $35 • Peter Brendler Jules Bistro 8 pm • Doug Beavers/Mike Zilber New Fusion Project with , Luques Curtis, • Adam Rongo The Garage 7 pm Kim Thompson ShapeShifter Lab 9 pm $15 • Emmet Cohen Group Measure 8 pm • Itai Kriss and Gato Gordo Fat Cat 9 pm • Michael Eaton Quartet Silvana 6 pm • Alexis Parsons Trio with Jack Wilkins, Andy McKee Bar Next Door 8:30, 10:30 pm $12 Wednesday, March 26 • Swingadelic Swing 46 8:30 pm • Arthur Vint and Associates with Rich Perry, Tony Scherr, Jon Cowherd, Ian Stapp êAnat Fort Trio with Gary Wang, Matt Wilson Rockwood Music Hall 11 pm Cornelia Street Café 8:30 pm $10 AmsterdAm • Sabrina Wender Le Cirque Café 8 pm êTribute To Wes: John Webber Quintet with Eric Alexander, Peter Bernstein, 29 aprIl . 4 may 2014 • Emmet Cohen Group Measure 8 pm Mike LeDonne, Joe Farnsworth Smoke 7, 9, 10:30 pm • Human Equivalent: Leah Gough-Cooper, Andrew Baird • Ben Monder Trio ’97 with Ben Street, Jim Black; Ches Smith/Jim Black Duo www.doek.org/festIval Somethin’ Jazz Club 9 pm $10-12 The Stone 8, 10 pm $15 • Yosuke Yamanouchi Tomi Jazz 8 pm $10 • Diego Urcola Quartet with Alex Brown, Luques Curtis, Eric Doob; Chris McBride Group • Leco Reis Jules Bistro 8 pm Smalls 9:30 pm 12:30 am $20 • Eyal Vilner Big Band The Garage 7 pm • Lady Got Chops Fest: Jane Getter/Sheryl Bailey • Martin Terens Shrine 8 pm Zinc Bar 7 pm • Paul Abler/Tomoko Ohno Whole Foods Columbus Circle 6 pm • Chris Brown, Suzanne Thorpe, Nate Wooley; Alexandra Gardner solo • Justin Wert Quartet Silvana 6 pm Issue Project Room 8 pm $15 • Joseph Lepore/Robert Gatto Fat Cat 9 pm JoHn dIkeman Tuesday, March 25 • Michael Feinberg’s The Project with Vic Juris, Ian Froman, Billy Buss, Alex Lore and guests Metropolitan Room 9:30 pm $20 wIllIam parker êToshiko Akiyoshi/Lew Tabackin Quartet with Paul Gill, Aaron Kimmel • Sean Smith Quartet with Loren Stillman, Nate Radley, Russ Meissner Dizzy’s Club 7:30, 9:30 pm $35 Jazz at Kitano 8, 10 pm $15 êThe Heath Brothers: Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath • Kenny Berger Trio with Andrew Green, JC Sanford; Simon Jermyn Trio with Village Vanguard 8:30, 10:30 pm $25 Chris Speed, Lander Gysellinck SEEDS 8:30, 10 pm êRobert Hurst Quintet with Marcus Strickland, David Virelles, Jeff “Tain” Watts, • Tyler Blanton Trio with Sam Minaie, Ari Hoenig PePe Espinosa Jazz Standard 7:30, 9:30 pm $20 Barbès 8 pm $10 • Bill Charlap Trio with Peter Washington, Kenny Washington • Sean McCluskey Trio; Rich Graiko ShapeShifter Lab 8:15, 9:30 pm $10 erIC Boeren meetS… Birdland 8:30, 11 pm $40 • Lyric Fury: Cynthia Hilts, Jack Walrath, Lily White, Lisa Parrott, Deborah Weisz, • Larry Carlton Group; Kyle Eastwood Group Marika Hughes, Ratzo Harris, Scott Neumann; Enrico Solano Quartet with Julien Hucq, duoS and IntervIewS Blue Note 8, 10:30 pm $35 Antonello Parisi, Yiorgos Kostopoulos • Russ Kassoff Orchestra with Catherine Dupuis Somethin’ Jazz Club 7, 9 pm $10-12 NYC Baha’i Center 8, 9:30 pm $15 • Neha Jiwrajka Duo Tomi Jazz 8 pm $10 êNot Bloodcount: Tim Berne, Chris Speed, Mike Formanek, Jim Black • Joe Alterman Caffe Vivaldi 9:30 pm eddIe & tHe eaGleS The Stone 8, 10 pm $15 • Aimee Lauren Jules Bistro 8 pm • Kevin Norton, David Watson, Chuck Bettis; Sean Ali, Michael Evans, David Grollman, • Abe Ovadia Trio The Garage 7 pm Go Pascal Niggenkemper Freddy’s Backroom 8:30, 10 pm $10 êToshiko Akiyoshi/Lew Tabackin Quartet with Paul Gill, Aaron Kimmel Dizzy’s Club 7:30, 9:30 pm $35 êThe Heath Brothers: Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath Village Vanguard 8:30, 10:30 pm $25 peter evanS Solo êRobert Hurst Quintet with Marcus Strickland, David Virelles, Jeff “Tain” Watts, PePe Espinosa Jazz Standard 7:30, 9:30 pm $20 • Bill Charlap Trio with Peter Washington, Kenny Washington Academy Records Birdland 8:30, 11 pm $40 Frank GratkowSkI Quartet • Larry Carlton Group; Kyle Eastwood Group Blue Note 8, 10:30 pm $35 & CDs • Emmet Cohen Group Measure 8 pm • Bonzo Terks Silvana 6 pm êBarry Harris, Murray Wall, Yaya Abdul Saint Peter’s 1 pm $10 Thursday, March 27 mark Feldman Cash for new and used êFreddy Cole Quintet with , Randy Napoleon, Elias Bailey, Curtis Boyd Dizzy’s Club 7:30, 9:30 pm $40 êSteve Nelson Quartet with Anthony Wonsey, Leon Dorsey, Jr. StadHouderS compact discs,vinyl The Players Club 7:30 pm $25 êFrancisco Mora-Catlett’s AfroHORN with Aruán Ortiz, Roman Diaz, Rashaan Carter, Govaert records, blu-rays and Sam Newsome, Alex Harding Zinc Bar 8:30, 10:30 pm de Joode • Fabian Almazan’s Rhizome Project with Megan Gould, Tomoko Omura, Karen Waltuch, Noah Hoffeld, Camila Meza, Ben Street, Henry Cole dvds. Jazz Standard 7:30, 9:30 pm $25 êPeter Evans, Sam Pluta, Jim Black; CO3: Jonathan Goldberger, Simon Jermyn, Jim Black The Stone 8, 10 pm $15 • Eviyan: Iva Bittova, Gyan Riley, Evan Ziporyn toBIaS delIuS’ David Rubenstein Atrium 7:30 pm I Hear a Smell We buy and sell all • Gregor Huebner Quartet with Luis Perdomo, Hans Glawischnig, EJ Strickland Manhattan School of Music Comelli Studio 7:30 pm • Steve Davis with Abraham Burton, Larry Willis, , Billy “The Kid” Williams; genres of music. Carlos Abadie Quintet Smalls 9:30 pm 12:30 am $20 • Steve Hall Quintet Fat Cat 10 pm tHurSton moore • Ayako Shirasaki Trio with Noriko Ueda, Shinnosuke Takahashi All sizes of collections Jazz at Kitano 8, 10 pm $15 andy moor • Ruby Choi Quintet; Jorge Sylvester Ace Collective with Nora McCarthy, anne-JameS CHaton welcome. Waldron Mahadi Ricks, Pablo Vergara, Donald Nicks, Elliot Humberto Kavee; Nick Grinder’s Ten Minutes with Charlotte Greve, Manuel Schmiedel, Jason Burger ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Mike Rood Trio with Mike Bjella, Aidan Carroll Bar Next Door 8:30, 10:30 pm $12 • Isaiah Barr; Daniel Rotem Trio with Jared Henderson, Roberto Giaquinto amSterdam real Book For large collections, Somethin’ Jazz Club 7, 9 pm $10-12 BICyCle tour • Senri Oe Tomi Jazz 9 pm $10 please call to set up an • Albert Marques, Walter Stinson, Zack O’Farrill Caffe Vivaldi 9 pm • Steve Elmer Trio Cleopatra’s Needle 7 pm appointment. • Jay Collins Jules Bistro 8 pm • Dre Barnes Project The Garage 7 pm kao make + play • Judi Marie Indian Road Cafe 8 pm For kIdS êThe Heath Brothers: Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath Village Vanguard 8:30, 10:30 pm $25 • Bill Charlap Trio with Peter Washington, Kenny Washington Open 7 days a week 11-7 Birdland 8:30, 11 pm $40 • Larry Carlton Group; Kyle Eastwood Group Blue Note 8, 10:30 pm $35 12 W. 18th Street NY, NY 10011 • Emmet Cohen Group Measure 8 pm all ellInGton • Stan Killian Trio Strand Bistro 6 pm 212-242-3000

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 43 Friday, March 28 • Keir Neuringer, Yoni Kretzmer, Shayna Dulberger, Julius Masri; Brian Drye Trio with REGULAR ENGAGEMENTS Dan Fabricatore, Jeff Davis Legion Bar 8, 9 pm $10 êPat Metheny Unity Group with Chris Potter, Ben Williams, Antonio Sanchez, • Lena Bloch with Dave Miller, Putter Smith, Billy Mintz MONDAYS Giulio Carmassi Town Hall 8 pm $55-95 The Drawing Room 7 pm $20 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Ron Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos • Alberto Pibiri solo Measure 8 pm • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 Flushing Town Hall 8 pm $20-40 • John Allen Watts Trio with Eduardo Belo, Luiz Ebert • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm êBuster Williams Quartet with Bruce Williams, Eric Reed, Lenny White Somethin’ Jazz Club 7 pm $10 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) Smoke 7, 9, 10:30 pm $38 • Joe Lander Trio Caffe Vivaldi 9 pm • Tribute with Dan Barman The Counting Room 8 pm êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, êFreddy Cole Quintet with Harry Allen, Randy Napoleon, Elias Bailey, Curtis Boyd • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm Sean Rickman The Jazz Gallery 9, 11 pm $20 Dizzy’s Club 7:30, 9:30 pm $40 • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm • Jim Black Trio with Teddy Klausner, Chris Tordini and guest • Fabian Almazan’s Rhizome Project with Megan Gould, Tomoko Omura, Karen Waltuch, • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) The Stone 8, 10 pm $15 Noah Hoffeld, Camila Meza, Ben Street, Henry Cole • Joel Forrester solo Brandy Library 8 pm • The Music of Alvin Lucier: The Callithumpian Consort Jazz Standard 7:30, 9:30 pm $25 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Roulette 8 pm $25 êThe Heath Brothers: Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath • Grove Street Stompers Arthur’s Tavern 7 pm • Steve LaSpina/Billy Test Knickerbocker Bar and Grill 9:45 pm $5 Village Vanguard 8:30, 10:30 pm $25 • Minton’s House Band Minton’s Playhouse 5, 7:15, 9:30 pm (THRU SAT) • Kavita Shah/ Rubin Museum 7 pm $20 • Larry Carlton Group; Kyle Eastwood Group • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Rob Derke and The NYJAZZ Quartet with Aruán Ortiz, Carlo De Rosa, Eric McPherson Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $15 • Stan Rubin All-Stars Charley O’s 8:30 pm • Rob Price; Patrick Breiner/Devin Gray • Swingadelic Swing 46 8:30 pm • Pedrito Martinez Group Jamaica Performing Arts Center 7 pm Downtown Music Gallery 6 pm • The Unpossibility of Language: Edward Johnson, Viktor Clark, Kirk Theme and • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 • Johnathan Blake Band Saint Peter’s 5 pm • Diego Voglino Jam Session The Village Lantern 9:30 pm guest Mark Helias Ibeam Brooklyn 8:30 pm $10 êThe Music of Stan Kenton: Brooklyn Jazz Orchestra: Seneca Black, Dan Blankinship, • John Daversa Big Band; Crosswalk Anarchy Mark Morgan, Shareef Clayton, Matt Musselman, Matt McDonald, Max Seigel, • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) ShapeShifter Lab 8, 10 pm $10 Patrick Bartley, Chris Bacas, Dan Pratt, Mark Lopeman, Frank Basile, Alex Smith, TUESDAYS • Andrea Veneziani Trio with Tom Guarna, Roberto Gatto Daniel Foose, Paul Francis Lafayette Avenue Presbyterian Church 5 pm • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) Bar Next Door 7:30, 9:30, 11:30 pm $12 • Hooray For Love: Diane Hoffman, Joe Tranchina, Bill McCrossen, Scott Neumann • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • Perry Beekman Trio with Peter Tomlinson, Lou Pappas Metropolitan Room 4 pm $20 • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm Metropolitan Room 9:30 pm $20 • The Swingmachine: Mike LeDonne, Vincent Herring, Peter Bernstein, Brandon Sanders, • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • Lady Got Chops Fest: Katie Cosco and Laura Dreyer Trio Jazzmeia Horn Emmanuel Baptist Church 3 pm $20 • George Gee Swing Orchestra Swing 46 8:30 pm $12 Shell’s Bistro 9 pm • Amy Cervini and Jazz Kids! 55Bar 2 pm $5 Aida Brandes Trio with Lorenzo Sandi, Agustin Grasso; Terry Vakirtzoglou Trio with • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • • Nobuki Takamen Trio Blue Note 11:30 am 1:30 pm $29.50 • Art Hirahara Trio Arturo’s 8 pm Glafkos Kontemeniotis, George Kostopoulos • Roz Corral Trio with Paul Meyers, Paul Gill Somethin’ Jazz Club 7, 9 pm $10-12 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm North Square Lounge 12:30, 2 pm • Martin Kelley, Diallo House, Christian Coleman 1682 7 pm (ALSO FRI) • Justin Purtill Trio Tomi Jazz 9 pm $10 • Mayu Saeki Trio; David Coss The Garage 11:30 am 7 pm • Sacha Perry Trio Cleopatra’s Needle 8 pm • Mike LeDonne Quartet; Milton Suggs Quartet Smoke 7, 9, 10:30, 11:30 pm • Diego Voglino Jules Bistro 8:30 pm Monday, March 31 • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm • Guy Mintus Trio; Peter Valera and the Jump Blues Band • Mona’s Hot Four Jam Session Mona’s 11 pm The Garage 6, 10:30 pm ê4th Annual James Moody Scholarship for Newark Youth Benefit Concert: • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm êFreddy Cole Quintet with Harry Allen, Randy Napoleon, Elias Bailey, Curtis Boyd Paquito D’Rivera, Renee Rosnes, James Carter, Antonio Hart, Gary Smulyan, • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) Dizzy’s Club 7:30, 9:30 pm $40 Frank Green, Greg Gisbert, Bill Charlap, Todd Coolman, Adam Nussbaum • Annie Ross The Metropolitan Room 9:30 pm $25 • Fabian Almazan’s Rhizome Project with Megan Gould, Tomoko Omura, Karen Waltuch, Blue Note 8 pm $65 • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Noah Hoffeld, Camila Meza, Ben Street, Henry Cole êAruán Ortiz with Rez Abbasi, Sean Conly, Nasheet Waits • Slavic Soul Party Barbès 9 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $30 • Diego Voglino Jam Session The Fifth Estate 10 pm • Tardo Hammer Trio with Lee Hudson, Taro Okamoto; Steve Davis with • Emilio Teubal Ensemble SubCulture 7:30 pm $20-23 • Bill Wurtzel/Jay Leonhart Loi 7 pm Abraham Burton, Larry Willis, Nat Reeves, Billy “The Kid” Williams; êMax Johnson Trio with Kirk Knuffke, Ziv Ravitz; Michaël Attias Trio with Mark Helias, Carlos Abadie Quintet Smalls 7:30, 10:30 pm $20 Nasheet Waits; Daro Behroozi with Sam Yulsman, Chris Castro, Ethan Kogan WEDNESDAYS êThe Heath Brothers: Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath Clemente Soto Velez Cultural Center 7:30 pm $22 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Village Vanguard 8:30, 10:30 pm $25 • Emilio Teubal Ensemble with Moto Fukushima, John Hadfield, Sam Sadigursky, • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Bill Charlap Trio with Peter Washington, Kenny Washington , Brad Shepik, Josh Deutsch, Shane Shanahan • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am Birdland 8:30, 11 pm $40 SubCulture 7:30 pm $20 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Larry Carlton Group; Kyle Eastwood Group • Freddie Bryant solo; Ari Hoenig Quintet; Spencer Murphy Jam • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm Blue Note 8, 10:30 pm $35 Smalls 7:30, 10:30 pm 12:30 am $20 • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm • Emmet Cohen Group Measure 8 pm êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • The Black Butterflies Shrine 6 pm • Dida Pelled Trio with Tal Ronen, Tony Mason • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Steven Frieder Group Silvana 6 pm Bar Next Door 8:30, 10:30 pm $12 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Swingadelic Swing 46 8:30 pm • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Saturday, March 29 • Antonio Ciacca Group Measure 8 pm • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Abelita Mateus Quintet with Peter Slavov, Alex Kautz, Matt Marantz, Behn Gillece • Stan Rubin Orchestra Swing 46 8:30 pm • Monty Alexander with Hassan Shakur, Obed Calvaire, Earl Appleton, Andy Bassford, Somethin’ Jazz Club 9 pm $12 Joshua Thomas, Karl Wright Brooklyn Center for the Performing Arts 8 pm $30-40 • Eve Silber Arthur’s Tavern 7 pm • Lawrence Leathers Jules Bistro 8 pm • Brianna Thomas Quartet Smoke 11:30 pm êMimi Jones Ginny’s Supper Club 7:30, 9:30 pm $15 • Kyle Athayde Dance Party The Garage 7 pm êEllery Eskelin/Gary Versace Michiko Studios 8 pm $15 • Joe Alterman/Rebekah Lowin Le Cirque Café 8 pm • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm êPeter Evans/Sam Pluta; Nmperign: Bhob Rainey/Greg Kelley • Paul Ash Memorial Saint Peter’s 5 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm 61 Local 8, 9:30 pm $10 THURSDAYS • Mat Maneri/Lucian Ban New Quintet with Tony Malaby, Bob Stewart, Nasheet Waits • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm Cornelia Street Café 9, 10:30 pm $15 • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Brian Drye Trio with Matt Pavolka, Jeff Davis; Dustin Carlson Quintet with Jake Henry, Josh Sinton, Kate Gentile Ibeam Brooklyn 8:30, 10 pm $10 • Gregory Generet Smoke 7, 9, 10:30 pm • Kaoru Watanabe ShapeShifter Lab 8 pm $10 • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Misha Piatigorsky Trio with Danton Boller, Ari Hoenig • Jazz Jam Session American Legion Post 7:30 pm Zinc Bar 7:30 pm • Kazu Trio Cleopatra’s Needle 11:30 pm • Ben Tyree Trio SubCulture 10 pm $15-20 • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Mark Soskin/Roseanna Vitro Duo Jazz at Kitano 8, 10 pm $30 • Curtis Lundy Jam Session Shell’s Bistro 9 pm êHypnotic Brass Ensemble Knitting Factory 12 am $10 • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 • The New Cookers BAMCafé 9 pm • Bill Wurtzel Trio Domain 9 pm • Steve Picataggio Trio with Dann Klejn, Martin Wind • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) Bar Next Door 7:30, 9:30, 11:30 pm $12 FRIDAYS • Antonio Ciacca Group Measure 8 pm • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Mike Armando Quartet with Boris Kurganov, Andy Golba, Gezim Sherifi; Sarpay Ozcagatay Quartet with Christian Li, Tyreek Jackson, Devin Collins; • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, John Lenis, Yutaka Uchida; • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Kevin Hildebrandt Trio with Radam Schwartz, G. Earl Grice • Lisa DeSpain solo Machiavelli’s 8 pm Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Yusuke Seki; Spencer Jones Trio Tomi Jazz 8, 11 pm $10 • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Denton Darien Trio Cleopatra’s Needle 8 pm • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Ethan Mann Jules Bistro 8:30 pm • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 êBuster Williams Quartet with Bruce Williams, Eric Reed, Lenny White • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm Smoke 7, 9, 10:30 pm $38 • Frank Owens Open Mic Pearl Studios 7:30 pm $10 êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, • Richard Russo Quartet Capital Grille 6:30 pm Sean Rickman The Jazz Gallery 9, 11 pm $20 • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Jim Black Trio with Teddy Klausner, Chris Tordini and guest • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am The Stone 8, 10 pm $15 • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) • The Music of Alvin Lucier: Charles Curtis/Stephen Drury Roulette 8 pm $25 SATURDAYS • Steve LaSpina/Billy Test Knickerbocker Bar and Grill 9:45 pm $5 • Avalon Jazz Quartet Matisse 8 pm êFreddy Cole Quintet with Harry Allen, Randy Napoleon, Elias Bailey, Curtis Boyd • The Candy Shop Boys Duane Park 8, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $45 • Barbara Carroll/Jay Leonhart Duo Birdland 6 pm $35 • Fabian Almazan’s Rhizome Project with Megan Gould, Tomoko Omura, Karen Waltuch, • Michika Fukumori Trio Cleopatra’s Needle 9 pm Noah Hoffeld, Camila Meza, Ben Street, Henry Cole • Curtis Lundy Trio with guests Shell’s Bistro 9 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Johnny O’Neal Smoke 11:45 pm • Steve Davis with Abraham Burton, Larry Willis, Nat Reeves, Billy “The Kid” Williams; • Skye Jazz Trio Jack 8:30 pm Carlos Abadie Quintet Smalls 10:30 pm $20 SUNDAYS êThe Heath Brothers: Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath • Avalon Jazz Quartet The Lambs Club 11 am Village Vanguard 8:30, 10:30 pm $25 • Birdland with Carolyn Leonhart Birdland 6 pm $25 • Bill Charlap Trio with Peter Washington, Kenny Washington • Ray Blue; Renaud Penant Jules Bistro 12, 8 pm Birdland 8:30, 11 pm $40 • The Candy Shop Boys The Rum House 9:30 pm • Larry Carlton Group; Kyle Eastwood Group Blue Note 8, 10:30 pm $35 • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Colin Cannon Quartet with Manami Morita, Zak Croxall, Devin Collins • Isaac Darch Group Basik Bar 7 pm Blue Note 12:30 am $10 • Marc Devine Trio TGIFriday’s 6 pm • Lady Got Chops Fest: Jan Leder’s NY Jazz Flutet with Dotti Anita Taylor, Elise Wood, • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm Chip Shelton, Chip White Flushing Branch Library 5 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Lady Got Chops Fest: Terri Davis, LeeOlive Tucker, Yayoi Ikawa, Corinthia Cromwell, • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm Lucianna Padmore, Kim Clarke Rochdale Community Center 7 pm • Joel Forrester solo Grace Gospel Church 11 am • Alex Layne Trio; Tom Tallitsch Quartet; Virginia Mayhew Quartet • Nancy Goudinaki Trio Kellari Taverna 12 pm The Garage 12, 6, 10:30 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Bob Kindred Group; Trio Café Loup 12:30, 6:30 pm Sunday, March 30 • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 êH-Alpha: Briggan Krauss, Ikue Mori, Jim Black; The Music of Paul Motian: Chris Speed, • Duo Walker’s 8 pm Oscar Noriega, Brad Shepik, , Jim Black • Peter Mazza Trio Bar Next Door 8, 10 pm $12 The Stone 8, 10 pm $15 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Daniel Levin’s Coelacanth with Mat Maneri, Russ Lossing, Gerald Cleaver • Rob Mosci solo; David Buday Trio Bemelmans Bar 5:30, 9 pm Roulette 8 pm $20 • Lu Reid Jam Session Shrine 4 pm êVinny Golia/Ken Filiano; Baudalino’s Dilemma: Ken Filiano, Warren Smith, Vinny Golia, • Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm Michael TA Thompson WhyNot Jazz Room 7:30, 9 pm $10 • Ryo Sasaki Trio Analogue 7 pm êLoop 2.4.3; Harris Eisenstadt’s Aberikula with Vincent Chancey, Sara Serpa, • Sara Serpa/André Matos Pão Restaurant 2 pm Chris Washburne, Nate Wooley ShapeShifter Lab 7, 8:15 pm $15 • Corin Stiggall and Associates Speedy Romeo 12 pm êDenman Maroney/Hans Tammen Spectrum 7 pm • Milton Suggs Cávo 7 pm • Vladimir Katz Trio; Johnny O’Neal with Paul Sikivie, Charles Goold; • Terry Waldo; Brandon Lewis/Renee Cruz Fat Cat 6 pm 12:30 am Clovis Nicolas Group Smalls 7:30, 10 pm 12 am $20 • Brian Woodruff Jam Blackbird’s 9 pm

44 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 55Bar 55 Christopher Street (212-929-9883) • Experimental Intermedia 224 Centre Street, Third Floor (212-431-5127) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1 to Christopher Street www.55bar.com Subway: 6 to Canal Street www.experimentalintermedia.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • 61 Local 61 Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • North Square Lounge 103 Waverly Place (212-254-1200) (347-763-6624) Subway: F, G to Bergen Street www.61local.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • 92nd Street Y Lexington Avenue at 92nd Street • The Fifth Estate 506 5th Avenue, Brooklyn • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-415-5500) Subway: 6 to 96th Street www.92y.org (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • 1682 48-19 Vernon Boulevard (347-738-4921) • The Firehouse Space 246 Frost Street • Pão Restaurant 322 Spring Street Subway: 7 to Vernon Boulevard-Jackson Avenue Subway: L to Graham Avenue www.thefirehousespace.org (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com • ABC Chinese Restaurant 34 Pell Street • First Reformed Church of Jamaica 159-29 90th Avenue • Parlor Entertainment 555 Edgecombe Ave. #3F (212-781-6595) (212-346-9890) Subway: J to Chambers Street Subway: J, Z to 75th Street Subway: C to 155th Street www.parlorentertainment.com • ABC No-Rio 156 Rivington Street (212-254-3697) • Flushing Library 41-17 Main Street • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: J,M,Z to Delancey Street www.abcnorio.org (718-661-1200) Subway: 7 to Main Street Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • Abrons Arts Center 466 Grand Street (212-598-0400) • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Pearl Studios 500 8th Avenue Subway: F to Grand Street www.abronsartscenter.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org (718-625-9339) Subway: G to Fulton Street • Pianos 158 Ludlow Street Subway: F, V to Second Avenue • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) • Freddy’s Backroom 485 Dean Street (718-622-7035) • The Players Club 16 Gramercy Park South Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 1, 2 to Bergen Street www.freddysbar.com/events (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org • American Folk Art Museum 45 W 53rd Street (212-265-1040) • The Garage 99 Seventh Avenue South (212-645-0600) • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: E to 53rd Street www.folkartmuseum.org Subway: 1 to Christopher Street www.garagerest.com (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • American Legion Post 248 West 132nd Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • Prime and Beyond Restaurant 90 East 10th Street (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • An Beal Bocht Café 445 W. 238th Street • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) • Radegast Hall 113 North 3rd Street Subway: 1 to 238th Street www.LindasJazzNights.com Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Analogue 19 West 8th Street (212-432-0200) • Grace Gospel Church 589 E. 164th Street • Rochdale Community Center 165-63 137th Avenue, Jamaica Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Rockwood Music Hall 196 Allen Street (212-477-4155) • Arthur’s Tavern 57 Grove Street (212-675-6879) • Greenwich House Music School 46 Barrow Street Subway: F, V to Second Avenue www.rockwoodmusichall.com Subway: 1 to Christopher Street www.arthurstavernnyc.com (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) • Arturo’s 106 W. Houston Street (at Thompson Street) • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org • Roulette 509 Atlantic Avenue • Asia Society 725 Park Avenue • Highline Ballroom 431 W 16th Street (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org (212-288-6400) Subway: 6 to 68th Street www.asiasociety.org (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Rubin Museum 150 W. 17th Street (212-620-5000) • Austin’s Ale House 82-70 Austin Street, Kew Gardens • Ibeam Brooklyn 168 7th Street between Second and Third Avenues Subway: A, C, E to 14th Street www.rmanyc.org (718-849-3939) Subway: E, F to Kew Gardens Subway: F to 4th Avenue www.ibeambrooklyn.com • The Rum House 228 W. 47th Street www.austinsteakandalehouse.com • Iguana 240 West 54th Street (212-765-5454) (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • BAMCafé 30 Lafayette Ave at Ashland Place Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street (718-636-4139) Subway: M, N, R, W to Pacific Street; • Indian Road Café 600 West 218th Street @ Indian Road (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Salmagundi Club 47 Fifth Avenue (212-255-7740) • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.salmagundi.org Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com Subway: 1,2 to 50th Street www.theiridium.com • San Martin Restaurant 143 E. 49 Street between Lexington and Park • BRIC House Ballroom 647 Fulton Street • Issue Project Room 22 Boerum Place (718-330-0313) Avenues (212-832-0888) Subway: 6 to 51st Street (718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Sapphire NYC 333 E. 60th Street (212-421-3600) • Bflat 277 Church Street (between Franklin and White Streets) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com Subway: 1, 2 to Franklin Streets • Jamaica Performing Arts Center 153-10 Jamaica Avenue (718-618-6170) • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Bar Chord 1008 Cortelyou Road Subway: E to Jamaica Center www.jamaica-performingartscenter.org www.seedsbrooklyn.org (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Jazz 966 966 Fulton Street • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) • Bar Next Door 129 MacDougal Street (212-529-5945) (718-638-6910) Subway: C to Clinton Street www.jazz966.com Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • ShapeShifter Lab 18 Whitwell Place • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: 4, 5, 6 to Grand Central www.kitano.com (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: F to 7th Avenue www.barbesbrooklyn.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Shell’s Bistro 2150 5th Avenue • Baruch Performing Arts Center 17 Lexington Avenue at 23rd Street Subway: N, R to 28th Street www.jazzgallery.org (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com (646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu/bpac • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Bemelmans Bar 35 E. 76th Street (212-744-1600) Subway: 6 to 125th Street www.jazzmuseuminharlem.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com Subway: 6 to 77th Street www.thecarlyle.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: B, 2, 3 to 135th Street www.shrinenyc.com (212-281-0777) Subway: 2, 3 to 125th Street • Joe G’s 244 W. 56th Street (212-765-3160) • Silent Barn 603 Bushwick Avenue • Birdland 315 W. 44th Street (212-581-3080) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: J, M, Z to Myrtle Avenue www.silentbarn.org Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Joe’s Pub 425 Lafayette Street (212-539-8770) • Silvana 300 West 116th Street • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com (646-692-4935) Subway: B, C, to 116th Street www.facebook.com/bizarrebushwick • Jules Bistro 60 St Marks Place • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Blackbird’s 41-19 30th Avenue (718-943-6898) (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com Subway: R to Steinway Street www.blackbirdsbar.com • Kellari Taverna 19 W. 44th Street (212-221-0144) • Smithfield 215 West 28th Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • The Kitchen 512 W. 19th Street • Smoke 2751 Broadway between 105th and 106th Streets • Brandy Library 25 N. Moore Street (212-255-5793) Subway: A, C, E to 23rd Street www.thekitchen.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com (212-226-5545) Subway: 1 to Franklin Street • Klavierhaus 211 West 58th Street (212-245-4535) • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) • Bronx Museum of the Arts 1040 Grand Concourse (at 165th Street) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com Subway: E to Lexington Avenue-53rd Street www.somethinjazz.com/ny (718-681-6000) Subway: 4 to 161st Street • Knickerbocker Bar and Grill 33 University Place (212-228-8490) • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street • Brooklyn Center for the Performing Arts 2900 Campus Road Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com www.spectrumnyc.com Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.org • Knitting Factory 361 Metropolitan Avenue • Speedy Romeo 376 Classon Ave (718-230-0061) • Brooklyn Conservatory of Music 58 Seventh Avenue (347-529-6696) Subway: L to Lorimer Street www.knittingfactory.com Subway: G to Bedford-Nostrand Avenues www.speedyromeo.com Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • Stephen Wise Free Synagogue 30 W. 68th Street • Brooklyn Heights Cinema 70 Henry Street Subway: R to Prospect Avenue www.konceptionsmusicseries.wordpress.com (212-877-4050) Subway: 1 to 66th Street www.swfs.org Subway: 2, 3 to Clark Street www.brooklynheightscinema.com • LIC Bar 45-58 Vernon Boulevard • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) • Brooklyn Public Library Central Branch (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue • Lafayette Avenue Presbyterian Church 85 South Oxford Street • The Stone Avenue C and 2nd Street • Broadway Thai 241 West 51st Street (718-625-7515) Subway: G to Fulton Street; C to Lafayette Avenue Subway: F to Second Avenue www.thestonenyc.com (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • The Lambs Club 132 W. 44th Street • Strand Bistro 33 West 37th Street (212-584-4000) • Café Carlyle 35 E. 76th Street (212-744-1600) 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.thestrandbistro.com Subway: 6 to 77th Street www.thecarlyle.com • Launch Pad Gallery 721 Franklin Avenue, Brooklyn • SubCulture 45 Bleecker Street (212-533-5470) • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org Subway: 6 to Bleecker Street www.subculturenewyork.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) • Swing 46 349 W. 46th Street (646-322-4051) • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com Subway: A, C, E to 42nd Street www.swing46.com Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Terraza 7 40-19 Gleane Street www.caffevivaldi.com Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com (718-803-9602) Subway: 7 to 82nd Street/Jackson Heights • Capital Grille 120 Broadway • Legion Bar 790 Metropolitan Avenue www.terrazacafe.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com • Tomi Jazz 239 E. 53rd Street • The Carlyle 35 E. 76th Street (212-744-1600) • Lehman College 250 Bedford Park Boulevard West, Bronx (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: 6 to 77th Street www.thecarlyle.com (718-960-8833) Subway: 4, D train to Bedford Park Blvd. • Town Hall 123 W. 43rd Street • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • The Lexington Hotel 511 Lexington Avenue (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com (212-755-4400) 6 to 51st Street www.lexingtonhotelnyc.com www.the-townhall-nyc.org • Cávo 42-18 31st Avenue, Astoria • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Tribeca Performing Arts Center 199 Chambers Street (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street • Charley O’s 1611 Broadway at 49th Street • Loi 208 West 70th Street www.tribecapac.org (212-246-1960) Subway: N, R, W to 49th Street (212-875-8600) Subway: 1, 2, 3 to 72nd Street www.loirestaurant.com • Turnmill NYC 119 East 27th Street • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • L’ybane 709 8th Avenue (212-582-2012) (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: C to Clinton-Washington Avenues www.bistrolola.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • University of the Streets 130 E. 7th Street • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org Subway: C to Lafayette Avenue www.chezoskar.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • The Village Lantern 167 Bleecker Street • Classon Social Club 807 Classon Avenue • Machiavelli’s 519 Columbus Avenue (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street (718-484-4475) Subway: 2, 3 to Eastern Parkway www.theclasson.com (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com • Village Vanguard 178 Seventh Avenue South at 11th Street • Clemente Soto Velez Cultural Center 107 Suffolk Street • Manhattan School of Music 120 Claremont Avenue (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: F, J, M, Z to Delancey Street www.csvcenter.com (212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Manna House 338 E. 106th Street between First and Second Avenues (718-721-3010) Subway: N to Ditmars Blvd-Astoria Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (212-722-8223) Subway: 6 to 103rd Street • Vodou Bar 95 Halsey Street • Cornelia Street Café 29 Cornelia Street • Matisse 924 Second Avenue (347-405-7011) Subway: A, C to Nostrand Avenue www.vodoubar.com (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Walker’s 16 North Moore Street (212-941-0142) www.corneliastreetcafé.com • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street Subway: A, C, E to Canal Street • The Counting Room 44 Berry Street (718-599-1860) www.langhamplacehotels.com • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: L to Bedford Avenue www.thecountingroombk.com • Mercury Lounge 217 E. Houston Street (212-260-4700) Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • David Rubenstein Atrium Broadway at 60th Street Subway: F, V to Second Avenue www.mercuryloungenyc.com • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Merkin Concert Hall 129 W. 67th Street (212-501-3330) (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org www.new.lincolncenter.org/live/index.php/atrium Subway: 1 to 66th Street-Lincoln Center www.kaufman-center.org • Whole Foods Columbus Circle 10 Columbus Circle (212-823-9600) • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Metropolitan Room 34 W. 22nd Street (212-206-0440) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: N, R to 23rd Street www.metropolitanroom.com • Whole Foods Midtown Eastside 226 E. 57th Street, 2nd floor • Domain NYC 2869 Broadway • Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) (646-497-1222) Subway: E, M to Lexington Avenue/53 Street (212-678-8585) Subway: 1 to 110th Street www.domainrestaurant.com Subway: B, D, F, M to 47-50 Streets www.michikostudios.com • WhyNot Jazz Room 14 Christopher Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • Miller Theater 2960 Broadway and 116th Street (212-854-7799) (917-428-4575) Subway: 1 to Christopher Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: 1 to 116th Street-Columbia University www.millertheater.com • Williamsburg Music Center 367 Bedford Avenue Subway: F to East Broadway www.downtownmusicgallery.com • Minton’s Playhouse 206 West 118th Street (212-243-2222) (718-384-1654) Subway: L to Bedford Avenue • The Drawing Room 56 Willoughby Street #3 (917-648-1847) Subway: B, C to 116th Street www.mintonsharlem.com • Winter Garden Battery Park City Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • MIST - My Image Studios 40 West 116th Street Subway: E to World Trade Center www.worldfinancialcenter.com • Drom 85 Avenue A (212-777-1157) Subway: 2, 3 to 116th Street • Zankel Hall 881 Seventh Avenue at 57th Street (212-247-7800) Subway: F to Second Avenue www.dromnyc.com • Mona’s 224 Avenue B Subway: L to First Avenue Subway: N, Q, R, W to 57th Street www.carnegiehall.org • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Zeb’s 223 W. 28th Street Subway: C, E to Spring Street www.earinn.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • Emmanuel Baptist Church 279 Lafayette Avenue • Neue Galerie 1048 5th Avenue • Zinc Bar 82 W. 3rd Street (212-477-8337) (718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com (212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 45 (INTERVIEW CONTINUED FROM PAGE 6) “After the last record I did with my sextet, Apparent Distance, I remember we did one gig and the band just I want to tell them what I’m playing and then take it destroyed the piece; it sounded great,” says Bynum. from there. Which is what I usually do. I usually play “And I just realized that that kind of format, I felt, was out the melody and then I can go any place I want, constricting the potential creativity of the ensemble. So because I’ve already given them the tools to deal with I decided to write a piece where the roadmap wasn’t the improvisation. fixed. So if we’re playing A and some music happens and it opens up, then all of a sudden someone decides TNYCJR: As a jazz musician, did your time as a mother that, you know, Z is the place we should go, we can go raising a child have an influence on your feelings about to Z. And there’s a means to do that.” music? Though Firehouse 12 Records only deals with the freer side of jazz - a second release from Braxton is BC: Well, my feelings about music never changed. I coming this year - Lloyd feels no obligation to that or took some time off when [my daughter] Suzie was any other genre. He’s merely issuing the music he young, but it didn’t change my feelings about music. I thinks is good. always wanted to play. Always, always, always. And, I “It’s true for the venue, too, to maybe a lesser still do. We mentioned Marian McPartland earlier. extent, but I feel like the label is an opportunity just to Unfortunately she is no longer with us, but there’s a kind of present what feels to me like the sort of freshest, memorial service for her [this month] at the 92nd Street most contemporary view of what’s happening in Y, which should be really excellent, because everybody improvised music right now,” explains Lloyd. “So it’s respected and loved Marian. She was an extraordinary not like I’m approaching it from the perspective of ‘it woman. And you were talking before about the has to be avant garde jazz’. It’s just to me seems like difficulties of being a woman and a jazz musician. that’s what’s interesting in jazz right now.” v Marian was right there in the trenches so to speak, along with Mary Lou Williams... Marian, she had a For more information, visit firehouse12records.com. Artists wicked sense of humor - maybe bordering on the performing this month include Myra Melford at The Stone Mar. raunchy. But you know anything you say with a British 2nd; Peter Evans at The Stone Mar. 4th, 8th and 27th, The accent sounds better (laughter). We were good friends. Firehouse Space Mar. 9th, Cornelia Street Café Mar. 16th and 61 Local Mar. 29th; Mary Halvorson at Legion Bar Mar. 9th, TNYCJR: To the younger generation that is studying Clemente Soto Velez Cultural Center Mar. 10th, The Stone Mar. jazz, is there any message you want to give them about 13th, Issue Project Room Mar. 14th and Cornelia Street Café process: how they approach their instrument, practice Mar. 21st; Tyshawn Sorey at Le Poisson Rouge Mar. 9th with or inspiration? John O’Gallagher, The Stone Mar. 9th, Town Hall Mar. 19th as part of ’s Masada Songbook and Cornelia Street Café BC: I think that young people are fortunate these days Mar. 22nd with Mario Pavone; and Taylor Ho Bynum at because there are so many places where they can study Clemente Soto Velez Cultural Center Mar. 24th. See Calendar. and refine their techniques and there are so many good jazz bands at the college level. I think if they want to play they’re going to devote themselves to it. I think you have to have a passion for playing jazz. I know that I always did. I think anyone who approaches jazz loves it and finds all kinds of enjoyment and all kinds of pleasures that multiply as the years go on...and on (laughter). v

For more information, visit barbaracarrolljazz.com. Carroll is at Birdland Saturdays and 92nd Street Y Mar. 20th as part of a Marian McPartland tribute. See Calendar and Regular Engagements.

Recommended Listening: • Barbara Carroll Trio - Complete 1951-1956 Recordings (Atlantic/RCA-Victor - Fresh Sound, 1951-56) • Barbara Carroll - Live!: Her Piano and Trio (Warner Bros., 1967) • Barbara Carroll - Barbara Carroll (Blue Note, 1976) • Barbara Carroll - Old Friends (Audiophile, 1988) • Barbara Carroll - One Morning In May (Fynsworth Alley/Varese, 2002) • Barbara Carroll - How Long Has This Been Going On? (Live at Dizzy’s Club Coca-Cola) (Harbinger, 2010)

(LABEL CONTINUED FROM PAGE 12)

record Navigation, is fascinating and perhaps emblematic of the general Firehouse 12 worldview. It’s brave and it thinks outside the box. An album-length composition, “Navigation” has six parts; each player has two parts they can initiate and any given performance can repeat or omit sections. Since no two takes on the piece are likely to be similar, “Navigation” is given four interpretations here: two live and two studio, with drummer Chad Taylor making the band a seven-piece on the studio versions. Like nearly every Firehouse 12 release, all four takes were recorded at the Firehouse 12 space.

46 MARCH 2014 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin JOHNNY ALLEN - The Alabama native and Detroit stalwart ARTHUR DOYLE- The saxophonist and flutist first appeared on IZUMI UCHIDA - The Japanese musician agent had a Master’s pianist began in the house band of the Club Congo, backing visiting albums by Noah Howard (1969’s The Black Ark) and Milford Graves degree in classical piano but then became very involved in today’s artists like Billie Holiday, and later became involved with the (1976’s Babi) and then began releasing sessions under his own modern jazz scene, both in Warsaw, Poland and New York, newly founded Records as an arranger (winning a name - beginning with 1977’s aptly titled and career-prophesizing working with and managing Dan Tepfer, Samuel Blaser, Ralph Grammy for “Theme from Shaft”) and continuing to play jazz in Alabama Feeling - with various groups, including the Blue Humans, Alessi, Tony Malaby, Linda Oh, Gerald Cleaver, Michael Bates, his adopted city up until his death. Allen died Jan. 29th at 96. a duo with Sunny Murray and his own Electro-Acoustic Ensemble, Colin Stranahan, Jason Kao Hwang and others. Uchida died Jan. the music for his early ‘90s discs written while in prison in France, 6th at 47. AMIRI BARAKA - The playwright and one-time New Jersey Poet all combining a free jazz aesthetic with gutbucket tradition. Doyle Laureate, born Everett LeRoi Jones, was a key figure in the Black died Jan. 25th at 69. SAM ULANO - The New York City-born drummer began his Arts Movement of the ‘60s and spent decades using his controversial career playing USO shows during World War II and working in and critically celebrated or derided work, including 1963’s Blues RONNY JORDAN - The British guitarist was influenced by New York behind , Bob Hope and Betty Hutton. Later People: Negro Music in White America, to advance various artistic players like Wes Montgomery and but took that style he was a regular at the Gaslight Club with Sol Yaged and even and political causes, often alongside jazz musicians like the New and applied it to some of the earliest recordings to fall under the played a notorious gig with Public Image, Ltd. in 1981. But he was York Art Quartet in the ‘60s all the way to alto saxophonist Rob “Acid Jazz” moniker, including the seminal Guru album Jazzmatazz, best known for his instructional books, which numbered over Brown in the Aughts. Baraka died Jan. 9th at 79. Vol. 1 and his own albums as a leader for Island and Blue Note. 5,500. Ulano died Jan. 2nd at 93. Jordan died Jan. 13th at 51. ROY CAMPBELL, JR. - The trumpeter was a fixture on New York THILO VON WESTERNHAGEN - The German pianist’s later City’s avant garde jazz scene going back to the early ‘70s after BOBBY SCHMIDT - The German drummer was an original and work was orchestral and new age composing but his beginnings studies at JazzMobile and Manhattan Community College, longtime member of Kurt Edelhagen’s orchestra, working with included jazz with Rolf Kühn and his own late ‘70s-early ‘80s working with Jemeel Moondoc’s Muntu, Billy Bang’s sextet, Mary Lou Williams in 1954, and later became a producer at Polydor albums, which featured , Joachim Kühn and Jan William Parker’s Little Huey Creative Music Orchestra, cooperative Records for his old boss Edelhagen and Max Greger as well as a Akkerman. Von Westernhagen died Jan. 11th at 63. ensembles Other Dimensions in Music and Nu Band and his own composer of pop tunes. Schmidt died Jan. 3rd at 90. numerous groups, such as Pyramid Trio, Tazz and Shades and SAUL ZAENTZ - The producer worked for and later owned Colors of Trane. Campbell died Jan. 9th at 61. BUD SPANGLER - The drummer, though he had many performing Fantasy Records (whose artists at the time included Dave Brubeck, credits with the likes of Mose Allison, Phil Ranelin, Kenny Cox, Cal Tjader, Mongo Santamaria and Brew Moore and was notorious PIERRE CULLAZ - The French guitarist’s work was mostly in his Eddie Henderson, Archie Shepp and others, was best known as a for a long-standing legal dispute with John Fogerty of Creedence native country’s traditional scene, in groups led by Eddy Louiss, radio DJ in the northern California area and 21st century Grammy- Clearwater Revival, one of Fantasy’s biggest sellers) and went on André Hodeir and Jef Gilson, but he also played on Sarah nominated for such artists as Ed Reed, Shirley to become an Academy Award-winning film producer for such Vaughan’s 1958 album Vaughan and and Swiss bassist Léon Horn, Giacomo Gates, Taylor Eigsti and Cedar Walton. Spangler movies as One Flew Over the Cuckoo’s Nest, Amadeus and The English Francioli’s 1970 free jazz LP Nolilanga. Cullaz died Jan. 1st at 78. died Jan. 16th at 75. Patient. Zaentz died Jan. 3rd at 92. BIRTHDAYS March 1 March 6 March 11 March 16 March 22 March 27 †Glenn Miller 1904-44 †Red Callender 1916-92 †Miff Mole 1898-1961 † 1927-2003 †Fred Anderson 1929-2010 †Pee Wee Russell 1906-69 †Teddy Powell 1906-1993 †Howard McGhee 1918-87 † 1919-96 †Tommy Flanagan 1930-2001 John Houston b.1933 † 1909-73 †Benny Powell 1930-2010 †Wes Montgomery 1925-68 Ike Carpenter b.1920 Keith Rowe b.1940 †Masahiko Togashi 1940-2007 †Sarah Vaughan 1924-90 Gene Perla b.1940 † 1935-80 †Billy Mitchell 1926-2001 John Lindberg b.1959 George Benson b.1943 † 1925-2003 Ralph Towner b.1940 Charles Tolliver b.1940 †Leroy Jenkins 1932-2007 Woody Witt b.1969 †Bill Barron 1927-89 Vinny Golia b.1946 Peter Brötzmann b.1941 Vince Giordano b.1952 March 23 †Burt Collins 1931-2007 b.1947 †Robin Kenyatta 1942-2004 Judy Niemack b.1954 March 17 †Johnny Guarnieri 1917-85 Stacey Kent b.1968

Elliott Sharp b.1951 Flora Purim b.1942 Paul Horn b.1930 Dave Frishberg b.1933 A b o t Dom Minasi b.1943 March 12 †Grover Mitchell 1930-2003 Dave Pike b.1938 March 28 March 2 Ayelet Rose Gottlieb b.1979 Sir Charles Thompson b.1918 Karel Velebny b.1931 Masabumi Kikuchi b.1940 †Paul Whiteman 1890-1967 J o h n †Eddie “Lockjaw” Davis †Hugh Lawson 1935-97 Jessica Williams b.1948 Gerry Hemingway b.1950 †Herb Hall 1907-96 RENEE ROSNES 1921-86 March 7 Ned Goold b.1959 Abraham Burton b.1971 b.1973 †Thad Jones 1923-86 March 24th, 1962 † 1934-62 Alexander von Schlippenbach Peter Knight b.1965 Daniel Levin b.1974 Bill Anthony b.1930 The pianist studied classical Buell Neidlinger b.1936 b.1938 Vinson Valega b.1965 March 24 † 1933-97 music but decided jazz was Bob Neloms b.1942 Herb Bushler b.1939 March 18 †King Pleasure 1922-81 Barry Miles b.1947 for her and began gigging Wolfgang Muthspiel b.1965 March 13 †Al Hall 1915-88 Dave MacKay b.1932 Donald Brown b.1954 around the rich scene of her March 8 †Dick Katz 1924-2009 †Sam Donahue 1918-74 †Kalaparusha Maurice Orrin Evans b.1975 native Vancouver, both with March 3 †George Mitchell 1899-1972 Roy Haynes b.1926 Bill Frisell b.1951 McIntyre 1936-2013 Jen Shyu b.1978 local musicians and visiting † 1906-80 b.1927 † 1930-79 Joe Locke b.1959 Steve Kuhn b.1938 stars. She moved to New †Cliff Smalls 1918-2008 George Coleman b.1935 Michael Jefry Stevens b.1951 Paul McCandless b.1947 March 29 York in the mid ‘80s and her †Jimmy Garrison 1934-76 †Gabor Szabo 1936-82 Akira Tana b.1952 March 19 Steve LaSpina b.1954 †George Chisholm 1915-97 earliest recording credits Luis Gasca b.1940 †James Williams 1951-2004 Terence Blanchard b.1962 †Curley Russell 1917-86 Renee Rosnes b.1962 †Pearl Bailey 1918-90 were with Jon Faddis, Greg Biggi Vinkeloe b.1956 Shoko Nagai b.1971 †Lennie Tristano 1919-78 Dave Douglas b.1963 Allen Botschinsky b.1940 Osby and her own albums as March 4 Anat Fort b.1970 Bill Henderson b.1930 Joe Fiedler b.1965 †Michael Brecker 1949-2007 a leader, including her 1989 Don Rendell b.1926 March 14 Mike Longo b.1939 eponymous Blue Note debut. †Cy Touff 1927-2003 March 9 †Joe Mooney 1911-75 David Schnitter b.1948 March 25 March 30 Since then she has released †Barney Wilen 1937-96 Ornette Coleman b.1930 †Les Brown 1912-2001 Chris Brubeck b.1952 Cecil Taylor b.1929 †Ted Heath 1900-69 over a dozen more albums David Darling b.1941 Keely Smith b.1932 †Sonny Cohn 1925-2006 Michele Rosewoman b.1953 †Paul Motian 1931-2011 Lanny Morgan b.1934 under her name, including Jan Garbarek b.1947 Kali Z. Fasteau b.1947 Mark Murphy b.1932 Eliane Elias b.1960 †Larry Gales 1936-95 Karl Berger b.1935 2010’s Double Portrait, a Kermit Driscoll b.1956 Zakir Hussain b.1951 † 1934-2002 †Lonnie Hillyer 1940-85 Marilyn Crispell b.1947 collaboration with fellow Albert Pinton b.1962 †Thomas Chapin 1957-1998 Dred Scott b.1964 March 20 Makoto Ozone b.1961 Dave Stryker b.1957 pianist and husband Bill Dana Leong b.1980 Erica von Kleist b.1982 †Marian McPartland 1920-2013 Frank Gratkowski b.1963 Charlap. Rosnes is currently March 15 †Sonny Russo 1929-2013 March 26 Dan Peck b.1983 a member of bassist Ron March 5 March 10 †Jimmy McPartland 1907-91 Harold Mabern b.1936 Abe Bolar b.1908 Carter’s Foursight Quartet †Gene Rodgers 1910-87 †Bix Beiderbecke 1903-31 †Spencer Clark 1908-1998 Jon Christensen b.1943 †Flip Phillips 1915-2001 March 31 and appeared on albums by †Bill Pemberton 1918-84 †Pete Clarke 1911-75 †Harry James 1916-83 †Andy Hamilton 1918-2012 †Santo “Mr. Tailgate” Pecora Marian McPartland, Gerald †Dave Burns 1924-2009 †Don Abney 1923-2000 Bob Wilber b.1928 March 21 †Brew Moore 1924-73 1902-84 Wilson, Wayne Shorter, Joe † 1928-2001 Louis Moholo b.1940 Charles Lloyd b.1938 †Hank D’Amico 1915-65 †James Moody 1925-2010 †Red Norvo 1908-99 Henderson, †Wilbur Little 1928-87 Mino Cinelu b.1957 Marty Sheller b.1940 Mike Westbrook b.1936 Maurice Simon b.1929 † 1911-87 and JJ Johnson, among many †Pee Wee Moore 1928-2009 Bill Gerhardt b.1962 Joachim Kühn b.1944 Herbert Joos b.1940 Lew Tabackin b.1940 †Jimmy Vass 1937-2006 others. -AH David Fiuczynski b.1964 Ofer Assaf b.1976 Anne Mette Iversen b.1972 Amina Claudine Myers b.1942 Hiromi b.1979 Christian Scott b.1983 ON THIS DAY by Andrey Henkin

Jazz Salon Dortmund 1957 Dimensions & Extensions Gathering Blue Night Aesthetic Direction Brüel/Zoller/Peacock (Metronome) (Blue Note) Circle (CBS/Sony) Art Blakey (Timeless) Theo Jörgensmann (Konnex) March 17th, 1957 March 17th, 1967 March 17th, 1971 March 17th, 1985 March 17th, 1993 Long before Keith Jarrett or even Despite saxophonist/flutist Sam Circle was a short-lived avant garde were first German Theo Jörgensmann is among , bassist Gary Peacock Rivers’ longevity and accomplishment, supergroup formed from the convened in 1953 under Horace the vanguard of avant garde clarinet (misidentified on the cover as George) he has always been a bit of an outsider conjoining of two of pianist Chick Silver’s name but they became players since the early ‘70s, even was stationed in Germany with the US in the jazz world. This album was the Corea’s trios from 1970, one with drummer Art Blakey’s main vehicle participating in all-clarinet frontline military. And during that time, only last of his four Blue Note leader bassist and drummer until his death in 1990, sucking in and groups like Clarinet Contrast and five days removed from his 22nd sessions (beginning in 1964 and Barry Altschul and the other with spitting out a Who’s Who of jazz Clarinet Summit. For this live birthday, he waxed this 7” EP with two outliers for the imprint, to be sure) and Holland and multi-reedist Anthony royalty. The lineup from this session, recording taken from Bremen, older players: Danish architect and his last album as a leader until 1971’s Braxton. They first recorded as a recorded in Monster, The Netherlands, Germany, Jörgensmann’s clarinet is saxophonist Max Brüel and Hungarian Hues for Impulse. Joining him for six quartet in August 1970, making their is one of the last, with the standard paired with Rainald Schückens’ bass guitarist Attila Zoller, at the time originals are (alto ECM debut in February 1971. This was two-sax-trumpet-piano-bass-drums clarinet, plus Albrecht Maurer (violin), probably the best known of the three. sax, flute), Donald Byrd (trumpet), their last album together, a second format (, Terence Donja Eghbal (cello) and Achim This session from the German Jazz- Julian Priester (trombone), Cecil Japanese-only release (the first was Blanchard, Jean Toussaint, Mulgrew Krämer (percussion), the quintet Salon in Dortmund is made up of three McBee (bass) and Steve Ellington from a November 1970 session in Miller, Lonnie Plaxico), and the album operating under the moniker of standards: “Stella By Starlight”, (drums), including among the few Germany), the Corea-penned title features originals by all but Blakey and Werkschau Ensemble and performing “Indian Summer” and “Yesterdays”. two-flute frontlines in jazz history. track split across two sides of an LP. Miller plus “Body and Soul”. a six-part improvised suite.

THE NEW YORK CITY JAZZ RECORD | MARCH 2014 47