June 2013 | No. 134 Your FREE Guide to the NYC Scene nycjazzrecord.com

PONCHO SANCHEZ STANDARD-BEARER

BOB • NATE • KAMAU • IMPROVISING • EVENT DOROUGH WOOLEY ADILIFU BEINGS CALENDAR JAZZ & SUPER CLUB PRESENTS “Dreaming in Blue” feStival 2013 May 24 -June 30 Friday & Saturday May 24 & 25 Wednesday June 5 Wednesday June 19 “” mileS tOneS duane euBanKS Qnt ft Sextet giaCOmO gateS (ts) • Justin Robinson (as) Abraham Burton (ts) • Ameen Saleem (b) Eddie Henderson (tp) • Mike LeDonne (p) CD Release Event Eric McPherson (dr) (b) Friday & Saturday June 7 & 8 Friday & Saturday June 21 & 22 Wednesday May 29 Quartet “mileS BeyOnd” “mileStOneS” ft larry williS Qnt freddie hendrix Qnt featuring Abraham Burton (ts) • Orrin Evans (p) • Josh Evans (tr) • (b) BuSter williamS Corcoran Holt (b) • Eric McPherson (dr) Friday & Saturday May 31 & June 1 & al fOSter Wednesday June 26 “SOmeday my will (tr) • Javon Jackson (ts) JOSh evanS Sextet COme” (as) • Abraham Burton (ts) eddie henderSOn Qnt Wednesday June 12 Orrin Evans (p) • Dezron Douglas (b) • Chris Beck (dr) Wayne Escoffery (ts) • Dave Kikoski (p) Doug Weiss (b) • Carl Allen (dr) the miChael deaSe Quintet Friday & Saturday June 28 & 29 Etienne Charles (tr) • Glenn Zaleski (p) • Linda Oh (b) Colin Stranahan (dr) “ “ Sunday June 2 Quintet the dee danielS Qnt Friday & Saturday June 14 & 15 featuring Jeremy Pelt the mileS daviS SOngBOOK “rememBering Tom Guarna (g) • Theo Bell (keys) • Victor Bailey (b) Sundays May 26, June 9, 23 mileS dewey daviS” Qnt Sunday June 30 allan harriS Kamau Adilifu (Charles Sullivan) (tr) • Michael Cochrane (p) BruCe harriS Quintet David Williams(b) • Steve Johns (dr) Myron Walden (sax) • Jeb Patton (p) • tba (b) • Pete Van mileS & Billy eCKStine Nostrand (dr) 212-864-6662 • 2751 Broadway nyC (Between 105th & 106th streets) • www.smokejazz.com SMOKE City is often described as a nightly jazz festival, and with good reason. Our own Event Calendar has over 600 hundred gig listings each month; do the math - that’s better than most “official” festivals. New York@Night The city does have its own actual festival circuit, but in a slightly different 4 way. Each year, we can look forward to the Vision Festival, represented in this issue by our Megaphone writer Edward [Ted] Daniel; Label Spotlight on Interview: Improvising Beings; Listen Up! on Román Filiú, plus a clutch of CD reviews, 6 by Ken Dryden including an in-depth review of the monumental New York Art Quartet boxed set Call It Art. In the past few years, other homegrown events have flowered as well. Artist Feature: Nate Wooley inaugurated their own month-long festival at venues across 7 by Stuart Broomer the city; performing as part of it is percussionist (On The Cover). And Smoke Jazz Club created its own lengthy celebration of the legacy of Miles On The Cover: Poncho Sanchez Davis and will include trumpeter Kamau Adilifu (Encore, né Charles Sullivan) 9 by Alex Henderson among its performers this month. Add to that the Rhythm in the Kitchen Festival, Encore: Lest We Forget: days early in the month as presented by the Hell’s Kitchen Cultural Center; the Red Hook Jazz Festival, two packed Sundays in the shadow of IKEA; the 10 Kamau Adilifu Volker Kriegel annual weeklong Festival at Birdland and Le Poisson Rouge’s by Brad Farberman by Donald Elfman fifth anniversary celebration. That’s a lot of commemorative t-shirts. And if that wasn’t enough festival coverage for you, we have reports from Austria and Canada Megaphone VOXNews to remind you that there is life past the bridges. 11 by Edward T. Daniel by Katie Bull In other feature coverage, near-nonagenarian pianist/vocalist Bob Dorough (Interview) holds court at Jazz at Kitano while thoughtful and thought-provoking Label Spotlight: Listen Up!: trumpeter Nate Wooley (Artist Feature) performs the latest installment of his 12 Improvising Beings Román Filiú & Gregg August master opus The Seven Storey Mountain at Issue Project Room. And to (re)affirm the by Ken Waxman opening sentence of this introduction, we have that packed Event Calendar, featuring dozens of reviewed CD release events throughout the first days of 13 Festival Reports: Ulrichsberger Kaleidophon • FIMAV summer. Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director CD Reviews: Lotte Anker, Billy Martin, Charles Gayle, 14 John McLaughlin, , and more On the cover: Poncho Sanchez (Devin DeHaven/Courtesy of Concord Group) Event Calendar 46 Corrections: In last month’s Globe Unity, the name of the author who organized the If Not recordings is Paolo Carradori. And, in a multi-review of his recordings, Club Directory percussionist Andrea Centazzo was mistakenly referred to as a US resident when, in 53 fact, he has been a citizen for 15 years.

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

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THE NEW YORK CITY JAZZ RECORD | June 2013 3 NEW YORK @ NIGHT

The Hell’s Kitchen Cultural Center, Inc. For the second year the Undead Music Festival kicked Wadada Leo Smith opened a staging of his epic Ten off with a night of Improvised Round-Robin Duets, Freedom Summers at Roulette (May 1st-3rd) in silence, Presents: but the lineup at Brooklyn Masonic Temple (May 1st) with only an abstract projection occupying the room couldn’t have been more of a departure. Simply put, before bassist John Lindberg and drummer Pheeroan this wasn’t strictly a jazz event. Jazz players did take akLaff kicked in like a needle dropping midtrack. With part, however, and what they’d do with colleagues both his Golden Quartet and the Pacifica Coral Reef The Seventh Annual from vastly different musical worlds was anyone’s Ensemble onstage, Smith created a dual narrative, not guess. There were tech problems - the event could be high and low but two sides of the river. Over the three “Rhythm in the Kitchen” renamed Soundman’s Nightmare - and some matchups nights, Smith slowly pulled them together (adding the Music Festival 2013 were uncomfortable to watch. Trumpeter FLUX string quartet on the final night), using different did well in the groove-based environment of drummer without rushing into full . and soundscaper Martin Dosh, but then struggled to While the first night was largely downtempo, the Wednesday, June 5th make sense of James Chance’s and nearly left the second night included some rousing blues and the In Collaboration with Harvestworks, stage twice. Going from that to the vocal yowling and third played with jazz settings. The music slid around The New York Electronic Art Festival feedback of ’s , with the stage, through solos, duets and larger groupings, 7pm - Meridian7 aka Lori Napoleon: Chance on alto sax, was less than ideal. But other all controlled and carefully measured. The strings of Intercept Tone/Vacant Level encounters worked: alto saxophonist Matana Roberts the Pacifica Coral Reef Ensemble played the composed with superstar drummer ?uestlove was a pleasure and work beautifully while proving adept at the 8pm - Peter Edwards: Analog sound and light performance so were the hand-in-glove pairings of pianist Robert improvisations and extended techniques in the score. 9pm - Denman Maroney & Hans Tammen: Arson Glasper with Vijay Iyer and DJ Spinna, in that order. There was a time when jazz records could be important 10pm - Phillip Stearns: Imminent Shift Julia Holter’s simple keyboard motives and inscrutable, - not to the jazz world but to the culture at large. Over softly sung lyrics played off the cagey electric bass of three nights (and four CDs), Smith recalled that time of Thundercat (Stephen Bruner) to cast one of the night’s ’ Freedom Suite and ’s We Thursday, June 6th more memorable spells. Jazz came out strong at the Insist! without trying to reprise it. He reminded us of Hell’s Kitchen Cultural Center, Inc. Benefit end: Don Byron said his piece on tenor with violinist social realism imbued in music while remaining in the 7pm - In Performance Music Workshop directed (and brilliant whistler) Andrew Bird, then yielded to present. He’s continuing to compose new material for by Sean King with guest JD Parran fellow tenor , who closed with a biting five- the suite and we might hope that he continues into the 8:30pm - David Jimenez/Charles Evans Duo minute soliloquy that seemed to say, “Here’s how it’s future to tell us what’s in store for us. He would at 9:30pm - York College Jazz Ensemble done.” - David R. Adler least deserve the benefit of the doubt. - Kurt Gottschalk directed by Thomas Zlabinger 10:30pm - Elise Wood /Bruce Edwards

Friday, June 7th 7pm - Eri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi 8pm - Rob Reddy Ensemble with Charlie Burnham, John Carlson,

Dom Richards, Guillermo Brown P h o t b y 9pm - Alex Garcia/AfroMantra with , Mike Eckroth, Ariel De La Portilla

10pm - Ernie Hammes Group with A l a n N h i g Pierre Alain Goualch, Aidan Carroll, Paul Wiltgen A n e s P h o t b y J i m Saturday, June 8th James Chance & Roy Hargrove @ Brooklyn Masonic Temple Wadada Leo Smith @ Roulette with 7pm - Curtis Stewart PUBLIquartet Jannina Norpoth, Nick Revel, Amanda Gookin Following three nights with his bracing Snakeoil has long espoused putting punk energy 8pm - Michele Rosewoman with Liberty Ellman quartet and a night with Dilated Pupils (featuring and attitude into whatever music he plays and with his with 9pm - William Hooker/Strings 3 Tim Berne David Soldier and David First David Torn), alto saxophonist continued his latest incarnation is doing so to the jam-band format. residency at The Stone with fearsome sounds from a The trio Ceramic Dog (with Shahzad Ismaily and Ches 10pm - Joseph . Phillips, Jr. and Numinous with Ana Milosavljevic, Maya Bennardo, unit he’s calling the Tim Berne 7 (May 11th). The Smith) had already been playing for a while before Hannah Levinson, Richard Vaudrey members of Snakeoil - pianist Matt Mitchell, clarinetist their 2008 release Party Intellectuals (on ), Oscar Noriega, drummer - were all on working extended grooves heavy with improvisation. hand as the first set started, but Smith played But sometime between then and now the focus , , gongs, cowbells and tightened. The band was lean and mean at Le Poisson $15/$12 (students & seniors) The HKCC Benefit on June 6th is $20/$15 (students & seniors) instead of drums (the remarkable Dan Weiss took Rouge (May 5th), just off a Japanese tour supporting $25 / 2 Evening Festival Pass - only for purchase on Friday, June 7th charge of the kit). Guitarist Ryan Ferreira played the new Your Turn (on Northern Spy). They opened atmospheric chordal washes and slightly overdriven with a brief, sparse, open-form improv (or so it felt) Church for All Nations lines but got a bit obscured in the tumult. (The next before slamming straight into an adrenaline-soaked 417 West 57th Street (9th & 10 Aves) NYC night he joined Berne in the more exposed quartet “Take 5”. They reached back to Ribot’s old band the setting of Decay.) Bassist and longtime Berne associate Rootless Cosmopolitans for a cover of Hendrix’ “The hkculturalcenter.org Michael Formanek was in total command of the dense Wind Cries Mary” and hit on Stonewall Jackson’s Facebook.com/rhythminthekitchen written material and there was a lot: first “Lamé No. “Angel On My Mind” (also recorded by Ribot’s contact: [email protected] / [email protected] 3”, then “Lamé No. 4” and finally the suite “Forever compadre Elvis Costello), but it was the original songs Hammered”, a series of tightly executed themes, solo that hit hardest. “Masters of the Internet” was a biting spotlights and seamless transitions that grew over the indictment of music piracy while the protest song course of 30 minutes or more. The group approached “Bread and Roses” borrowed lyrics from a 1911 union Berne’s long, spooling unison lines and counterpoint poem. “Lies My Body Told Me” featured Ismaily with furious intent, heightening the music’s dissonant switching between bass, guitar and percussion and he barbed-wire quality. Smith’s locked-in percussion and and Smith seeming to holler backing vocals in harmony. Weiss’ elliptical drumming provided rhythmic flux It might seem blunt, but some band has to be at the Ministere de la Culture, de l’Enseignement Superieur and raw power, urging the band to let loose. Berne and bottom of the heap and for a long while Ceramic Dog et de la Recherche, Luxembourg the ensemble roared, but when Smith’s vibes and has been around the bottom of the guitarist’s pile. Lux Mix, Luxembourg Noriega’s bass clarinet worked , the band Surprisingly, happily and quite unexpectedly, the old took on a warmer chamber-like identity. (DA) band has learned some new tricks. (KG)

4 June 2013 | THE NEW YORK CITY JAZZ RECORD The Microscopic Septet seems like a band that was The recipient of a 2012-13 Jazz Gallery Residency - always in the wrong time. When they came up in ‘80s designed to support promising young artists in the WHAT’S NEWS NYC, their brand of madcappery was at odds with the creation of “new works commissioned by, developed dark edginess of Downtown jazz. And they were in and premiered at The Jazz Gallery” - pianist inactive during the ‘90s when they would have been Kris Davis debuted a series of compositions for a trio As part of this month’s Vision Festival, in addition to hugely successful in the irony-filled retro-scene. But to made up of bassist John Hébert and drummer Tom honoring the lifetime achievement of drummer Milford call their music simply ironic or madcap is reductionist Rainey at the much loved institution’s new Broadway Graves (Jun. 12th), visual artist Robert Janz will also be and would ignore the excellent craftwork that goes location (May 10th). The Canada native began the celebrated for his career (Jun. 13th). For more information, into the composing of saxophonist Phillip Johnston evening’s second set with her ”Berio”, a piece that visit artsforart.org. and pianist Joel Forrester, the group’s main tunesmiths. nodded to the noted 20th Century Italian composer in With Johnston’s move to Australia, the Septet’s revival its initial lingering pedaled notes, before the loose The 2013 Jazz Journalists Association Jazz Award several years back has struggled a bit perhaps for unity of the individual players cohered into an winners for musical achievement have been announced. momentum but that never comes through during their idiosyncratic Keith Jarrett-ish swing, with the pianist’s The Lifetime Achievement Award was given to rare performances. Last month the group appeared at improvisational creativity coming to the fore and her saxophonist while trumpeter Wadada Leo Joe’s Pub but before that had a more intimate evening deftly executed lines ringing out with authoritative Smith was named . Pianist Aaron in the Lower East Side house venue Spectrum (May originality. On “Propaganda and Chiclets”, the trio’s Diehl was named Up and Coming Artist of the Year. 2nd). The format of the evening was a unique one for improvised introductory section implied an abstract Centennial: Newly Discovered Works of - Ryan the band, according to Johnston: pieces of long- yet somehow familiar form, with Rainey’s propulsive Truesdell (ArtistShare) was named Record of the Year standing mixed with brand new works, an opportunity brushwork driving Davis and Hébert’s exchanges of and ECM Records received Label of the Year honors. For the complete list (don’t expect many surprises), visit to get out the kinks and shake off the cobwebs melody and countermelody, the former at times jjajazzawards.org. simultaneously. Baritone saxophonist Robert DeBellis suggesting a kind of futuristic stride boogie and the was subbing for regular member Dave Sewelson and latter swinging an almost Mozart-ian march. The high- Executive Director Deborah Steinglass has stepped Johnston restarted the new tune “Holiday in Newark” speed mechanistic rhythmatism of “Inside Hiccups” down from her position at The Jazz Gallery, to be but still the crowded living room was treated to two had Rainey pounding thunderously with Hébert replaced by founder Dale Fitzgerald in an interim capacity sets of classic or soon-to-be-classic Micros: melodies marking steady time as Davis fingered flowing free- during a restructuring period. Regular and special that sounded plucked from history, deep vamps, horn bopping lines. The final untitled triptych opened with programming will continue uninterrupted. For more battles and bubbling rhythms. Eight tunes in 55 short dramatic silences, gradually coalescing into a information, visit jazzgallery.org. minutes made up the first half, perhaps microscopic in balladic mood, then ended with an extended segment length but certainly teeming with life. - Andrey Henkin for prepared piano. - Russ Musto The 2013 class of Guggenheim Fellows has been announced. Among the 175 recipients are pianists Myra Melford and Jean-Michel Pilc. For more information, visit gf.org.

The 2013 Doris Duke Performing Artist Award recipients have been announced. Among the 20 recipients are saxophonists Anthony Braxton and Rudresh Mahanthappa, pianists Billy Childs and Myra Melford, trumpeter Amir ElSaffar, koto player Miya Masaoka and bassist William Parker. For more P h o t b y S c F r i e d l a n information, visit ddcf.org.

The Jazz & Heritage Foundation has announced that its new education and community center will be named in honor of George and Joyce Wein, who presented the first edition of the festival in 1970. Wein is best known as founder of the Newport Jazz Festival.

P h o t b y S c F r i e d l a n Wein was also recently the recipient of Jack Kleinsinger’s Phillip Johnston & Joel Forrester @ Spectrum Kris Davis Trio @ The Jazz Gallery Highlights In Jazz Award, presented in a concert last month (see review, left). For more information, visit For the second weekend of the fourth annual Gowanus Highlights In Jazz producer Jack Kleinsinger started jazzandheritage.org. Jazz Festival (May 11th), organizer/pianist Frank off his Salute To George Wein recalling his first trip to Carlberg presented his Tivoli Trio (whose excellent the Newport Jazz Festival, crediting the experience as has announced a partnership with 2010 debut opened a window onto what is often a the impetus for him to initiate ”New York’s Longest the crowd-funded ArtistShare, whereby the former will stuffy genre), except that neither bassist John Hébert Running Concert Series”. In many ways, the evening’s lend support to the activities of the latter, through nor drummer Gerald Cleaver were on the gig. They show at the Tribeca Performing Arts Center (May 9th) promotion and representation and working directly with were ably subbed for by Pascal Niggenkemper and also bore the stamp of jazz’ other greatest impresario, audiences to foster the next generation(s) of jazz stars. Michael Sarin, respectively. It took a little while to , in its diversified Jazz at the For more information, visit bluenote.com and/or parse the dynamics at Douglass Street Music Collective Philharmonic-like programming. The opening set artistshare.com. and for Niggenkemper and Sarin to mesh as the kicked off with Lew Tabackin blowing a solo tenor successful rhythm section Carlberg needed for his off- intro that was a modernistic synthesis of two of JATP’s The winners of the 18th annual Essentially Ellington kilter compositions. But their 50-minute set was a good biggest stars: and Lester Young. High School Jazz Band Competition have been warm-up for the evening’s - and festival’s - highlight: Joined by bassist and drummer Kenny announced after a three-day event held at Jazz at Lincoln a rare outer-borough turn by legendary trombonist Washington, the trio powered through a reading of Center last month. The closest thing to a local winner was Second Place Winner Jazz House Kids of Montclair, NJ. . In a bit of synergy, this reporter had “Sweet and Lovely” that thrilled the full house. For more information, visit jalc.org. been reading the voluminous book accompanying the Switching to , Tabackin proved himself to be one recent New York Art Quartet boxed set (see review on of today’s greatest players of the instrument on A scholarship has been endowed at School of pg. 44) and the small, dim Brooklyn venue took on the “Yesterday”, with Carter matching his virtuosity in his Music in the names of producer Larry Rosen and romantic vibe associated with the ‘60s New York lofts, solo. The bass/trombone duo of Jay Leonhart and composer , co-founders of GRP Records, to where players like Rudd plied their craft. Rudd, now began with a humorous tandem vocal support the educational activities of the school’s jazz 77, hasn’t really changed; still bombastic on the horn on “Puttin’ On The Ritz”, followed by a somber “Mood program. For more information, visit msmnyc.edu. but with a longstanding love of melody, particularly Indigo” and a swinging “Lester Leaps In”. Surprise those of and Herbie Nichols, whose guest guitarist Romero Lubambo’s segment with An exhibition of jazz photos taken by R.I. Sutherland- pieces made up the bulk of the 70-minute set. Rudd’s clarinetist/saxophonist Anat Cohen on three Brazilian Cohen will be on display at the Berlitz Language Center one original of the set, “Bamako”, came from his 2003 songs was yet another highlight, topped only by the in Rockefeller Center Jun. 15th-Jul. 13th. For more Malicool, where his free Dixie was matched with concert’s second half, where Wein held his own at the information, email [email protected]. a large group of West Africans. Niggenkemper piano with all of the other stars on a set that included channeled his inner while Rudd and Sarin Strayhorn’s “Johnny Come Lately”, Duke’s “The Submit news to [email protected] emphasized the tune’s bluesy roots. (AH) Mooche” and Luiz Bonfá’s “Manha de Carnaval”. (RM)

THE NEW YORK CITY JAZZ RECORD | June 2013 5 INTERVIEW

usually have a latest album to plug. I’ve got tunes I’ve never recorded that I love to perform. It also depends on who’s in the audience, requests. I took 30 pounds of music with me to play five nights in for the Bob band there. My late friend and bassist Bill Takas told me, “Never record anything you’re not willing to play for the rest of your life.” I love my fans and like to give them their requests when I can. o n t R w P h s TNYCJR: How did you come to work with Fran Dorough Landesman? a r t o g i n / F BD: I knew some of the songs she’d written with (CONTINUED ON PAGE 45)

P h o t g r a p © J c k V by Ken Dryden

Bob Dorough will celebrate his 90th birthday this He gave me harmony lessons and I figured them out December, yet he seems eternally young and very happy on the piano by ear. I did three semesters as a band with his life. The pianist, vocalist and composer came of age major at Tech, got drafted, then attended college during the ‘50s and had an early hit with his “Devil May in Denton at what is now the University of North Care”. Some of his other notable songs include “Small Day Texas, where jazz education began. By the time I Tomorrow”, “Nothing Like You” and “Blue Xmas” (both graduated, I was in love with Dizzy and Bird, so I recorded with Miles Davis), along with several pieces made a beeline for New York. In 1949, 52nd Street was written for the educational TV series Schoolhouse Rock. still going. Dorough had just returned from Germany prior to our conversation and was battling a slight cough, though he was TNYCJR: Who were some of your mentors? in great spirits. BD: Joe Maini and . Bob Newman, a The New York City Jazz Record: What’s the secret to tenor man. I led some sessions myself between 7 and your youthfulness? 10 pm, so I wouldn’t disturb my neighbors. Pepper Adams was a friend; he brought nearly every Detroit Bob Dorough: I live a pretty stress-free life. I get upset player: , . came. We by world events, but keep a cool head and I’m all took turns jamming. There were various lofts; I temperate in all things. Of course, loving music keeps jammed with Al Cohn and . Word would get you young. I lucked out on good genes, too. around that Bird was going to come to the William Henry Hotel. I got to play one tune with him. Don TNYCJR: Was there music in your family? Lanphere lived there at times. I was also scraping up money to hear the masters. BD: There was very little music at home. They sang at church and dad could play a hymn on the organ. The TNYCJR: What drew you to vocalese? high school band turned me on, the ensemble playing. I played clarinet. We did concert music half of the year BD: I got vocalese from , Eddie Jefferson and parades in football season. The conductor was a and King Pleasure. The first one I tried was Charlie great musician - we played orchestral symphonic Parker’s “Yardbird Suite” after he died. I also wrote works transcribed for band, where the clarinets were one to Lester Young’s version of “You’re Driving Me like the . After a week, I told my parents that I Crazy”. The publishing copyright gave me some was going to be a musician. I went on to college, then trouble, so I clammed up about “Yardbird Suite”. to the army on limited service, due to my punctured eardrum. They declared me unfit for battle, which TNYCJR: When did you start writing songs? suited me fine. I was in two different army bands over three years, in Arkansas and Texas. I was mixed with BD: I started writing in high school and was given a northerners from New York and , who had Rodgers & Hart book in the army. I must have written more experience, where I learned about jazz. After 30 or so songs I felt shouldn’t see the light of day, getting out, I went to North Texas and majored in which I threw out a lot. After moving to New York, I composition. I gave up woodwinds, deciding that the spent my spare time writing. “Love Came on Stealthy piano would be better for , playing and writing Fingers” was in my trunk. I thought it was too weird songs. I never became a great composer, but became a for anyone unless I met to give it to him. of some achievement. Irene Kral recorded more of my songs than anyone in those years. She’d keep badgering me for another song TNYCJR: How did you come to play piano? and I gave her “Love Came on Stealthy Fingers”. Now it’s in one of the fake books. BD: My family moved a lot due to my dad seeking work during the Depression. He took lots of jobs, but TNYCJR: How do you choose material for a gig or he was a salesman. Sometimes there’d be a piano in the record date? house. I had about six lessons from a lady in Texas who owed Dad money. She gave me exercises and pop sheet BD: Ideally I choose something for recording that I music. I couldn’t play it as written, so I rearranged it. I haven’t done before. But the A&R or producer can had lessons for a year and fooled around with sway me to revisit something. For a gig, I think about harmonica. When we moved to Plainview in West things I haven’t done in a long time. I like to keep the Texas, I thought I’d be a cowboy. I got drafted into the balls in the air. I hate to repeat songs. The guy who high school band after scoring well on an aptitude test. hired me to play four shows over two nights at the The bandmaster came to our house and told my parents Blue Note in Tokyo wants me to do the same songs for I ought to be in the band, as he was looking at my each set. I have several tunes that are good openers teeth. “He ought to play clarinet.” Three years later I and I try to get a nice pacing with various tempos, keys asked him, “You needed another clarinet, didn’t you?” and moods. I don’t have a set I have to do, I don’t

6 June 2013 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Issue Project Room Jun. 1st with Bojan Vuletic, Roulette Jun. 3rd with C. Spencer Yeh and Jun. 30th with Bill Horvitz and The Stone Jun. 25th with Zeena Parkins. See Calendar.

Nate Recommended Listening: • Nate Wooley - Wrong Shape To Be A Storyteller (Creative Sources, 2004) • /Reuben Radding/Nate Wooley - Crackleknob (hatOLOGY, 2006) • Nate Wooley - The Seven Storey Mountain (Important, 2007) Wooley • Wooley/Weber/Lytton - Six Feet Under (NoBusiness, 2009) • Nate Wooley Quintet - (Put Your) Hands Together (Clean Feed, 2010) • RED Trio + Nate Wooley - Stem (Clean Feed, 2011)

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

Since settling in New York in 2001, Nate Wooley has and some amplified, and combined them to shape a developed a wide-ranging practice as both trumpeter piece of music that I was happy with, though I’m a and composer. On the explicitly jazz-oriented front he little conflicted as to whether I really stayed true to works regularly in Daniel Levin’s Quartet and Harris those original ideals that I attached to this series of Eisenstadt’s Canada Day, as well as leading his own pieces. I like to work like that… It’s rare that you do quintet. On the free improvisation side, Wooley has something that makes you question yourself.” ongoing duo partnerships with drummer Paul Lytton, That focus on mechanics and speech leads guitarist and trumpeter Peter Evans. Along naturally to Seven Storey Mountain, named for Thomas with Evans and Axel Dörner, Wooley is Merton’s 1948 account of the spiritual struggle that led of a revolution in trumpet technique and he’s produced him to become a Trappist monk, complete with the practice a remarkable series of solo pieces as well. He’s also the of silence. Wooley initially described the combination composer of a piece called Seven Storey Mountain, a of “tape manipulation, long forms with simple written major work that he’s been revisiting and recasting musical directions” as “an attempt to reach some sort since 2009. of musical ecstaticism.” Wooley first recorded it in Wooley was born in Oregon in 1974 and grew up in 2009 with David Grubbs (harmonium) and Paul Lytton the town of Clatskanie. The quiet rural setting likely (percussion) in 2011 with new tape JSnycjr0613 5/15/13 2:31 PM Page 1 contributed to Wooley’s ongoing interest in silence, elements and C. Spencer Yeh (violin) and Chris Corsano but he sees it as something innate as well: ”Growing (drums). “It’s changed over time. up in a very small town where there was very little city we’re doing on Jun. 6th is the fourth. The third iteration noise and city light definitely informed a certain had both groups on it... I also added two amount of who I am, but I’ve come to realize that I’m and the piece took on a slightly more composed feeling also just a quiet person; that I’m interested in the than the previous two. A lot of my attitude about why power of quiet and silence and the fact that it causes I was making the pieces changed as well. “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH SAT-SUN JUNE 1-2 the listener to apply a different kind of strain to engage “During the first two pieces, the impetus was to try in the music. I have come to realize, though, that only to find a way to access a certain feeling of ecstaticism TERENCEBRICE WINSTON - FABIAN ALMAZAN BLANCHARD - JOSHUA CRUMBLY - in combination with other elements does that - religious or not - that I had read about in a lot of TUE JUNE 4 connection to silence really mean anything.” mystical texts. After the second, I came to the realization MELISSA ALDANA & CRASH TRIO The other side of his upbringing was his relationship that I’m just not a naturally ecstatic person and that I WITH SPECIAL GUEST AARON PARKS - PABLO MENARES - FRANCISCO MELA to jazz, one that defines his current quintet: “Jazz is just wasn’t being very honest about what I was doing with WED JUNE 5 the series. So…being honest about what I was doing YOTAM SILBERSTEIN TRIO a big part of who I am. My dad is a jazz musician, a big SAM YAHEL - JEFF BALLARD band musician to really put a fine point on it. That’s a became more of the theme than the ecstaticism, THU-SUN JUNE 6-9H7:30PM & 9:30PM ONLY very specific way of thinking about what you do as an somehow. The third version is much calmer and has improviser and as a part of a musical unit and it’s the elements of composition that weren’t really in the first JIMSTEVE HALL LASPINA - TRIO center of how I think, for better or worse. I did a lot of two. The fourth has even more elements of composition, TUE-WED JUNE 11-12 exploring of different ways of playing and still do, but with Corsano and Ryan Sawyer on drums, Yeh on violin GILAD HEKSELMAN TRIO there was a certain point where I realized that to not and Ben Vida on electronics, Matt Moran and Chris FEATURING JOHN ELLIS [JUNE 11] - [JUNE 12] REUBEN ROGERS - OBED CALVAIRE play jazz with a capital J - or at least my skewed version Dingman on vibraphone and the TILT Brass Sextet.” THU-SUN JUNE 13-16 of it - meant to turn my back on that part of me and the In a world obsessed with success, Wooley is alert people that taught me growing up.” to the creative possibilities of failure, recalling Samuel AZARFREDDIE HENDRIXLAWRENCE - BENITO GONZALEZ - QUINTET - The solo trumpet music has Wooley sharing an Beckett’s dictum in Worstward Ho, “fail better”: “I took TUE JUNE 18 interiority with the trumpet and examining extended a lot from books like Seven Storey Mountain or St. HAROLD LOPEZ-NUSSA DUO techniques and tape editing in pieces like The Almond, Augustine’s Confessions about the power of allowing FEATURING RUY ADRIÁN LÓPEZ–NUSSA a long work built up with tapes of contrasting yourself to fail. That’s become the theme of these pieces WED JUNE 19 in a way. They are far afield of what I know I can do BEN WOLFE QUARTET techniques. For [8] Syllables Wooley constructed a ORRIN EVANS - DONALD EDWARDS - STACY DILLARD system of notation that’s based on the International and so there is an element of me doing something very THU-SUN JUNE 20-23H7:30PM & 9:30PM ONLY Phonetic Alphabet. It’s as if Wooley is teaching the large every once in a while that just might not work. I FREDDY COLE QUARTET trumpet to talk, confronting the complex relationship want to do that in public, as failure should be a part of PLUS SPECIAL GUEST HARRY ALLEN - RANDY NAPOLEON - ELIAS BAILEY - CURTIS BOYD between abstract instrumental music and speech. The anyone making something. There’s an element in our TUE-WED JUNE 25-26 work results in long stretches of near silence, that key society that tries to birth artists fully formed from an CHRIS BERGSON BAND building block of Wooley’s musical thought. Wooley aesthetic lotus blossom. I can understand that, but I WITH SPECIAL GUEST ELLIS HOOKS CRAIG DREYER - MATT CLOHESY - TONY LEONE - FREDDIE HENDRIX recently released [9] Syllables: “The point of that first appreciate the person who stands up and says, ‘not DAVID LUTHER - IAN HENDRICKSON-SMITH piece was really to get the concept of what a trumpet sure if this is going to work, but let’s try it and see… THU-SUN JUNE 27-30 ‘should’ sound like out of my head, to create a piece for it’ll be fun either way.’ And if it doesn’t work, then you & my own benefit without crafting its musicality and gain more power from learning about who you are and luckily it happened to work out to be interesting what you need to do to make something powerful to LARRY WILLIS: FRIENDS MON JUNE 3, 17 & 24 MON JUNE 10 musically outside of the concept. With [9] Syllables, I yourself and your audience.” v MINGUS MINGUS ORCHESTRA still allowed the sounds to be raw and uncontrolled and sit outside of trumpet sound, but I For more information, visit natewooley.com. Wooley’s Seven did three versions of the composition, some acoustic Storey Mountain is at Issue Project Room Jun. 6th. He is also at

THE NEW YORK CITY JAZZ RECORD | June 2013 7 Presented by Natixis Global Asset Management August 2, 3 & 4, 2013 Friday, August 2 International Tennis Hall of Fame at the Newport Casino | Alex and Ani Stage Bill Charlap w/ Freddy Cole Saturday, August 3 & Sunday, August 4 | Fort Adams State Park Wayne Shorter Quartet w. guest & The Vigil Esperanza Spalding’s Radio Music Society Marcus Miller Hiromi Salsa Orchestra Robert Glasper Experiment ™ Big Band directed by Paquito D’Rivera Gregory Porter Quintet Michel Camilo Sextet Joshua Redman Quartet Fountain of Youth Band & Stay Human Steve Coleman Edmar Castañeda Bill Charlap Trio w. Bob Wilber & Anat Cohen Rez Abbasi Trio Ray Anderson Pocket Brass Band Dirty Dozen Brass Band Jim Hall Quartet w. sp. guest Julian Lage David Gilmore & Numerology Lew Tabackin Quartet Donny McCaslin Group Dee Alexander Amir ElSaffar Two Rivers Mary Halvorson Quintet From : The Ali Amr Experiment University of Rhode Island Newport Jazz Big Band MA Music Educators Association All-State Jazz Band RI Music Educators Association Senior All-State Jazz Ensemble

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PONCHO SANCHEZ

STANDARD-BEARER d M u s i c G r by Alex Henderson o u p

Poncho Sanchez still has vivid memories of his first than AfroCuban jazz or salsa. But California has long “I like to play Latin jazz and salsa authentically visit to New York City. It was 1985 and the Los Angeles- had its share of AfroCuban activity - you just had to and stay true to the music,” Sanchez stresses. “That’s based Latin jazz/salsa percussionist and bandleader know where to find it and Sanchez did at an early age. what I love: Latin jazz acoustic music - everything had arrived in Manhattan for his debut at The Village The youngest of 11 kids, Sanchez learned all about done with acoustic instruments and done naturally. Gate. Sanchez was excited about performing in the Big mambo, son, guaguancó and cha-cha-chá from his But I get different ideas. I do James Brown stuff because Apple for the first time, but he became even more siblings and grew up on a steady diet of AfroCuban I grew up with James Brown’s music. I’ve done a wide excited when he found out who would be in the jazz, salsa, hardbop and classic soul. variety of records because I grew up with a wide audience. “There’s been a big Latin jazz scene and a big salsa variety of music. Of course, I’ll always love . I’ll “I remember when me and Ramón Banda - who is scene in Los Angeles for many years, even before I always love , Miles Davis, no longer in my band but played with me at started,” Sanchez explains. “I’m 61 and my brothers and . I grew up with Latin jazz, the time - took a cab to The Village Gate off of Bleecker and sisters - who are not musicians - were into that salsa and bebop and I grew up listening to black gospel Street in the Village,” Sanchez recalls. “We came music before me. They caught the first wave of the music, black , rhythm & blues, doo-wop. All around the corner in the cab and there was a line all the mambo and cha-cha-chá music that came from Cuba, those things have gone into the Poncho Sanchez way around the block. I told the cab driver, ‘Hey, Puerto Rico and New York City. They caught that first sound.” what’s that big long line for?’ and he goes, ‘I don’t wave in the late ‘50s and early ‘60s, especially my Chano Y Dizzy!, Sanchez explains, was both a know. I’ve never seen a line like that here.’ I said, sisters; they used to dance every day after school to celebration of Pozo’s alliance with Gillespie and a ‘Maybe they’re showing the new Rocky movie.’ So the records, Joe Cuba, Tito Rodriguez, , celebration of New York City’s contributions to line stopped at the Village Gate and we saw a big sign Celia Cruz, Johnny Pacheco. I grew up hearing that AfroCuban jazz. “New York City is the mecca of Latin that said ‘Tonight only: Poncho Sanchez.’ We found out music every day and watching my sisters learning to jazz,” Sanchez notes. “That’s where Dizzy Gillespie that long line was for us.” dance the mambo and the cha-cha-chá and the met in the mid ‘40s. That’s where Latin Sanchez continues: “When we got inside The pachanga. For me, it was very natural to play that jazz was created. Chano and Dizzy were the godfathers Village Gate, I couldn’t believe it - all the great because I grew up with it. I grew up in Los of Latin jazz and that’s why it was so important for me percussionists from New York City were there to see Angeles hearing the same Latin music they were to record a tribute album for them. I had done ‘Manteca’ us. Tito Puente was there. Patato Valdés was there. hearing in New York.” and ‘Guachi Guara’ and ‘’ on my other was there. But they weren’t smiling; Sanchez got his first major break when, in 1975, he records, but my manager, Ivory Daniel, said, ‘Why there were there to see if we could really play and if became a sideman for one of the most famous Latin don’t you do a tribute album for Chano and Dizzy?’ these guys from Los Angeles could really cut it. Well, jazz icons on the West Coast: vibraphonist . And I had no argument with that.” long story short: by the second set, we were all hanging Sanchez had spent seven years in Tjader’s employ Quite a few major AfroCuban percussionists have out together. So we passed the test and that was almost when his mentor died of a heart attack in 1982. And 31 died in the 21st Century - a fact of which Sanchez is 30 years ago.” years after his death, Sanchez still gives Tjader credit well aware. And as he sees it, that makes it all the more The days when anyone in New York City or for helping him grow not only as a conguero, but also, important for him to do his part to keep the AfroCuban elsewhere expects Sanchez to prove himself are long as a bandleader and a businessman. “Cal was an flame burning. “So many of the great Latin gone. In 2013, Sanchez typically hears phrases like amazing musician,” Sanchez asserts. “I was with him percussionists have passed away,” Sanchez laments. “elder statesman of AfroCuban jazz” or “standard- the day he died in Manila in the on Cinco “Tito Puente is gone. is gone. Mongo bearer of the AfroCuban tradition” used to describe de Mayo 1982. To me, Cal was the world’s greatest Santamaría is gone. Patato Valdés is gone. Manny him. When Sanchez visits New York City these days, vibes player. He had the right touch, the right feel, the Oquendo is gone. passed away. people in the Latin jazz/salsa community roll out the right sound. It was smooth as silk, man - and he never Candido Camero is still here, but so many of the other red carpet for the veteran conguero. And he has the overplayed. I learned a lot about music from Cal and I cats are gone. We’re losing all my heroes. But I’m going credentials to back it up: 34 years of recording as a also learned a lot about business and how to run a to hold the fort down, man. As long as Poncho Sanchez leader and a long résumé that includes playing band. Running your own band is a lot of work; you has his health and I’m OK, you’re going to get your alongside Dizzy Gillespie, Tito Puente, Celia Cruz, have to be very dedicated and stay focused on your dose of authentic Latin jazz and salsa and soul music. Mongo Santamaría, , Cal Tjader and goals. And I’ve had my band for over 30 years now.” After me, I don’t know what to tell you. I just hope the many other Latin jazz and salsa heavyweights. Sanchez recorded two for Discovery young cats keep Latin jazz going. But as long as I’m But Sanchez’ southwestern upbringing is not Records when Tjader was still alive: 1979’s Poncho and here, you’re going to get the real deal.” v typical. Many of the great musicians who made their 1980’s Straightahead. But it was after Tjader’s death mark in AfroCuban jazz and/or salsa came from Cuba, that Sanchez made his own band a full-time pursuit For more information, visit ponchosanchez.com. Sanchez is Puerto Rico or New York City and many of them were and he has built a large and diverse catalogue recording at BB King’s Blues Bar Jun. 10th as part of Blue Note Jazz of Cuban or Puerto Rican descent. Sanchez, however, is for Concord’s Latin-oriented Picante subsidiary Festival. See Calendar. a Mexican-American who was born in Laredo, Texas in (starting with Sonando in 1982). Sanchez has recorded a 1951 and was only four when he moved to Los Angeles wide variety of albums along the way, ranging from a Recommended Listening: with his parents (both immigrants from Mexico) and Tjader tribute (1995’s : Memories of Cal Tjader) • Cal Tjader - La Onda Va Bien 10 siblings. “When I play, people still come up to me and a salute to percussionist Chano Pozo and Dizzy (Concord Picante, 1979) and say, ‘Are you Cuban? Are you Puerto Rican?’ I say, Gillespie (2011’s Chano Y Dizzy!) to an AfroCuban • Poncho Sanchez - Sonando (Concord Picante, 1982) ‘No, I’m a Mexican-American.’ And they’re really interpretation of Stax Records and southern soul • Poncho Sanchez - Para Todos (with Eddie Harris) surprised. People who don’t know my history usually (2007’s Raise Your Hand). Classic soul, in fact, has been (Concord Picante, 1993) think I’m Cuban or Puerto Rican when they hear me an influence on more than a few Sanchez albums: his • Poncho Sanchez - Soul Sauce: Memories of Cal Tjader play for the first time.” R&B guests have included Eddie Floyd on Raise Your (Concord Picante, 1995) California has a huge Latin music scene, although Hand, on 2005’s Do It! and Sam Moore • Poncho Sanchez- Psychedelic Blues many Latin music enthusiasts on the East Coast tend to (of Sam & Dave fame) and on 2003’s Out of (Concord Picante, 2009) identify California more with regional Mexican music Sight. But through it all, Sanchez has maintained his • Poncho Sanchez/Terence Blanchard - (norteño, ranchera, corridos, mariachi bands) rather strong connection to the AfroCuban tradition. Chano Y Dizzy! (Concord Picante, 2011)

THE NEW YORK CITY JAZZ RECORD | June 2013 9 ENCORE

It was also in the early ’70s that Adilifu began time, it felt like as hopeless as the song sounds.” Kamau Adilifu working with alto saxophonist Sonny Fortune, a But Adilifu is more about new beginnings than pairing he calls “the most important musical endings. In a poem on the back cover of Genesis, the by Brad Farberman relationship that I had.” The two first met in Las Vegas musician writes lines like, “Only after experiencing a in 1968 - Adilifu was touring through with Lionel death of the spirit is he ready to be reborn.” According In a 2000 New York Hampton and Fortune was there with Mongo to Adilifu, that idea captures the essence of not only Times piece about what Santamaría - then, a few years later, started playing his maneuvers between jazz and Broadway but his different musicians go together as members of, among other ensembles, the never-terminating quest to improve as a trumpet through to rehearse in Collective Black Artists big band. In 1973 or so, Adilifu player. “It seems, to me, worth it to be willing to the Big Apple, Kamau joined Fortune’s group for a run that birthed albums deconstruct in order to reconstruct.” v Adilifu, who was like Awakening and . Though that unit interviewed for the dissolved around the end of the decade, the partnership Adilifu is at Smoke Jun. 14th-15th with Sonny Fortune as article, is described as “a trumpeter who has played in of Fortune and Adilifu never lost its rhythm. Adilifu part of the club’s Miles Davis Festival. See Calendar. ‘The Wild Party’, ‘Guys and Dolls’ and other Broadway will work in Fortune’s quintet this month for a two- hits.” But there’s more to Adilifu than the pits of the nighter at Smoke. “Most saxophonists come out of Recommended Listening: Theater District. Almost since getting his start in music something,” says Adilifu of Fortune. “They come out • - Black Love (Muse, 1974) in the late ‘60s, Adilifu, who, before 1980, was known of [John] Coltrane’s vocabulary; they come out of, you • Charles Sullivan Ensemble - Genesis (Strata-East, 1974) as Charles Sullivan, has bounced back and forth know, Sonny Rollins’ vocabulary. If they’re younger, • Sonny Fortune - Long Before Our Mothers Cried between jazz hands and jazz bands, recording with The they may come out of Wayne [Shorter] or Joe (Strata-East, 1974) Wiz and A Funny Thing Happened on the Way to the [Henderson]. When I listen to Sonny, he’s playing his • Charles Sullivan - Re-Entry (Whynot-Candid, 1976) Forum but also Bennie Maupin, Carlos Garnett and the own language. His licks are his licks, nobody else plays • McCoy Tyner - Uptown/Downtown (Milestone, 1989) McCoy Tyner Big Band. Recently retired from the them and if they do, they sound like they’re trying to • Charles Sullivan - Kamau (Arabesque Jazz, 1995) Broadway game and contemplating putting a new jazz play like Sonny. And it’s not that he’s playing outside group together, Adilifu has spent the last few years the changes. But he has his own way of doing it.” doing what has always brought him peace: “Practicing.” Adilifu was more than a sideman during this time. A lifelong resident of New York, Adilifu scored his In 1974, the trumpeter released Genesis, his powerful first “big-name job” in Roy Haynes’ Hip Ensemble in first album as a leader, on the Strata-East label. The LP 1968. Things snowballed from there: the early ’70s saw gets into a little bit of everything: frisky postbop him appearing on Dollar Brand’s African Space Program, (“Evening Song”); urgent Latin vamping (the title Yusef Lateef’s , Maupin’s The Jewel in track) and a fierce foray (“Field Holler”). The the Lotus and King Curtis’ Everybody’s Talkin’, among standout track, though, might be the pained ballad other records. The session for Bernard Purdie’s Lialeh, “Now I’ll Sleep”. Backed by just the leader and pianist/ the funky 1974 soundtrack to the adult film of the same Strata-East co-founder , vocalist Dee name, proved unforgettable. “[Purdie] called me up Dee Bridgewater delivers haunting lyrics including, and asked me to come to the studio to do this recording “Why am I alive? / What have I got to live for?” and “I date and it was gonna be a movie,” remembers Adilifu had my chance to win / I chose to lose / That’s funny.” at his Upper West Side studio. “And we came down “I have mixed feelings about [‘Now I’ll Sleep’],” and we played the music, we ran through the music explains Adilifu. “Because I wrote the lyrics. They are first... And we played it perfectly, you know? I don’t heartfelt; they are what I really felt. But it’s a suicide remember what it was, but I was feeling pretty good song. The words came to me in a flash. The whole song. and the sightreading was great and then he said, ‘Okay, The words itself, I think, were written with only minor now we’re gonna try to sync it to the movie.’ And he edits, in one sweep. And it came to me in a very dark put the movie up! [laughs] And it was like, ‘Man!’ moment. Or at least it felt very dark; as I look back on Missed entrances. You know, flubs.” it now, it seems kinda cute, I guess. [laughs] But at the

LEST WE FORGET

fame – for the MPS label. Kriegel recorded his second recordings by the United Jazz + Rock Ensemble from Volker Kriegel (1943-2003) album as a leader for the same label, 1971’s Spectrum, 1977-92 for Mood; a number of releases as a sideman which came to be known as a landmark recording in with Don “Sugarcane” Harris, saxophonist Klaus by Donald Elfman the jazz-rock world. The band included bassist Doldinger, clarinetist Rolf Kühn and other, plus six Eberhard Weber and keyboard player Rainer with his first recording employer Dave Pike through Volker Kriegel was many things: a jazz guitarist and Brüninghaus. 1973. In addition to the seminal Spectrum, the guitarist composer often considered the prime mover in the 1975 saw the founding of the United Jazz + Rock recorded over a dozen albums as a leader, such as jazz-rock craze that swept in the ‘70s; a Ensemble with , Wolfgang Dauner, 1972’s Missing Link, 1977’s Elastic Menu and 1981’s In cartoonist; an author; a sociology student of the Charlie Mariano and others; the groundbreaking unit Bayern. Kriegel died Jun. 14th, 2003. celebrated philosopher Theodor W. Adorno and a performed on a series of very influential and successful Available in time for the 10th anniversary of his translator of fiction and books on music. recordings and concert tours. (Coincidentally, in the passing are new discs from Art of Groove Records. A Kriegel was born on Dec. 24th, 1943 in Darmstadt, same year, he spent a month teaching for the noted CD/DVD set documents a performance taken from the Germany. He taught himself guitar at age 15 and his Goethe Institute, and worked for them at various Jazzfest Berlin ‘81 and features Kriegel alongside initial gigs - while he was still studying with Adorno - points throughout his career.) And with Mangelsdorff Eberhard Weber, percussionist Wolfgang Schlüter, were with legendary German brothers Albert and Emil and Dauner, Kriegel founded label keyboardist Thomas Bettermann and drummer Ralf Mangelsdorff (trombone and reeds, respectively). He Mood. Starting in the ‘80s, while still regularly playing Hübner while With A Little Help From My Friends is a won awards at the 1963 German Amateur Jazz Festival. music, he found time to write books about music as first-time reissue of his 1968 debut, including a guest At this point he gave up his sociology ventures to well as for children and publish a cartoon - Der spot by clarinetist Tony Scott. v pursue music, though it might be said that the guitarist Falschspieler - which won a Los Angeles animation brought to his work a certain element of intellectualism award. Recommended Listening: and critical thinking gleaned from his academic , British trumpeter and author of a • Volker Kriegel - With A Little Help From My Friends studies. biography on Miles Davis, said this: “He was tall, (Liberty - Art of Groove/MIG, 1968) In 1968, Kriegel met American vibraphonist Dave gifted, graceful and stylish with a love of literature - in • Dave Pike - Noisy Silence - Gentle Noise (MPS, 1969) Pike and joined the latter’s influential group. Their particular of Flaubert. His translations included my • Volker Kriegel and Friends - Lift (MPS, 1973) 1969 album, Noisy Silence - Gentle Noise, was acclaimed first Miles Davis biography and he also translated and • Volker Kriegel - Topical Harvest (MPS, 1975) of the most popular and important early jazz- illustrated A Christmas Carol. When the United Jazz + • United Jazz + Rock Ensemble - fusion albums. Kriegel also founded his own group, Rock Ensemble did a farewell tour in 2001, he was Round Seven (Mood, 1987) the Mild Maniac Orchestra, and came to record with persuaded to appear again - and played beautifully.” • Volker Kriegel & Friends - Jazzfest Berlin ‘81 violinist Don “Sugarcane” Harris - of Kriegel can be heard on many sessions: eight (Art of Groove, 1981)

10 June 2013 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

the moment with other musicians in an authentic Gestalt theorists have suggested that there are four Improvisation and Gestalt manner. layers. I will look at the activity of moving through these layers therapeutically and compare that to the Therapy: A Comparison Awareness process that one engages in during the act of Awareness is a fundamental concept to Gestalt theory improvisation. Initially, let’s identify the layers: (1) by Edward T. Daniel, Jr. MSW, LCSW and happens to be fundamental to the idea of defensive/games layer; (2) impasse layer; (3) implosive improvisation. Through the construct of “figure and layer and (4) explosive layer. It is generally understood that music can be therapeutic background”, we are able to understand what being In a therapeutic setting, the defensive/games and, in fact, there is the discipline of music therapy, aware means and how truly being aware is fundamental layer would be where the client plays a role that is which is a well-established medical model for treating to the Gestalt therapeutic process as it is also at work familiar and comfortable to them: victim, manipulator, various emotional and physical dysfunctions. In this in the act of improvisation. Before I talk about the ways bully, nice guy, etc. The behavior is habituated and not writing, I’d like to look at music not for its ability to improvisation is similar to the process of Gestalt creative or new. As the roles in the defensive layer treat a particular dysfunction but how and what an therapy, I need to define the concept of “figure and become clearer, the client is able to explore their issues improvising musician experiences emotionally background”, which hopefully will clarify our with more creativity. throughout their music performance. How does the definition of awareness. An auditory example of the In considering an individual’s improvisational experience of improvising within a band parallel a concept of figure and background would be living in performance(s), we can use these layers to analyze an similar process of a client working with a therapist? As NYC and being exposed to all matter of sounds every individual’s improvisational process and progress. a practicing Gestalt therapist and improvising artist, I day. The sounds of traffic, subway, construction, The defensive/games layer is equivalent to a musician will highlight some of these similarities without airplanes, etc., are with us every day. Most of the time stating a familiar melody and occasionally adding getting too involved in the theory of either discipline. we ignore these sounds until one emerges out of the some embellishments. The musician is not responding However, it will be necessary to familiarize readers din to gain our attention. Perhaps a cab driver to any sounds of bandmembers in an authentic way, with the basic Gestalt concepts in order to make the incessantly blowing his horn gets your attention and it but simply repeating information by habit and making comparison. is at this time that the cab driver’s horn ceases being little or no attempt at exploring new ideas, which could We musicians know that the activity of performing part of the background and becomes the figure that has lead to inspiration and authenticity. The individual music can be cathartic, whether the music is through- your conscious attention. Once we assess why the cab sticks to familiar phrases, commonly known as licks, composed or improvised. This is so partly because driver is blowing his horn, it becomes less important not always of their own invention and their authenticity performing music is experiential and it requires an and is integrated into your consciousness and some continues to be eluded by their own lack of awareness. emotional and intellectual investment. The level of other sound will emerge as figure - maybe the As the musician grows more comfortable in the process catharsis depends on how invested the musicians are conversation that the person standing next to you is of self-reflection, they also become aware of external in the music. I believe that the music experience is having on his cellphone. This is a constant process in resources (sounds) from which they can draw. Now more intense and the level of catharsis does occur more our life. How creatively we integrate these sounds into they can consider more daring and creative ideas and often and more intensely when one is involved in our lives can reflect how we experience that particular not fall back on the old familiar phrases or ideas, which improvised music, the reason being that one is required moment and, in a larger sense, how we perceive the would deny them of their authentic improvisations. to create immediately by giving a response to what quality of our lives. Therapeutically, the impasse layer is where one stimuli they are aware of in the moment. The musician’s In a performance, a group of improvising gets stuck. The client often refuses to confront troubling awareness, ability to make contact with the sounds and musicians is keenly aware of the sounds being issues and makes herculean efforts to avoid talking their immediate response makes their statements produced around them and responding in the moment about them. To hide their feelings from themselves, meaningful and authentic. I know of no musician that to these stimuli creatively, sharing their ideas, which they maintain part of or the entire role they played in gets on the bandstand and says to his fellow musicians, are integrated into the process that creates the total the games layer. Attempts at approaching these issues “now I’m going to get my catharsis together.” What we music performance. with new ideas are met with fear and it is at this point as improvising artists want is to communicate in an the patient encounters their impasse. The therapist can artful and passionate fashion our musical ideas, which Layers incorporate the strategies of frustration/support in are inspiring to ourselves and our listeners. Ultimately, In Gestalt therapy, utilizing the concept of layers of their work with the client in order to help them move catharsis is the result of this process of improvising in neurosis is where the therapeutic work gets done. (CONTINUED ON PAGE 45)

VOXNEWS

native French. Winner of the 2010 Thelonious Monk she sings in his geometry - a relaxed, linear drift across Found in Translation Vocal Competition, her exquisite new CD WomanChild the . Her ballads, in particular, manifest (Mack Avenue) presents her prodigious talent and will uncanny similarities to Baker’s phrasing and rich by Katie Bull undoubtedly be a classic in the vocal jazz pantheon. resonance. Elias is at Birdland (Jun. 1st). Rich tonality and phrasing invoke Sassy, Lady Day and Born on the Island of Majorca to African immigrant New York City is a place where sonic conversations - but McLorin Salvant’s fascinating mix parents, the extraordinary Flamenco jazz singer Buika from all around the world can be found in the new of breathtaking range and emotional transparency is came to America and is now residing in Miami - a language of vocal jazz. International vocal sounds are all her own. She whispers, sounding like an innocent move she made as a result of being treated as an intermingling in fascinating new ways because jazz is little girl one minute, and roars like a woman who has outsider in her own culture. As Buika performs, dance doing what it does naturally: absorbing and melding lived a deep life the next. When singing in French she rises from her seemingly entranced core. Known to harmony, melody, texture and rhythm, an organic embodies an aching simplicity; hers is a clarion call to sing only in Spanish, she uses her raw, emotionally result of improvisational interplay. With that process all hearts. WomanChild’s CD release at 54 Below exposed voice and expressive physical gestures to in mind, what is the current international influence on features the Aaron Diehl Trio (Jun. 25th). convey meaning. Buika speaks to audiences far and the American vocal jazz tradition? Youn Sun Nah hails from Korea and considers wide. Hear her at at Town Hall (Jun. 13th) as part of the How would the late great historian and social France her second home. She is infusing jazz with Blue Note Jazz Festival. activist Howard Zinn respond to that question? He chanson, pop and folk. Her new album Lento (ACT Swedish vocalist/lyricist Sofie Norling’s new CD would want to define the words “international” and Music) is woven with deeply poetic lyrics, which paint What It Seems (Kopasetic), with bassist David “American”. He would deconstruct the phrase “jazz a journey into nature and love. Nah sings in unfettered Carlsson’s group David’s Angels, is a series of beautiful tradition” and look at vocal stories told - and untold - lines and floats slowly, then builds in ferocious waves original songs written in collaboration with pianist from a multicultural panorama far wider than anything of raw energy. The arc of Lento ebbs and flows with Maggi Olin, demanding rugged listening boots. Trek explored thus far. Would Zinn write a “people’s pulsing electric rock-edged power, finding respite in a on her off-road sonic geography and hear Norling’s history” of the American vocal jazz tradition? Let’s gentle Korean folk song. Hear her meld her cultural bluesy voice build from soft understatement into follow his lead when considering the international jazz roots into new shapes at Rockwood Music Hall (Jun. powerful cries. You may recognize some genre sounds arriving this month. 27th) as part of the Blue Note Jazz Festival. signposts - jazz, rock and avant garde...as they fuse Born and raised in Miami, Florida by a French Another melding artist is the Grammy-nominated and fall away. mother and Haitian father, with musical schooling in veteran pianist/vocalist Eliane Elias. On her Evolving simultaneously and intersecting with America and France, 23-year-old Cécile McLorin I Thought About You (A Tribute to ) (Concord American tradition, the international ‘thread’ in vocal Salvant sings what she calls “unknown and scarcely Picante), the Brazilian singer’s affinity for the jazz is the new terrain of the tradition. There is nothing recorded” songs and blues in English, Spanish and her unadorned Baker voice and trumpet line is evident as lost in this translation, only new sounds to be found. v

THE NEW YORK CITY JAZZ RECORD | June 2013 11 LABEL SPOTLIGHT

contracts,” recalls Palomo. “Then in 2009 he forced me lives in and I attend every gig and tape everything. Improvising Beings to get back on top of things by dropping by my place When we’re set on something, either we use those one evening saying, ‘Come on, tomorrow we record tapes or go ahead in a more proper setting.” by Ken Waxman the first album of your new label with [Japanese IB releases are pressed in batches of 300 or 500, trumpeter Itaru] Oki.’” Oki plays with Duboc in a band with the musicians retaining all publishing and A combination of altruism, friendship and obsession called NUTS, so the Oki/Duboc session became licensing rights and receiving copies of the masters. are behind Paris’ Improvising Beings (IB) label, which, Nobusiko. They’re paid a flat fee and/or 100-150 copies for gig in less than three years, has produced 20 CDs, featuring “I’m doing the records others don’t do,” Palomo sales. “The older generation prefers the flat fee, the a cross-section of deeply committed French, American explains. “My main incentive is that we need more younger generation prefers CDs because they tour and Japanese sound experimenters. Many more discs Simmons, more [French pianist François] Tusques, more,” acknowledges Palomo. IB pays for all will appear in the next months, because, as artistic more Oki, more [American bassist Alan] Silva. They’ve manufacturing, distribution and taxes, “important in director Julien Palomo says: “I’m not producing mastered their instruments and concepts for six France because it takes up to 30% of manufacturing records. I am documenting lives at a particular decades and it’s important to document that. IBs are costs,” he notes. Palomo puts up the majority of funds, moment.” more documents than regular records. They have no with Paris-based Kristof, who helps operate the IB Palomo, whose day job is head of student cultural real commercial value right now but will later have a website, also contributing, along with Scottish music affairs at Paris’ Sciences Po, began documenting free strong cultural value.” supporter Morris, who initially recorded IB’s For jazz a decade ago when he became friends with One of the best-documented French pioneers of Harriet by American saxophonist Joe Rigby. Any profits American alto saxophonist Sonny Simmons. Within a in the ‘60s, Tusques hadn’t had a new record help finance subsequent CDs. “Basically it works couple of years he, Michel Kristof and Roy Morris since 2005 when Topolitologie, his duet with American because I don’t mind losing money,” Palomo adds. established Hello World!, Simmons’ website, and ex-pat drummer Noel McGhie appeared last year. “I “I’m happy if 40% of the money comes back to keep the began offering downloads of Simmons’ sessions. Then decided to release CDs with Julien because he’s the label going; 75% is cool too. I don’t own the music. A the group started burning limited edition CD-Rs that only guy I know who believes in me and in what I record is not like a painting; you don’t buy it and keep Simmons could sell at gigs. “We found ourselves play,” Tusques explains. “I met him two years ago it in your salon. I find it unethical to keep somebody spending nights in my kitchen burning CD-Rs, pushing when he told me he was interested in my musical story from his own art forever.” the inkjet printer to its limits and assembling things. and wanted to make many new CDs of my music. Since That’s also why IB has stayed away from LPs. “My But by April 2008 we were all a bit tired of the DIY then he’s produced Topolitologie, Tango Libre with philosophy is die-hard DIY and that kind of vinyl method and I quit for a year,” he recalls. vocalist Isabel Juanpera and Near the Oasis with Sonny process, test pressing and all would eat too These Simmons sessions were recorded by Parisian Simmons [a two-disc solo album, L’Étang Change (mais much of my time better spent preserving my friends’ bassist Benjamin Duboc, who plays with many les poissons sont toujours là), has just been released]. music. LPs are also too expensive for a small label like advanced musicians on the French scene. “Duboc He’s really interested in what I do rather than in mine. Shipping costs to the US and Japan would be taught me where to put a mic, what editing, mixing commercial considerations.” More CDs by Tusques awful for potential customers. Anyway I’m a child of and mastering is and how to deal with publishing and and Simmons are planned, affirms Palomo. “François (CONTINUED ON PAGE 45)

Nobusiko Topolitologie Crimson Lip Near the Oasis Bound and Gagged Benjamin Duboc/Itaru Oki François Tusques/Noel Mcghie Silva/Higuchi/Toyozumi/Tanikawa Sonny Simmons/François Tusques Shurdut/Janas/Edwards

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ROMÁN FILIÚ is a Cuban alto player Dream Band: I do not have a single dream band, but on faculty at The University of Connecticut, New with an open mind, a unique sound and is in constant many and they also change as my musical path evolves. Jersey City University and Queens College. evolution. He graduated from the Instituto Superior de Arte in Havana in classical saxophone. He was part of Did you know? I started on piano at the age of eight. Teachers: Homer Mensch, Bill Dobbins, . the prestigious AfroCuban band IRAKERE led by piano player Chucho Valdés. Throughout his career For more information, visit romanfiliu.com. Filiú is at Influences: Jimmy Garrison, Cachao, , Filiú has worked with renowned musicians like Omara Vision Festival Jun. 12th as part of its Sonny Rollins, György Ligeti, , Jordi Savall. Portuondo, Doug Hammond, Gonzalo Rubalcaba and Lifetime Achievement Celebration and The Jazz Gallery Jun. Dafnis Prieto, among many others. 13th with Sam Harris. See Calendar. Current Projects: My quartet; composing an orchestra piece based on Cuban rumba polyrhythms for the Teachers: Roberto Benitez and Miguel Angel Villafruela Buffalo Philharmonic and about to record my large (classical saxophone, Cuba). ensemble piece, “Dialogues on Race”, which was composed in 2009 through a Jazz Gallery commission. Influences: , John Coltrane, Sonny Rollins, Steve Coleman, , Muhal By Day: Listen to music that I’m unfamiliar with, Richard Abrams and others. write, practice bass and listen to music that I am familiar with. Current Projects: Working on new music for the Latin Sax Quartet and for Cubindus, a new group with Rez I knew I wanted to be a musician when... I was six Abbasi (guitar), Aruán Ortiz (piano) and Mike Sarin Román Filiú Gregg August years old and heard the drums at a rehearsal of my (drums). Also playing in different projects as David father’s band. I played drums up until college, when I Virelles Continuum, Sam Harris’ St. Magdalena In Bassist/composer GREGG AUGUST spans the jazz, began to study bass. Outer Space and with my own band playing the music Latin jazz, classical and avant garde scenes, making of Musae (Dafnison Music, 2012). him one of the most versatile musicians on the scene Dream Band: Quintet with , Charlie today. A member of the JD Allen Trio since 2007, he is Parker, Gonzalo Rubalcaba and Tony Williams. By Day: I wake up at 7:30 am and by 9 am I have Principal Bass of the as well as already started working on music. the bassist with Arturo O’Farrill’s Afro Latin Jazz Did you know? I was born with six fingers on my left Orchestra. In addition, he works regularly with the hand, but one was removed when I was three weeks old. I knew I wanted to be a musician when... my father new music organization Bang on a Can. In 2003, he played every day for us Prokofiev’s Peter and The Wolf formed his own group and has recorded three critically For more information, visit greggaugust.com. August is at around the age of four. acclaimed albums of entirely original music. August is Smalls Jun. 5th. See Calendar.

12 June 2013 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT Ulrichsberger Kaleidophon FIMAV by Ken Waxman by Mike Chamberlain ELIANE ELIAS d . c o m . j a z w o r , w V 2 0 1 3 © M a r t i n o s e ( c ) S u s a n O ’ C o r F I M A Ab Baars Michel Doneda & Tatsuya Nakatani

The 2013 Ulrichsberger Kaleidophon moved further If this year’s 29th edition (May 16th-19th) of the afield than usual for a festival that takes place in this Festival International de Musique Actuelle de tiny Austrian village. Not only were improvisers from Victoriaville (FIMAV) did not always give the audience the UK, US, and Europe represented, but a clavichord what they expected, at certain critical junctures it gave concert by Japan’s Makiko Nishikaze took place in just what was needed in a program that paid homage Glöckelberg/Zvonková’s restored 14th Century to a large part of the festival’s past while looking church, 10 kilometers away in the Czech Republic. resolutely toward its future. The Japanese composer’s precious and delicate For the first time in its 30-year history, the festival’s creations, extended with toy piano or bamboo pipe opening reception was graced by the presence of the interludes, joined baroque and gagaku music. Yet they Minister of Culture of Québéc. Naturally, the separatist were like the palate-cleansing sorbet offered between Parti Québécois government (who rule in a minority the entrées of a multi-course meal. Nourishment was after a September election that ousted the tired supplied in abundance in the Jazz Atelier (May 3rd-5th) Liberals) wants to show support for an institution as by three intense free jazz ensembles, seasoned by artful important as the Victoriaville festival as well as solidify solo and group creations and concluding with a its support in the nationalist heartland of Québéc. trencherman’s dessert of highly caloric jazz rock. Ironically, however, for a festival that was built in large Together for 25 years, Sweden’s GUSH - Mats part of the contributions of Québéc’s musique actuelle Gustafsson (), Sten Sandell (piano) and scene, the only performance by a Montréal-based Raymond Strid (drum) - mesh tonally. Often rearing group or artist was composer Tim Brady’s presentation back to extract stentorian tones, snorting from a of his third symphony in the Colisée on Thursday splayed-leg crouch or muting the saxophone bell night. Brady is an Anglo Montréaler, hardly likely to be against his trouser leg, Gustafsson expelled streams of a fan of the sitting government. pressurized glossolalia and hardened altissimo tones. But in a way, Brady’s work is a reflection of the At points his burly moose-like cries were intricately multi-cultural vitality of Montréal. (It’s worth noting parried by Sandell’s scraped piano strings or tremolo that the minister, actor and teacher Maka Kotto, was keyboard runs extended by pedal work. Otherwise the born in Cameroon.) The symphony, performed by the pianist was involved in single-note narratives or key 20-piece choir Vivavoce accompanied by ten musicians, clipping. Strid was the model of restraint, emphasizing is a powerful work based on the poetry of Chilean- patterns by clanking a stack of cymbals, clicking drum born Montréaler Elias Letelier Ruiz in response to the tops or slapping a mallet against a miniature gong held Pinochet regime. in his teeth. Proof of the trio’s cohesion came during The early concerts have been for many years held the last improvisation when Sandell’s pseudo-ragtime at the Cinéma Laurier, whose comfortable seats aid the jabs, Gustafsson’s reverberating whines and Strid’s appreciation of subtlety. A highlight of the festival was teasing pings reached layered cohesion. the duo of Michel Doneda and Tatsuya Nakatani, Another cohesive unit was Foxy, melding the whose finely-textured free flow of extended percussion skills of a pioneer (drummer Barry Altschul), Baby techniques was amplified by Doneda’s sculpting of Boomer (bassist Mark Helias) and Gen-Xer (tenor acoustic space on soprano and sopranino saxophones. Eliane Elias, the sultry Brazilian pianist- saxophonist Jon Irabagon). Roaring through new Both Friday and Saturday evenings featured heavy vocalist-arranger, wraps her jazz and compositions by the saxophonist, the trio belied the doses of rock. Haunted House did their first generation gap while showcasing sophisticated performance outside New York, minimalist blues bossa nova style around classic tunes individualism. A ‘60s avatar, Altschul press rolls as washes of Loren Connors’ guitar drone heavy on the associated with iconic jazz trumpeter/ easily as he breaks the time with balanced nerve beats southern gothic atmospherics thanks to the recitations and exotic side slaps. Helias has particular bow- by Suzanne Langille. This set the table for Thurston vocalist Chet Baker. command, wielding it for distinctive vibrations on Moore’s latest project, Chelsea Light Moving, which “Elusive”, which connected with Irabagon’s slurred was pretty much a straight-up old school punk affair, reed sucking. Exiting that tune with a vibrato so wide but with elements of avant noise. The evening was he could be playing “Three Coins in a Fountain”, capped off by an incendiary performance by California regularly slathering his lines with slurps or running band Oxbow, whose lead singer, Eugene Robinson, is a Available at thick R&B-styled honks throughout his solos, Irabagon provocateur extraordinaire who combined demonstrated remarkable flexibility. “Quintessential confrontation, humor, sacrilege and strip tease - one of Kitten” epitomized this as his bugle-like intro swelled those shows where one is not sure what is coming next. to flutter tonguing yet stayed perfectly in sync with the The Book of Knots was supposed to be a world Amazon, Amazon.com and the Amazon.com logo are registered trademarks of Amazon.com, Inc. or its affiliates. others’ lines, even as Altschul and Helias changed the premiere for the group led by violinist Carla Kihlstedt tempo together to a relaxed swing feel. and Matthias Bossi, but things did not go as well as (CONTINUED ON PAGE 54) (CONTINUED ON PAGE 54)

THE NEW YORK CITY JAZZ RECORD | June 2013 13 CD REVIEWS

sufficiently analogous to his group’s charged attraction. that allows each member to convey their own Perhaps keeping alive Blakey’s legacy of fostering interpretation of the sights while “Small Finds” is a fresh talent, Blanchard’s youngsters make lasting more innocent take on simpler structures. “Unison” impressions. Bassist Joshua Crumbly, only recently of and “Common Language” are two very different sides drinking age, contributes the delicate “Jacob’s Ladder”, of the same group ethos; the former is more adventurous captivating in the dulcet cohesion of Blanchard and while the latter takes a more cerebral and emotive saxophonist Brice Winston, both of whom bequeath approach. The title track attempts to meld all the incredibly melodic solos. The 27-year-old pianist ingredients into one piece but is a bit too ambitious Fabian Almazan bestows his composition “Pet Step and strays some from the session’s overall feel. Despite

I Thought About You (A Tribute to Chet Baker) Sitter’s Theme Song”. The band enjoyed the song so this, Songs From the Ground works well as Rosenbloom Eliane Elias (Concord Picante) much they reprise it later on “Another Step”, but the offers up the structure and Jones supplies the power. by Joel Roberts original version screams with frantic intensity, Kendrick Scott’s aggressive drumming the foil to For more information, visit freshsoundrecords.com. This Pianist and singer Eliane Elias’ latest release is a Almazan’s returning fire, steeped in explosive group is at Spectrum Jun. 2nd. See Calendar. tribute to trumpeter and singer Chet Baker. The album abstraction. Blanchard again places the spotlight on features more than a dozen standards strongly Almazan for a solo reading of the pianist’s “Comet”, associated with Baker, delivered in a hushed, intimate, an emotional journey, which at once creates stark gently swinging style, which points to the similarities beauty and tense unpredictability. between Baker’s West Coast sound and the Blanchard expands his sonic palette with EFX. The bossa nova of Elias’ native Brazil. title track’s rhythmically elusive melodies are followed Like Baker, Elias made her reputation first and by Blanchard, filtered through swirling electronics, foremost as an instrumentalist, but significantly loosing smart bop phrasing. Similarly, the ominous expanded her audience once she added vocals. Again metallic sounds on “Hallucinations” evoke qualities like Baker, Elias doesn’t have a lot of range as a singer, that are forebodingly sinister. Longtime Blanchard but there’s an alluring, sultry quality to her voice that collaborator/guest artist Lionel Loueke enters after works well with the material she covers. She’s poised Blanchard’s reverberating whinnies and screeches; the and polished on the opening title track and shows her guitarist’s silvery cries increase the sense of melancholy. versatility on “There Will Never Be Another You”, The trumpeter’s jaunty “Don’t Run” was written which starts out as a samba before segueing into a with the sole intent of showcasing saxophonist Ravi straightahead swinger. She and Baker share an affinity Coltrane and legendary bassist Ron Carter. The piano- for romantic, even melancholic, tunes, like less dialogue is led by Coltrane’s inquisitive and reedy “Embraceable You”, “You Don’t Know What Love Is” soprano cast against Carter’s deeply toned walking. and “I’ve Never Been in Love Before”, all of which she These two certainly do not disappoint while Scott’s handles deftly. The album closes with its most heartfelt fervent instigations match the elder bassist’s intensity. moment, a memorable take on “I Get Along Without Blanchard’s young working group, combined with You Very Well”, featuring just voice and piano. notable guest appearances, keeps this all-around Elias is joined by a lineup that includes Brazilian enjoyable outing fresh and lively. musicians like guitarist Oscar Castro-Neves, drummer Marivaldo Dos Santos and percussionist Rafael Barata, For more information, visit bluenote.com. Blanchard is at RECOMMENDED along with guitarist Steve Cardenas and the veterans Jazz Standard through Jun. 2nd. See Calendar. Marc Johnson (Elias’ husband) on bass and Victor NEW RELEASES Lewis on drums. (Elias’ ex-husband) ably fills the Baker role on trumpet on several tracks, • Secret Keeper (Stephan Crump & Mary Halvorson) with especially fine turns on “That Old Feeling” and - Super Eight (Intakt) “Just Friends”. • Jonathan Finlayson & Sicilian Defense - Elias gets in a handful of fine solos of her own Moment & The Message (Pi) over the course of the album, with her standout • Will Martina - Modular Living By Design (s/r) moment coming on “Just in Time”, one of the only • Sean Moran Small Elephant Band - uptempo numbers. But she stays in pretty safe pianistic Tusk (NCM East) waters here compared with some of her more expansive • Cécile McLorin Salvant - WomanChild instrumental outings. Songs From the Ground (Mack Avenue) Mara Rosenbloom (-New Talent) • Trio - Chants (ECM) For more information, visit concordmusicgroup.com. Elias by Elliott Simon is at Birdland through Jun. 1st. See Calendar. David Adler, New York@Night Columnist ianist Mara Rosenbloom seemingly has a million P catchy riffs and artfully employs them to share a • The Fringe - 40 Years on the Fringe (Stunt) personal circumscribed space but also to provide • Marc Hannaford - Faceless Dullard (s/r) melodies for powerful improvisation. Both these • Ernest Anthony Tito Puente, Jr. - aspects of her playing are wonderfully in evidence on Quatro: The Definitive Collection () Songs From the Ground. The seven self-penned tunes • Frank Rosaly - Cicada Music (Delmark) run the gamut from pensive soliloquies to earthy, • Cécile McLorin Salvant - WomanChild blues-infused modern jazz. (Mack Avenue) Rosenbloom’s assets are her delicate touch and • Universal Quartet - Light (ILK Music) precise attention to melodic detail. “Relief” and “To Be Laurence Donohue-Greene

Alone” are solo pieces that meditatively engage Managing Editor, The New York City Jazz Record Magnetic Terence Blanchard (Blue Note) through harmonics and phrasing. They end relatively by Robert Milburn quickly but leave a lasting impression as studies in • 20 Jahre (Christina Fuchs/Romy Herzberg) - how less can be musically more and emotionally deep. KontraSax Live (JazzHaus Musik) In the ‘80s, a plethora of young New Orleans jazz The remaining tunes feature the full quartet and are a • Jeff Albert’s Instigation Quartet - musicians sprung onto the New York City jazz scene. A blend of Rosenbloom’s aforementioned strengths and The Tree On The Mound (Rogue Art) good number of them, like , Wynton Darius Jones’ meaty . Jones has a sound • Cactus Truck - Live in USA (Tractata/eh?) and Branford Marsalis, ended up in Art Blakey’s Jazz that was nourished by the blues and is the perfect • Casimir Liberski Trio - The Caveless Wolf (Dalang) Messengers. In 1982 when Wynton left the group, he counterpart to the leader’s tantalizing subtleties. • Will McEvoy’s Mutasm - Labor of Labor (Suide) recommended another NOLA up-and-comer, Terence Bassist Sean Conly and drummer Nick Anderson • Herb Robertson/Dave Kaczorowski/ Blanchard. The trumpeter has since cemented his partner with Rosenbloom to texture these tunes and Adrian Valosin - Party Enders (Not Two) stardom with five Grammys and, as Spike Lee’s go-to provide ample support for Jones’ muscle. However, Andrey Henkin composer, over 50 film scores to his credit. His the quartet uses its contrasting voices to tell fascinating Editorial Director, The New York City Jazz Record appropriately titled 20th album is Magnetic, being stories. “Whistle Stop” is an extended train journey

14 June 2013 | THE NEW YORK CITY JAZZ RECORD

Prené originals) have a strong Brazilian influence, as does a gentle performance of Dizzy Gillespie’s “Con UNEARTHED GEM Alma”. That standard has often been heard as AfroCuban jazz, but Prené demonstrates that it can work just as well in a Brazilian context. One of the CD’s most intriguing selections is the dreamy “A Billion Stars”, which incorporates soundbites of the late science fiction writer Ray Bradbury (who passed away in 2012 at the age of 91).

Jour de Fête Samples, as a rule, are something one is more likely to Yvonnick Prené (SteepleChase Lookout) encounter in hip-hop, electronica or industrial rock by Alex Henderson than in straightahead jazz, which usually thrives on improvisation and real-time performances. But Although the harmonica is hardly a prominent Bradbury’s overdubbed voice works well with Prené’s instrument in jazz, Europe has given us some talented postbop melody. Swiss Radio Days Jazz Series, Vol. 31 / 29 / 30 jazz practitioners over the years (including Germany’s Jour de Fête is a consistently promising debut / Quartet/ Hendrik Meurkens, -born Max Geldray, album from this young French improviser. Oscar Peterson Trio Switzerland’s Grégoire Maret, France’s Sébastien (TCB) Charlier and, of course, Belgium native Toots For more information, visit steeplechase.dk. Prené is at by Duck Baker Thielemans). A good name to add to that list is Paris- Somethin’ Jazz Club Jun. 2nd. See Calendar. These three CDs were all recorded at the same born Yvonnick Prené, who makes his recording debut concert, in Zurich on Apr. 8th, 1960. The concert was as a leader with Jour de Fête. Prené (who now lives in part of a Jazz at the Philharmonic-sponsored tour on Brooklyn) is quite lyrical on introspective performances which a Miles Davis Quintet, Stan Getz Quartet and of Jerome Kern’s “Nobody Else But Me” and the Jay Oscar Peterson Trio of the time shared billing. Getz Livingston-Ray Evans standard “Never Let Me Go” as used Peterson’s rhythm tandem of Ray Brown and well as on melodic postbop originals such as “Home”, and brought along Jan Johansson, the “As Night Falls” and “Thais”. Ballads and slower excellent Swedish pianist with whom he worked grooves are one of Prené’s strong points, but even fairly regularly during this period. And Davis came when he embraces a fast tempo on “Obsessions” and with John Coltrane, , Paul Chambers John Coltrane’s “Satellite”, his harmonica playing has and Jimmy Cobb. an ethereal quality. And Prené’s sidemen - Michael Some would argue, on the strength of the half- Sonic Boom Valeanu or Isaac Darche (guitar), Javi Santiago (piano), Uri Caine/Han Bennink (816 Music) dozen records that document the group’s Or Bareket or Phil Donkin (bass) and Jesse Simpson by Fred Bouchard performances on this short tour, that this represents (drums) - help him maintain that melodic atmosphere. another of Davis’ “great quintets” and certainly Prené obviously shares Thielemans’ fondness for Boom, indeed! Two oft-matched masters of playful Coltrane fans will find a great deal to savor here, Brazilian music; “Escale” and the title track (both percussion meet, greet and get indiscreet from the get- closer in style to what he would soon do on his own go. Han Bennink, crew-cut drummer dude of Holland, than to earlier work with Miles. Supposedly he was is on home turf at Bimhuis, Amsterdam’s archetypal put out at having to accept the work as a sideman at jazz joint; Uri Caine, pianist and this point, though the sometimes-expressed idea impresario, was his guest on Apr. 12th, 2010. (Bimhuis’ that all the energy he pours into his improvisations remarkable online roster history shows Caine to have is just a matter of venting his frustration seems thin. played the club 15 times since 1994 in his own bands or Miles himself certainly seems to be in good spirits, in ’ quintet; his previous meeting with as he shows when he bases an entire chorus of “All Bennink there was as one of six pianists!) Blues” on a quote from “The Blue Danube” (it is A blow-by-blow follows these two in unbridled “”, after all...). improvisation. After a warm-up feel-out in quicktime, Getz is in marvelous form and this rhythm Caine essays slow-burn balladry (“Grind of Blue”) that section certainly works together beautifully despite Bennink soon kicks up a few notches. With nary a it being an ad hoc group. Because he made it all break, Caine rolls into a jittery two-beat blue “Hobo” sound so effortless, some might not appreciate what that Bennink picks up with a parade beat on snare; as a daring improviser Getz could be when he was both turn to Latin, the drum solo diminishes to tricky engaged. And he certainly was on this occasion, sticks and rims and Caine’s out-chorus gets lock-hand setting up challenges of all sorts for himself right June 11th mania in Red Garland stop-time. The pianist sneaks from the get-go, when he introduces the opening “‘Round Midnight” in the back door and Bennink puts “Gone With the Wind” with an unaccompanied Corina Bartra a lock on it as they scatter Monk references with cadenza, then sets up the second chorus of his solo exuberant abandon in microbursts of stride and free as a series of unaccompanied breaks. His gorgeous Peruvian Jazz Ensemble time amid cantilevered rumblings. tone, melodic inventiveness, great swing and impish “As I Was” finds Caine still quietly toying with sense of humor are on full display throughout this shards of “Midnight” as wisps of “If I Loved You” and outstanding set. other Tin Pan Alley love tunes waft through his fingers, Peterson must have been aware of June 25th but soon he perks up a jaunty two-beat theme; Bennink uncomplimentary things Miles said about him in Mike Longo Trio bashes it with and they both drive it home, twice, print shortly before this tour and his inclusion of with a go-limp coda. By now a feel-good pattern “The Maid of Cadiz”, which Davis had recorded on salutes Wayne Shorter emerges: the pianist ruminates up and down; his Miles Ahead, may well have been in response to the passages soon crest alongside droll drum rolls and charge that he didn’t play with feeling. We also note & Herbie Hancock skittering asides; then both stride forth boldly arms that the program is weighted towards modern jazz akimbo. All usual points of references, tonal and tunes, with only one standard included (the seldom rhythmic, are atomized in the manic fray, but swing-to- heard “Politics and Poker”). It’s nice to hear Peterson bop finales generally rule. On the closer “Lockdown”, salute Duke Jordan (“Jordu”) and New York Baha’i Center the two open with hammering staccatos but shortly (“Cubano Chant”) as well as Diz and Brownie (“Con 53 E. 11th Street amble into easy-going stride and accelerate into balls- Alma” and “Daahoud”), and Brown and Thigpen (between University Place and Broadway) out 4/4 swing. They even trade 3s and 4s to carve a really shine. We do not know whether Davis was traditional finial on their twisty, angular flagpole. impressed but it’s a safe bet that Peterson fans will Shows: 8:00 & 9:30 PM Bennink’s Steinberg-like calligraphic variations on be happy. Gen Adm: $15 Students $10 “Han/Uri” adorn the cover in aptly eccentric curlicues. 212-222-5159 For more information, visit tcb.ch. The Miles Davis bahainyc.org/nyc-bahai-center/jazz-night For more information, visit hanbennink.com. Caine is at Festival is at Smoke throughout June. See Calendar. Birdland Jun. 4th-5th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2013 15

Maroney calls his piano preparations and inside-case GLOBE UNITY: CHINA playing “hyper-piano” and Tammen refers to his approach as “endangered guitar”. Arson! is their second release as a duo (following Billabong, released way back in 1999 on Potlatch), although the two have worked together in larger settings as well. The album is a great mix of melody and density, with bowls and slides on piano and guitar strings (and other such things) creating an ever-shifting bed over which

Birthmark fragmented phrases and further mutations appear. Lotte Anker/Rodrigo Pinheiro/Hernani Faustino The album opens with the excitingly pounding (Clean Feed) “Dynamo Meat” but explores many more ethereal by John Sharpe arenas over its 11 tracks. Tammen fills the field with so many sounds of indeterminate origin that the music No. 9 Yang Jing/Christy Doran (Leo) Danish saxophonist Lotte Anker revels in the slow rarely feels like a duet - or if it is, maybe a duet in a Unknown Journey (Jazz Music in China) burn. For confirmation, just lend an ear to records like windstorm where the two can’t quite hear one another. Luo Ning (RuiMingYinYue) Live At The Loft or Floating Islands (both on ILK Music) By the eighth track, “Ornamenta”, the music almost China Live: In Beijing 2011 by her trio with Craig Taborn and Gerald Cleaver to sounds residual, as if the players were gone but had Peter Brötzmann & Improvising Ensemble of hear how she builds a soaring edifice from humble left some directionless noises behind them. The Qianxingzhe (Jazzhus Disk) foundations. It’s a trait she shares with Portugal’s RED penultimate title track comes off as a solo piano piece, by Tom Greenland Trio who, in two acclaimed outings with saxophonist only with shards of sound breaking off and bouncing Jazz and traditional Chinese music might seem, at John Butcher and trumpeter Nate Wooley, demonstrate around the room. “Mad Rhyme”, the closer, sounds first surmise, to make for odd bedfellows, yet they how they can absorb a radical stylist into their more like an arson attack, at least in a building filled share a common ethos of spontaneity and tone idiosyncratic group conception. Birthmark should with elastic bands and bubble packaging. Such poetry, allowing for rich and varied collaborations. appeal to fans of both outfits and make new converts impressions don’t take away from the duo’s purposeful No. 9 is a duet album by Yang Jing and Christy besides, combining as it does Anker’s fluent husky approach to their work, but rather underscore it. The Doran, the former a traditionally trained pipa musings with the spare but astute sound placement of vessel is, of course, their creation and the music it (Chinese upright lute) virtuosa with experience in pianist Rodrigo Pinheiro and bassist Hernani Faustino. carries very evocative. contemporary classical and jazz music, the latter a In instrumentation, the threesome echoes Jimmy At the Rhythm in the Kitchen Festival this month, Dublin-born, Lucerne-based guitarist who melds Giuffre’s pioneering ensemble of the seminal Free Fall they’ll be presenting another layer of discovery, with elements of rock and free improv. On “Moving (Columbia, 1964). And though she doesn’t play Tammen leaving his guitar behind and processing just East”, Yang’s florid thumb-picked melodies over clarinet, Anker makes virtuoso use of some of the same the sounds of Maroney’s hyperpiano, for what four-finger tremolos recall flamenco guitar while on split tone effects on her array of saxophones while promises to be another exciting exploration of texture. “Salü Abend” her sweeping string-bends into deep maintaining a biting abstract lyricism. In that, she sets scalloped frets evoke Mississippi Delta slide blues up a tension with the extended techniques of Pinheiro For more information, visit outnowrecordings.com. This duo and her scooping ornaments on “Birnenblüten” and Faustino. Subtle piano preparations accentuate the is at Rhythm in the Kitchen Festival Jun. 5th. See Calendar. echo an Indian sitar. Doran’s electric canvas displays percussive nature of the keyboard while the bassist diverse sonic colors that shadow, heighten or mines a wide range of timbres through insistent contrast with the pipa’s acoustic palette. On scrapes and scrabbling fingerwork, emphasizing the “Shadow of Roses” both players seem to be singing thwack of string against wood. Conversing through the blues, each in his or her distinct musical accent. terse diction in a language of their own creation, they Beijing-based pianist Luo Ning is a formidable explore the expressive potential of line against tone. technician with a delicate touch. On Unknown Journey All seven cuts are collaborative constructs, (Jazz Music in China), he combines straightahead and characterized by a high level of sensitive interaction. Latin jazz with traditional Chinese music. “Distant “Golden Spiral” provides a case in point in the way Kashgar” opens with a zither, then goes into a funky ghostly soprano overtones merge with bowed nouveau flamenco section; “Mudanhan” is a harmonics and rubbed piano wires. After a tiptoeing folksong from Luo’s northwestern homeland, sax/piano dance, the piece opens up for a wonderfully enlivened by distinctive ornaments, and “Farewell dark rippling interlude from Pinheiro, which shows My Concubine”, Mei Lanfang’s title aria from his that his armory comprises more than just novel opera, is bookended by sections featuring the jinghu textures. But that’s only one example among many on and erhu (bowed lutes), luo (pitched gong), a set of chamber jazz that smolders throughout with hardwood clapper and falsetto singing typical of dazzling intensity. traditional Xipi opera. Elsewhere, Chucho Valdés is fêted with Latin rhythms and caliente solos, notably For more information, visit cleanfeed-records.com. Anker is on “Caridad Amaro”, two versions of “Elena” and at Barbès Jun. 5th and The Stone Jun. 9th. See Calendar. “Danzon in the Rain”.

Peter Brötzmann’s sax sound lies heavily to the yang side of the Chinese philosophical duality, but that doesn’t hamper a successful collaboration with the Improvising Ensemble of Qianxingzhe - Li Tieqiao on saxes and flute; Xu Fengxia on guzheng (zither), vocals and sanxian (lute) and Kristian Mondrup Nielsen, a Beijing-based drummer - in a one-off concert held in 2011 in Beijing, available as a CD/DVD set. While Nielsen’s playing is avant but yin and Li’s guzheng is buried by the frontline Arson! fusillade, her gutsy singing trumps the saxes’ Denman Maroney/Hans Tammen (OutNow) excesses. Brötzmann defers to his colleagues, toning by Kurt Gottschalk down his tempestuousness to mingle with the locals, though on “Walking in Wu Men” he delivers Denman Maroney and Hans Tammen are a a masterful solo oratorio. The DVD augments the wonderfully well-suited pair of soundmakers. At their CD with longer takes and vivid visuals: dry-ice core they comprise a piano/guitar duo, but both of clouds, roving spots and flashing strobes. them stretch their instruments far beyond the natural voices. Perhaps more significantly, they each For more information, visit leorecords.com, occasionally employ those natural voices for strikingly luoningmusic.com and downtownmusicgallery.com dramatic effect. Their shared commitment to such ‘extended techniques’ is made evident by the fact that

16 June 2013 | THE NEW YORK CITY JAZZ RECORD Migrations Pipe & Drum Cristina Pato Paul Dunmall/ (Sunnyside) Mark Sanders (FMR) by Stuart Broomer The bagpipe has a brief but noble history in jazz, beginning with Philadelphia saxophonist Rufus Harley, who was inspired to take up the instrument when he saw Scotland’s Black Watch regiment performing during John F. Kennedy’s funeral procession. Harley became a symbol for cross-cultural exploration, finding in the ancient and widespread bagpipe an instrument that spoke to underlying unities. It was the era of John Coltrane’s signature sound, that keening wail and those bending pitches that would draw jazz and the sound of an Indian shehnai into the same orbit on “My Favorite Things” and “AfroBlue”. The bagpipe, with its drone pipes and continuous sound took the resemblance another step further. While Harley may have been limited by the instrument’s relatively narrow range and limited pitches, his work touched on elemental mysteries. Significantly, played bagpipes on Music Is the Healing Force of the Universe. These two new recordings of improvising pipers are very different, but they both speak to the adaptability of the instrument. While the bagpipe is most immediately associated with Scotland, its global tradition includes Galicia in Northern Spain, where it’s called a gaita. Cristina Pato is a Galician piper who has recorded traditional music extensively and has been a member of Yo Yo Ma’s Silk Road Ensemble, absorbing a host of international idioms. On Migrations, she also plays fluent jazz piano and sings in styles that range from infectious bossa nova (Jobim’s “Dindi”) to the keening, shouted wail of Galician traditional songs. Her band of accordionist Victor Prieto, bassist Edward Perez and drummer Eric Doob provides engaging support and there are numerous guests adding other colors, including tablas, harp and bouzouki. The music mixes intensity and levity with a charm akin to the Hot Club of France and Pato’s take on Miles Davis and/or Bill Evans’ “” is probably the most technically accomplished piping in a traditional jazz idiom to date. British Paul Dunmall is a tenor saxophonist of great power who plays in a manner that derives directly from Coltrane and Ayler and he brings all the intensity of energy-school free jazz to his piping. His 2003 release Solo Bagpipes (FMR) was a work of great vision and on Pipe & Drum Dunmall plays in an absolutely fundamental ensemble with the equally distinguished Mark Sanders on drums, the two manifesting a ferocity that speaks of timeless trances and visions and elemental kinships. While Pato at times seems to tame the pipes, Dunmall is interested in setting them free in all their wildness, their sounds braying and magisterial, their trills and split tones multiplying, their air bladder a primordial mechanism for circular breathing. Dunmall’s approach resembles at times Evan Parker’s to the soprano saxophone, but with a narrower range. By the concluding “Supernatural Is Natural”, Dunmall and Sanders match the dense, entrancing wail of the massed winds and percussion of the Master Musicians of Joujouka - powerful stuff indeed.

For more information, visit sunnysiderecords.com and fmr-records.com. Pato is at Joe’s Pub Jun. 5th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2013 17

Genus and drummer Steve Gadd (a holdover from Double Vision) - their inspiration was the classic Quartet with . They take the template seriously enough to have Gadd playing brushes on five of the nine tracks and in following the alternating solos and pass-the-lead back and forth between piano and sax examples of Brubeck-Desmond. A sweetly lyric feeling pervades the heartbeat tempo swing of the opening track, “You Better Not Go

Lay Down My Heart (Blues & Ballads Vol. 1) To College”, even titled in seeming homage to Joe Locke (Motéma Music) Brubeck’s early Jazz Goes to College album. That opener by Sean J. O’Connell and the ballad “My Old Flame”, with James and Sanborn tossing the melody deftly back and forth, Vibraphonist Joe Locke has released over a dozen most evoke the feel of the classic Brubeck quartet at its albums under his name in the last ten years. This most steady, slow swinging best. Other tracks pay tribute to recent release was recorded in a single day last October that classic group’s experiments with rhythm and time with help from pianist Ryan Cohan, bassist David signatures, from Alice Soyer’s “Geste Humain”, Finck and drummer Jaimeo Brown. The blues and pairing double-timing drums with straight time bass; ballads theme is a long running one with a wide range Sanborn’s “Another Time, Another Place”, with a of implied settings. From Lonnie Johnson’s pass-the- martial beat and drum paradiddles and Sanborn’s hat Bluesville releases to McCoy Tyner’s simmering brisk waltz “Genevieve” to James’ “Montezuma”, with standards, the theme has broad potential. This version a jaunty, multiplied two-beat syncopation and his is pretty direct. The quartet tackles a handful of tunes “Follow Me”, in a Brubeck inspired odd-time. that are more blues-implied than strict 12-bar workouts, Sanborn infuses the album with a very with some radio-friendly ballads scattered throughout. un-Desmond-like passion, his acerbic tone and searing Vol. 1 suggests more to come. Considering Locke’s attack suggesting molten steel. In contrast, James is work ethic, he could produce another 365 this year. cool and lyrical, more akin to Desmond’s approach “Ain’t No Sunshine” opens the record with a than that of Brubeck. Closer “Deep in the Woods” is a punctual solo from Locke over the stop-start groove of funky jazz-rock romp reminiscent of Les McCann and the band. On a similarly well-worn adult contemporary Eddie Harris, right down to the vocal exhortations. It standard, Bonnie Raitt’s “I Can’t Make You Love Me”, also finds Sanborn overdubbing soprano and sopranino the band approaches at a similar clip as the original. In saxophones to create a section with his alto. fact, Locke’s band could be interchangeable, with a similarly unobtrusive piano part but with a marginally For more information, visit sonymasterworks.com. This brighter pulse from Brown’s kit. group is at Town Hall Jun. 6th as part of Blue Note Jazz The nicest aspect of the record is Locke’s tone. He Festival. See Calendar. gets a warm sound from his vibraphone, which can occasionally get hypnotic with its oscillating hum lulling on the long notes. But the band can pick up the tempo too. The quartet digs into a brisk blues on Sam Jones’ “Bittersweet”, Locke roaring into a rapid solo while Finck gets a chance to swing in the spotlight, offering a healthy dose of melody and technique. A pair of tunes from the Great American Songbook closes out the album: “Makin’ Whoopee” is transformed into a swaggering triple meter stride while “Dedicated to You” is a languid duet between vibes and piano. Like the rest of the album, it’s a gentle track that can hover somewhere without being distracting. The band is crisp and clean throughout but it wouldn’t hurt to throw a little dirt on Volume 2.

For more information, visit motema.com. Locke is at Dizzy’s Club Jun. 5th-9th. See Calendar.

Quartette Humaine Bob James/ (OKeh) by George Kanzler Surprisingly, this is the first album collaboration by keyboardist Bob James and alto saxophonist David Sanborn since their blockbuster smooth jazz album Double Vision, a 1986 Warner Bros. release. Quartette Humaine is very different, a straightahead acoustic affair with James on grand piano, not electric keyboards, and except for a final fusion-y jazz-rock track at the end, a sound that emulates a live date rather than the wizardry of the studio. According to the principals - joining them are acoustic bassist James

18 June 2013 | THE NEW YORK CITY JAZZ RECORD Presents www.artsforart.org

®

Celebrating MILFORD GRAVES & Visual Artist ROBERT JANZ

@ Roulette 509 Atlantic Ave. Brooklyn, NY Wednesday, June 12 - 7pm Saturday, June 15 Tickets:$30 per day / $20 stu & sen Afro/Cuban Roots: Milford Graves, David Virelles, Román Díaz, Dezron Douglas, Afternoon - 2pm Festival Pass: $140 Román Filiú Visionary Youth Band: coT.I.M.E initiative / Jeff Lederer, Jessica Jones Milford Graves Transition TRIO: with D.D. Jackson, Kidd Jordan York College Creative Ensemble: CUNY Queens / Tom Zlabinger dir. Milford Graves NY HeArt Ensemble: with Charles Gayle, William Parker, Achievement First Middle School Band: Brooklyn / Gene Baker dir. Roswell Rudd, All Schools (80 young musicians): William Parker dir. with guest artist Hamid Drake Panel on the French-American exchange of ideas and ideals, past and presentt Thursday, June 13 - 7pm Evening - 7pm Maria Mitchell / Terry Jenoure: Maria Mitchell, Terry Jenoure Tomas Fujiwara & The Hook Up: Brian Settles, Jonathan Finlayson, Mary Halvorson, Michael Formanek Roy Campbell’s Akhenaten Ensemble: Bryan Carrott, Jason Kao Hwang, Davis/Revis/Cyrille: Kris Davis, Eric Revis, Hilliard Greene, Michael Wimberley Simmons / Burrell Duo: Sonny Simmons, Dave Burrell U_L Project: Joe McPhee, Miya Masaoka, Mark Helias, Qasim Naqvi WORKz: Marilyn Crispell, Odean Pope, Tapan Modak, Pheeroan akLaff Roscoe Mitchell Trio: Roscoe Mitchell, Henry Grimes, Tani Tabbal Sunday, June 16 - 3pm Friday, June 14 - 7pm Panel-building real access to Creative Jazz Vocal-Ease: Steve Dalachinsky, Connie Crothers Film ’ Black February by Vipal Monga Bern Nix Quartet: Bern Nix, Francois Grillot, Matt Lavelle, Reggie Sylvester Inner City: Migration: Miriam Parker, Hamid Drake, Jo Wood Brown, Robert Janz East-West Collective: Didier Petit, Sylvain Kassap, Xu Fengxia, Larry Ochs, Positive Knowledge: Oluyemi Thomas, Ijeoma Thomas, Henry Grimes, Michael Wimberly Miya Masaoka Hamiet Bluiett and Friends French-American Peace Ensemble: Francois Tusques, Louis Sclavis, Mario Pavone ARC Trio: Mario Pavone, Craig Taborn, Gerald Cleaver Kidd Jordan, William Parker, Hamid Drake Marshall Allen & McBride’s BASS ROOTS: Christian McBride, Lee Smith, Howard Cooper, Marshall Allen

makes Free Moby Dick so good, even surpassing the fun «ROGUEART» factor. None of these ‘cover’ versions gives itself up MUSIC – BOOKS - MOVIES right away, keeping the listener guessing before slamming into a familiar riff. Leader/drummer Stefan Pasborg’s cymbal washes and Nikolai Munch-Hansen’s bass punctuations don’t even hint at “Paint it Black”; only when the two saxophonists begin to run the familiar tune in counterpoint does it become remotely clear. When the tunes do erupt, Innanen vibrates with

Standards & More the over-the-top abandon of prime Albert Ayler, Gregory Tardy (SteepleChase) bringing a carnival-esque twist to these psychedelic by Ken Dryden and bluesy classics. Beyond the fun of identification is the trippy and even humorous way the tunes are Since his debut recording in the early ‘90s, saxophonist treated. In place of Robert Plant’s cutting vocals, “Black

© Caroline Forbes Gregory Tardy has explored a wide variety of music. Dog”’s melody is whipped by drums and hurled with REX, WRECKS & XXX His newest CD though focuses more heavily on jazz saxophone blasts. “ Man” is alternate church- EVAN PARKER standards and timeless jazz compositions. This doesn’t reverent and snarky, the guitar lines and saxophones MATTHEW SHIPP mean that his approach is in any way run-of-the-mill, awash in crunchy dissonances. Maybe the biggest as Tardy gave thought to his arrangements and surprise ends the disc: a touchingly wistful and straight assembled a young, crack band: gifted pianist Keith version of ’ “Johnsburg, Illinois” with Brown (son of pianist , who is also on Innanen soloing beautifully over the rhythm section’s the University of Tennessee jazz department faculty slow drag. with Tardy), bassist Sean Conly, trumpeter Philip Innanen’s sputtering and popping is on K18’s Dizack and rising star Jaimeo Brown on drums. sophomore effort Out to Lynch, this time in homage to Tardy opens the session with a lush, deliberate film director/television director David Lynch, but his treatment of the standard “I See Your Face Before Me”, balladry is also in evidence, this time on clarinet. Like showing the influence of the giants of . Pasborg’s freeing of rock classics, or as in Lynch’s best

© Zack Smith “When I Fall in Love” initially has a meditative air, work, guitarist is never content to stick THE TREE ON THE MOUND opening with soft-spoken piano, then, as Conly states with a single mood and his quartet is a unit in constant JEFF ALBERT’S INSTIGATION QUARTET the melody, Tardy’s abstract tenor runs in the musical flux. In fact, Kalima’s opening riff on “Bob” FEATURING background, giving it a very different flavor. “Secret has nothing to do with Twin Peaks or Lynch, reaching KIDD JORDAN – HAMID DRAKE – JOSHUA ABRAMS Love” opens with Tardy dancing around its chord all the way back to The Twilight Zone before he tears it changes with Jaimeo Brown as his sole accompanist to shreds. Multiple blurrings of composition and until the full band joins them. improvisation abound, from the strict rhythmic motors Tardy’s approach to ’s “Voyage” is a of “Mulholland Drive” to the Frank Zappa-esque funk bit different, as he opens on clarinet (which was his of “Eraserhead”. Accordionist Veli Kujala continues to first instrument) then promptly ducks out, putting the channel Harry Partch, subverting everything with focus on the rhythm section until returning to play quartertone magic, while Kalima’s playing resides with wild abandon, working in Thelonious Monk’s somewhere between places that Terje Rypdal and Melt “” at the end of his solo as he yields to Banana’s Ichirou Agata might live. All provide sinewy muted trumpet. The interplay between Tardy percussive effects from time to time: Innanen with (on clarinet) and Dizack is a highlight of their peppy keyclacks and what sounds like spoons inside his horn,

© RogueArt rendition of “Billie’s Bounce” while the leader returns though none as consistently as bassist Teppo Hauta- ENGRAVED IN THE WIND to tenor for a robust workout of ’s “Firm Aho, whose versatility goes a long way toward NICOLE MITCHELL Roots”, recalling the energy of Art Blakey’s Jazz establishing the quartet’s rhythmic cohesion. Messengers. Tardy’s sole original is the lush ballad “A Describing the telepathic swoops, swirls and dizzying Prayer For the Preborn”, in which his dramatic, runs in which these virtuosi regularly engage, when conversational clarinet makes a convincing statement not in meditative mode as on “Alvin Straight”, is as in an emotional setting. With Standards & More, Tardy challenging as the music they play, which makes this has blossomed into a talented veteran with a distinctive disc even better than their debut. approach as a performer, arranger and composer. For more information, visit ilkmusic.com and tumrecords.com. For more information, visit steeplechase.dk. This group is at Mikko Innanen is at El Taller LatinoAmericano Jun. 6th with Smalls Jun. 6th. See Calendar. John Ehlis, Ibeam Brooklyn Jun. 7th-9th, The Backroom Jun. 25th, Douglass Street Music Collective Jun. 28th and ABC No-Rio Jun. 30th. See Calendar. © Lisa Alvarado UNKNOWN KNOWN JOSHUA ABRAMS QUARTET J. ABRAMS, D. BOYKIN J. ADASIEWICZ, F. ROSALY

Free Moby Dick Out to Lynch Stefan Pasborg Kalle Kalima & K-18 (ILK Music) (TUM) by Marc Medwin Tribute is the order of the day for these two releases, © Luciano Rossetti one to rock and roll and the other to the movies, but THREE COMPOSITIONS both are done in the spirit of whimsy and ROSCOE MITCHELL experimentation that is to be expected when Finnish & NICOLE MITCHELL’S BLACK EARTH ENSEMBLE saxophonist Mikko Innanen is involved. His rich, raspy baritone is the perfect foil to Liudas Mockunas’ fluttery tenor, drenched in a haze of www.roguart.com overtones, as little bits of Led Zeppelin’s “Black Dog” slide into focus. The ambiguity is one of the things that

20 June 2013 | THE NEW YORK CITY JAZZ RECORD

saxophonist and trumpeter Rob Henke. Wicked Knee. Using New Orleans second-line as a For his cover art, New Jersey-based Ehlis turned touchstone, the group freely moves between tradition to Peter Jacobs, a local artist who for the last eight and experimentation. years has been creating one collage per day using Heels Over Head blends original material with images culled from the daily paper. The surrealistic crafty covers of traditional and contemporary songs. image resembles a guitar - one with a jagged line The uptempo jocularity of Frank London’s “Ghumba reaching outward toward the world, an arrow pointing Zumba” boasts Rojas’ taut line and Martin’s prodding inward toward the center and a single eye gazing at the beat encouraging the soloists. Their brash take on The viewer. This image, like Ehlis’ music, holds contrary White Stripes has the pounding drums and emphatic

Along the Way motion together in one place, both offering a snapshot stops of the original, but Martin intersperses a shuffle John Ehlis Ensemble (Sivac) of where we once were and a hint where we might go. section that leavens “Button to Button”. ’s by Suzanne Lorge “Sugarfoot Stomp” maintains an old-timey vibe, with For more information, visit sivacrecords.com. Ehlis is at El Rojas and Martin creating a deep pocket for Fowlkes Guitarist John Ehlis worked on his new CD for more Taller LatinoAmericano Jun. 6th and Ibeam Brooklyn Jun. and Bernstein’s strut. The group breathes new life into than three years, developing his compositions before 9th. See Calendar. the traditional Mexican song “Canta Y No Llores”, live audiences and recording them over time. Ehlis is with a hip shuffle and the horns emphasizing or an avid student of , an interest that comes delaying the delivery of some notes to subvert through not only in his playing but also in the unified expectations. Martin’s “Muffaletta” is similarly message of the musicians with whom he collaborates. infectious, its traditional New Orleans groove and On “Mayan Canoe” Latin percussion supports a brass theme given a modern flair with the drummer’s pastiche of modal improvs; “Mbira Chant”’s folksy punctuations and the horns’ extended techniques. melody becomes the focal point of an extended sax line But there’s more to the CD than grooves. and “African Trains” blends polyrhythmic drumming Bernstein’s subdued “Theme One” slowly builds a with a bright melody, which expands into bebop as it pensive, multi-part, echoing theme, which is followed bounces from one soloist to the next. At no point do by a swing section buoyed by walking tuba and a these diverse influences battle each other for attention; boppish drum beat. A swanky blues underpins guest Heels Over Head you have to listen closely to note them. vocalist Shelley Hirsch’s spoken/sung stories playing Billy Martin’s Wicked Knee (Amulet) Ehlis includes two free improv pieces on the disc, by Sean Fitzell off the instrumentalists on “99%”. The leader sits out “Five Moving Up” and “Dixon Line”, which now serve his “Rendezvous”, a lovely horn meditation, while as an homage of sorts to two seminal players - Drums and brass: something about the stripped-down “Chaman’s Interlude” and “Noctiluca” are atmospheric trumpeter , who died in June 2010, and instrumentation of a pocket brass band elicits loose, interludes. The former features dirge-like tuba and an Danish saxophonist , who passed away in feel-good music. For about 20 years, drummer Billy array of percussion sounds; the latter is a haunting October 2012, just before Ehlis completed the recording. Martin wanted to explore that vibe with trumpeter soundscape that closes the CD. Tchicai and Ehlis recorded the aforementioned tunes Steven Bernstein. He recruited another former Lounge the day after Dixon passed, along with Tchicai’s Lizard, trombonist Curtis Fowlkes, and the trumpeter’s For more information, visit amuletrecords.com. This project “Multicolored Bridge”, an atonal duet between the frequent foil, tuba player , to create is at Shapeshifter Lab Jun. 8th. See calendar. ROBERT HURST New Release ALL-STAR CAST FEATURING featuring Branford Marsalis Robert Glasper Soren Moller / Dick Oatts Bennie Maupin Gerard Presencer /Jesse Lewis Jeff “Tain” Watts Soma String Trio + more

Adam Rudolph available on

It's a treasure...It's all rather sumptuous and thoroughly engrossing...." JEFF TAMARKIN- Jazz Times BoB a Palindrome is exceptional... and everyone is firing on all cylinders…” MARK STRYKER- DETROIT FREE PRESS

…Hurst’s inspired compositions and first-rate production values make this one of the highlights of the 2013 season." STEVE BRYANT- AllAboutJazz.com A monster of an album... Highly Recommended” DAVE SUMNER’S JAZZ PICKS- emusic.com

THE NEW YORK CITY JAZZ RECORD | June 2013 21

Means of Deliverance Interface (Innerhythmic) Lou Caputo/Chris White (JazzCat 47) by Andrey Henkin by Marcia Hillman

Despite an ignorant journalist’s claim to the contrary, The verb to interface is defined (according to Merriam- the solo bass genre is hardly rare; in fact, since the Webster) as “to interact or coordinate harmoniously”. NICK SANDERS TRIO format was unofficially established by Barre Phillips This is exactly what this new CD by co-leaders multi- NAMELESS NEIGHBORS on 1968’s Journal Violone (Phillips himself, in an reedist Lou Caputo and former Dizzy Gillespie and interview with this writer, called the album “an Quincy Jones bassist Chris White does. SSC 1340 accident” though it did start “a whole process of how The longtime friends have played together over In Stores June 4 do you deal with what you’re doing”), dozens of the years, sharing an obvious rapport and are aided, bassists have tackled the subject. So many have done abetted (interfaced with?) by a fine group: Don Stein so that the genre itself has split into a few schools. (piano), Payton Crossley (drums) and Warren Smith There is the Phillips-inspired model: longform (vibraphone), percussionist Leopoldo Fleming added investigation into extended techniques. Others - Dave for four tracks. The choice of material is most Holland and Malachi Favors, for example, both in 1977 intriguing, ranging from compositions by Antonio - spent more time immersed in melody or texture. Carlos Jobim, Cole Porter, , Dave More modern approaches use the myriad sonorities Brubeck and (the title track), among others, NICK SANDERS: piano produced by the instrument as source material for as well as two White originals (“Urban Flower” and HENRY FRASER: bass electronic processing (Adam Linson the most notable “Remembrance”). CONNOR BAKER: drums experimenter). There are even traditional applications, The opening “La Costa”, written by White’s where the player plays standards almost standardly, former bandmember/student Aziza Williams, is a uncowed by having to shoulder the entire musical load lovely melody and showcase for Caputo’s expertise on (Martin Wind and Charnett Moffett, the latter with the baritone sax. Elsewhere Caputo is compelling on an liner notes that made the above claim, are recent array of instruments - alto and soprano saxophones, examples). clarinet and flute - with his alto work on Billy There is almost no pianist who doesn’t eventually Strayhorn’s “Lotus Blossom” especially soulful and his "In these days of cookie-cutter pianists, Nick Sanders lock the doors and go it alone. For bassists, things are soprano wailing on “Remembrance”. White’s bass has is a true original...a world-class player and an not quite there yet but, in 2013, solo playing (if not a rich, full tone and he beautifully carries the melody intriguing composer with a very distinctive voice." necessary documented as an album) is an expected rite on the title track and shines on Mingus’ “The Dry —Fred Hersch of passage for many, especially of a younger generation. Cleaner From Des Moines”. But a byproduct of so many solo bass albums is that The rest of the group also delivers some fine there is now criteria, however abstract, to judge such moments. Smith has a light touch that is bright and works (ie, there are good and bad examples and just flowing and stands out on Jobim’s “A Felicidade” and doing it is not enough to receive the Phillips Good “If You Never Come To Me/The Dreamer” and Housekeeping Seal). constructs a beautiful solo on “Remembrance”. Add to the long long list Bill Laswell and his Crossley takes center stage with statements on “Urban Means of Deliverance. Laswell - known for both his Flower” and Brubeck’s “The Duke” while Fleming producer credits and appearances with an astonishing flavors “La Costa”, the Jobim tracks and “Urban array of musicians in probably every genre - offers Flower” with claves, tambourine and a samba band something a little different. Instead of an upright bass drum. , he plays a Warwick acoustic bass guitar. This CD has a lot of tasty treats for the ear. But And he runs the instrument through a light frosting of most of all, it shows how a group of performers’ effects and includes overdubbing on a program of 10 musical efforts can and should interface. originals. For someone who used to work in a group with Peter Brötzmann, and Ronald For more information, visit loucaputo.com. Caputo is at The Shannon Jackson, Means of Deliverance is surprisingly Garage Jun. 10th. See Calendar. gentle, pastoral even, hovering in the musical gloaming, far more Michael Manring than . There are snatches of ECM ethereality (opener “Against The Upper House”; “Epiphaneia”) and -ian Americana (“Buhala”; “Low Country”). The recording quality is absolutely gorgeous, every nuance of the instrument and Laswell’s prodigious technique clearly and resonantly audible. “Bagana / Sub Figura APPEARING AT THE JAZZ GALLERY X” adds something - not quite clear whether it is string THURSDAY, JUNE 6TH - 9:00PM AND 10:30PM preparation or an effect - to create an insectile drone behind the loping melody and Ejigayehuw Shibabaw’s "NAMELESS NEIGHBORS" DEBUT CD RELEASE SHOW! vocals while the following “In Falling Light” traffics in 1160 BROADWAY, NYC almost percussive harmonics under a plaintive wail of WWW.NICKSANDERSMUSIC.COM a melodic line. “A Dangerous Road” and “Aeon” are the simplest tunes, almost holistic, moving slowly and carefully, the most beautiful several minutes on an album that expands wonderfully upon an already rich genre. www.sunnysiderecords.com eOne Distribution For more information, visit innerrhythmic.com. Laswell is at Le Poisson Rouge Jun. 8th. See Calendar.

22 June 2013 | THE NEW YORK CITY JAZZ RECORD July 4 Pops, Patriots and Fireworks Janis Siegel / Darius de Haas / Jamie Bernstein / Westchester Jazz Orchestra / Michael Barrett Jazz Festival July 26 Celebration. The Foundation of Jazz. LuisLuis PerdomoPerdomo / Luciana Souza July 27 Expression. The Language of Virtuosity. AdamAdam MakowiczMakowicz TrioTrio / Charles Tolliver Big Band / Vijay Iyer / Benito Gonzalez // Delfeayo Marsalis presents the Uptown Jazz Orchestra July 28 Freedom. The Lifeblood of Jazz. Elio Villafranca & The Jass Syncopators / Lionel Loueke Trio / Jason Marsalis Vibes Quartet / Organ Trio / The Genius of Mingus 1963: 50th Anniversary Concert

July 27 & 28 / Music all day! Bring a picnic or purchase on site.

Tickets & Info Caramoor.org / 914.232.1252 / Katonah, NY

Cécile McLorin Salvant

“Yes, she’s as good as you’ve heard, but perhaps the best thing the about Ms. Salvant is that her mere existence underscores that there is a vital, florid, and growing group of young jazz singers making themselves known all over the city.” – The Wall Street Journal new face“...singer Cécile McLorin Salvant lavished a glorious instrument of – and plenty of humor and ample interpretive imagination... the sumptuousness of Salvant’s voice and creativity of her solos...” – The Chicago Tribune

“The swinging singer Cécile McLorin Salvant, who has a vocal warmth to match her rhythmic ease, is a vibrant neo-traditionalist jazz who makes the old new again.” – The New Yorker vocals “She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace. Yeah.” –

appearing at 54 Below on June 25, shows at 7pm and 9pm mackavenue.com facebook.com/cecile.mclorinsalvant available wherever you buy music

Every composition here reflects a scope of while Parker is one of the most recorded bassists in the influences and a concern for texture. The players know music. As for McDonas, his peripatetic travelling how to give life to these ‘paintings’ as ensemble makes Parker seem like a homebody and Cline one- members working together to express the composer’s dimensional, with sessions as likely to involve Italian intentions. For a real ear-opener, one can turn to or Mexican improvisers as American ones and as much “Miniatura Cromatica”, what Gonzalez calls a tribute work with punk bands or drumming troupes as jazzers. to Bartók and Gustav Mahler. It’s a 12-tone fugue and, Strangely, for a disc dedicated to the memory of after all those tones have been experienced, the piece, Italian improvising bassist Stefano Scodanibbio (1956- says Gonzalez, “just folds itself in symmetrically”. 2012), Parker is not upfront. Except for some sprawling

Woman Dreaming of Escape Every tune here is a similar wondrous journey. arco scratches or occasional scene-stealing string pops, Florencia Gonzalez Big Band (s/r) the full force of his skill is directed towards connective by Donald Elfman For more information, visit florenciagonzalez.com. Gonzalez’ pedal-point ostinato. Instead, the exhilarating and Big Band is at Tea Lounge Jun. 10th. See Calendar. often exhausting challenges involve mating or Lest anyone fear that the big band is an outdated jazz contrasting McDonas’ jabbing notes and wide runs form, they need only look towards this astonishing with Cline’s purposely disruptive string shredding, ensemble and its leader. Florencia Gonzalez has knob-twisting and reverberating power chords, “As blended modern jazz and its attendant harmonic Many Worlds” a notable example. Elsewhere it’s up to structures with Latin dance rhythms and forms that the bassist’s brawny thumps to balance the others’ reflect sources as diverse as Gil Evans, Igor Stravinsky, playing, as the pianist’s note clusters strain not to be Charles Mingus, Béla Bartók and even visual artists. buried under the guitarist. Woman Dreaming of Escape is a bold and expanded Using beefy chording at kinetic speeds that would showcase for a great assemblage of tunes and be recognized by Peterson, McDonas turns the nearly musicians. The set begins with the leader’s 16-minute “Lives” into the CD’s climax. His cumulative of a popular song, “Hurry”, by fellow Uruguayan glissandi appear to follow their own logic before being The Gowanus Session Hugo Fattoruso, developed from the tune’s natural prodded back into line by Parker’s measured slaps. Thollem McDonas/William Parker/ (Porter) shape, utilizing the shadings of the band’s sections and by Ken Waxman Against this thickening force, Cline buzzes spiky the drive of two knockout soloists - tenor saxophonist flanges, rips scratchy tones from his guitar neck and Andrew Halchak and guitarist Diego Porchile. Turning the discreet piano-guitar-bass formation on references psychedelic drones. Free jazz at its zenith, The title tune, the composer’s favorite, is what its head are the energetic and ardent improvisations of The Gowanus Session decisively redefines the description Gonzalez refers to as an “abstract tango”, influenced pianist Thollem McDonas, bassist William Parker and of a trio with this instrumentation. by a Joan Miró painting of the same name. Muted guitarist Nels Cline. One listen to The Gowanus Session present a harmonic background for the destroys the polite-jazz label created for lounge- For more information, visit porterrecords.com. Parker is at rhythmic pulse stated by pianist Andrew Washburn, favored trios with like instrumentation such as Nat Clemente Soto Velez Cultural Center Jun 1st, Muchmore’s leading into the exposition of the theme by the full “King” Cole or Oscar Peterson’s in the ‘40s-50s. Jun. 3rd and Roulette Jun. 12th, 14th and 15th as part of orchestra and a Washburn solo rich in understated All three are committed free-form players. Cline Vision Festival. Cline is at ShapeShifter Lab Jun. 10th and color and dynamism. has extensive history with West Coast experimenters Le Poisson Rouge Jun. 11th. See Calendar.

KAISEI Lou Caputo & Chris White PAUL VAN KEMENADE | AKI TAKASE | Interface HAN BENNINK | A collaboration of two longtime friends cd: (a.o. artists) Kaisei Nari with Don Stein (piano) Payton Crossley (drums) FUGARA Warren Smith (vibraphone) MARKUS STOCKHAUSEN | MARKKU Leopoldo Fleming (percussion) OUNASKARI | STEVKO BUSCH | Available at CDbaby, Amazon And Itunes PAUL VAN KEMENADE cd: Fugara

RAY ANDERSON | HAN BENNINK | ERNST GLERUM | PAUL VAN KEMENADE cd: Who is in charge

STEVKO BUSCH | PAUL VAN KEMENADE cd: Contemplation

THREE HORNS AND A BASS MAHIEU | BOUDESTEIjN | VERPLOEGEN | VAN KEMENADE Lou Caputo Quartet cd: (a.o. artists) Close enough June 9 - The Garage

photo: Stef Mennens and Geert Maciejewski photo: Lou Caputo Not So Big Band BOOKINGS BOOKINGS June 10 - The Garage www.paulvankemenade.com www.galleryoftones.com Loucaputo.com; CaputoJazz@Twitter

24 June 2013 | THE NEW YORK CITY JAZZ RECORD

alongside peer approaches in the US and elsewhere in Europe, French free music often distinguished itself with a taste for curious juxtapositions, brevity and tensions created through engagement with both erudite ‘classicism’ and the politicized landscape of North African immigrant cultures. Alongside figures like reedman , tenor saxophonist Barney Wilen, pianist-arranger and others, pianist François Tusques (b. 1938) is a certifiable architect of

Look Up French free jazz, having recorded Free Jazz in 1965 with Charles Gayle Trio (ESP-Disk) a sextet for the tiny Moloudji label - one of the earliest by Jeff Stockton documents of European free music. Often associated more closely with American free expats like drummer By 1994, energy-jazz tenor saxophonist Charles Gayle and string multi-instrumentalist Alan had already recorded his acknowledged masterpiece, Silva, Tusques also led the AfroLatin avant garde Touchin’ on Trane, and released Repent, which featured Intercommunal Free Dance Music Orchestra two tracks, one of which went on for more than 50 throughout the ‘70s-80s and continues to lead a fine minutes. It is safe to say that his artistry, as well as his trio with drummer Noel McGhie and bass clarinetist iron chops, were at a peak and Look Up captures Gayle Denis Colin. in front of a welcoming audience on tour in California. A rare solo recital, L’Étang Change (The Pond is While limited in terms of fidelity, this is certainly one Changing) contains two discs of solo performance of the most listenable Gayle recordings. recorded live in Paris; influenced early on by fellow The disc picks up a few minutes into “Alpha”, countryman and bebop pianist René Urtreger, Tusques’ with downtown New York drummer Michael Wimberly approach to the keyboard draws from Monk, the glass bashing loudly and feverishly and Gayle blowing hard enclosures of and the mixture of and fast enough to push the upper limits of his horn’s arpeggiated fisticuffs and boogie-woogie that flesh out structural integrity. Bassist Michael Bisio takes a the work of peers like Dave Burrell. Like Burrell or Jaki bowed solo at the end of the track, which leads the trio Byard, Tusques shifts sometimes quite drastically into “Homage for Albert Ayler”. What starts out as an between modalities but with an insistent left hand and explicit imitation, with Gayle employing the wide bodily sense of motion, his lines retain gorgeous flow vibrato that was Ayler’s stock and trade, evolves and detail. Among the tunes are renditions of Monk gradually into a performance in Gayle’s own voice, and Ellington, including an extraordinary interleaving laced with urgency and devotion, but returning of homage and repertoire in disc two’s “L’Héritage (à periodically to Ayler’s familiar folkish melodies. Gayle Duke Ellington)”. Powell is spoken to through “A picks up the bass clarinet for a second tribute in “I L’Origine (à Bud Powell)”, in glorious knots and Remember Dolphy” and Bisio again comes to the fore motivic expansion, crystalline and warm. Tusques is, with a sensitive, articulate solo. Closer “The Book of of course, now somewhat of an elder in this music and Revelation” is a typically marathon effort, but instead while the weight and fire present in such recordings as of sheer unbridled overblowing, Gayle manages to Intercommunal Music (Shandar, 1971) and Le Nouveau maintain a core of melody at the center of the storm. Jazz (Moloudji, 1967) hasn’t been entirely replaced, It’s these grace notes, along with the CD’s Tusques puts forward a bright embrace of tradition, penultimate track, that make this Gayle’s definitive including Satie-esque fanfares (“Insouciance”) and work. “In the Name of the Father” includes, for the compositions that, like Cornelius Cardew’s later work, first time on record, one of Gayle’s notorious orations, are revelatory anthems of countercultural Maoist rooted in his own fundamentalist Christianity. The leanings, spun out into minimalist resonance. same animus that informs his exaggerated, extreme Near the Oasis presents Tusques in duet with playing comes through in his rant equating an California-reared alto saxophonist and double reed appreciation of Coltrane, Ayler and Dolphy with his player Sonny Simmons, recorded live at the 2011 Vision view of Christian living. Can the artist be separated Festival and in Paris. Simmons was one of the Afro- from his art? No one ever accused Gayle of lacking American free players who steadfastly maintained a commitment, either to his music or his religion. Look stateside presence even as his peers and comrades left Up presents a complete picture of Gayle live, circa for other shores. That said, his recent return to 1994, and leaves the rest up to the listener. recording and concert performance has included a fair amount of work in France, so the pairing is not entirely For more information, visit espdisk.com. Gayle is at Roulette bewildering. On the lengthy opening improvisation, Jun. 12th as part of Vision Festival. See Calendar. titled “Near the Oasis”/“L’Alexandrin Africain”, piano and reeds position themselves in contrasts between muscular assuredness and thin palimpsests of free Parkeriana, with Tusques an empathetic and stirring partner. Several standards follow, including Monk’s “’Round Midnight” and “Bolivar Blues”, Dizzy Gillespie’s “” (the roughest recording of the set) and a beautiful version of Fred Lacey’s “Theme for Ernie”. Simmons’ music is historically both ebullient and rigorously solemn; here, his English horn phrases retain some of that delicate incisiveness, but perhaps evince a more quavering patience. It’s a L’Étang Change (mais les Near the Oasis fragility that has been arrived at through age and poissons sont toujours là) Sonny Simmons/ François Tusques François Tusques experience (much of which has been quite fraught); a (Improvising Beings) (Improvising Beings) young man studying the music of Charlie Parker and Sonny Rollins, Simmons is now a warrior who has by Clifford Allen come out on the other side. Married to Tusques’ Improvised music in France has an interesting and effusive, Monkish roll, Near the Oasis is a fine autumnal diverse history and what’s more, a complex relationship dialogue between two players whose work should be with American jazz, which was part of a distinct more regularly heralded. fascination for French artists and intellectuals, in an atmosphere that was for a time hospitable to black For more information, visit improvising-beings.com. Tusques musicians and vanguard artforms. Developing is at Roulette Jun. 14th as part of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2013 25

possible for single-line instruments to create the same electronic soundscapes once the signature of analog . Paris/New York trio The Kandinsky Effect takes this approach, firmly grounding their ONLY electronic and rhythmic ideas in solid musicianship. Their debut album opens with “Johnny Utah”, with a great bass/drums hookup and some slick MANY saxophone harmonizer effects. “M.C.” follows, confirming that the band has a solid direction in mind CAM 5048 / IN STORES 6/4/13 Lung sonically. “Cusba” is a ballad, saxophonist Warren Little Women (AUM Fidelity) Walker’s breathy tone painting pastille impressionistic by Terrell Holmes strokes across Gaël Petrina’s repetitive bass figure. “KW51” introduces some more atmospheric territory The quartet Little Women has earned a reputation for before settling into a solid midtempo groove. Drummer not only playing outside the box but dragging it into Caleb Dolister shines on this track in particular, his the driveway and trampling it gleefully. The band diverse palette of sounds creating a colorful drumbeat steps lively again on Lung, an album whose single truly reminiscent of some of Aphex Twin’s midtempo track is measured, raucous, eccentric, traditional, tracks. Petrina leads things off on “Brighton”, a startling and thoroughly engaging. beautiful track driven by contrapuntal bass harmonies. Lung begins with the barely perceptible sound of Some tracks sound like a document of a breathing, which underscores the overall theme (and performance while others (or even certain sections of probably helped the bandmembers relax and loosen up the same song) have that ‘in your head’ sound rarely for what they were preparing to unleash). Soft, insistent associated with a well-recorded jazz disc. For a stark cymbals by drummer Jason Nazary lead into a lullaby juxtaposition of these approaches, look no further than played by Travis Laplante (tenor), Darius Jones (alto) the consecutive tracks “Leftover Shoes” and “Lobi and Andrew Smiley (guitar). One by one the Mobi / Hotel 66”, the former coming off like a DJ instruments fall away and the band raises its voice in a remix, laden in electronic drums and reverby sustained single-note non-instrumental phrase, one of saxophone, the latter sounding like a hi-fi live track. several diverse musical transitions that take place There is a fundamental expectation that a jazz throughout the album. And with a strident horn/ record will be a document of a performance, as opposed guitar blast, the gloves come off. to a sonic construction unto itself. The Kandinsky Lung has everything. Tempo shifts between Effect does an amazing job of creating something that racehorse velocity and metronome steadiness. There’s satisfies a listener’s expectations for both. total group interplay, combative duos and impressionistic trios, all involving fascinating For more information, visit cuneiformrecords.com. This instrument combinations. Comparatively calm group is at Drom Jun. 15th. See Calendar. interludes are razed by ferocious solos. Straightahead playing, where the band jams vigorously in a standard quartet style, almost seems to be a con, given the band’s pedigree. Little Women’s signature move, however, is frenetic free playing, particularly where each member appears to improvise independently but is, in fact, contributing to a coordinated group dynamic. Laplante and Jones are ferocious. Their horns are sometimes bold and defiant and at other times tortured and pleading, wailing for salvation or absolution. Fire and brimstone pours from Nazary’s and Smiley’s alchemy on the guitar is vicious enough to summon the devil. What’s important to note about Lung, though, is that free doesn’t mean undisciplined or without structure. Think of one of Coltrane’s large ensemble works scaled down and with occasional rock TRUMPET guitar highlights. Little Women definitely play with a FRED HERSCH PIANO plan; it’s just that they don’t necessarily play by the rules all the time.

For more information, visit aumfidelity.com. This group is at Ibeam Brooklyn Jun. 14th. See Calendar.

ONLY MANY NEW YORK CONCERTS: JAZZ AT KITANO JUNE 28 & 29 SHOWS AT 8PM & 10PM Synesthesia The Kandinsky Effect (Cuneiform) by Wilbur MacKenzie Few trends in popular music have made such an indelible impression on modern jazz as ‘90s innovations www.CamJazz.com in drum-n-bass. The fragmented, lightning-paced beats of Squarepusher and Aphex Twin have been gleefully eOne Distribution appropriated by today’s generation of percussionists and the proliferation of effects pedals have made it

26 June 2013 | THE NEW YORK CITY JAZZ RECORD

selections from which make up the bulk of this set’s program. The opening disc, on which Masekela’s South African bassist and drummer Victor Masondo and Leeroy Sauls offer generally tasteful accompaniment, begins appropriately enough with “Body and Soul”, one of the first songs the pair explored together over a half century ago. Masekela’s reading of the melody marks him as an engaging melodicist, with a truly distinctive sound on (which he plays

Now Here This throughout). The group revisits fellow college alumnus John McLaughlin and the 4th Dimension Herbie Hancock’s “Cantaloupe Island” (from Masekela (Abstract Logix) and Willis’ first recorded outing The Americanization of by Stanley Zappa Ooga-Booga) before heading back into their early standards repertoire with “Easy Living”. The program John McLaughlin is a safe bet. There is never not at is filled out with several more evergreens, such as “You least some excellence on everything he has done from Go To My Head” and “Portrait of Jennie”, along with Tony Williams’ Lifetime and Miles Davis’ Bitches Brew Monk’s “Monk’s Mood”, Ellington-Strayhorn’s “Day up to and including Now Here This. Dream” and ’s “Hi-Fly”. Drummer Mark Mondesir and bassist Etienne The remaining discs feature only the duo. Among Mbappe transcend mere rhythm section status while the songs are beautiful renditions of “Willow Weep For is equally without any constraint when Me”, “You Stepped Out Of A Dream”, “Lazy Afternoon” it comes to playing the keyboard. McLaughlin, even at and “What’s New”. A pair of classics, (because he is?) 71, is flawless in his ass-kickery. “How Do You Keep The Music Playing” and “The Though less frenetic than in early days, he can still Windmills Of Your Mind”, are equally moving. A move about on the guitar at a menacing pace without surprise entry, the Stylistics’ song “You Make Me Feel losing his signature, singular harmonic sensibility. Brand New”, is one of the date’s brightest highlights. “Echoes of Then” is sure to get your inner Masekela even endeavors to indulge the listener with mounting flame good and hot, only to have it genially several vocals - “Until The Real Thing Comes Along”, smothered in that slightly creepy, adult contemporary “When It’s Sleepy Time Down South”, “A Cottage For way on “Wonderfall”. “Call and Answer” is the Sale” and “Old Rocking Chair” - at times channeling album’s triumphantalist ode and really can you have a the sound of his early hero with a fusion album without one? “Not Here Not There” is mellow hominess that permeates the whole of this the most Weather Channel of the tracks with Mondesir marvelously genial date. grabbing for the low hanging fruit quickly followed by “Guitar Love”, reminding us, indeed, why we still love For more information, visit hughmasekela.co.za. This duo is the guitar. The album ends with “Take it or Leave it”, at Jazz Standard Jun. 27th-30th. See Calendar. which is to be taken. The sadness with “fusion” is the saccharine tone and well-coiffed, unintentional vulgarity of production. Cool though it would be, this is not to suggest that DEBORAH LATZ McLaughlin out Mahavishnu’s gear. It is to suggest that sonically, the 4th Dimension’s sound is managed FIG TREE to where the music’s dynamics are erroneously muted. Please pass the grit! No, not that faux 24-bit grit, but BAR NEXT DOOR SPECTRUM NYC what comes from amps turned up to 11. Monday, June 10 / 2 sets Thursday, July 25 / 2 sets As an album, Now Here This is uneven - an 8:30 & 10:30pm 7:00PM & 8:30PM everything recording in a time in McLaughlin’s life Deborah Latz, vox Deborah Latz Group begging for his specialization, with unbelievably Jon Davis, keys Reservations (646) 645 2516 talented musicians who do not deserve moderate Ray Parker, bass treatment in presentation, but instead a more realistic Reservations (212) 529-5945 if not a slightly ‘roided out production. “...Latz takes it over the top giving hipsters a few lessons on For more information, visit abstractlogix.com. This group is what is really hip...” — Chris Spector, Midwest Record at Blue Note Jun. 18th-20th. See Calendar. “ As lucid as it is breathtaking, it is music of the sort that happens when the best companions get together.” — Andrew Vélez, New York City Jazz Record

“Latz's approach to the standard material is fiercely unique...” — C. Michael Bailey, All About Jazz

Friends Hugh Masekela/Larry Willis (HOM) by Russ Musto This four-CD set offers the rare opportunity to hear international world music superstar Hugh Masekela in www.deborahlatz.com an intimate setting, exploring his jazz roots while in iTunes/Amazon/CD Baby the company of one of his oldest colleagues, master pianist Larry Willis. The pair forged their musical relationship back in 1961, jamming in the practice rooms of Manhattan School of Music and on nightly forays into New York’s flourishing club scene. Their early days together were inspired by a Photo ©Todd Weinstein mutual love of the Great American Songbook,

28 June 2013 | THE NEW YORK CITY JAZZ RECORD

‘strumming’ and cascading legato lines of Malian kora players. Songs like Coltrane’s “Naima”, “Toumani” and “Kaiku” (on which Reijonen’s Fernandez Sustainer pickup functions like a built-in E-bow) have an ethereal vibe of open spaces and pregnant pauses, an antidote to the undertones of urban angst prevalent in much New York jazz. At the CD release concert last month at Somethin’ Jazz Club, Reijonen and Company (minus Martínez)

un performed the entire album, save for “Kaiku”. As sole Jussi Reijonen (unmusic) percussionist, Rantisi switched among djembe, cajón by Tom Greenland and various Middle Eastern drums, including tar, riq (both frame drums) and a small clay pot drum - even Finnish-born Jussi Reijonen lived in North Africa and using a small whisk broom to brush the djembe - the Middle East growing up, cultural influences establishing a quiet, sparse backdrop. Artun’s piano reflected in his debut release, which draws on textures were light but emphatic, often consisting of musicians and musical styles spanning the greater fluid ornaments and two-handed figures that sounded Mediterranean area. Reijonen switches between oud similar to the tremolo-ed melodies of Arabic qanun (11-string Arabic lute) and fretless electric guitar, the (zither) players. Råberg was heard to good effect on last evoking the sound of a high-pitched acoustic bass. the closing “Nuku Sie”, trading phrases with Reijonen. Reijonen’s international team - Turkish pianist Utar Apart from “Serpentine” and “Bayatiful”, the set, like Artun, Swedish bassist Bruno Råberg, Palestinian the album, was generally minimalistic and understated, percussionist Tareq Rantisi and Spanish percussionist allowing the audience to fill in the empty musical Sergio Martínez - are well equipped to negotiate the spaces with their own imaginations. leader’s multi-cultural vision. “Serpentine” and “Bayatiful” display strong Egyptian influences, the For more information, visit jussireijonen.com former a mashup of Arabic maqams (modes) Kurd and

Hijaz, toggling between major and minor third intervals, the latter based on maqam Bayati, similar to the Western Phrygian mode but with a slightly higher second-scale degree. “Nuku Sie” opens like an Indian raga, the slowly developing theme articulated with graceful bends and ornaments on the fretless guitar, recalling the sound of an Indian sarod (fretless lute). “Toumani” (named for Toumani Diabaté) features fingerpicked arpeggios mimicking the two-thumb

Moody/Oh Captain! Marilyn Moore (Bethlehem/MGM - Fresh Sound) by Andrew Vélez Often sounding remarkably like on the 1957 album Moody, Marilyn Moore (who would have been 82 this month but died in 1992 at 60) had a style that was straightforward and affecting lyrically and rhythmically in her own right. She is accompanied by a stellar group, Don Abney and His Orchestra, including her husband Al Cohn on tenor saxophone along with bassist , trumpeter Joe Wilder and guitarist , among others, with arrangements by Abney, Cohn and George Russell. She with an appealing baby doll wah-wah hornlike delivery on “Is You Is Or Is You Ain’t My Baby”. It’s just one of the jumping blues throughout. In tandem with Wilder’s trumpet Moore’s wailing is especially resonant on a little known gem, “Born to Blow the Blues”, as well as with the Alec Wilder classic “Trouble is a Man”. Paired on the same reissue is a rediscovered gem on which Moore is joined by another outstanding jazz group, the and Dick Hyman All Stars. The 1958 Broadway run of Oh, Captain! was a modest one, but Jay Livingston-Ray Evans’ score is worth revisiting. Hyman’s piano support is as solid as always, this time with Coleman Hawkins (tenor saxophone), Harry “Sweets” Edison (trumpet), with Hinton or Oscar Pettiford (bass). Moore makes something absolutely delicious of “Femininity” and no less excellent is “You Don’t Know Him”, with Jimmy Cleveland’s trombone obbligato behind Moore, along with a full tenor chorus by . “You’re So Right For Me” is a treat with on additional vocal and a dashing full chorus by Hyman. “Give It All You’ve Got” gets a dozen earthy bars on baritone sax and piano by Tony Scott and Hyman, respectively, before some traditional blues from Moore. A memorably juicy and solid set, this jazz interpretation of a Broadway score definitely merits a fresh listen.

For more information, visit freshsoundrecords.com

THE NEW YORK CITY JAZZ RECORD | June 2013 29

namesake is conspicuously absent. “Montenegro” and “Blue Llamas” may give the Inland Emperor is split evenly between soul best indication of where Regev is headed. These two songwriting and contemporary electronics-based funk extended open pieces are her compositions (the rest of but everything boils down to reverence for ‘70s era the tunes are collaborative works from some and/or all grooviness. “Bitch Inside Me” exemplifies this best of the quartet members) and indicate a nascent avant with intermingling riffs and Soul Of John Black vocalist gardist. They and the collectively composed John Bigham’s sultry altissimo ringing of Al Green. (improvised?) “Raw Way” are elegantly put together The Greyboy Allstars cool things down, but keep the structures and the session’s most cerebral moments. soul vibe, for “Old Crow”’s folksy smoothness and the While Regev’s trombone still kicks it, exploRing the vibe

Walking Shadows light-hearted proclamations of “Wandering”. On the is just as compelling for its creative and thoughtful Joshua Redman (Nonesuch) former, guitarist Elgin Park’s layered vocals are cast approach. by Joel Roberts against the coasting fluidity of Walter’s keys nicely. Cast against these throwback, vocal-heavy tunes For more information, visit enjarecords.com. Regev’s Making a “with strings” album has been a rite of are electronics-driven expositions. Members are R*Time Trio is at Bryant Park Jun. 21st. See Calendar. passage in jazz at least since Charlie Parker. Walking filtered through various EFX, including an auto- Shadows is saxophonist Joshua Redman’s first foray into harmonized Denson, on “Profundo Grosso”. The result that territory and while he stays true to the tradition of is electrifying, with all members dialed to full-tilt. Charlie Parker, Stan Getz and other legends who set the “Multiplier”’s elements of electronica are perhaps benchmark for jazz recordings with orchestra, he also among the album’s most memorable as Park’s funky takes that tradition in exciting new directions. riffing penetrates the mix in serrated fashion. The band Along with a , the release features turns in a grungy, rock-anthem on Walter’s Redman’s dynamic quartet of pianist Brad Mehldau, “Trashtruck”, with the blood pressure rising noticeably bassist Larry Grenadier and drummer - the as Denson enters screeching and urging the group to group that made Timeless Tales (for Changing Times), an ratchet up the intensity. Spoiler: they do. album of old and new standards, 15 years ago. Walking Somewhere in between the EFX-driven riffing and Shadows takes a similarly eclectic approach in its setlist, soulful song-writing are two tracks likely to be among mixing familiar classics from the Great American the longtime fan’s favorites. Meters drummer Zigaboo Songbook with unexpected selections by the likes of Modeliste would likely enjoy Redfield’s impressive kit John Mayer, indie rockers Blonde Redhead, work on the deep-cut funk burner “Bomb Pop” while and even Bach, along with a Wayne Shorter composition the array of catchy licks and solid vocals from Denson and a few Redman and Mehldau originals. congeal into the powerhouse “Breaking Blood”. Redman utilizes a variety of instrumental lineups over the course of the album to create diverse musical For more information, visit greyboyallstars.com. This group textures: strings and quartet together; strings without is at Blue Note with guests Houston Person (Jun. 24th), quartet; quartet without strings; a couple of trio James Carter (Jun. 25th) and (Jun. 26th). See numbers and a duo track. Some tunes, like “Lush Life”, Calendar. “The Folks Who Live Up on the Hill” and “Easy

Living”, recall classic jazz-with-strings dates in both repertoire and arrangements. Others, like the moody Redman composition “Let Me Down Easy” that closes the album, use the strings mostly as atmospheric support for Redman and the rhythm section. Of the selections without strings, the quartet’s take on The Beatles’ “Let It Be” is the most surprising, turning the familiar melody into a sort of country- gospel dirge at first, then opening it up into a free-for- all jazz jam. It’s certainly one of the more successful exploRing the vibe interpretations any jazz artist has recorded. Reut Regev’s R*Time (Enja) by Elliott Simon For more information, visit nonesuch.com. This project is at Town Hall Jun. 4th as part of Blue Note Jazz Festival. See Calendar. This writer first saw Reut Regev more than 10 years ago as the trombonist in two different large brass-

infused klezmer/jazz ensembles. She impressed even back then with her stage presence and willingness to With previously unreleased ten minutes explore - a tough thing to do as the new kid on the block. To be blunt, this young trombonist from Israel brought the funk and kicked ass in what can often be an insular musical environment. Since that time, Regev has flourished in NYC’s creative jazz cooker, developing a singular musical voice with her quartet R*Time. exploRing the vibe, her second album as a leader, is a great blend of worldly informed funk and Inland Emperor her most creatively improvisational piece of work yet. The Greyboy Allstars (Knowledge Room Recordings) by Robert Milburn Bassist Mark Peterson and electric guitarist Jean Paul Bourelly join Regev and drummer Igal Foni, It’s been six years since West Coast-based The Greyboy bringing unique musical perspectives, which Regev Allstars loosed the eclectic grooviness of What Happened highlights across the album’s 11 tracks. Peterson must to Television? and 16 since A Town Called Earth. To be have cut his teeth on Parliament- and he sure, in the band’s 20 year existence, The Greyboy blends extraordinarily well with Foni’s broad Replica limited-edition reissue is the Allstars have recorded sparsely, credited with only rhythmical space but when he goes electric he is at the first U.S. CD release of this legendary album three studio albums to date. But successful solo projects center of the funkiest moments. Bourelly, a jazz-fusion by saxophonist Karl Denson and keyboardist Robert veteran, spits out rhythmical bursts as well as searing Manufactured in the USA by Walter have generated new interest in the band’s leads, his style an eclectic yet eminently soulful blend unique blend of jazz, funk and soul. On their recent of jazz, funk, rock and blues. His half-spoken/half- release though, The Greyboy Allstars emphasize their sung vocal vibe on his own “Great Pretender” and success as a unit, with all members contributing to the session closer “New Beginning” (co-written with www.espdisk.com writing process, including new drummer Aaron Peterson) makes for exceptionally well-constructed, The artists alone decide... Redfield. Former member DJ Greyboy and band politically aware funk. 584 Bergen St., Brooklyn NY 11238

30 June 2013 | THE NEW YORK CITY JAZZ RECORD Landry’s Debut Album ‘The Bayou’ Out Now At last, American Jazz meets its African Soul.

Order at LandryAtTheBayou.com

music on “Pat’s Waltz”, “El Dorado” and “Bossa in its sequencing, but this time she has gone one better Dorado”; with tango on “Song for Ettore” and with a session recorded in front of a select audience at traditional Balkan folk on “Balkanic Dance”. Most of NYC’s Klavierhaus. Still present are the leader’s the 15 selections were written by members of the insistent rhythmic savvy allied to a deep soulfulness. Allstars and only two of them are Reinhardt Bassist David Ambrosio once again demonstrates his compositions: “Manoir de Mes Reves” and “Nuages”. keen melodic sensibility and propensity for sure- The album consists of eight studio recordings footed commentary while drummer Ikuo Takeuchi made in Paris in February 2012 and seven live combines invention and drive into one elegant package. performances from Birdland in November 2012. But if anything, Firefly manifests an even more

Live at Birdland 2012 Unfortunately, the CD jumps back and forth between focused group ethos than in the past, as each of the Django Festival Allstars (Three’s A Crowd) the live and studio material; better to have the like triumvirate plays an equal role in the execution and by Alex Henderson tracks together rather than intermingling them. But extension of Yamamoto’s eight originals. Though the despite that, this is a pleasing CD that acknowledges pianist’s understated tunes have more in common with 60 years have passed since the death of seminal both the past and the present of gypsy jazz. the modern mainstream than the avant garde with guitarist Django Reinhardt and his innovations which she’s sometimes associated, they nonetheless continue to influence musicians who specialize in For more information, visit djangobirdland.com. The Django boast a subversive undercurrent. Joy is infused with gypsy jazz, some faithfully emulating recordings Reinhardt Festival is at Birdland Jun. 25th-30th. See Calendar. darker emotions, not only a hovering melancholy but Reinhardt made in the ‘30s-40s while others fuse gypsy also an urban unease, evident in the nervy cymbal jazz with anything from AfroCuban salsa to postbop to spatter and rimshot tick of “A Few Words” or the bossa nova. On Live at Birdland 2012, the Django oblique collective emerging from the perky “Around Festival Allstars have no problem being traditional one On The Way”. minute and more progressive the next. After a turbulent stasis, the central strand of The Django Reinhardt NY Festival has been taking “Heart” evolves into one of the most abstract passages place in New York City since 2000. Six guitarists appear the threesome has committed to disc, especially in the on Live at Birdland 2012: three who play lead (Dorado, dense plotting of bass and drums, freed to roam by the Amati and Bronson Schmitt); two who play rhythm pianist’s strong left hand. Throughout the hour-long (Francko Mehrstein, Doudou Cuillerier) and one who program, Ambrosio in particular steps into the plays both (Samson Schmitt). The non-guitarists are limelight as often as his bandmates, alternately lyrical Firefly violinist Pierre Blanchard, accordion/bandoneón Eri Yamamoto (AUM Fidelity) and supercharged. At the end of the churchy “Real player Ludovic Beier, bassist Xavier Nikq, cellist Jisoo by John Sharpe Story”, enthusiastic applause rings around the room. Ok and alto saxophonist Anat Cohen. With this group It’s a deserved approbation and one listeners at home of musicians on board, a fair amount of diversity is Consistency can’t always be guaranteed in so might be tempted to join. achieved. Some of the tracks clearly recall Reinhardt, mercurial an art form as jazz, but pianist Eri Yamamoto especially “Out of Nowhere” makes a convincing argument for at least the possibility For more information, visit aumfidelity.com. This trio is at and “Them There Eyes”, but liberties are taken with the eighth album by her long standing trio. Her Rhythm in the Kitchen Festival Jun. 7th and Cornelia Street elsewhere; combinations of gypsy jazz with Brazilian last, the well-regarded The Next Page, echoed a live set Café Jun. 30th. See Calendar.

World Premiere

New Audiences & Absolutely Live in association with the

present David Bob SANBORN JAMES featuring Steve& Gadd

THURSDAY JUNE 6 | 8 PM Ticketmaster.com or 800.745.3000 Town Hall Box Office 212.840.2824 123 West 43rd Street | www.the-townhall-nyc.org Photo: Hollis King

32 June 2013 | THE NEW YORK CITY JAZZ RECORD well at home with the open passages and play the baritone Thomas Buckner (on who’s label the set is whole thing with the warmth of a jazz group. Ms. released) and chamber orchestra and the title track for Mitchell (unrelated to the composer) is one of the alto saxophone and piano. What’s most intriguing strongest talents to come out of the AACM since the about the collection, though, is two versions of first generation that included Mr. Mitchell and this set Mitchell’s longstanding “”, one played by - recorded live at the 2009 Sant’Anna Arresi Jazz James Fei’s saxophone quartet and the other by a Festival in Sardinia - was no doubt something of a chamber orchestra under the direction of Petr Kotik. proving ground for her. The opening piece, “Quartet Mitchell has discussed his endless fascination with the #1 for Eleven”, features strong work by David Boykin piece and these two instances give good indication

on the all-important saxophone. “Cards for Orchestra” why. The melody lines twist and turn and seem able to repurposes Mr. Mitchell’s “Memoirs of a Dying morph into most any setting. Three Compositions Parachutist” for a poem by Daniel Moore dramatically The two releases make a strong showing for Roscoe Mitchell/Nicole Mitchell’s Black Earth intoned by Mankwe Ndosi. The piece uses the Mitchell the composer, but one would be forgiven for Ensemble (Rogue Art) composer’s longstanding cards system, under which missing the sound of his horn. Mitchell is a spectacular Not Yet Roscoe Mitchell (Mutable Music) each musician is given six score fragments to use as saxophonist with a powerful talent for circular Duets... Roscoe Mitchell (Wide Hive) sources for improvisation; these are kept in the breathing, a brilliant capacity for multi-linearity and by Kurt Gottschalk background and the piece works due to Ndosi’s fine possessing one of the most recognizable voices on The venerable Roscoe Mitchell’s career as a composer performance, evading the usual tropes of jazz poetry soprano in the game. The oddly titled Duets with of music for others to play dates back at least to 1987 for something more striking and inventive. The final Tyshawn Sorey and Special Guest Hugh Ragin actually with the release of his Four Compositions. It’s a bit of a piece (like the first) is a new arrangement of a quartet includes solo, duo and trio pieces by Mitchell false line to draw - many of his earlier recordings with piece formerly heard on the Rogue Art release Turns. (saxophone and percussion), Sorey (drums and piano) other members of the Association for the Advancement “Quintet #9 for Eleven” gives Ndosi a prominent role and Ragin (trumpet). The recording has just about of Creative Musicians (AACM) or as a part of Thomas again, this time in improvised vocalese while moving everything you could ask for in an improv meeting - a Buckner’s 1750 Arch label and performance series through a variety of settings, from artful to the only variety of approaches over 11 tracks, nicely recorded clearly show pieces structured in advance - but 26 swinging moments on the disc. yet retaining the feeling of the room. There’s a good bit years ago that record marked Mitchell gaining a firm Not Yet contains six pieces for varied ensembles of almost tempo-less exploration, but they do throw foothold in the world of new music. He has continued from a March 2012 concert of Mitchell’s music at Mills the throttle open on occasion. It’s not Mitchell’s finest to work primarily as a saxophonist playing largely College, where he holds the Distinguished Milhaud work and, in fact, none of the titles under review are, improvised music over the years since, but he has built Professor chair in Music. It opens with a wonderful but with a career as storied as his, he doesn’t need to a body of work as a composer as well. Two recent eight minutes of “Bells for New Orleans” performed top himself. His work as a composer and instrumentalist recordings are dedicated to his work in that realm. by William Winant (the piece was previously heard in continues to evolve, however, and documentation of Three Compositions comes with the benefit of a three shorter versions on the 2011 Rogue Art release that work isn’t just welcome, it’s important. band of improvisers ready to step up to more formal Numbers, also played by Winant). It’s a lovely and structures. Nicole Mitchell’s 11-piece Black Earth austere opening for the disc, which includes a string For more information, visit web.roguart.com, mutablemusic.com Ensemble does a wonderful job under Mr. Mitchell’s quartet version of “9/9/99” (also on Numbers) played and widehiverecords.com. Mitchell is at Roulette Jun. 13th as part baton. They negotiate the complexities of the score, are with card scores, a setting of a Bob Kaufman poem for of Vision Festival. See Calendar.

From Luxembourg ERNIE HAMMES GROUP Ernie Hammes, tp; Pierre-Alain Goualch, p; Aidan Carroll, b; Paul Wiltgen, dr. Friday, June 7, 10pm

with the kind support of

ILK194CD ILK199CD/LP Luxembourg export office musicLX Stefan PaSborgS Mark SoLborg trio feat. ‘’free Moby Dick’’ herb robertSon & evan Parker feat. Mikko innanen, LiuDaS MockunaS anD Exquisite .. rooted and wonderful music. nicoLai Munch-hanSen. - JazzSpecial.dk - interpretating six standards from the history book of rock ‘n’ Roll. Solborg .. one of the most fervid and intriguing musicians on the European HONORABLE MENTION (2012) and scene. - All about Jazz Italia RECOMMENDED RELEASE (2013) by ”The New York City Jazz Record”. Evan Parker’s circular soprano bubbles up like hot mud in a volcanic puddle... Is it possible to play heavy metal - The Wire, UK with just 2 saxes, bass and drums? It certainly is when you have players of One hell of a record... – Cardboard Music this mettle and with a leader who when the occasion calls for it hits as hard as My soul, could you wish for more ? Bonzo ever did. - Jazz Journal, UK - Jazznyt.dk The Hell’s Kitchen Cultural Center, Inc. presents The 7th Annual “Rhythm in the Kitchen” Music Festival pasborg.dk / stix-shop.dk solborg.dk Church for All Nations 2013: 10 years of 417 West 57th Street New York, NY 10019 uncompromising music between 9th & 10th Avenue Distributed by Stateside www.hkculturalcenter.org

NYCJR_0613.indd 1 5/10/13 11:35 PM THE NEW YORK CITY JAZZ RECORD | June 2013 33

creation, and “Peering”, a slower, more deliberate meditation, to more lyrical, melodic pieces like the gravely solemn “Campbell” and Paul Motian’s LE BOEUF sensuous “Blue Midnight”. Thelonious Monk’s “San Francisco Holiday” is puckishly animated by Harmon- muted trumpet and Hersch referencing Monk pianisms as well as the composer’s fondness for repeating his BROTHERS theme in solos and comping. “The gleaming cosmopolitanism Alessi commands an arsenal of trumpet techniques,

of our present era.” This Just In equally at home playing darting, crisp runs and - N E W Y O R K T I M E S Gilad Hekselman (Jazz Village-Harmonia Mundi) smeared, smudged notes as long, mellifluous tones by Sean J. O’Connell and sumptuous lines like those on his own hymnlike “Humdrum” or the ringing, clarion “Hands”. Aside Guitarist Gilad Hekselman pulls out all the stops for from the seven largely improvised collaborations, the this multi-layered project. With assistance from bassist trumpeter provides four compositions. Hersch’s only Joe Martin and drummer Marcus Gilmore, Hekselman work is the gleaming “Calder”, a piece with bright, has created a propulsive band sound that is interspersed spiraling lines and geometric intersections between the with galactic interstitials to help mold a long-form two instruments that recall the namesake’s mobiles. At statement. As the title implies, Hekselman is dictating times, Hersch’s piano is spare, almost skeletal, the news, aiming for the here and now, but his interacting with Alessi as well as with himself, his two technique is ageless, precise and unique and pleasantly hands utterly distinct. There’s a fountain-like tinkling unafraid to get a little dirty when necessary. on the collaboration “Floating Head Syndrome”, Saxophonist Mark Turner joins the trio for three Hersch in a high range contrasting with Alessi’s lower, tunes including the title track. The band quickly segues breathy tone. Yet his playing is romantically full- from synthetic noodling into a spacious, bass-driven bodied on Alessi’s “1st Dog”, one of the few originals vibe, which eventually makes way for Hekselman’s with a catchy tune, reinforced by snappy trumpet jagged edge, punctuating his lithe lines with a rough phrases. strum. Turner jumps into float over the roiling band, But the often cerebral and compelling force of this effortlessly moving through the horn’s register. collaboration rests on the interaction and interplay NEW ALBUM AVAILABLE NOW ON NINETEEN-EIGHT RECORDS “March of the Sad” is a trio tune haunted by the between the two, especially as evinced in the longest ghosts of a gently prodding second-line feel. track: “Someone Digging in the Ground”, a tour de Hekselman stretches out, riding over Martin’s sturdy force of both musical technique and dual invention LE BOEUF BROTHERS REMIXED bassline. The guitarist’s sound arrives so simply yet sustained for over ten glorious minutes. REMIXES BY PASCAL & REMY LE BOEUF / LOUIS COLE & GENEVIEVE ARTADI assuredly and he displays a great willingness to relax DAVID BINNEY feat. NICKEL KILLSMICS / TIM LEFEBVRE / KISSY GIRLS yet still maintain a sense of motion. For more information, visit camjazz.com. This duo is at Jazz WOLFF PARKINSON WHITE / YELLOW THEN BLUE / LUCKY LUKE / AND MORE... Hekselman indulges Don Grolnick’s standard at Kitano Jun. 28th-29th. See Calendar. “Nothing Personal” with a creeping apprehension. Turner offers short fleet-fingered runs through the slow-moving tune, interspersed with the leader’s simmering retorts. Gilmore offers up a solo of his own that hums with an equally contained ferocity. The other PASCAL non-original, the Alan Parsons Project’s radio hit “Eye in the Sky”, moves at a modest pace, making for a surprisingly comfortable jazz interpretation. Martin’s LE BOEUF syncopated backdrop combined with Gilmore’s “Pursues a hyper-fluent modern ideal.” controlled cymbal creates a perfect launching pad for Hekselman’s journey. - N E W Y O R K T I M E S Hekselman has an appealing buzz to his sound and this polished product is just the right balance of production and spontaneity. He can think fast but can also compose a complex idea, evident in the brief closing track “This Just Out”. The band jumps through jagged hoops while maintaining a propulsive groove. This is a confident statement from an agile six-stringer.

For more information, visit jazzvillagemusic.com. This project is at Jazz Standard Jun. 11th-12th. See Calendar.

NEW ALBUM MAY 28 - SHOW @ 55 BAR JUNE 16 feat. DAYNA STEPHENS Only Many Ralph Alessi & Fred Hersch (CAMJazz) PASCAL’S TRIANGLE by George Kanzler LE BOEUF AND HIS TRIO feat. LINDA OH AND JUSTIN BROWN WELCOME THE Trumpeter Ralph Alessi and pianist Fred Hersch are LISTENER TO EAVESDROP ON EIGHT “CONVERSATIONS” AS THEY EXPLORE not strangers, having worked together in Hersch’s THE DEPTHS OF WHAT IS POSSIBLE. quintet. That they are familiar and compatible with each other is evident in the rapport achieved on this w w w . L e B o e u f B r o t h e r s . c o m duo album, made up largely of originals and w w w . P a s c a l L e B o e u f . c o m improvised collaborations. The 14 tracks here range w w w . N i n e t e e n E i g h t . c o m from pointillist abstractions like “Ride”, a fast, jabbing

34 June 2013 | THE NEW YORK CITY JAZZ RECORD

diversity and resulting unpredictability. These three new releases each push at the margins of emotive state, composition, improvisation and orchestration with impeccable recorded sound, just as the label has been doing for nearly 45 years. It is always a pleasure to hear the piano on an ECM production. There is a richness in the way Manfred Eicher and company capture the nuance and power of an instrument that can be difficult to record.

Be not so long to speak This does not mean that the piano always sounds the Avey (Minsi Ridge) same, as witnessed in the recent Keith Jarrett and by Ken Dryden duo album Jasmine, but any careful listener will notice a consistency of depth and detail, In his young career, pianist Bobby Avey has already which is certainly the case for the two duos on offer gained considerable attention. While still a student at here. While the excellent pianist Lucian Ban makes his Purchase Conservatory of Music, he was invited by ECM debut, violist is no stranger to the Sat, Jun 1 BAND PLAYS THE MUSIC OF JOHN LURIE 9PM & 10:30PM David Liebman to rearrange songs from the Romantic label and Transylvanian Concert moves from strength to Ryan Blotnick, Landon Knoblock, Michael Bates, Greg Ritchie era, which yielded the acclaimed duo recording Vienna strength. The title of the disc’s opening track (“Not Sun, Jun 2 JANE IRA BLOOM, ALL BALLADS 8:30PM Dialogues. He has recently joined the saxophonist’s That Kind of Blues”) allows a glimpse into the duo’s Ray Drummond, , Dominic Fallacaro Mon, Jun 3 WATER SIGN 8:30PM group and won the 2011 Thelonious Monk Competition complex music and, indeed, any historical rhetoric is Tom Chang, Greg Ward, Sam Trapchak, Nick Anderson for composition. steeped in washes of modal but post-impressionistic Wed, Jun 5 JEFF LEDERER DOUBLE CD RELEASE PARTY: Be not so long to speak is Avey’s second CD and first harmony, as if Coltrane and Debussy had collaborated REINCARNATION 8:30PM Mary LaRose, Jesse Mills, Felicia Wilson, solo piano album. It is foolish to try to fit the pianist on a blues. Similar harmonies inform the wildly Nicole Federici, Chris Lightcap SWING N’ DIX 10PM into any particular subcategory, as he has distilled contrasting “Monastery”, in which the duo’s crack Jeff Lederer, Kirk Knuffke, Bob Stewart, Matt Wilson many different influences into a truly distinctive style. ensemble work conjures shades of vintage Szymon Thu, Jun 6 MUSETTE EXPLOSION 8:30PM Two things that stand out are his formidable chops and Goldberg and Lili Kraus. Each player makes the most Will Holshouser, Matt Munisteri, Marcus Rojas an ability to convey emotion in his performances; out of a single note or chord, no matter how small; just NADJE NOORHUIS / JAMES SHIPP DUO 10PM Fri, Jun 7 JASON RIGBY QUARTET everything he plays demands the listener’s full listen to Maneri’s first note on his extraordinarily FEATURING BILLY HART 9PM & 10:30PM attention. Opening the session is his brooding ballad flexible solo version of “Nobody Knows the Trouble Mike Holober, , Billy Hart Sat, Jun 8 LOREN STILLMAN AND BAD TOUCH 9PM & 10:30PM “Our Fortune is Running Out of Breath”, a heady first I’ve Seen”, where his unique vibrato bolsters a sound Nate Radley, Gary Versace, Ted Poor salvo with an overwhelming sense of foreboding, somewhere between Stuff Smith and . Tue, Jun 11 VOXIFY: DOMINIQUE EADE / BRUCE BARTH 8:30PM accented by its dark, dissonant chords. The turbulent A similarly diverse aesthetic pervades Azure, the NATALIE CRESSMAN AND SECRET GARDEN 10PM Ivan Rosenberg, Samora Pinderhughes, “In Ten Years” is no less powerful, bookending a first recording of the partnership between pianist Jonathan Stein, Jake Goldbas; Nicky Schrire, host subdued interlude with a swirling, virtuoso Marilyn Crispell and bassist , even Wed, Jun 12 JOHN RAYMOND QUARTET 8:30PM introduction and conclusion. though Crispell’s playing follows her recent trend Shai Maestro, Joe Sanders, Austin Walker Thu, Jun 13 SAMIR CHATTERJEE TABLA SOLO 8:30PM One can easily imagine the dramatic “Late toward introspection. The acoustic is much drier, but Dan Weiss, host November” being utilized in a film soundtrack, with the piano is rich and full as she moves from one Fri, Jun 14 AMANDA BAISINGER 9PM & 10:30PM Avey’s rapid-fire repeated motif evolving gradually, exquisite voicing to another. The first four notes of , Pete Rende, Matt Brewer, Tommy Crane Sat, Jun 15 RYAN BLOTNICK’S SAUT-E SARMAD 9PM & 10:30PM releasing the intensity briefly for a glimmer of hope “Goodbye” suspend motion, as does Peacock’s Michael Blake, Eliot Cardinuax, Eivand Opsvik, Randy Peterson before returning to the maelstrom. “Isolation of Rain” perfectly timed entry, whereas the nearly frenetic Sun, Jun 16 NEW BRAZILIAN PERSPECTIVES: blends his furious right-hand attack with irregular “Patterns” cooks along with scalar intensity and BILLY NEWMAN SEXTET 8:30PM Kirk Knuffke, Michael Attias, Eric Schugren, bass notes, gradually shifting toward the middle of the motivic interplay. The same track demonstrates that Leco Reis, Vanderlei Pereira NEW BRAZILIAN PERSPECTIVES: TRIO JOTA SETE 10 PM keyboard, leaving the piece unresolved, much like a the duo is as comfortable with ‘free jazz’ as with Jason Ennis, Michael O’Brien, Conor Meehan rainstorm ending suddenly. whatever tradition they’re exploring, but even this Billy Newman, host All but two of the pieces are Avey originals. freedom comes in many colors, demonstrated by Mon, Jun 17 ELIZABETH HUNTER 8:30PM DOLLSHOT 10PM “P.Y.T.” is a Quincy Jones/James Ingram piece recorded “Blue”’s post-Tristano harmonic complexities and Rosalie Kaplan, Noah Kaplan, Wes Matthews, by the late pop giant Michael Jackson, which Avey flexible groove, where Crispell’s multi-hued touch and Giacomo Merega, Mike Pride Tue, Jun 18 VOICE BOX: FAY VICTOR & ANDERS NILSSON transforms into a brilliant vehicle for his musical Peacock’s percussive pizzicato turn the duo into a - EXPOSED DUO 8:30PM explorations, with jagged, irregular chords and a small orchestra. Each player is given ample solo space CAMILA MEZA 4TET 10PM playful dissonance, blending drama with a Monk-like and there we hear shades of Crispell’s harder-edged Aaron Goldberg, Aidan Carroll, Otis Brown; Sara Serpa, host Wed, Jun 19 JOHN AMIRA AFRO CUBAN humor in spots. A fabulous reworking of Hoagy pianism and Peacock’s extraordinary way with chord BATA DRUM ENSEMBLE 8:30PM Carmichael’s often-recorded “Stardust” moves it from and counterpoint. While not a concert recording, the Harris Eisenstadt, Lorne Watson SING SING RHYTHMS 10PM a nostalgic ballad into an ode with a sense of coming music is live but intimate. Cheikh Tairou Mbaye, Abdou Mbaye, Babacar Mbaye tragedy, made possible by effective use of space and The newest Christian Wallumrød ensemble disc Harris Eisenstadt, host Thu, Jun 20 HARRIS EISENSTADT SEPTEMBER TRIO, CD RELEASE: rich chord substitutions. It’s hard to imagine any solo Outstairs amplifies the uncertainty factor, adding a “THE DESTRUCTIVE ELEMENT” piano CD eclipsing Be not so long to speak during the dose of whimsy to the mix. If the resonant opening Angelica Sanchez, Ellery Eskelin remainder of 2013. chords of “Stille Rock” sound like something Lucian Fri, Jun 21 BEN WALTZER 9PM & 10:30PM Sat, Jun 22 JOHN HÉBERT TRIO 9PM & 10:30PM Ban might have played, ’s Bennie Wallace, Billy Drummond For more information, visit minsiridgerecords.com. Avey is morphing drums and a start-stop approach toss any Wed, Jun 26 JACOB TEICHROEW, CD RELEASE: at Smalls Jun. 12th-13th with . See Calendar. minimalist tendencies to the wind as the tune slowly “THE MUSIC OF TABLEAUX” 8:30PM Syberen van Munster, Jarrett Cherner, Petros Klampanis, Ronen Itzik crescendos toward a weirdly angelic conclusion. The WALKING DISTANCE 10PM album is a study in wild contrast, as the title track Caleb Curtis, Kenny Pexton, Adam Coté, Shawn Baltazor Thu, Jun 27 CARLO DE ROSA 8:30PM makes plain, with its glassy timbres and pointillisms Mark Shim, Luis Perdomo, Rudy Royston augmented by some top-drawer glissandi from cellist Fri, Jun 28 BEN MONDER QUARTET 9PM & 10:30PM Tove Törngren. Even when minimalism does make its Bill McHenry, Chris Lightcap, Ted Poor most pronounced appearance on the album’s wistful Sat, Jun 29 KRIS DAVIS’S CAPRICORN CLIMBER 9PM & 10:30PM Mat Maneri, Ingrid Laubrock, John Hébert, Tom Rainey conclusion, the harmonies and orchestration keep Sun, Jun 30 ERI YAMAMOTO TRIO, CD RELEASE: changing, vibraphone being usurped by toy piano, so “FIREFLY” 8:30PM David Ambrosio, Ikuo Takeuchi that only those four insistent notes carry the tune along. It’s not jazz, it’s not classical and despite its quietly irreverent humor, the music exemplifies the constant development shared by all three of these excellent ECM offerings. Transylvanian Concert Lucian Ban/Mat Maneri (ECM) Azure Gary Peacock/Marilyn Crispell (ECM) Outstairs Christian Wallumrød Ensemble (ECM) For more information, visit ecmrecords.com. Lucian Ban by Marc Medwin and Mat Maneri are at Rubin Museum Jun. 7th. Marilyn Crispell and Gary Peacock are there Jun. 14th. Christian One of ECM’s best and most enduring qualities is its Wallumrød’s group is there Jun. 21st. See Calendar.

36 June 2013 | THE NEW YORK CITY JAZZ RECORD

statements. Their rapport is palpable. Peirani is a newcomer to Nah’s band and so this rapport perhaps is surprising, but no less impressive is Nah’s tightly executed performances with longtime bandmembers (guitar), (bass and ) and Xavier Desandre-Navarre (drums). Nah’s impeccable vocalese on Wakenius’ composition “Momento Magico” stands out for its difficulty and precision and on Danielsson’s composition “Waiting”,

Lento Nah sings some of her sweetest lines on the disc. Youn Sun Nah (ACT Music) Beyond the originals, Nah draws material from by Suzanne Lorge such disparate sources as Nine Inch Nails (“Hurt”), Stan Jones (“Ghost Riders In The Sky”) and traditional On her new album, South Korean singer Youn Sun Korean folk music (“Arirang”). Nah does not copy or Nah turns each simple, technically challenging melody adhere to fixed musical definitions and her singular into a musical fable - but these are no sweet bedtime voice dominates in each musical setting. stories. Nah’s stories instead explore the life conditions Nah closes with her composition “New Dawn”, in that lead to heartbreak, rage, sadness, tenderness, which she vows to be stronger, lighter, firmer and alienation. Be forewarned that this CD is neither for brighter, until sadness goes away. She is like a flower the faint of heart nor for the heartless. waiting to bloom, she says. Again, Nah leaves the issue Nah opens the recording with the title cut, a gentle unexplained and unresolved. But the promise is there. poem that rides on Russian composer Alexander Scriabin’s “Prelude opus 16, no. 4”. Despite the tune’s For more information, visit actmusic.com. Nah is at ode to the “healing power of nature’s embrace”, the Rockwood Music Hall Jun. 27th as part of Blue Note Jazz harmony doesn’t resolve (unlike Scriabin’s short Festival. See Calendar. piece); what follows the hanging D-sharp at the end of the song is a series of provocative originals and imaginative covers that alternately confront and mollify, inspire and crush. Nah wrote or co-wrote six songs for the recording, each a perfect fit for her expressive, flexible voice. In her collaborations with accordion/accordina player , especially the jazz waltz “Empty Dream”, the pair listen to each other with care and sensitivity; each of their solo sections offers a direct response to the other’s earlier musical and emotional WomanChild Cécile McLorin Salvant (Mack Avenue) by Marcia Hillman Vocalist Cécile McLorin Salvant’s new CD has a most appropriate title. Possessed of a voice that is young, this artist also sings with the mastery and sensibility that belies her 23 years. A winner of the 2010 Thelonious Monk Competition, US-born McLorin Salvant received her formal musical education in France and up to now has pursued her recording and performance career in Europe. Joined by pianist Aaron Diehl, bassist Rodney Whitaker, guitarist James Chirillo and drummer Herlin Riley, she has chosen material ranging from the 19th century traditional ballad “John Henry” to a 21st century waltz “La Front Caché Sur Tes Genoux” (self- penned and sung in French) - choices which displays her knowledge of the Great World Songbook. McLorin Salvant can deliver the little girl charm reminiscent of Billie Holiday as in “I Didn’t Know What Time It Was”, put forth a mature richness in the lower register that sounds so much like on the title track and sing with the grit of Bessie Smith on “Nobody” - demonstrating her ability to sing in many styles and fully use her varied repertoire. There are many magic moments here, but one of the most outstanding is the treatment of the Fats Waller opus “Jitterbug Waltz” (with lyrics by Richard Maltby Jr.), which is elevated from a tinkly little tune to a full portrait of the jazz age in . Diehl, the ideal partner for McLorin Salvant because of his own stylistic range, gives an inspired solo on this track. Elsewhere, Chirillo shines on “St. Louis Gal”, Whitaker impresses on “I Didn’t Know What Time It Was” and Riley’s explosive drumming is featured on “John Henry”. McLorin Salvant has delivered a very-well-put- together offering in both content and performances. From all of the indications here, it will be most interesting and exciting to watch the evolving career of this truly talented jazz voice.

For more information, visit mackavenue.com. McLorin Salvant is at 54 Below Jun. 25th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2013 37 participation number that has pop-like horn lines more Maghreb than Michigan Avenue. Then in NYC, underscored by the very funky low brass, evolving drummer Gerald Cleaver’s pointed thrusts on “les into a section where, over the same heartbeat, there’s ciseaux de l’air et de l’eau” avoid a backbeat and solos by trombone and trumpet and then a fast rap by concentrate on blunt rebounds plus scratching shrills several of the players. The rap does return us to the from cymbal tops as Petit mordantly saws his strings “RVA All Day” chant and the horns chop and slice and vocalizes gutturally. away to a quick, exciting stop. The band and the “Crâne-Sablier” with tenor saxophonist Larry audience are united as one potent machine blurring the Ochs and “je lis sur toutes les lèvres”, where Kamau lines we create between . Daáood joins Ochs and Petit, best exemplifies the Slavic Soul Party! is one of Brooklyn’s most project. Petit’s high-pitched scat singing and strident popular bands, having a blast with the quirky swirling, string adjustments, which expose partials as well as seemingly never-ending lines and odd rhythmic pulses root textures, perfectly complement Ochs’ harsh of the Balkans. The feeling is wildly infectious even as tongue stops and sour vibrations. Later, alongside the accomplished jazz soloists - like trumpeter John recurring cello patterns and Trane-esque altissimo Twenty Dozen! Dirty Dozen Brass Band (Savoy Jazz) Carlson or clarinetist Peter Hess - make statements that bites, Daáood’s singsong recitation lets you hear Ascona Le Rex (Unit) work perfectly with and against the ‘nuttiness’. Pierrepont’s root poetics. RVA All Day NO BS! Brass Band (s/r) For a true taste of what these wacky players do on Unlike Frobisher’s misjudgment, the passages New York Underground Tapes Slavic Soul Party (Barbès) by Donald Elfman their new disc New York Underground Tapes, go to here are ones which many listeners will want to “Sing, Sing Cocek”. The elements are thumping brass; negotiate for unique musical rewards. Since the beginning of recorded jazz, brass instruments a breathtaking, sinuous line; devilishly complex but seem to have best represented the human experience beautiful solo parts from the horns; swirling accordion For more information, visit web.roguart.com. Petit is at and capacity to groove and dance through the and an unexpected theme change in the middle of the Roulette Jun. 14th as part of Vision Festival. See Calendar. vicissitudes of life. Four (!) diverse examples of 21st tune. Leader/vibraphonist Matt Moran has channeled century brass band music continue to reflect the moods the energy of improvisation into music that has your and pulse of the people. head and body joyously spinning. The album closes The Dirty Dozen Brass Band is the oldest of these with “Last Man Standing”, a hilarious portrait of a ensembles, having existed for 35 years, and can be drunk. This music is so delightfully loose that one may credited with reintroducing the format. This is the get the sense of reeling in just that way for the course ultimate party band, one that can almost guarantee of the entire recording! that its audiences will get on their feet and move their bodies. As the band has developed, it has been more For more information, visit savoyjazz.com, unitrecords.com, inclusive about the sounds it ‘samples’ - taking, for nobsbrass.com and barbesrecords.com. NO BS! Brass Band is example, soul and R&B and putting them naturally at Joe’s Pub Jun. 28th. Slavic Soul Party is at Joe’s Pub Jun. Be My Monster Love and spontaneously into the mix. 27th and Barbès Tuesdays. See Calendar and Regular David Murray Infinity Quartet (Motéma Music) Twenty Dozen! (titled to reflect the year of its Engagements. by Jeff Stockton release) contains a number of originals by bandmembers, the signature New Orleans tune about David Murray’s releases are held to a high standard, those marching saints and Michael Jackson favorite which, based on the tenor saxophonist’s recorded “Don’t Stop the Music”. The latter is, of course, funky output, is the standard he sets for other jazz musicians by nature, but the DDs turn it into a New Orleans in general. 2011’s Plays Nat Cole in Espanol was among anthem, with a powerful thumping pulse and knockout the top releases of that year and Be My Monster Love is solos by trumpeter Gregory Davis and tenor poised to be among 2013’s finest. saxophonist Kevin Harris. With several bandmembers Billed as his first quartet recording in six years, singing that familiar chant, the band rocks to a close Murray’s new Infinity Quartet carries over bassist with the trumpet muted, earthy and ultimately in a Jaribu Shahid from the band that recorded Sacred groove, the kind that defines the whole session. Ground, but substitutes on piano and organ Passages Le Rex, is, in number, a smaller affair, with only Didier Petit/Alexandre Pierrepont (Rogue Art) and Nasheet Waits on drums. In addition to the five players, but this Swiss combo mixes it up with the by Ken Waxman reconfigured quartet, cornetist Bobby Bradford guests best of them and provides a large ‘universal’ sound. on one track, R&B and soul diva Macy Gray sings on Two saxophones, trombone, tuba and drums make up While the ‘50s were the heyday for “Jazz with Poetry” another and Gregory Porter handles the vocals on the outfit and they combine grooves from pop music, albums, leave it to the French to create a “Jazz without three more. riffs that suggest the Balkans, bittersweet ballads and Poetry” recording. Unlike Jack Kerouac reading his Murray has put out so many albums under his jazz solos. works while Zoot Sims improvised beside him in the own name that each new release tends to be compared All the compositions on Ascona are by tenor studio, the musicians here improvise while listening to with what’s come before, but in this instance, it’s the saxophonist Marc Stucki except the beautiful Alexandre Pierrepont’s poetry through headphones. singers who seem to challenge Murray to deliver some introductory “Hard Times” by Ray Charles (made The results are fascinating instances of bare-bones of his most inspired accompaniment. On three of the popular in the ‘60s by David “Fathead” Newman), the improv, which exists independently of the poem, but is four vocal numbers, esteemed author and poet Ishmael theme from Ghostbusters and tunes by Beyoncé and, informed by a retelling of Martin Frobisher’s doomed Reed has contributed the lyrics. “Army of the Faithful” again, Michael Jackson. The band likes to play in 16th Century search for the Northwest Passage. Tracks is an organ-driven, rousing gospel track and Porter lets public places - department stores, farms, construction were recorded during a US cross-country trip during his big voice convey the spirit of the music while the sites, scrap yards - and the ambience of these settings which Paris-based cellist Didier Petit traded ideas with immigrant tale “Hope Is a Thing with Feathers” is puts into fine relief the diversity of the tunes. improvisers in Woodstock, New York City, Chicago treated with a pensive gentleness. Murray is at his “Vendetta” is a lovely, throbbing bit of slight and Los Angeles. creative best when his melodies allow his solos to soar, melancholy, punctuated at times by the sound of a dog Despite similar sentiments in their headphones, as on the airborne opener “French Kiss for Valerie”, the barking. The blend of the horns is sweet and soulful it’s notable how different each track sounds. For torrential “Sorrow Song” or when drawing inspiration and Stucki’s solo bumps forward over a steady beat instance, “Passage” with pianist Marilyn Crispell and from Porter’s own bonhomie. that makes the music, somehow, both sad and “écluse” with clarinetist François Houle exude a semi- Murray’s solos are one luminous idea after danceable. Throughout, the band finds the unexpected classical sensibility. Crispell’s recital-ready chording another, as if a stadium filled with cameras were and makes it feel like we’ve heard it forever. calmly meets Petit’s moderato cello tones while photographing a star athlete, their flashes going off Virginia, as evidenced by RVA All Day, is a place Houle’s contralto flutters and lyrical sophistication is simultaneously and rapidly. Murray and Gray, playing where the urge to dance is primal and all-consuming. matched by the cellist’s restrained glissandi. On the on her cultivated image of sexual voraciousness, nearly The NO BS! Brass Band, a 10-piece ensemble, is all other hand in Chicago, when Petit meets flutist Nicole transcend the dubious lyrics of the title track, but cut about finding ways to combine jazz, rap, R&B, rock Mitchell, the two bond over a chromatic blues line, after cut, with the quality of his collaborators and his and pop to keep the body moving. Several members plucked by the cellist. Chicago’s blues history doesn’t own artistic excellence, Murray puts himself at the top wrote groove pieces for the band and they also tackle figure into the other improvisations recorded there; of his profession. Michael Jackson with his “Thriller”. with Michael Zerang creating darabukka throbs and The title track, written by trombonist/vocalist Hamid Drake strumming the tar (frame drum) For more information, visit motema.com. This project is at Reggie Pace, sets the tone for the whole party - it’s a alongside cello glissandi on “vendanges”, the effect is SubCulture Jun. 19th-20th. See Calendar.

38 June 2013 | THE NEW YORK CITY JAZZ RECORD New Jersey Performing Arts Center

Birthing Days & Drummer’s Corpse Mike Pride (AUM Fidelity) by Clifford Allen

Two recent discs led and assembled by drummer Mike Pride shed light not on “diversity for diversity’s sake” but a wide and powerful range of activity. Though not with the original intent of concurrent release, Drummer’s Corpse and Birthing Days have found a home on AUM Fidelity, which released the previous From Bacteria To Boys disc Betweenwhile in 2010. Christian McBride, Jazz Advisor November 4-10 Initially a trio rooted in the cellular progressions of musical string-theory, From Bacteria To Boys put forth a knotty embrace of R&B, modern jazz, post-tonal and detailed yet loose compositional strategies. While Jon Irabagon has stepped in for Jazz Meets Samba Darius Jones and the reed section is fleshed out here by Sérgio Mendes, Elaine Elias, Lee Ritenour, tenor saxophonist Jonathan Moritz and bass clarinetist Arito and special guest Joe Lovano Jason Stein, the ensemble has generally remained stable over the past few years, completed by Friday, November 8 at 8:00 keyboardist Alexis Marcelo and bassist Peter Bitenc. Birthing Days is the third proper From Bacteria to Boys disc and its ten compositions are all from the Sérgio Mendes Sing, Swing, Sing! drummer’s pen. It’s welcoming music, which isn’t a with , Al Jarreau, term often associated with contemporary Jeffrey Osborne, George Duke, improvisation. The title track finds access points in Christian McBride Big Band featuring funk and soul jazz and closes with a gorgeous variant Melissa Walker, and 2012 Sarah Vaughan on Coltrane’s “Naima”, but that’s not to say there isn’t an undercurrent of harmonic and rhythmic rigor amid International Jazz Vocal Competition Irabagon’s spry alto, Stein’s ebullient mouthfuls and winner Cyrille Aimée Marcelo’s jaunty work. Following the Saturday, November 9 at 8:00 punchy “Brestwerp”, “Lullaby for Charlie” imbues Dianne Reeves Christian McBride gentle pop balladry with a lacy and burbling caress as Irabagon channels Marion Brown to a beautiful end, Marcelo in a dissonant wander against Pride’s throaty brushwork that splays out into lush territory. Pride and company have outdone themselves with Birthing An Evening with the Quartet Portrait of Duke Days, which melds accessibility, formidable tunes and at Bethany Baptist Church featuring Vince Giordano and the Nighthawks daring improvisations. Monday, November 4 at 7:00 • FREE Saturday, November 9 at 2:00 Drummer’s Corpse is a theatrical work that involves a seven-person chorus of percussionists and two performance artists. While some elements can’t really A Celebration of Amiri Baraka’s Dorthaan’s Place: be captured on disc, the assembled orchestra makes up “Blues People” at 50 The Paquito D’Rivera Quartet for visuals with sheer power and a crisp recording. at Newark Museum Sunday, November 10 at 11:00 & 1:00 Following a gong incantation and panoply of tuned Tuesday, November 5 at 7:00 • FREE drums à la Milford Graves, the piece also recalls Glenn Branca and Rhys Chatham in its tinny droning strums Sarah Vaughan (courtesy of the one-man overdubbed guitar army of A Good Place: International Jazz Vocal Competition Chris Welcome). The swells and rending entreaties Celebrating Lorraine Gordon and Sassy Award result from an allstar cast of modern drummers: Oran The Village Vanguard with special guest judges Canfield, Ches Smith, Bobby Previte, Tyshawn Sorey, featuring The Vanguard Jazz Orchestra Al Jarreau, Janis Siegel, and Larry Rosen Russell Greenberg and John McLellan. Marissa Perel and special guests NEA Jazz Master Sunday, November 10 at 3:00 and Fritz Welch handle vocal and percussive duties, Barry Harris and Christian McBride, spurring on a dramatic, angular mass of screams and strikes that lasts for just over a half hour (each chord in plus the Anat Cohen Quartet a five-chord sequence is played for approximately five Hosted by Christian McBride minutes), a landscape of chants and peals somewhere Thursday, November 7 at 7:30 between Japanese Noh theater and the complex chants of Graves, with whom Pride studied. Following is Sponsored by Presenting Sponsor Co-presented by Innovation Sponsor

“Some Will Die Animals”, a piece for recitation and a Presented in association with guitar-bass-drums trio. Perel, Welch and Yuko Tonohira declaim in overlays both charged and absurd atop and around Eivind Opsvik’s arco drone, Pride’s angular precision and rumbling poise and the skittering accents of Welcome’s guitar for a tough but fascinating For tickets and full 2013 experience. TD James Moody Democracy of Jazz Festival

For more information, visit aumfidelity.com. From Bacteria schedule visit njpac.org or call 1-888-GO-NJPAC One Center Street, Newark, NJ to Boys is at Red Hook Jazz Festival Jun. 16th. See Calendar.

NJJazzRecord_6.25x12_june_moodynjpac.indd 1 5/2/13 9:51 AM THE NEW YORK CITY JAZZ RECORD | June 2013 39

appeal. He has a smooth, smoky, lived-in voice that reflects the long road that finally brought him to a successful career in jazz. His cool temperament and music. by tum records hip approach to jazz singing fit particularly well with in stores, june 18 Davis’ music. Gates is joined here by a talented small band led by the in-demand guitarist Dave Stryker and pianist John di Martino. The young trumpeter Freddie Hendrix fills the Davis role splendidly. Together, Gates and his group prove that, yes, there is room for one

Coat of Arms (Music for Solo Drumset) more tribute to Miles. Leo Ciesa (Soundyard) by Terrell Holmes For more information, visit jazzdepot.com. This project is at Smoke Jun. 5th as part of Miles Davis Festival. Gates is also Can a jazz drummer convey anything truly substantial at Saint Peter’s Jun. 26th. See Calendar. Wadada Leo Smith & TUMO by playing solo? Does the music have any meaning or OCCUPY THE WORLD DA BANG! impact outside the theme-solos-theme context that a band provides? A masterful drummer has a unique IN PRINT answer to these questions, marked by imagination, innovation and passion. Leo Ciesa shows remarkable range as a player and composer on his album Coat of Arms. His drum roll techniques on “0-100-0 in 68 Seconds”, which contrasts the solemnity of a military funeral with the levity and swing of a New Orleans-style homegoing, exemplifies Sextet Esa Helasvuo his rhythmic sophistication and cleverness. Ciesa KOLIBRI STELLA NOVA skillfully double- and triple-times the tempo on the sensual, Latin-flavored “Nothing but a Thigh” and the remember these funky “Burnt Solids” dares one not to hit the dance floor. On “Sweet Butter” he’s a drumline unto himself, George Russell: The Story of an American Composer Duncan Heining (Scarecrow Press) raising polyrhythmic hell and making the cymbals sigh by Russ Musto with satisfaction. There’s more to Ciesa than the hard sell, though. Despite being arguably the first (and perhaps sole) He paints the impressionistic “Emotional Cream authentic theorist in jazz and one of only a handful Sauce” on a spare canvas, eloquently balancing silence of artists to garner fame primarily as a composer/ with a subtle bass drum. The way Ciesa uses toms on arranger - George Russell (Jun. 23, 1923-Jul. 27th, “Undisputed” and plays with his hands on 2009) has remained a largely unfamiliar name. A “Handyman” shows that he doesn’t overlook the man whose life has been shrouded in mystery - Barry Altschul Kalle Kalima & K-18 THE 3DOM FACTOR OUT TO LYNCH basics of percussion. Even elemental tunes like “Them much of it revolving around his obsessive devotion Figurative Bagatelles” and “Tom Click” have a to development of Lydian Chromatic Concept of Tonal deceptive simplicity. Coat of Arms bursts with power Organization - his story begins to come to light in and creativity and should place Ciesa prominently in this engaging volume, equal parts biography, social any conversation about great contemporary drummers. history and musical analysis. Beginning with a credible reconstruction of the unknowable facts For more information, visit leociesa.com. Ciesa is at The surrounding Russell’s “illegitimate” birth as the Flea Theater Jun. 29th with Iconoclast. See Calendar. progeny of a union between a white music professor and a black student lover and his subsequent

adoption by a middle class Negro couple in Wadada Leo Smith & Black Motor featuring Cincinnati, author Duncan Heining tells the tale of a -Moholo mixed race boy’s childhood plagued by racism and ANCESTORS RUBIDIUM poor health that was to find its only relief in music. FAB Trio ...... HISTORY OF JAZZ IN REVERSE The book details through reviews and Andrew Cyrille with Haitian Fascination .... ROUTE DE FRÈRES interviews Russell’s musical experiences which Olavi Trio & Friends...... TRIOLOGIA entail almost all of jazz history: starting as a Mikko Innanen & Innkvisitio ...... CLUSTROPHY & ...... CONVERSATIONS drummer around his hometown; finding his calling Wadada Leo Smith’s Mbira ... DARK LADY OF THE SONNETS as a composer/arranger working in a combo with

Kalle Kalima & K-18 ...... SOME KUBRICKS OF BLOOD pianist Spalding Givens (Nadi Qamar); going to Miles Tones: Giacomo Gates Juhani Aaltonen Quartet ...... CONCLUSIONS New York to play with and arrange for Sings the Music of Miles Davis Ilmiliekki Quartet ...... TAKE IT WITH ME ; co-composing, with Dizzy Gillespie and Mikko Innanen & Innkvisitio ...... PAA-DA-PAP Giacomo Gates (Savant) Billy Bang ...... PRAYER FOR PEACE by Joel Roberts Chano Pozo, the classic “Cubano Be, Cubano Bop” Raoul Björkenheim & UMO ...... THE SKY IS RUBY and then joining the Gil Evans circle surrounding Andrew Cyrille with ...... LOW BLUE FLAME Giacomo Gates follows up his 2011 tribute to Gil The . Positing that his early work as a Innanen - Sooäär - Bennink ...... SPRING ODYSSEY Scott-Heron with another tribute, this one to Miles leader introduced modal improvisation in jazz, Tchicai - Workman - Cyrille ...... WITCH’S SCREAM Juhani Aaltonen Trio ...... ILLUSION OF A BALLAD Davis. Gates anticipates the obvious question, “Do we arguably influencing Miles and Trane and going on Duo Nueva Finlandia ...... SHORT STORIES really need another Miles Davis tribute”, suggesting in to note the importance of his role with Gunther Haarla & Krokfors Motife ...... PENGUIN BEGUINE the liner notes that while there have been a ton of Schuller at the Lenox School of Jazz, Heining follows Delirium ...... ECLEXISTENCE homages to the trumpet icon, “Miles with words” has Russell through his “second act” as an educator at ’s Ebonic Tones ...... TARA’S SONG Triot with John Tchicai ...... SUDDEN HAPPINESS only occasionally been done. the New England Conservatory and creator of Aaltonen - Workman - Cyrille ...... REFLECTIONS Gates tackles a wide swath of tunes by and several landmark pieces for big band. And although Raoul Björkenheim & Lukas Ligeti ...... SHADOWGLOW associated with Davis, focusing on his prime ‘50s-60s the latter part of his life is not filled with the famous Ilmiliekki Quartet ...... MARCH OF THE ALPHA MALES work, including familiar gems like “All Blues”, “So names of his youth, the book makes a compelling Iro Haarla & Ulf Krokfors ...... HEART OF A BIRD Aaltonen & Donner with Avanti! ...... STRINGS REVISITED What” and “’Round Midnight”. He relies mostly on argument for the importance of the innovative Juhani Aaltonen Trio ...... MOTHER TONGUE lyrics penned by masters like Jon Hendricks, Eddie music Russell made here and (mostly) abroad during Suhkan Uhka ...... SUHKA Jefferson and Jr. and lends his own words the period, hopefully provoking a reexamination of to “Milestones”. He also deftly handles two standards the composer’s total body of work. TUM RECORDS OY from the Great American Songbook that became part of Eteläranta 14, FI-00130 Helsinki, www.tumrecords.com Davis’ repertoire: “I Fall in Love Too Easily” and For more information, visit rowman.com/Scarecrow. A Russell U.S. Distribution: City Hall Records “You’re My Everything”. tribute is at Zeb’s Jun. 16th with Ran Blake. See Calendar. Gates is a confident, mature singer with a rugged

40 June 2013 | THE NEW YORK CITY JAZZ RECORD visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2D, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG

THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS

On Fire 2 The Tree On The Mound Kidd Jordan Jeff Albert’s Instigation (Engine) Quartet (Rogue Art) by John Sharpe Harlem Speaks Even though he received a Lifetime Recognition A SPECIAL SERIES HONORING HARLEM HEROES Award at the 2008 Vision Festival, New Orleans saxophone legend Kidd Jordan isn’t done yet. Over a lengthy career, the 78-year old has waxed a relatively 6/20: small number of issues under his own name, though his sideman credits include , Ray Saxophone Charles and as well as the more expected Photo copyright Richard Conde. avant garde of William Parker, Hamiet Bluiett and Time: 6:30 --- 8:30 pm Price: Free, Donation Suggested LocaTion: The NJMH, 104 E. 126th Street, #2C . So a new leadership outing represents cause for celebration. He leads another impassioned ascension with On Fire 2. Recorded at the same NYC studio date as the first volume, bassist Harrison Bankhead and drummer Warren Smith complete a highly accomplished unit. The three cuts are collective improvisations, but not free-for-alls, each participant demonstrating restraint, Lucian Ban and Mat Maneri which ratchets up the tension and keeps it there at just June 7: bearable levels. Jordan’s familiar high-octane mix of June 14: Gary Peacock and Marilyn Crispell intense falsetto and Trane-inspired incantation forms $18 ADVANCE $20 AT DOOR the dominant voice. He worries a phrase like a dog at a June 21: Christian Wallumrød Ensemble particularly juicy bone, extracting the last drops of TICKETS: www.rmanyc.org/harleminthehimalayas drama before moving on. Smith’s polyrhythmic rumble paces the leader with sensitivity and imagination while Bankhead anchors Jordan’s flights of fancy with an earthy counterpoint. That dialogue between bass and saxophone lies at the core of the 28-minute epic “Speaking In Tongues” while that same combination features on the brief “Waves Of Birds” though in Parallax Conversation Series querulous rather than declamatory guise. For the concluding “Coming Down Blue”, Bankhead switches to cello, bowing a gnarly introduction, accompanied 7:00 PM – 8:30 PM • FREE by Smith’s martial cadences. When Jordan steps forward, he breathes sweetly lyrical initially, until the June 13: Ilene Squires (photographer) and intensity gradually increases. Finally all three lock into Andre Woolery (mixed media artist) a repeated motif before a soothing cello coda, finishing a set every bit as fine as the acclaimed first release. The National Jazz Museum in Harlem, Jordan acts as the wild card on The Tree On The 104 E. 126th St., #2C Mound by trombonist Jeff Albert’s Instigation Quartet. Jazz for Curious Listeners For more information: 212-348-8300 Albert explores a novel attitude to co-operative Free classes celebrating Harlem and its legacy invention; by means of short verbal instruction he instigates the launch point from which the subsequent Tuesdays 7:00 - 8:30 p.m. Special Event exploration ensues. However, when the lineup is The National Jazz Museum in Harlem, June 27th: completed by players of the caliber of Jordan, bassist 104 E. 126th Street, #2C The National Jazz Museum in Harlem and the Joshua Abrams and drummer Hamid Drake, one could Attend any individual class. question whether any direction is necessary at all. Studio Museum in Harlem Present: The NJMH There is a pleasing variance between Albert’s tuneful Allstars play Gordon Parks and rhythmically straightforward bluster and Jordan’s POLYMATHS reflect on Gordon Parks, jazz and images 7:00pm | General Admission $20 Studio Museum Members unfettered but emotionally ambivalent tonality. That $15 | The Studio Museum in Harlem, 144 West 125th Street 212-348-8300 opposition persists whatever the tactics and stands as 6/4: TBA one of the strong suits of this album. On top of that the trombonist often seeks to pitch instruments against 6/11: Tom Artin Make Music New York Day one another, as on “Instigation Quartet #2”, where he June 21: Word Beyond Jazz asks Jordan to lead off with long tones, himself to take 6/18: Scott Robinson an angular approach, and Drake to contrast with Trio and the Lucky Chops Brass Abrams. Several of the starting ploys conjure an edgy 6/25: Hank O’Neal on Gordon Parks Band tension from which consensus steadily emerges, but it 1:00 - 4:00 pm | The National Jazz Museum in Harlem 104 is when they come together on two charts by Jordan’s E 126th St. #2C frequent sparring partner, the late Chicago saxophonist Donation Suggested Fred Anderson, that the sparks really fly, rounding off For more information: 212-348-8300 the disc in a soulful blues embrace.

For more information, visit engine-studios.com and web.roguart.com. Jordan is at Roulette Jun. 12th and 14th Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council as part of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2013 41

The music is often dense but clean and proceeds mentors (trumpeter Marcus Belgrave, multi-reedist with a pop sensibility, a deal sealed by the 1-2 punch of Bennie Maupin) as well as ongoing and former musical the final two tracks. provides a sort of colleagues like saxophonist Branford Marsalis, orchestral analogue to The Adorables sound: lush and drummer Jeff ‘Tain’ Watts, pianist/keyboardist Robert sweet, complex but not overly complicated. The band Glasper and percussionist Adam Rudolph. delivers his “Sophia” in three pithy minutes with The presence of Maupin, Glasper’s doubling on dueling electro-surf melodies running alongside Rhodes keyboards, as well as some funky-fusion cymbal washes and marching cadences. They follow rhythms, suggest the influence of Herbie Hancock’s that with the simply titled “Song”, a gently nostalgic Headhunters, as some of Belgrave’s contributions

The Adorables piece that puts a slow, -like melody over evoke the post-Bitches Brew Miles Davis oeuvre. The Zeena Parkins and The Adorables (Cryptogramophone) uneasy percolation. Despite the title, the earlier centerpiece of the CD is a 3-part, 21-plus-minute by Kurt Gottschalk “Umea” comes closer to being a song, with interwoven, “Middle Passage Suite”, described as a “meditation on multi-tracked wordless vocals by Kristin Slipp of avant black history”, inspired in part by Charles Johnson’s Despite working with many of the best of Downtown pop combo Cuddle Magic. novel. “Part 1: For Those of Us Who Made It” sets a and beyond, Zeena Parkins has rarely led a band of her reflective African mood with bass clarinet over multi- own. Her co-leading or collective credits include the For more information, visit cryptogramophone.com. Parkins rhythmic percussion. Rolling African-inspired beats seminal ’80s avant outfits No Safety and Skeleton Crew is at The Stone Jun. 25th-29th. See Calendar. carry “Part 2: For Those of Us Who Didn’t Make It”, and more recently Phantom Orchard, her duo with Hurst adding bowed bass and a mournful line from the

Ikue Mori, but the last standing group under her horns to cushion solos from alto flute and the implicit command was the Gangster Band, with which she grief of a high-range trumpet. Africa gives way to crafted long-form narrative works in the ‘90s. America in “Part 3: For Those of Us Still Here” as a Parkins has been on top of her game in recent bassline leads into hardbop horns and jangled, sprung years and the christening of a new band ices the cake. rhythms under soprano and tenor sax solos that The self-titled debut by The Adorables is a tight 41 overlap and merge, the track culminating in a drum minutes, filled with the beats and bleeps that will and percussion discussion ushering in a free jam. satisfy those who discovered her through her work Other tracks include a jaunty jazz waltz, “3 for with Björk but still abstract enough for the Downtown Lawrence”, nicely framing solos from alto flute, bowed denizens. Her fellow Adorables are percussionist bass and warm flugelhorn; a polytempo “Big Queen” BoB: A Palindrome Shayna Dunkelman and the adorably named Preshish Robert Hurst (Bebob) with a furiously agitated soprano sax solo (probably Moments on electronics. The former is a musician of by George Kanzler Marsalis) and “Little Queen” with a slinky, exotic faux frightening precision, pinning the eight tunes on the bossa beat, sinuous soprano (Maupin?) and reflective disc with a variety of instruments, including Released over 11 years after it was recorded shortly Rhodes. Two funk-inflected tracks, “Indiscreet in da vibraphone, and concert bass drum. after the tragedy of 9/11, BoB: A Palindrome is bassist Street” and “Jamming - a.k.a. Ichabod”, take the CD Parkins’ harp and accordion, meanwhile, float above a Robert Hurst’s ambitious attempt to reflect on his out in a party mood. mix awash with sounds generated by her and Moments’ musical influences and inspirations at that point in his electronic implements. life. The band he assembled draws on his early Detroit For more information, visit roberthurst.com

presenting aarondiehl “…Mr. Diehl brings an un-self-conscious clarity… The album features sparkling work Aaron Diehl – piano David Wong – bass on ballads by Ellington and Gershwin and a relaxed take on a tune by … Rodney Green – drums Warren Wolf – vibraphone its most brightly effervescent track is a version of ‘Moonlight in Vermont’.” – New York Times

“…a pianist emerges that is not only elegantly instinctive, but also exact and expressive with an attraction for harmonic honesty.” – Audiophile Edition

“…the title also reflects the precision and polish with which he dresses up his historic artistic influences in contemporary style… Diehl’s solo take on Ellington’s ‘Single Petal of a Rose’ is a beautiful and haunting meditation... Diehl and his tailor-made quartet have more than enough sparkle…” – JazzTimes

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42 June 2013 | THE NEW YORK CITY JAZZ RECORD fractured reed lines as the strings comp percussively. Most of the songs follow the conventional jazz Eventually this performance wraps up with a series of format of a notated melody bracketing an improvised beautifully modulated textures from the trumpeter, section, but it’s Sclavis’ devotion to freedom of slightly subverted by saxophone split tones. expression among his bandmates that comes across If Robertson appears diffident on The Trees, there’s most memorably. With the Atlas Trio he has a group no sign of that on Party Enders, three extended blowing unlike any other in his own recorded history - and vehicles. These aren’t formless jams, however. Bassist quite unique to contemporary creative music as well. Dave Kaczorowski and drummer Adrian Valosin make Sources is another milestone in Sclavis’ consistently up a top rhythm team in the Philadelphia-Camden challenging and rewarding discography. This is a disc The Trees (feat. Herb Party Enders area. Plus the space gives Robertson license to bring that promises to reward close attention, but one can’t Robertson & Evan Parker) Herb Robertson/ out his collection of mutes and little instruments plus help but wonder what will be coming next. Mark Solborg Trio Dave Kaczorowski/ flugelhorn and cornet, so that subsequent tracks (ILK Music) Adrian Valosin (Not Two) expose sounds ranging from plastic toy-like peeps to For more information, visit ecmrecords.com. Sclavis is at by Ken Waxman mellow buzzing. The drummer contributes sandpaper- Roulette Jun. 14th as part of Vision Festival. See Calendar. like sweeps and pops and the bassist sprawling sul New Jersey-born trumpeter Herb Robertson may be a tasto lines and cross pumps. prophet without honor in his own country; he’s more This versatility is showcased on the 41-minute ON DVD appreciated in Europe than the US. Overseas he works “Elastic Dreams”, which works its way from hushed, high-profile gigs as a member of Barry Guy’s New near-aleatory intonation comprising plucks, scratches Orchestra (BGNO) and with other bands; in the US it’s and vibrations to a finale where Robertson gruffly usually small groups and small clubs. With a mumbles near-nonsensical lyrics. Valosin’s backbeat reverberating, powerful attack that can harmonize encompasses gong-like resonations and intricate sympathetically with others’ timbres, it’s no surprise African-inflected pulses and the bassist supplies a Robertson is busy in Europe. walking ostinato. Moving from an open horn showcase, More ambitious is The Trees, consisting of 10 Robertson then duets with himself as distant whistling instant compositions featuring the trumpeter plus chirps and tart cornet lines intersect, solidifying into a British saxophonist Evan Parker with Danish guitarist neobop groove. Finally the piece climaxes as the Mark Solborg’s trio, completed by Norwegian bassist trumpeter erupts into a series of cleanly articulated Live at Montreux 1991 Mats Eilertsen and Danish drummer Peter Bruun. The fortissimo notes. Miles Davis (with Quincy Jones & guitarist’s affiliation with Robertson goes back to 2008 These discs should appeal to most improvised The Gil Evans Orchestra) (Eagle Eye) while the trumpeter and Parker are both BGNO music fans. Still, appreciation of steadfast Kaczorowski by Russ Musto members. Consequently Parker’s interaction with the and Valosin’s talents on Party Enders makes one Scandinavians is the unknown factor here; wonder how many other musicians lack proper Miles Davis was the quintessential ‘jazz act’ at unsurprisingly there’s little fissure. “Skyrækker No. recognition, especially at home. Montreux, his music moving through various 1”, for instance, shows how easily Solborg and Parker electrified phases during his first five appearances bond. As the guitarist pieces together strokes and For more information, visit ilkmusic.com and nottwo.com. there between 1973-89. But it was the trumpeter’s slides with intuitive note placement, Parker slurs until Robertson is at Roulette Jun. 28th with Tim Berne. See Calendar. sixth and final concert, recorded Jul. 11th, 1991 - less erupting into a flurry of multiphonics. than three months before his death - that was

At first Robertson appears uncharacteristically perhaps the most shocking – a one-time only musical reticent, limiting his contributions to brass overlays retrospective by a man who never looked back. As a and muted grace notes parallel to the saxophonist’s tribute to his recently departed friend Gil Evans, output on “The Whip” and “Dogwood”. The former Miles was convinced by Quincy Jones to perform the becomes palatable, however, when Solborg puts aside arranger’s orchestrations that garnered him huge folksy strums for tough plucks and is countered by popularity several decades earlier. With Jones Parker’s circular breathing. By the CD’s midpoint a greatly expanded ensemble comprised everyone relaxes and Robertson asserts himself. On of the combined Gil Evans Orchestra and George “Chestnut and the Woods”, he counters electronic Gruntz Concert Jazz Band, Miles creeps inside and pulsations with a staccato bugle-like tattoo, then spins soars above the lush tones of the half-a-hundred Sources out an essay in brassy impudence combining high- Louis Sclavis Atlas Trio (ECM) musicians behind him, with trumpeter Wallace pitched triplets, plunger slurs and rubato brays. by Jeff Stockton Roney and alto saxophonist sharing Throughout, Eilertsen reveals swelling arco pulses the spotlight at his side. Sporting a tousled shock of and muscular slaps while Bruun’s clatters and clanks In several respects, Louis Sclavis is the quintessential thick black hair and a colorful art nouveau printed take on expressive steel-drum-like resonations. Not ECM artist: unabashedly European, his music from jacket, he looked his typically young-at-heart self, that it’s necessary. By the final “Closure” Robertson disc to disc betrays an expert compositional sense, a only the reading spectacles he switched to from his has loosened up enough to intersect whirring trumpet fearless approach to improvisation and instrumentation trademark oversized shades betraying his age. blusters and growls with Parker’s intentionally from band to band that defies categorization. Sclavis Opening with the Birth of the Cool classic has distinguished himself by balancing composed “”, Miles’ distinctive Harmon-muted sections with spontaneous group interplay, exploring a sound is as piercing as ever and while he seems variety of Western and Middle Eastern rhythms as well slightly unsure navigating the tricky line he shows as traditions that can be traced to France and never improvisational acumen by using a slightly flubbed presenting the same musical program twice. note as a launching pad for a hip melodic twist. He’s His streak continues on Sources, which finds better in the spacious environment of “Maids Of Sclavis and his clarinets accompanied by Gilles Cadiz” and “My Ship”, his tone airily intense while Coronado (electric guitar) and Benjamin Moussay exhibiting a powerful open bell sound on “The (piano and electric keyboards). What looks like a Duke”, then switching between the two on “Blues chamber group on paper turns out to be much more, for Pablo” after spelling himself a bit, letting Garrett with Moussay supplying the deep heartbeat and Roney (from whom he receives sporadic support undercurrent of “Dresseur de nuages”, percussive throughout) solo on “Miles Ahead”. touches that relieve the band of the need for a drummer Medleys from Porgy and Bess and Sketches of on the title track and a persistent, urgent bassline from Spain fill out the concert, Miles playing with both his Fender Rhodes on “A Road to Karaganda”. beauty and strength, especially on “Summertime” Coronado’s guitar proves an excellent foil for Sclavis’ and “Solea”. Previously available only on the alternately lyrical and avant garde tendencies, with the 10-DVD Miles At Montreux, this disc is an impressive choppy rhythms of the tracks that bookend the CD, the swan song from one of jazz’ true masters. oblique abstractions of “Outside of Maps” and the pretty sinuousness of “Along the Niger”, where For more information, visit eaglerockent.com. The Miles Sclavis’ bass clarinet and Moussay’s cascading piano Davis Festival is at Smoke throughout June. See Calendar. join the guitar for the CD’s most affecting ballad.

THE NEW YORK CITY JAZZ RECORD | June 2013 43 Moses) created true group music, an amalgamation still being parsed by modern drummers. By filling in BOXED SET of their individual experience and the verdant the gaps between the NYAQ’s ESP-Disk debut environment in which they bloomed. (November 1964) and the Fontana release Mohawk The group only released two albums during (June 1965), listeners can hear how the group’s their existence (and appeared within the Jazz aesthetic was developing concurrent with the Composers Orchestra for 1964’s Communication). A individual members’ (more famous) work as sidemen variation on the group (Rudd and Tchicai in Europe (Tchicai appeared on Coltrane’s Ascension, for with a different rhythm section) is featured on a example, during this period). notorious bootleg (the same lineup appears on The material is split pretty evenly between Cuneiform’s 2010 release ). But, with such a Rudd and Tchicai (some tunes unique to this set), slender discography, it is easy to overlook a band with the occasional outside composition: a 14-minute that was just as important to jazz of the period as take on ’s “O.C.” from Halloween Call It Art those better known “bands” led by Miles Davis or 1964; a couple of Charlie Parker tunes; an improv or New York Art Quartet (Triple Point) John Coltrane or Bill Evans (and so on). Call It Art two. In addition to the trio, several bassists appear - by Andrey Henkin addresses this vacuum with what must be the sum Reggie Workman, , Eddie Gomez, Bob total of the group’s documented recordings, taken Cunningham - but Worrell, better known for his If there is one major difference between jazz and rock from the NYE 1964 Judson Hall concert; a July 1965 work with Albert Ayler in a tragically short career, is (besides money, marketability and mini-skirts), it is Van Gelder Recording Studio session; January 1965 a revelation and this set substantially increases his the individual versus the unit. No matter how crucial radio broadcasts from WBAI featuring poet Amiri discography (Wayne Shorter’s trumpeter brother the contributions of sidemen may be, a jazz band is Baraka; various loft recordings and a July 1965 Alan also appears to throw archivists into a tizzy). still someone’s quartet or trio whereas no one thinks appearance at the Museum of Modern Art Sculpture Just as far fewer people reminisce over of the members of The Grateful Dead or Slayer in any Garden as part of a larger Jazz Composers Orchestra Strawberry Alarm Clock in lieu of The Beatles, so too other context. But the fine people at Triple Point concert. While some segments sound better than has The New York Art Quartet suffered in reputation Records have released a lovingly-crafted five-LP set others and a chunk of this set is included more for next to other bands of the period. To quote the as evidence, at least partially, to the contrary. completism than cohesion, what emerges from a accompanying book: “...they disqualified themselves The New York Art Quartet (NYAQ), as grainy, black and white photo is a colorful timeline from ever recording for Riverside Records or Blue representatively named a group as could be, existed of the nascent New York avant garde. Note...and were not going to tour Europe on a but briefly (Summer 1964-December 1965, as But to reinforce the point of the NYAQ’s Newport festival package.” It only took nearly half a exhaustively annotated in the set’s amazing reference ‘bandness’, one need only look to its component century but with Call It Art, the NYAQ has finally tome, which also includes detailed biographies and parts: Rudd’s roots and fascination with gotten the treatment it deserves. essays as well as photos and visual ephemera). And the work of Thelonious Monk and Herbie Nichols; while the bass chair was in constant flux (mostly Tchicai’s multiculturalism (a Dane of Ethiopian For more information, visit triplepointrecords.com. The ), the core trio of alto saxophonist John descent in New York) and unique vocabulary on his Milford Graves NY HeArt Ensemble including Roswell Tchicai, trombonist Roswell Rudd and drummer instrument; Graves’ approach to drumming that Rudd and Amiri Baraka is at Roulette Jun. 12th as part of Milford Graves (serendipitously taking over for JC transmogrified Latin and bop and free into a style Vision Festival. See Calendar.

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44 June 2013 | THE NEW YORK CITY JAZZ RECORD (INTERVIEW CONTINUED FROM PAGE 6) loss for ideas. One can receive support or Daniel obtained his B.M. in 1977 from CCNY and his MSW encouragement for ideas to move forward in their in 1989 from Graduate school of Social Tommy Wolf. I met him in Hollywood when I lived in improvisations from what the other musicians are Work. He began his professional career in 1965 when he LA. He talked me into starring in his musical in St. playing. A more radical approach called frustration moved to NYC, playing gigs with his childhood friend/ Louis, though I argued that I wasn’t an actor. I played would be for the supporting musicians to lay out or legendary guitarist Sonny Sharrock, Dave Burrell and Dove Linkhorn. Sometimes I’d joke that I was playing give minimal support and let the soloist work through Byard Lancaster. After a tour of duty with the US Army an ignorant teenager from a Texas small town, then their impasse on their own. Also the option to stop (1966-68), Daniel began his recording career playing on comment, “Typecasting”. It was called A Walk on the playing is available in that moment and let the band Sharrock’s first album Black Woman. Since then, Daniel Wild Side, based on a Nelson Algren novel. Fran lived carry on. This impasse layer can and often does lead to has participated in over 40 recordings with such artists as in St. Louis with her husband Jay. The play ran about the implosive layer. , , Andrew Cyrille, , three weeks, then I worked as a single to get enough In the implosive layer the strategies of the client’s Billy Bang and Henry Threadgill. He has held workshops at money to get out of town. When I left, she gave me defensive/games layer can no longer be relied on as Amherst, Bennington and Williams Colleges and the some lyrics and I asked if Tommy would be jealous. defenses as used previously. Clients began to feel University of Hosei in Tokyo. Daniel has produced five She assured me she wrote so much that he couldn’t empty and confused without the usual roles they had albums under his own name, been the recipient of a NEA keep up with her. The first one I wrote was “Nothing so often depended on, ones they now find are no longer compositional grant and awarded Talent Deserving Wider Like You”, which I recorded with Miles. Then Tommy effective. Recognition from DownBeat Magazine. Presently, Daniel died and I wrote many more songs with her. In the implosive layer, the improviser is trying to leads two groups of his own, the International Brass and figure out what to play. The improviser realizes that Membrane Corporation and Duology. TNYCJR: Talk about Schoolhouse Rock. what they usually play is inadequate but they are confused as to what the new melody could be. They BD: I wasn’t making a living in jazz in the ‘60s, the can continue to play in an inauthentic manner (licks); rock ’n’ roll decade. [Bassist] Ben Tucker and I were they listen to what is being played by others and trying to write advertising jingles. We had a few gigs, respond appropriately, but uninspired. It is at this (LABEL CONTINUED FROM PAGE 12) which led me to this small New York City ad agency. point that the improviser needs to shed all the old The owner was a Harvard man who had this idea for a ways of playing and begin anew by playing what they the CD era. We live in the era of the LP revival. I’m multiplication rock song, to help them memorize times hear and feel in the moment. By doing this, they will be getting ready for the CD revival in the 2050s. IB CDs tables. He tried some other , who made the tapping into their real voice and begin expressing their will go on eBay for $500 apiece,” he teases. mistake of having simple rhymes and rhythms, which original ideas. Usually this situation creates in the As for downloads, while Palomo likes the idea of I saw would be very monotonous. The first song I improviser a chance to choose a new direction in their being able to release longer performances, he figures wrote was “3 is a Magic Number”, where I postponed improvisations. A great example of a musician going the audience for free music isn’t really interested in the mathematical part for a minute, telling kids about through this layer is the jazz legend Sonny Rollins. He downloading. “So I stick to CDs.” the triangle and the number three. It was only meant to stopped performing in public for a few years to practice Palomo’s other obsession is Japanese improv, be a . I recorded the whole album of and renew his personal commitment to his authenticity. which is why CDs like Oki’s and Crimson Lip, featuring multiplication rock songs. They didn’t know what they He then returned with a renewed vigor and fresh ideas Silva, vocalist Keiko Higuchi, percussionist Sabu were doing and I always had a knack for numbers. I that have thrilled his audiences to this day. Toyozumi and guitarist Takuo Tanikawa are available. feel like musicians are usually good in math. I wrote a This brings us to the explosive layer, which is the “Early on I discovered Japanese free jazz by seeking lot of songs and they bought 11. They tested them for final layer, where the client lets go of pretenses and out Itaru’s albums,” Palomo remembers. “Soon I educational value in a teacher’s college, then the art games and, in doing so, releases a new emotional discovered the huge production of Japanese free jazz. director started doodling a storyboard for “3 is a Magic energy that gives way to a feeling of freedom and a When I finally set foot in Tokyo in 2009, I saw Alan’s Number”. Schoolhouse Rock debuted on ABC in path to new ideas. Musically, the explosive layer is all-Japanese Celestrial CD with Kazutoki Umezu, February 1973. They decided everything had to be where the musician sheds all of their pretentions, ie, Shota Koyama, Nobuyoshi Ino, Akira Sakata - names three minutes, so I had to re-edit some songs. I was a “as if I were a jazz musician”, and is free to explore and that should be as important to free jazz as Peter producer creating audio, then they’d animate them. It play music that is authentic to themself as an Brötzmann, William Parker or . Higuchi was very exciting and lucrative. We were on the air for improvising artist. It is in this experience of being and Tanikawa, who are mainstays of the free scene in 13 years, then they brought it back for two to three authentic without any pretentions and being vigilantly Tokyo, have become my friends.” Palomo has since years in the ‘90s. v aware of the stimuli around you and responding released Tanikawa’s second solo album and Higuchi’s authentically that one experiences feelings of being duet with cellist Yasumune Morishige. For more information, visit bobdorough.com. Dorough is at invigorated, liberated and a general well-being, which While his Asian contacts were multiplying so were Jazz at Kitano Jun. 7th-8th. See Calendar. is that state of catharsis spoken about earlier. Some Palomo’s connections with American free musicians. music icons that exemplify this state of authenticity in There’s Zorn from Cambridge, Massachusetts Recommended Listening: their music are giants like Charlie Parker, Thelonious (saxophonist Mario Rechtern and pianist Eric Zinman) • Bob Dorough - Devil May Care Monk, John Coltrane, Albert Ayler, Cecil Taylor and a and Bound and Gagged from New York (saxophonist/ (Bethlehem-Rhino, 1956) long list of others that have made that same guitarist Jeff Shurdut and bassist Gene Janas). “I met • Bob Dorough - Just About Everything commitment. I have pointed to these musicians because Jeff Shurdut through the internet in 2004,” recalls (Focus-Evidence, 1966) it is unquestionable that their music is authentic, Palomo. “Today I discuss an enormous amount of • Bob Dorough - Beginning To See The Light invigorating, healing and, whenever you hear it, you things with him almost daily. I met Gene Janas on eBay (with Bill Takas) (Laissez-Faire, 1976) know that their music is inspired and without when I beat him in an auction. Jeff and Gene worked • Barbara Lea/Bob Dorough - Hoagy’s Children, pretension. What is impressive about these together to create Bound and Gagged and its followups Vol. 1 & 2 (Audiophile, 1981/1984-85/1993) aforementioned icons are that they start their - as you’ll see in 2013.” IB’s catalogue is filled out by • Bob Dorough - Right On My Way Home improvisations from the explosive layer, having discs from French free players in the avant-rock as well (Blue Note, 1997) already worked through the other layers through years as jazz fields. Many are associates of Duboc. “When the • Bob Dorough - Sunday at Iridium (Arbors, 2004) of intense practice and performance. As we listen to music is too difficult for me to record and/or mix on these icons, we hear this music and experience some my own, Duboc lends a hand to perform his white degree of catharsis as we respond to their complete magic on computers to save muddy tracks,” Palomo authenticity. clarifies. As creative artists, in our personal quest to “I was on Improvising Being’s first CD and maybe (MEGAPHONE CONTINUED FROM PAGE 11) experience meaningful improvisation in music and in I’ll be the bassist for the last one too,” jokes Duboc, life, a question arises; “Are we investing too much time “and I record and mix a lot of the others. “Julien and I through this stuck point. There is a range of techniques in someone else’s authenticity to the detriment of our don’t agree about all the music he records, but it’s a the therapist could utilize: remain silent; suggest an own?” Being an authentic improviser is staying in the great experience. Julien’s first love is for music and exaggeration of the issue; have the client acknowledge now and being aware, being willing to take risks and musicians without concession and nobody does what their issue and consider how it makes them feel, among playing what is meaningful to us in the moment. In he does. He does it not for the money but for the others. both music improvisation and Gestalt therapy, a improvising beings. He’s a track maker who is Musically, the impasse can take place within a healthy dose of intuition is required in concert with the recording for the future.” v particular performance or occur over a period of time, skills learned in the practice of the chosen discipline. v just as in a therapeutic setting. This stuck point makes For more information, visit improvising-beings.com. François musical progress become extremely difficult for the For more information, visit myspace.com/teddaniel. Daniel is Tusques and Sonny Simmons are at Roulette Jun. 14th and musician. While performing, one might become at a at Clemente Soto Velez Cultural Center Jun. 1st. See Calendar. 15th, respectively, as part of Vision Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | June 2013 45 CALENDAR

Saturday, June 1 • Beka Gochiasvili Birdland 7 pm $25 Thursday, June 6 • Totem: Bruce Eisenbeil, Tom Blancarte, Andrew Drury; Roy Campbell, Daniel Carter, êJoe Lovano Nonet with , Barry Ries, Steve Slagle, Ralph Lalama, William Parker Muchmore’s 8:30, 10 pm $10 êNate Wooley’s Seven Storey Mountain with Chris Corsano, Ryan Sawyer, Ben Vida, , Larry Farrell, James Weidman, Cameron Brown, Steve Williams êPascal Niggenkemper Ensemble; Karl 2000: Daniel Rovin, Austin White, Dave Miller; C. Spencer Yeh, Matt Moran, Chris Dingman, TILT Brass Sextet Village Vanguard 8:30, 10:30 pm $25 David Schnug Trio with Will McEvoy; Max Goldman Issue Project Room 8 pm $10 êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix, Clemente Soto Velez Cultural Center 7:30 pm $11-22 êBlue Note Jazz Festival: Eddie Palmieri Salsa Orchestra , Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity, • Water Sign: Greg Ward, Tom Chang, Sam Trapchak, Nick Anderson BB King’s Blues Bar 8 pm $30-70 Frank Basile, , Jason Jackson, James Burton, Douglas Purviance, Cornelia Street Café 8:30 pm $10 • Blue Note Jazz Festival: Bob James/David Sanborn Quartette Humaine with Emmet Cohen, Yotam Silberstein, , Greg Hutchinson • John Chin Trio with Joe Martin; Dana Hawkins Quartet; Spencer Murphy James Genus, Steve Gadd Town Hall 8 pm $52-72 Blue Note 8, 10:30 pm $35 Smalls 7:30, 9:30 pm 12:30 am $20 êRhythm in the Kitchen Festival: In Performance Music Workshop directed by Sean King êMiles Davis Festival: Eddie Henderson Quintet with Wayne Escoffery, Dave Kikoski, • Twins of El Dorado: Joe Moffett/Kristin Slipp; Kenny Warren’s Laila & Smitty Band with with guest JD Parran; David Jimenez/Charles Evans Duo; York College Jazz Ensemble Doug Weiss, Carl Allen Smoke 7, 9, 10:30 pm $35 Jeremiah Lockwood, Myk Freedman, Noah Garabedian, Carlo Costa directed by Thomas Zlabinger; Elise Wood/Bruce Edwards • Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, Sycamore 8:30, 9:30 pm $10 Church For All Nations 7 pm $15 Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35 • Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber êJim Hall Trio with Steve LaSpina, Bill Stewart • Eliane Elias Birdland 8:30, 11 pm $30-40 Bar Next Door 8:30, 10:30 pm $12 Jazz Standard 7:30, 9:30 pm $30 • Presents: Gerald Clayton Trio • Elizabeth Lohninger Zinc Bar 7 pm $8 êStefano Bollani Trio with Jesper Bodilsen, Morten Lund Iridium 8, 10 pm $35 • Noriko Ueda Jazz Orchestra Tea Lounge 9, 10:30 pm Birdland 8:30, 11 pm $30-40 • Bill Charlap Trio with Ron Carter, Kenny Washington • Blank CD: Colin Hinton, Jacob Sacks, Alex Degross; Karachacha: Grady Tesch, • Greg Tardy Quartet with Joel Weiskopf, Sean Conly, Jaimeo Brown; Dizzy’s Club 7:30, 9:30 pm $35 Mark Sundermeyer, Ross Kratter, Dillon Treacy, Yael Litwin Carlos Abadie Quintet Smalls 9:30 pm 12 am $20 • Richard Johnson Dizzy’s Club 11 pm $20 Somethin’ Jazz Club 7, 9 pm $10-12 êChris Speed Barbès 10 pm $10 • Blue Note Jazz Festival: Bernard “Pretty” Purdie and Friends • Susan Wagner High School Jazz Band/Paul Corn Quartet; Kyoko Oyobe Trio êSylvie Courvoisier solo; Sylvie Courvoisier/Ellery Eskelin Duo Lucille’s at BB King’s Blues Bar 8 pm The Garage 7, 10:30 pm The Stone 8, 10 pm $10 êBojan Vuletic’s L’Écume des jours’ with Nate Wooley, Dan Peck, Jacqueline Kerrod, • Todd Robbins Bryant Park 12:30 pm êTomas Fujiwara Trio with Ralph Alessi, Brandon Seabrook Mivos Quartet Issue Project Room 8 pm $15 Ibeam Brooklyn 8:30 pm $10 • Lionel Loueke solo The Jazz Gallery 9, 10:30 pm $20 Tuesday, June 4 • Elias Stemeseder, Thomas Morgan, Jim Black êSong of Movement: Patricia Nicholson/William Parker and guest Amina Baraka; Austrian Cultural Forum 7:30 pm Joe Morris Quartet with Jim Hobbs, Chris Lightcap, Charles Downs; Duology: êBlue Note Jazz Festival: Joshua Redman Quartet with Brad Mehldau, Larry Grenadier, • Nick Sanders Trio with Henry Fraser, Connor Baker Ted Daniel/Michael Marcus Clemente Soto Velez Cultural Center 7:30 pm $11-22 Brian Blade and The Knights Orchestra The Jazz Gallery 9, 10:30 pm $15 • and The Broadway Moonlighters with guest Doc Severinsen Town Hall 8 pm $42-57 • Musette Explosion: Will Holshouser, Matt Munisteri, Marcus Rojas; 54 Below 7, 9:30 pm $85-95 êKenny Barron Quintet with Vincent Herring, Brandon Lee, Kiyoshi Kitagawa, Nadje Noorhuis/James Shipp Cornelia Street Café 8:30, 10 pm $10 êMike DiRubbo Quintet with Steve Davis, Brian Charette, Dwayne Burno, Lee Pearson Village Vanguard 8:30, 10:30 pm $25 • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am Joe Farnsworth Jazz at Kitano 8, 10 pm $25 êPaolo Fresu/Uri Caine Duo Birdland 8:30, 11 pm $30-40 • Amir Gwirtzman Drom 10:30 pm $15 êMichael Blake Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Greg Ritchie êSylvie Courvoisier/Mark Feldman Quartet with Thomas Morgan, Billy Mintz • Roni Ben-Hur, , Duduka Da Fonseca Cornelia Street Café 9, 10:30 pm $15 The Stone 8, 10 pm $10 Greenwich House Music School 8 pm $15 • Hayes Greenfield/Roger Rosenberg Quartet with Dean Johnson, Scott Neumann; • Dmitry Baevsky Quartet with , David Wong, Joe Strasser • Jon Madof’s Zion80 Joe’s Pub 11:30 pm $14 Emilio Solla and Bien Sur! with Tim Armacost, Victor Prieto, Jorge Roeder, Ziv Ravitz; Dizzy’s Club 7:30, 9:30 pm $30 • Noah Haidu Trio with Ariel de la Portilla, McClenty Hunter Eric Wyatt Quartet Smalls 7:30, 10:30 pm 1 am $20 • Sammy Miller Dizzy’s Club 11 pm $10 Jazz at Kitano 8, 10 pm $10 • Tillery: Rebecca Martin, Gretchen Parlato, Becca Stevens êMelissa Aldana Crash Trio with Pablo Menares, Francisco Mela and guest Aaron Parks êJohn Ehlis Trio with Mikko Innanen, Glen Fittin ShapeShifter Lab 8 pm $12 Jazz Standard 7:30, 9:30 pm $20 El Taller LatinoAmericano 7:30, 9 pm $10 êRez Abbasi Trio with Carlo De Rosa, Mike Clark • The (re)Conception Project + 1 Jazz at Kitano 8, 10 pm $10 • Hendrik Meurkens Trio with Misha Tsiganov, Gustavo Amarante Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jazz Composers Orchestra Institute Miller Theater 7:30 pm Bar Next Door 8:30, 10:30 pm $12 • Mike Baggetta Quartet with Jason Rigby, Eivind Opsvik, George Schuller; • Jonathan Moritz’s Secret Tempo Trio; Spanish Donkey: , Joe Morris, • Mauricio Zottarelli’s MOZIK Terraza 7 9:15 pm Brad Shepik Trio with Billy Drewes, Tom Rainey Mike Pride; Fighter Planes and Praying Mantis; Sean Noonan’s Brewed by Noon with • Old Time Musketry Caffe Vivaldi 8:15 pm Ibeam Brooklyn 8:30, 10 pm $10 Malcolm Mooney, Jamaaladeen Tacuma, Alex Marcelo, Aram Bajakian • Annie Kozuch’s Mostly Jobim with Frank Ponzio, Saadi Zain, Vito Lesczak, • Banana Puddin’ Jazz Gala 10th Anniversary Celebration/Benefit Bowery Electric 7:30 pm $10 Cecilia Tenconi, Samuel Torres Stage 72 7 pm $20 Nuyorican Poets Café 7 pm $50-100 • Jack Jeffers and the New York Classics with Monika Oliveira • Lebby Richman Trio Cleopatra’s Needle 7 pm • Art Lillard’s Heavenly Band The Old Stone House 8 pm Zinc Bar 8, 10 pm • MJ Territo/Lee Marvin; Reine Sophie • Brad Henkel, Sean Ali, Pascal Niggenkemper, Carlo Costa • Jerome Sabbagh Quartet with Ben Monder, Joe Martin, Ted Poor; Somethin’ Jazz Club 7, 9 pm $10 Panoply Performance Lab 8 pm Tim Berne, Ryan Ferreira, Devon Hoff, Ches Smith • Champian Fulton Quartet; Tom Tallitsch Quartet • New York Jazz Academy Spring 2013 Showcase Concert: NYJA Advanced Vocal Korzo 9, 10:30 pm The Garage 6, 10:30 pm Workshop with Carolyn Leonhart; NYJA Manhattan Big Band; NYJA Long Island • Now vs. Now: Jason Lindner, Mark Guiliana, Panagiotis Andreou • Joe Locke Quintet with Robert Rodriguez, George Mraz, Clarence Penn, Ensembles; Linda Presgrave Quintet with Stan Chovnick, Todd Herbert, Rockwood Music Hall 10 pm Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30 Fred Weidenhammer, Seiji Ochiai; Sean Clapis Band with Nick Roseboro, Tim Norton, • Matt Slocum Quartet with Dayna Stephens, Gerald Clayton, Massimo Biolcati; • Sammy Miller Dizzy’s Club 11 pm $10 Jay Sawyer; Joseph Howell Quartet with Jason Yeager, Danny Weller, Tyson Stubelek Pete Rende Band with Mark Turner, Yusuke Yamamoto, Ben Street, Jeff Ballard, êKenny Barron Quintet with Vincent Herring, Brandon Lee, Kiyoshi Kitagawa, Somethin’ Jazz Club 12, 5, 7, 9 pm $10 RJ Miller ShapeShifter Lab 8:15, 9:30 pm $15 Lee Pearson Village Vanguard 8:30, 10:30 pm $25 • Jun Miyake Quartet Cleopatra’s Needle 8 pm • Spike Wilner Trio with Paul Gill, Yotam Silberstein; Smalls Legacy Band: Stacy Dillard, • Ambient Chaos: Derek Piotr; Shoko Nagai; RMA Trio • Edge-a-Thon: Catherine Sikora; Ramin Arjomand Josh Evans, , Theo Hill, Rashaan Carter, Kush Abadey; Spectrum 6:30 pm Spectrum 12 pm Kyle Poole and Friends Smalls 7:30, 10 pm 12 am $20 • Carolyn Punter Shrine 6 pm • Larry Newcomb Trio; Joanna Sternburg Trio; Dylan Meek Trio • Sean Smith Trio with John Hart, Russell Meissner • Citigroup Center Plaza 12:30 pm The Garage 12, 6:15, 10:45 pm 55Bar 7 pm • Todd Robbins Bryant Park 12:30 pm • Michael-Louis Smith Group with Stacy Dillard, Diallo House, Ismail Lawal Sunday, June 2 Drom 9 pm $15 • Matt Marantz Trio with Zack Lober, Lee Fish êKeystone Korner Presents: Paquito D’Rivera Havana Nights Bar Next Door 8:30, 10:30 pm $12 Iridium 8, 10 pm $35 • The Verge: Jon Hanser, Kenny Shanker, Brian Fishler, Danny Conga; êJane Ira Bloom All Ballads with Dominic Fallacaro, Ray Drummond, Billy Drummond Malcolm Campbell Quartet with Jonathan Lee, Zwe Bell Le Pere, Charles Burchell Cornelia Street Café 8:30 pm $10 Somethin’ Jazz Club 7, 9 pm $10-12 êBucky Pizzarelli/Ed Laub; Dmitry Baevsky Quartet with David Hazeltine, David Wong, • Yuki Shibata Quartet Tomi Jazz 8 pm Joe Strasser Smalls 7:30, 11:30 pm $20 • Pablo Masis Quartet; Paul Francis The Garage 6, 10:30 pm • Mara Rosenbloom Quartet with Darius Jones, Sean Conly, Nick Anderson • Tunk Trio: Chris Tunkel, Anders Nilsson, Curt Sydnor Spectrum 8 pm Shrine 8 pm • Miles Davis Festival: Dee Daniels Quintet • Todd Robbins Bryant Park 12:30 pm Smoke 7, 9, 10:30 pm • Emilio Teubal’s Musica Para un Dragon Dormido with Sam Sadigursky, Moto Fukushima, John Hadfield, Satoshi Takeishi Wednesday, June 5 55Bar 9:30 pm $10 êRhythm in the Kitchen Festival: Meridian7; Peter Edwards; Hans Tammen/ • Cyrille Aimee Rockwood Music Hall 8:30 pm Denman Maroney; Phillip Stearns Church For All Nations 7 pm $15 • Marie-Claire Metropolitan Room 9:30 pm $20 êMiles Davis Festival: Giacomo Gates’ Miles Tones with John di Martino, , • Minerva: JP Schlegelmilch, Pascal Niggenkemper, Carlo Costa Ron Vincent Smoke 7, 9, 10:30 pm Ibeam Brooklyn 8 pm • Ben Allison Band with Steve Cardenas, Brandon Seabrook, Allison Miller • Peter Mazza Trio with Paul Bollenback, Marco Panascia ShapeShifter Lab 9:30 pm Bar Next Door 8, 10 pm $12 êGeorge Coleman Quartet with David Hazeltine, , Joe Farnsworth and • The Red Microphone: John Pietaro, Rocco John Iacovone, Ras Moshe, guests Eric Alexander, Peter Bernstein Nicolas Letman-Burtinovic; Jonas Tauber, Michael Evans, Blaise Siwula; An Beal Bocht Café 8, 9:30 pm $25 Hans Tammen, Anders Nilsson, Robert Dick, Jonas Tauber, Michael Evans • “Our Father Who Art Blakey” Big Band ABC No-Rio 7 pm $5 Zinc Bar 8 pm • Ervin Dhimo Trio with , Vancil Cooper; Padam Swing: Yvonnick Prené, • Joe Locke Quintet with Robert Rodriguez, George Mraz, Clarence Penn, Michael Valeanu, Robert Cuiellari, Jeremy Bruyere; The Real Trio: Davis Whitfield, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30 David Santoro, John Lee Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Sammy Miller Dizzy’s Club 11 pm $10 êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama, • Cristina Pato and The Migrations Band with Victor Prieto, Edward Perez, Eric Doob, Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams John Hadfield Joe’s Pub 9:30 pm $30 Village Vanguard 8:30, 10:30 pm $25 • Jeff Lederer’s Reincarnation with Mary Larose, Jesse Mills, Felicia Wilson, êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix, Nicole Federici, Chris Lightcap; Jeff Lederer’s Swing N’ Dix with Kirk Knuffke, Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity, Bob Stewart, Matt Wilson Cornelia Street Café 8:30, 10 pm $10 Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, êLotte Anker Barbès 8 pm $10 Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson • Yotam Silberstein Trio with Sam Yahel, Jeff Ballard Blue Note 8, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $20 • Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly, êGregg August Quartet with , Luis Perdomo, Donald Edwards; Kendrick Scott Jazz Standard 7:30, 9:30 pm $30 Roxy Coss Smalls 9:30 pm 12 am $20 • Bill Charlap Trio with Ron Carter, Kenny Washington • Jerome Sabbagh Quartet with Ben Monder, Joe Martin, Ted Poor Dizzy’s Club 7:30, 9:30 pm $35 SEEDS 8:30 pm êDave Liebman solo 61 Local 6 pm • Hans Tammen and Iron Foundry with Jason Kao Hwang, Stephanie Griffin, • Will Mason Downtown Music Gallery 6 pm Thomas Ulrich, Jonas Tauber, Satoshi Takeishi • Ray Blue Quartet Saint Peter’s 5 pm Intar 7 pm • Jocelyn Medina Trio with Jamie Reynolds, Zack Lober • Peter Gordon and Love of Life Orchestra with Peter Zummo, Ned Sublette, Randy Gun, Inkwell Café 4 pm Max Gordon, Paul Shapiro, Robby Ameen, Yunior Terry, Elio Villafranca • Quintet with Rob Brown, Chris Forbes, Hill Greene, Michael Thompson Roulette 8 pm $15 Clemente Soto Velez Cultural Center 3 pm $11 • Tine Bruhn Trio with Johnny O’Neal, Stacy Dillard • Pedro Giraudo Big Band Blue Note 12:30, 2:30 pm $29.50 Jazz at Kitano 8, 10 pm $10 • Vicki Burns Trio with Saul Rubin, Marco Panascia • Dave Chamberlain’s Band of Bones with guests Hendrik Meurkens, North Square Lounge 12:30, 2 pm Antoinette Montague Zinc Bar 9 pm • Mike Fahn Quartet; David Coss Quartet; Abe Ovadia Trio • Dither; Philip White solo; Lorna Dune solo The Garage 11:30 am 6:30, 11 pm Silent Barn 9 pm • Ras Moshe, Shayna Dulberger, John Pietaro; Eris 136199: Nick Didkovsky, Monday, June 3 Han-earl Park, Catherine Sikora Douglass Street Music Collective 8 pm $10 • Matt Geraghty Project with Richard Padron, Misha Tsiganov, Adriano Santos; • Gato Barbieri Blue Note 8, 10:30 pm $45 Rob Reich Somethin’ Jazz Club 7, 9 pm $10-12 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Yui Tsuchida Tomi Jazz 8 pm êSidney Bechet Society Presents: Dan Levinson’s Jam Session of the Milennium with • Rick Stone Trio; Benjamin Drazen Quartet Dennis Lichtman, Mike Davis, Gordon Au, Matt Musselman, Josh Holcomb, The Garage 6, 10:30 pm Gordon Webster, Dalton Ridenhour, Nick Russo, Jared Engel, Rob Adkins, Kevin Dorn, êKenny Barron Quintet with Vincent Herring, Brandon Lee, Kiyoshi Kitagawa, Marion Felder Symphony Space Peter Jay Sharp Theatre 7:15 pm $35 Lee Pearson Village Vanguard 8:30, 10:30 pm $25 • Dali in Cobblehill: , Yosvany Terry, , James Genus, êPaolo Fresu/Uri Caine Duo Birdland 8:30, 11 pm $30-40 Clarence Penn ShapeShifter Lab 8:15, 9:30 pm $10 êSylvie Courvoisier/Mark Feldman Quartet with Thomas Morgan, Billy Mintz êC. Spencer Yeh with Nate Wooley Roulette 8 pm $15 The Stone 8, 10 pm $10 • Juilliard Jazz Ensemble with guest Dizzy’s Club 7:30, 9:30 pm $30 • Rafael Rosa Shrine 6 pm • Blue Note Jazz Festival: Pedrito Martinez Cubano Bowl with Araicne Trujillo, Jhair Sala, • Bucky Pizzarelli/Ed Laub Saint Peter’s 1 pm $10 Alvaro Benavides Brooklyn Bowl 8 pm $10 • Todd Robbins Bryant Park 12:30 pm • Brian Charette, Ben Monder, Anthony Pinciotti 55Bar 10 pm $10

46 June 2013 | THE NEW YORK CITY JAZZ RECORD Friday, June 7 êKenny Barron Quintet with Vincent Herring, Brandon Lee, Kiyoshi Kitagawa, • Daniela Schaechter Trio; Ben Benack Quartet; Virginia Mayhew Quartet Lee Pearson Village Vanguard 8:30, 10:30 pm $25 The Garage 12, 6:15, 10:45 pm êBob Dorough Trio with Steve Berger, Pat O’Leary • David Bindman Ensemble with Wes Brown, Royal Hartigan, Art Hirahara, Jazz at Kitano 8, 10 pm $25 Frank London, Reut Regev Sunset Park Library 4 pm Sunday, June 9 êRhythm in the Kitchen Festival: Eri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi; • Todd Robbins Bryant Park 12:30 pm Rob Reddy Ensemble with Charlie Burnham, John Carlson, Dom Richards, êMephista: Sylvie Courvoisier, Ikue Mori, Susie Ibarra and guest Lotte Anker Guillermo Brown; Alex Garcia/AfroMantra with Ole Mathisen, Mike Eckroth, Saturday, June 8 The Stone 8, 10 pm $10 Ariel De La Portilla; Ernie Hammes Group with Pierre Alain Goualch, Aidan Carroll, • Blue Note Jazz Festival: Travis Sullivan’s Björkestra Paul Wiltgen Church For All Nations 7 pm $15 êJohn Zorn, Bill Laswell, Milford Graves; Abraxas Highline Ballroom 8 pm $12-15 êMiles Davis Festival: Larry Willis Quintet with Jeremy Pelt, Javon Jackson, Le Poisson Rouge 7:30 pm $35 êThomas Heberer, John Ehlis, Mikko Innanen, Max Johnson Buster Williams, Al Foster Smoke 7, 9, 10:30 pm $35 ê Billy Martin’s Wicked Knee with Steven Bernstein, Marcus Rojas, Curtis Fowlkes Ibeam Brooklyn 8:30 pm $10 êLucian Ban/Mat Maneri Rubin Museum 7 pm $20 ShapeShifter Lab 9:30 pm $15 • Deanna Kirk/John di Martino; Charles Owens Quartet with Peter Bernstein êJohn Escreet Trio with Zack Lober, Nasheet Waits and Sirius Quartet • Blue Note Jazz Festival: Willie Colón Smalls 7:30, 11:30 pm $20 The Jazz Gallery 9, 10:30 pm $20 Lehman Center 8 pm $30-50 • Joshua White Quartet with David Binney, Harish Raghavan, Damion Reid; êSylvie Courvoisier Trio with Drew Gress, Kenny Wollesen êRhythm in the Kitchen Festival: Curtis Stewart PUBLIquartet with Jannina Norpoth, Sirius Quartet: Fung Chern Hwei, Gregor Huebner, Ron Lawrence, Jeremy Harman and The Stone 8, 10 pm $10 Nick Revel, Amanda Gookin; Michele Rosewoman/Liberty Ellman; William Hooker/ guests Peter Stan, Ken Filiano, Billy Martin • Lost Tribe with Dave Binney, Adam Rogers, David Gilmore, Fima Ephron Strings 3 with David Soldier, David First; Joseph C. Phillips, Jr.’s Numinous with ShapeShifter Lab 7, 8:15, 9:30 pm $12-15 ShapeShifter Lab 8, 9:30 pm Ana Milosavljevic, Maya Bennardo, Hannah Levinson, Richard Vaudrey • Miles Davis Festival: Allan Harris Smoke 7, 9, 10:30 pm • Ray Gallon Trio with Paul Gill, Peter Van Nostrand; Mark Soskin Quartet with Church For All Nations 7 pm $15 • Welf Dorr Unit with Dave Ross, Dmitry Ishenko, Joe Hertenstein Zack Brock, , Anthony Pinciotti êBurnt Sugar the Arkestra Chamber Ginny’s Supper Club 7:30, 10 pm Nublu 10 pm Smalls 7:30, 10:30 pm $20 êEnrico Rava Quintet with Gianluca Petrella, Giovanni Guidi, Gabriele Evangelista, • Broc Hempel, Sam Trapchak, Christian Coleman with guest Josh Deutsch • Jason Rigby Quartet with Mike Holober, Cameron Brown, Billy Hart Fabrizio Sferra Birdland 8:30, 11 pm $30-40 Dominie’s Astoria 9 pm Cornelia Street Café 9, 10:30 pm $15 • Loren Stillman And Bad Touch with Nate Radley, Gary Versace, Ted Poor • Swingadelic Swing 46 8:30 pm êMikko Innanen/James Hurt; Mikko Innanen’s Triple Bass with Max Johnson, Cornelia Street Café 9, 10:30 pm $15 • Sharón Clark with Chris Grasso Trio Pascal Niggenkemper, Michael Bates êMikko Innanen solo and The Newest Trio with Raoul Björkenheim, Weasel Walter Metropolitan Room 7 pm $20 Ibeam Brooklyn 8:30, 10 pm $10 Ibeam Brooklyn 8:30, 10 pm $10 • Peter Mazza Trio with Kevin Farrell, Rogerio Boccato • Lisle Atkinson Neo-Bass Ensemble with Karen Atkinson, Darnell “Jay” Starkes, • Kiran Ahluwalia Group with Rez Abbasi, Will Holshouser, Mamadou Ba, Nitin Mitta Bar Next Door 8, 10 pm $12 Phillip Wadkins, Sam McPherson, John Robinson, Leon Dorset, Paul West, Joe’s Pub 7:30 pm $20 • Michael Lytle/Han-earl Park; Craig Flanagin Ensemble , Gregory Bufford and guests Frank Owens, Andy Bey, Janet Steele • Sheryl Bailey Trio with Gary Wang, Mike Clark ABC No-Rio 7 pm $5 Symphony Space Leonard Nimoy Thalia 8 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Leah Gough’s Human Equivalent; Jidam Kang Group with Rafael Aguiar, Mina Yu, • Jared Gold with Mike DiRubbo, Dave Stryker, Dave Gibson, Kevin Kanner • Joe Moffett/Owen Stewart-Robertson; Josh Sinton Changmin Jun, Jake Kim Somethin’ Jazz Club 7, 9 pm $10-12 Fat Cat 10:30 pm Douglass Street Music Collective 8 pm $10 êEnrico Rava Quintet with Gianluca Petrella, Giovanni Guidi, Gabriele Evangelista, • Andrew Hock/Jeremiah Cymerman Duo; Period: Mike Pride, Charlie Looker, • Leopoldo Fleming Afro Caribbean Jazz Ensemble with Dinah Vero, Emilio Valdés, Fabrizio Sferra Birdland 8:30, 11 pm $30-40 Chuck Bettis; Travis Laplante’s Battle Trance Karen Joseph St. Anselm Church 9 pm êJim Hall Trio with Steve LaSpina, Bill Stewart Silent Barn 9 pm • Steve Kaiser Quartet with Kevin Golden, George Cotten, Warren Ozde; Jazz Standard 7:30, 9:30 pm $30 • Nikita White; Beareather Reddy Jazz 966 8:15, 10:15 pm Brenda Earle Quartet; Chris Clark Quintet with Peter Epstein, Perry Smith, Sam Minaie, • Joe Locke Quintet with Robert Rodriguez, George Mraz, Clarence Penn, • Super Coda: Dan Blake; Ben Syverson Mark Ferber Somethin’ Jazz Club 5, 7, 9 pm $10-12 Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30 Spectrum 7 pm • Eiko Rikuhashi; Sam Kulok Trio Tomi Jazz 8, 11 pm $10 êKenny Barron Quintet with Vincent Herring, Brandon Lee, Kiyoshi Kitagawa, • Tom Dempsey Trio with Ian MacDonald, Alvin Atkinson • Cathy Harley Trio Cleopatra’s Needle 8 pm Lee Pearson Village Vanguard 8:30, 10:30 pm $25 Bar Next Door 7:30, 9:30, 11:30 pm $12 êBob Dorough Trio with Steve Berger, Pat O’Leary • Erika Dagnino and The Red Microphone with John Pietaro, Ras Moshe, • Blue Note Jazz Festival: Jason “Malletman” Taylor Jazz at Kitano 8, 10 pm $25 Rocco John Iacovone, Nicolas Letman-Burtinovic Lucille’s at BB King’s Blues Bar 8 pm êMiles Davis Festival: Larry Willis Quintet with Jeremy Pelt, Javon Jackson, Downtown Music Gallery 6 pm • Ben Greenberg’s Hubble Roulette 8 pm $15 Buster Williams, Al Foster Smoke 7, 9, 10:30 pm $35 • Timo Vollbrecht Quartet Saint Peter’s 5 pm • Satish Robertson SoundzScape Metropolitan Room 11:30 pm $20 êJohn Escreet Trio with Zack Lober, Nasheet Waits and Sirius Quartet • Quartet with Matt Brewer, Ted Poor • Kathleen Potton Band; Somethin’ Vocal with Matt Baker Trio and Ellen Bullinger, The Jazz Gallery 9, 10:30 pm $20 Blue Note 12:30, 2:30 pm $29.50 Molly Ryan, Shirley Crabbe; Mind Open: Andrew Ahr, Chris Covais, Dave Pellegrino, êSylvie Courvoisier Trio with Drew Gress, Kenny Wollesen êRed Hook Jazz Festival: Clarence Penn Quartet with Seamus Blake, Adam Rogers, Hugo Lopez Somethin’ Jazz Club 7, 9, 11 pm $10-12 The Stone 8, 10 pm $10 Ben Street; Fay Victor Ensemble with Anders Nilsson, Ken Filiano; • Kayo Hiraki Tomi Jazz 9 pm $10 • Joel Press Group with Michael Kanan, Lee Hudson, Fukushi Tainaka; James Carney Group with Peter Epstein, Ralph Alessi, , , • Masami Ishikawa Organ Trio Cleopatra’s Needle 8 pm Mark Soskin Quartet with Zack Brock, Harvie S, Anthony Pinciotti Chris Lightcap, Mark Ferber; Willie Martinez’ La Familia Sextet with Misha Tsiganov, • Brooks Hartell Trio; Kevin Dorn and the BIG 72 Smalls 7:30, 10:30 pm $20 Jennifer Vincent, Renato Thoms, J. Walter Hawkes, Maximilian Schweiger; The Garage 6:15, 10:45 pm êJim Hall Trio with Steve LaSpina, Bill Stewart Rob Brown Quartet with Kenny Warren, Peter Bitenc, Juan Pablo Carletti • Dorian Devins Trio Tagine 8 pm Jazz Standard 7:30, 9:30 pm $35 Cabrini Green Urban Meadow 1 pm êJim Hall Trio with Steve LaSpina, Bill Stewart • Joe Locke Quintet with Robert Rodriguez, George Mraz, Clarence Penn, • David Bindman Ensemble with Wes Brown, Royal Hartigan, Art Hirahara, Jazz Standard 7:30, 9:30 pm $35 Kenny Washington Dizzy’s Club 7:30, 9:30 pm $35 Chris DiMeglio, Reut Regev Kings Highway Library 1:30 pm êStefano Bollani Trio with Jesper Bodilsen, Morten Lund • Sammy Miller Dizzy’s Club 11 pm $20 • Henry Butler’s New Orleans Brunch Birdland 8:30, 11 pm $30-40 êKenny Barron Quintet with Vincent Herring, Brandon Lee, Kiyoshi Kitagawa, Joe’s Pub 12 pm $20 • Joe Locke Quintet with Robert Rodriguez, George Mraz, Clarence Penn, Lee Pearson Village Vanguard 8:30, 10:30 pm $25 • Roz Corral Trio with James Shipp, Edward Perez Kenny Washington Dizzy’s Club 7:30, 9:30 pm $35 • Shannon Söderlund quintet Shrine 6 pm North Square Lounge 12:30, 2 pm • Sammy Miller Dizzy’s Club 11 pm $20 • Jeff Newell’s New-Trad Quartet The Waterfront Museum 2 pm • Lou Caputo Quartet; David Coss Quartet; Yaacov Mayman Trio • Yael Acher “Kat Modiano/Corcoran Holt The Garage 11:30 am 6:30, 11 pm Morris Jumel Mansion 2 pm

THE NEW YORK CITY JAZZ RECORD | June 2013 47 Monday, June 10 • The Anderson Brothers; Nobuki Takamen Trio • KMD Trio: James Keepnews, Ras Moshe, Maryanne de Prophetis; The Garage 6, 10:30 pm Gene Ess and Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland, êBlue Note Jazz Festival: Poncho Sanchez • Anna Kendrick and Jeevan DeSouza Quartet Gene Jackson ZirZamin 7, 8 pm BB King’s Blues Bar 8 pm $27.50-60 Tagine 8 pm • Sa-Ron Crenshaw Jazz 966 8:15, 10:15 pm êMarc Ribot’s Los Cubanos Postizos with Horacio “El Negro” Hernandez, êBuster Williams and Something More with Steve Wilson, Cindy Blackman Santana, • Chris Conte Duo; Somethin’ Vocal with Matt Baker Trio and Dawn Derow, , Brad Jones, EJ Rodriquez; Edmar Castaneda Patrice Rushen Dizzy’s Club 7:30, 9:30 pm $30 Rebecca Koval, Angela Roberts, Matt Baker, Adam Kabak; Leo Volskiy Trio with Le Poisson Rouge 8 pm $30 • George Delancy Dizzy’s Club 11 pm $10 John Webber Somethin’ Jazz Club 7, 9, 11 pm $10-12 êBB&C: Nels Cline, Tim Berne, Jim Black; Fork: Nels Cline, Tim Berne, Devin Hoff, • Kenny Werner Quintet with Lionel Loueke, Miguel Zenón • Antonello Parisi Trio Tomi Jazz 9 pm $10 Ches Smith, Jim Black ShapeShifter Lab 8, 9:30 pm $15 Blue Note 8, 10:30 pm $35 • Masami Ishikawa Trio; Hot House The Garage 6:15, 10:45 pm • Gregory Porter SubCulture 7:30 pm $22-25 • Quartet with Adam Rogers, Dezron Douglas, Johnathan Blake êAzar Lawrence Quintet with Freddie Hendrix, Benito Gonzalez, Essiet Essiet, Billy Hart • Cyrus Chestnut’s Berklee Sextet with Edmar Colón, Joseph Streater, Ido Meshulam, Birdland 8:30, 11 pm $30-40 Jazz Standard 7:30, 9:30, 11:30 pm $30 Tabari Lake, John Lee Dizzy’s Club 7:30, 9:30 pm $30 • Greg Osby 4 with Simona Premazzi, Matt Brewer, Damion Reid êWillie Jones III Septet with Jeremy Pelt, Stacy Dillard, Warren Wolf, Eric Reed, êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 Village Vanguard 8:30, 10:30 pm $25 Dezron Douglas Dizzy’s Club 7:30, 9:30 pm $35 • Blue Note Jazz Festival: Pedrito Martinez Cubano Bowl with Araicne Trujillo, Jhair Sala, • Gilad Hekselman Trio with Reuben Rogers, Obed Calvaire and guest Mark Turner • George Delancy Dizzy’s Club 11 pm $20 Alvaro Benavides Brooklyn Bowl 8 pm $10 Jazz Standard 7:30, 9:30 pm $20 • Shane Endsley Group with Matt Brewer, Ted Poor êThe Music of Grappelli: Jon Burr Trio with Howard Alden, Jonathan Russell and guest êRossano Sportiello Trio with Frank Tate, Dennis Mackrel SEEDS 8:30, 10 pm Bria Skonberg Metropolitan Room 7 pm $20 Café Carlyle 8:45 pm $45-115 • Ravi Coltrane Quartet with Adam Rogers, Dezron Douglas, Johnathan Blake • Vadim Neselovskyi Duo; Ari Hoenig Group with Gilad Hekselman, Orlando Le Fleming; • Shekhinah Big Band: Greg Wall, Marty Ehrlich, Matt Darriau, Zach Mayer, Paul Shapiro, Birdland 8:30, 11 pm $30-40 Spencer Murphy Smalls 7:30, 9:30 pm 12:30 am $20 Doug Wieselman, Jessica Lurie, Justin Mullens, Steven Gluzband, Ronald Horton, • Greg Osby 4 with Simona Premazzi, Matt Brewer, Damion Reid • Denver General: Kirk Knuffke , Jonathan Goldberger, Jeff Davis; Pam Fleming, Rob Henke, Curtis Hasselbring, Jacob Garchik, Matt Haviland, Village Vanguard 8:30, 10:30 pm $25 WYP: Weasel Walter, Yoni Kretzmer, Pascal Niggenkemper Brian Drye, Yoshie Fruchter, Anthony Coleman, Uri Sharlin, Brian Glassman, êRossano Sportiello Trio with Frank Tate, Dennis Mackrel Muchmore’s 8:30, 10 pm $10 Roberto Rodriguez, Renato Thoms Café Carlyle 8:45 pm $50-125 • Aryeh Kobrinsky’s Brinsk with Jeremy Udden, Adam Dotson, Andy Green, The Stone 8, 10 pm $10 • Viktorija Gecyte and Go Trio with Gene Perla, Sean Gough, Doug Hirlinger Jason Nazary; Ryan Pate Group with Dov Manski, Noah Garabedian, Devin Gray • Ambient Chaos: Cheryl Pile/Nicolas Letman-Burtinovic; Michael Eaton/Nick Anderson; Tagine 6:30 pm Sycamore 8:30, 9:30 pm $10 Aaron Moore’s Gospel of Mars; John Dunlop; Brain McCorkle • Ayako Shirasaki Bryant Park 12:30 pm êFlorencia Gonzales Big Band Tea Lounge 9, 10:30 pm Spectrum 6:30 pm êDeborah Latz Trio with Jon Davis, Ray Parker • Jussi Reijonen Shrine 6 pm Bar Next Door 8:30, 10:30 pm $12 • Dave Chamberlain’s Band of Bones with guest Max Pollak • Laura Brunner Zinc Bar 7 pm $8 Saint Peter’s 1 pm $10 • Queens Art Ensemble: Atsushi Ouchi, Scott Kulick, Jackson Hardaker, Leonor Falcon, • Ayako Shirasaki Bryant Park 12:30 pm David Bertrand, Ryan Missena, Sana Nagano, Steve Kortyka, Jens Ellerhold; Edward Perez Trio with Alex Brown Somethin’ Jazz Club 7, 9 pm $10 Thursday, June 13 • Nori Ochiai Duo Tomi Jazz 8 pm êVision Festival: Celebrate Visual Artist Robert Janz - Lifetime of Achievement: • Lou Caputo Not So Big Band; Austin Walker Trio Maria Mitchell/Terry Jenoure; Roy Campbell’s Akhenaten Ensemble with Bryan Carrott, The Garage 7, 10:30 pm Jason Kao Hwang, Hilliard Greene, Michael Wimberly; Rob Brown U_L Project with • Ayako Shirasaki Bryant Park 12:30 pm Joe McPhee, Miya Masaoka, Mark Helias, Qasim Naqvi; Roscoe Mitchell Trio with Henry Grimes, Tani Tabbal Roulette 7 pm $30 Tuesday, June 11 • Blue Note Jazz Festival: Buika Town Hall 8 pm $57-77 êAzar Lawrence Quintet with Freddie Hendrix, Benito Gonzalez, Essiet Essiet, Billy Hart • Sinatra In The Park: and The Swing Seven with Andrew Bird, Jazz Standard 7:30, 9:30 pm $25 Marc Cohn, Mary Chapin Carpenter, Judy Collins, Bettye LaVette, , êThe Claudia Quintet: John Hollenbeck, , Red Wierenga, Drew Gress, Allen Toussaint, , Loudon Wainwright III and guests Matt Moran Brooklyn Conservatory of Music 7, 9:30 pm $25 Central Park Summerstage 8 pm $65 êWillie Jones III Septet with Jeremy Pelt, Stacy Dillard, Warren Wolf, Eric Reed, êBucky Pizzarelli and The Great with Gene Bertoncini, Ed Laub and guest Dezron Douglas Dizzy’s Club 7:30, 9:30 pm $30 Warren Vaché 54 Below 7, 9 pm $25-35 • George Delancy Dizzy’s Club 11 pm $10 êBill Frisell, Marc Ribot, Nels Cline, Shahzad Ismaily • Spiritual Music: Frank London, Lorin Sklamberg, Rob Schwimmer and guests Le Poisson Rouge 6:30, 10 pm $35 The Stone 8, 10 pm $10 êBuster Williams and Something More with Steve Wilson, Cindy Blackman Santana, êHoward Alden/Warren Vaché Duo Bar Next Door 8:30, 10:30 pm $12 Patrice Rushen Dizzy’s Club 7:30, 9:30 pm $30 • Karl Berger’s Improvisers Orchestra; Hang Em High: Bond, Alfred Vogel, Lucien Dubuis • George Delancy Dizzy’s Club 11 pm $10 ShapeShifter Lab 8:15, 9:30 pm $12 • Steven Feifke Trio Blue Note 6:30 pm $35 • Olivia Foschi Quintet with Miki Hayama, Stacy Dillard, Matthew Rybicki, • Kenny Werner Quintet with Lionel Loueke, Miguel Zenón Ulysses Owens Jr. Jazz at Kitano 8, 10 pm $10 Blue Note 8, 10:30 pm $35 • Samir Chatterjee solo Cornelia Street Café 8:30 pm $10 • Ravi Coltrane Quartet with Adam Rogers, Dezron Douglas, Johnathan Blake • John Mettam’s Flying Home with Mike McGinnis, Bryan Drye, Sean Moran, Birdland 8:30, 11 pm $30-40 Tom Beckham, Jim Whitney Barbès 10 pm $10 • Greg Osby 4 with Simona Premazzi, Matt Brewer, Damion Reid • Sam Harris Group with Ben Van Gelder, Román Filiú, Ross Gallagher, Martin Nevin, Village Vanguard 8:30, 10:30 pm $25 Craig Weinrib The Jazz Gallery 9, 10:30 pm $15 • Gilad Hekselman Trio with Reuben Rogers, Obed Calvaire and guest John Ellis • Devin Bing and The Secret Service Jazz Standard 7:30, 9:30 pm $20 Metropolitan Room 9:30 pm $20 • Corina Bartra Peruvian Jazz Ensemble • Elizabeth Grace Band with Jeff Spivak, Zach Heyde, Leo Catricala, Andrew Weiss; NYC Baha’i Center 8, 9:30 pm $15 Diego Barber/Lauren Falls Somethin’ Jazz Club 7, 9 pm $10-12 êRossano Sportiello Trio with Frank Tate, Dennis Mackrel • Dan Furman Trio Cleopatra’s Needle 7 pm Café Carlyle 8:45 pm $45-115 • George Weldon Trio; Chris Beck Trio • Peter Epstein; Loren Stillman, Stephan Crump, Eric McPherson The Garage 6, 10:30 pm Korzo 9, 10:30 pm • Swinging with the Big Bands: , Wynton Marsalis, • Stan Killian Quartet with Mike Moreno, Corcoran Holt, McClenty Hunter Vince Giordano’s Nighthawks, Nellie McKay, Connie Evingson, Sachal Vasandani 55Bar 7 pm Allen Room 7, 9 pm $55-65 Academy Records • Rob Mosher SubCulture 7:30 pm $12-15 êDavid Liebman’s Expansions with Bobby Avey, Matt Vaslishan, Tony Marino, Alex Ritz; • Tom Guarna Quintet; Gene Lake Group Emmet Cohen Trio Smalls 9:30 pm 12 am $20 ShapeShifter Lab 8:15, 9:30 pm • Shane Endsley Group with Matt Brewer, Ted Poor • Intensivstation: John Schröder, Wolfgang Zwiauer, Alfred Vogel; Hang ‘Em High: Bond, SEEDS 8:30, 10 pm Lucien Dubuis, Alfred Vogel Austrian Cultural Forum 7:30 pm • Kenny Werner Quintet with Lionel Loueke, Miguel Zenón & CDs • Shekhinah Big Band: Greg Wall, Marty Ehrlich, Matt Darriau, Zach Mayer, Paul Shapiro, Blue Note 8, 10:30 pm $35 Doug Wieselman, Jessica Lurie, Justin Mullens, Steven Gluzband, Ronald Horton, • Afro Latin Jazz Alliance’s Education Program Fundraiser: Arturo O’Farrill Quintet; Pam Fleming, Rob Henke, Curtis Hasselbring, Jacob Garchik, Matt Haviland, The Fat Afro Latin Jazz Cats; ALJA’s NYC All-Star Youth Orchestra Brian Drye, Yoshie Fruchter, Anthony Coleman, Uri Sharlin, Brian Glassman, Birdland 5:30 pm Roberto Rodriguez, Renato Thoms • Ravi Coltrane Quartet with Adam Rogers, Dezron Douglas, Johnathan Blake The Stone 8, 10 pm $10 Birdland 8:30, 11 pm $30-40 • Mike Hashim Trio with Spike Wilner; Cyrille Aimee with Michael Valeanu, • Greg Osby 4 with Simona Premazzi, Matt Brewer, Damion Reid Cash for new and used Adrien Moignard, Sam Anning, Rajiv Jayaweera; Kyle Poole and Friends Village Vanguard 8:30, 10:30 pm $25 Smalls 7:30, 10 pm 12 am $20 êRossano Sportiello Trio with Frank Tate, Dennis Mackrel êVoxify: Dominique Eade/Bruce Barth; Natalie Cressman And Secret Garden with Café Carlyle 8:45 pm $45-115 compact discs,vinyl Ivan Rosenberg, Samora Pinderhughes, Jonathan Stein, Jake Goldbas • Timo Vollbrecht Citigroup Center Plaza 12:30 pm Cornelia Street Café 8:30, 10 pm $10 • Ayako Shirasaki Bryant Park 12:30 pm • Nat Janoff Trio with Teymur Phell, Alvin Atkinson records, blu-rays and Bar Next Door 8:30, 10:30 pm $12 Friday, June 14 • Dmitri Slepovitch’s Litvakus Stephen Wise Free Synagogue 7:30 pm $15 • Carlos Cuevas solo Jazz at Kitano 8 pm êVision Festival - A French American Connection: VOCAL-EASE: Steve Dalachinsky/ dvds. • TC Jazz Collective: Gian Tornatore, Natalie Galey, Tim Basom, Christian Nourijanian, Didier Petit; Bern Nix Quartet with François Grillot, Matt Lavelle, Reggie Sylvester; Jeff Koch, Dustin Kaufman; Paolo Tomaselli East-West Collective: Didier Petit, Sylvain Kassap, Xu Fengxia, Larry Ochs, Somethin’ Jazz Club 7, 9 pm $10 Miya Masaoka; The French-American Peace Ensemble: François Tusques, • Yoo Sun Nam Quartet Tomi Jazz 8 pm Louis Sclavis, Kidd Jordan, William Parker, Hamid Drake • Eyal Vilner Quartet The Garage 6 pm Roulette 7 pm $30 • Ayako Shirasaki Bryant Park 12:30 pm êMcCoy Tyner and The Latin All-Stars with Gary Bartz, Conrad Herwig, , Gerald Cannon, Francisco Mela, Miguel Valdez We buy and sell all Wednesday, June 12 Blue Note 8, 10:30 pm $45 êMiles Davis Festival: Sonny Fortune Quintet with Kamau Adilifu, Michael Cochrane, êVision Festival: Celebrate Milford Graves - A Lifetime of Achievement: David Williams, Steve Johns Smoke 7, 9, 10:30 pm $35 genres of music. Afro/Cuban Roots: Milford Graves, David Virelles, Román Díaz, Dezron Douglas, êGary Peacock/Marilyn Crispell Rubin Museum 7 pm $20 Román Filiú; Milford Graves Transition TRIO with DD Jackson, Kidd Jordan; • and The Electric Band with Henry Johnson, Joshua Ramos, Milford Graves NY HeArt Ensemble with Charles Gayle, William Parker, Roswell Rudd, Charles Heath Aaron Davis Hall 7 pm $30-40 All sizes of collections Amiri Baraka Roulette 7 pm $30 • Blue Note Jazz Festival: Rebirth Brass Band • Swinging with the Big Bands: Michael Feinstein, Wynton Marsalis, BB King’s Blues Bar 7, 11:30 pm $30-50 welcome. Vince Giordano’s Nighthawks, Nellie McKay, Connie Evingson, Sachal Vasandani • Blue Note Jazz Festival: The Hot Sardines: Evan “Bibs” Palazzo, Miz Elizabeth, Allen Room 7 pm $55-65 “Fast Eddy” Francisco, Jason Prover, Nick Myers, Peter Anderson, Joe McDonough, • The Bridge Trio: Conun Pappas, Max Moran, Joe Dyson; Josh Holcomb, Evan “Sugar” Crane, Alex Raderman, Kevin McDonald, Bob Parins, Don Byron’s New Gospel Quintet with Carla Cook, Brad Jones, Jr., Pete Lanctot Lucille’s at BB King’s Blues Bar 7, 11:30 pm $30-50 Pheeroan akLaff 92YTribeca 8 pm $12 êRan Blake/Sara Serpa Duo Jazz at Kitano 8, 10 pm $25 êDavid Liebman’s Expansions with Bobby Avey, Matt Vaslishan, Tony Marino, Alex Ritz; • Andy Milne and DAPP Theory with Aaron Kruziki, John Moon, Chris Tordini, For large collections, Ryan Berg Smalls 9:30 pm 12 am $20 Kenny Grohowski The Jazz Gallery 9, 10:30 pm $20 êMiles Davis Festival: Michael Dease Quintet with Etienne Charles, Glenn Zaleski, • Ralph Lalama and Bop Juice with Mike Karn, Clifford Barbaro; Rob Scheps Core-tet Linda Oh, Colin Stranahan Smoke 7, 9, 10:30 pm with Jim O’Connor, Jamie Reynolds, Cameron Brown, Anthony Pinciotti please call to set up an • Shane Endsley Group with Matt Brewer, Ted Poor Smalls 7:30, 10:30 pm $20 SEEDS 8:30, 10 pm êElliott Sharp’s Terraplane BAMCafé 9 pm • Nathan Parker Smith Large Ensemble; JC Sandford Orchestra; êLittle Women: Travis Laplante, Darius Jones, Andrew Smiley, Jason Nazary appointment. Asuka Kakitani Jazz Orchestra ShapeShifter Lab 8 pm Ibeam Brooklyn 9 pm $10 • Mercedes Hall Quartet with Glafkos Kontemeniotis, Gaku Takanashi, Scott Neumann • Bhangra Brass Party: Frank London, Susan Sandler, Mark Hamilton, David Harris, Jazz at Kitano 8, 10 pm $10 Curtis Hasselbring, Merlin Sheperd, Matt Dariau, Mark Rubin, Aaron Alexander, • John Raymond Quartet with Shai Maestro, Joe Sanders, Austin Walker Matt Moran, Deep Singh, Sarah Gordon, Eleanor Reissa, Manu Narayan Cornelia Street Café 8:30 pm $10 The Stone 8, 10 pm $10 • Sweet Talk: Jake Henry, Dustin Carlson, Devin Drobka • Joel Forrester Trio Cleopatra’s Needle 8 pm Barbès 8 pm $10 • Roberto Gatto Trio with Jed Levy, Joseph Lepore Open 7 days a week 11-7 • Isaac Darche Metropolitan Room 11:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Bob Arthurs Quintet with Ted Brown, Steve LaMattina, Jon Easton, Joe Solomon; • Amanda Baisinger with Ben Monder, Pete Rende, Matt Brewer, Tommy Crane Maya Nova Group with Aya Sekine; Simona De Rosa Quartet Cornelia Street Café 9, 10:30 pm $15 Somethin’ Jazz Club 7, 9, 11 pm $10 • Project with Ole Mathisen, Brahim Fribgane, Ben Wittman, 12 W. 18th Street NY, NY 10011 • Shu Odamura; Kenichi Sonoda and Dixie Kings Damon Banks; Matthew Garrison Residency Tomi Jazz 9 pm $10 ShapeShifter Lab 8:15, 9:30 pm 212-242-3000

48 June 2013 | THE NEW YORK CITY JAZZ RECORD

Saturday, June 15 • Steve Gluzband Quartet; David Coss Quartet; Mauricio de Souza Trio with • Matthew Jodrell Dizzy’s Club 11 pm $10 Ben Winkelman, Joonsam Lee The Garage 11:30 am 6:30, 11 pm • Mark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore êVision Festival - Celebrate Our Future Artists: Visionary Youth Band; Village Vanguard 8:30, 10:30 pm $25 York College Creative Ensemble; Achievement First Middle School Band; Monday, June 17 • Stacey Kent Birdland 8:30, 11 pm $30-40 All schools directed by William Parker with guest Hamid Drake êRossano Sportiello Trio with Joel Forbes, Dennis Mackrel Roulette 2 pm $30 • Casey Berman Trio with Elliot Berman, Evan Hughes Blue Note 6:30 pm $35 Café Carlyle 8:45 pm $45-115 êVision Festival: Tomas Fujiwara & The Hook Up with Brian Settles, Jonathan Finlayson, • Steven Richman Harmonie Jazz Ensemble Mary Halvorson, Michael Formanek; Kris Davis, Eric Revis, Andrew Cyrille; • Gato Barbieri Blue Note 8, 10:30 pm $45 êBlue Note Jazz Festival: Hypnotic Brass Ensemble Saint Peter’s 1 pm $10 Sonny Simmons/Dave Burrell; Reggie Workman WORKz with Marilyn Crispell, • Luiz Simas Bryant Park 12:30 pm Odean Pope, Tapan Modak, Pheeroan akLaff Highline Ballroom 9 pm $20-25 Roulette 7:30 pm $30 • Moutin Reunion Quartet: François and Louis Moutin, , Jean-Michel Pilc Thursday, June 20 • Blue Note Jazz Festival: Dizzy’s Club 7:30, 9:30 pm $30 BB King’s Blues Bar 8 pm $45-50 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Freddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and êTrumpet Hazonos: Steven Bernstein, Frank London, Kenny Wollesen, Jamie Saft • deturtle: Myra Hinrichs, Carrie Frey, Helen Newby, Matt Gold, Matt Adomeit, guest Harry Allen Jazz Standard 7:30, 9:30 pm $25 The Stone 8, 10 pm $10 Nate Friedman; Harish Raghavan Group; Aaron Parks Quartet with Mike Moreno, • Eric Alexander/Harold Mabern Quintet • Wycliffe Gordon/Vincent Gardner Group with Ryan Keberle, Chris Pattishall, Matt Brewer, Tommy Crane ShapeShifter Lab 7, 8:15, 9:30 pm $8-15 Dizzy’s Club 7:30, 9:30 pm $30 Yasushi Nakamura, Alvin Atkinson, Jr. • Scot Albertson and Trio with Matt Baker, Sean Conly, David Silliman; • Matthew Jodrell Dizzy’s Club 11 pm $10 Ginny’s Supper Club 7:30, 10 pm Scot Albertson Trio with Matt Baker, David Silliman and guests Ron Jackson, êNed Rothenberg’s Ghost Stories with Min Xiao-Fen, Erik Friedlander, Satoshi Takeishi êMatana Roberts Quartet with Liberty Ellman, Kevin Tkacz, Ches Smith Mayu Saeki Symphony Space Leonard Nimoy Thalia 7:30 pm $23 The Stone 8, 10 pm $10 The Jazz Gallery 9, 10:30 pm $20 • Hans Glawischnig Trio with Samir Zarif, Colin Stranahan; Sam Yahel Trio; • Darcy James Argue’s Secret Society • Ryan Blotnick’s Saut-E Sarmad with Michael Blake, Eliot Cardinuax, Eivand Opsvik, Spencer Murphy Smalls 7:30, 9:30 pm 12:30 am $20 Le Poisson Rouge 8 pm $15 Randy Peterson Cornelia Street Café 9, 10:30 pm $15 • Sean Smith and the DC Connection with Paul Bollenback, Steve Williams êMusic and Architecture Series: Fay Victor, Sam Newsome, Aruán Ortiz, Andrew Cyrille • Dan Wilson Trio with Ben Wolfe, Jerome Jennings 55Bar 7 pm Drom 9:45 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Elizabeth Hunter; Dollshot: Rosalie Kaplan, Noah Kaplan, Wes Matthews, êHarris Eisenstadt September Trio with Angelica Sanchez, Ellery Eskelin • Franglais and the Robin Nolan Trio with Eve Seltzer, Justin Lees, Ben Wood, Giacomo Merega, Mike Pride Cornelia Street Café 8:30, 10 pm $10 Cornelia Street Café 8:30 pm $10 Piruz Partow; Shai Maestro with Jorge Roeder, Ziv Ravitz; • Big Eyed Rabbit: Ross Martin, Max Johnson, Jeff Davis; Thomas Heberer’s Garden • Thiefs: Guillermo E. Brown, Christophe Panzani, Keith Witty Ethan Iverson/Sam Newsome ShapeShifter Lab 7, 8:15, 9:30 pm $15-20 with Max Johnson, Lou Grassi Muchmore’s 8:30, 10 pm $10 The Jazz Gallery 9, 10:30 pm $15 • Battle Trance: Travis Laplante, Matthew Nelson, Patrick Breiner, Jeremy Viner; • The Vienna Suite: Nicolas Letman-Burtinovic, Eric Trudel, Kris Davis, Max Goldman; êLage Lund Trio with Orlando Le Fleming, Johnathan Blake Seaven Teares: Charlie Looker, Amirtha Kidambi, Robbie Lee, Russell Greenberg Nico Dann’s Rhododendron with Matt Plummer, Nathaniel Morgan, Sebastien Ammann, Bar Next Door 8:30, 10:30 pm $12 Ibeam Brooklyn 8:30, 10 pm $10 Owen Stewart-Robertson, Lauren Falls • Angelo Di Loreto Trio with Joe Sanders, Jason Burger • The Kandinsky Effect: Warren Walker, Gaël Petrina, Caleb Dolister Sycamore 8:30, 9:30 pm $10 Jazz at Kitano 8, 10 pm $10 Drom 9 pm $15 • Marianne Solivan Trio with Ron Affif, Matthew Parish êShayna Dulberger Quartet with Yoni Kretzmer, Chris Welcome, Carlo Costa • Daniel Ponce Memorial Concert Saint Peter’s 7 pm Bar Next Door 8:30, 10:30 pm $12 The Backroom 9 pm • Erika Dagnino and The Red Microphone with John Pietaro, Ras Moshe, • Vicki Burns Zinc Bar 7 pm $8 • Morrie Louden Group with Andrew Gould, Eitan Kenner, Brad Koegel; Rocco John Iacovone, Nicolas Letman-Burtinovic • Kay Matsukawa Metropolitan Room 9:30 pm $20 Daniel Rotem Group with Tamir Shmerling, Dor Herskovits Silvana Club 9 pm • deturtle: Myra Hinrichs, Carrie Frey, Helen Newby, Matt Gold, Matt Adomeit, Somethin’ Jazz Club 7, 9 pm $10 • Swingadelic Swing 46 8:30 pm Nate Friedman Spectrum 10 pm • Scot Albertson Trio with Ron Jackson, Tommy Morimoto • Alex DeZenzo Trio with Stephen Harms, David Cornejo • Carol Sudhalter Quartet with Doug Richardson Tomi Jazz 9 pm $10 Metropolitan Room 11:30 pm $20 Somethin’ Jazz Club 9 pm $12 • Marco Di Gennaro Trio Cleopatra’s Needle 7 pm • Joshua Davis Love Salad with Thana Alexa, Tammy Scheffer, Nicole Zuraitis, • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Dylan Meek Trio; Ryan Meagher Trio Joshua Davis, Ronen Itzik; Leland Baker Quartet with Jack Giannini, Dylan LaGamma, The Garage 7, 10:30 pm The Garage 6, 10:30 pm Michael Dick; Doug White Quintet with Pat Casey, Chris Casey, Steve Porter, • Steve Tarshis Trio Shrine 6 pm êDavid Murray Infinity Quartet with Marc Cary, Jaribu Shahid, Nasheet Waits Tido Holtkamp Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Luiz Simas Bryant Park 12:30 pm and guest Macy Gray SubCulture 7:30 pm $35 • Hiroko Kanna; Gene Ess Trio Tomi Jazz 8, 11 pm $10 êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, • Champian Fulton Quartet Cleopatra’s Needle 8 pm Tuesday, June 18 Sean Rickman ShapeShifter Lab 8:15, 9:30 pm êMcCoy Tyner and The Latin All-Stars with Gary Bartz, Conrad Herwig, Brian Lynch, • John McLaughlin and the 4th Dimension with Gary Husband, Étienne Mbappé, • Nir Felder Quartet with Aaron Parks, Matt Penman, Nate Smith; Carlos Abadie Quintet Gerald Cannon, Francisco Mela, Miguel Valdez Ranjit Barot Blue Note 8, 10:30 pm $55 Smalls 9:30 pm 12 am $20 Blue Note 8, 10:30 pm $45 • Paquito D’Rivera and The Classics 54 Below 7, 9 pm $25-35 • Sharón Clark with Chris Grasso Trio; Audrey Silver êMiles Davis Festival: Sonny Fortune Quintet with Kamau Adilifu, Michael Cochrane, êNed Rothenberg, Ikue Mori, Zeena Parkins; Ned Rothenberg/Marc Ribot Metropolitan Room 7, 9:30 pm $20 David Williams, Steve Johns Smoke 7, 9, 10:30 pm $35 The Stone 8, 10 pm $10 • John McLaughlin and the 4th Dimension with Gary Husband, Étienne Mbappé, êRan Blake/Sara Serpa Duo Jazz at Kitano 8, 10 pm $25 êPapo Vazquez Mighty Pirates Troubadours with Willie Williams, Rick Germanson, Ranjit Barot Blue Note 8, 10:30 pm $55 • Quartet with Tardo Hammer, Paul Sikivie, Phil Stewart; Dezron Douglas, Alvester Garnett, Anthony Carrillo, Carlitos Maldonado • Mark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, Dizzy’s Club 7:30, 9:30 pm $30 Village Vanguard 8:30, 10:30 pm $25 Anthony Pinciotti Smalls 7:30, 10:30 pm $20 • Matthew Jodrell Dizzy’s Club 11 pm $10 • Molly Ryan with Dan Levinson, Randy Reinhart, Mark Shane, Kevin Dorn êAzar Lawrence Quintet with Freddie Hendrix, Benito Gonzalez, Essiet Essiet, Billy Hart • Mark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore Birdland 6 pm $20 Jazz Standard 7:30, 9:30, 11:30 pm $30 Village Vanguard 8:30, 10:30 pm $25 • Stacey Kent Birdland 8:30, 11 pm $30-40 êWillie Jones III Septet with Jeremy Pelt, Stacy Dillard, Warren Wolf, Eric Reed, • Stacey Kent Birdland 8:30, 11 pm $30-40 êRossano Sportiello Trio with Joel Forbes, Dennis Mackrel Dezron Douglas Dizzy’s Club 7:30, 9:30 pm $35 • Harold Lopez-Nussa/Ruy Adrian Lopez-Nussa Café Carlyle 8:45 pm $45-115 • George Delancy Dizzy’s Club 11 pm $20 Jazz Standard 7:30, 9:30 pm $20 • Harlem Speaks: Jerry Dodgion Jazz Museum in Harlem 6:30 pm • Shane Endsley Group with Matt Brewer, Ted Poor • Sammy Cahn Centennial Birthday Tribute • Dave Stryker Blue to the Bone Band SEEDS 8:30, 10 pm Iridium 8, 10 pm $25 Citigroup Center Plaza 12:30 pm • Ravi Coltrane Quartet with Adam Rogers, Dezron Douglas, Johnathan Blake êRossano Sportiello Trio with Joel Forbes, Dennis Mackrel • Luiz Simas Bryant Park 12:30 pm Birdland 8:30, 11 pm $30-40 Café Carlyle 8:45 pm $45-115 • Greg Osby 4 with Simona Premazzi, Matt Brewer, Damion Reid • Ingrid Laubrock’s Sleepthief with Liam Noble, Tom Rainey; Friday, June 21 Village Vanguard 8:30, 10:30 pm $25 Stephanie Richards, Cathlene Pineda, Sam Minaie, Andrew Munsey êBlue Note Jazz Festival: Chucho Valdés Quintet êRossano Sportiello Trio with Frank Tate, Dennis Mackrel Korzo 9, 10:30 pm Town Hall 8 pm $52-72 Café Carlyle 8:45 pm $50-125 • Jean-Paul Bourelly/Adam Rudolph; Gene Lake êSadao Watanabe with Lawrence Fields, Yasushi Nakamura, Greg Hutchinson • Alex Layne Trio; Mark Marino Trio; Akiko Tsuruga Trio ShapeShifter Lab 8:15, 9:30 pm $10 Blue Note 8, 10:30 pm $35 The Garage 12, 6:15, 10:45 pm êVoice Box: Fay Victor/Anders Nilsson Exposed Duo; Camila Meza 4tet with êNed Rothenberg/; Ned Rothenberg Quartet with Ray Anderson, Aaron Goldberg, Aidan Carroll, Otis Brown Lindsey Horner, Reggie Nicholson The Stone 8, 10 pm $10-20 Sunday, June 16 Cornelia Street Café 8:30, 10 pm $10 • Christian Wallumrød Ensemble with Eivind Lønning, Gjermund Larsen, êVision Festival: Inner City-Migration: Miriam Parker, Hamid Drake, Jo Wood Brown and • Surface To Air: Jonti Siman, Rohin Khemani, Jonathan Goldberger Esper Reinertsen, Tove Törngren, Ped Oddvar Johansen guest Robert Janz; Oluyemi Thomas Group with Ijeoma Thomas, Henry Grimes, Barbès 7 pm $10 Rubin Museum 7 pm $20 Michael Wimberly; Hamiet Bluiett; Mario Pavone ARC Trio with Craig Taborn, • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Stacy Dillard, • Blue Note Jazz Festival: Alicia Hall Moran and The Motown Project with Steven Herring, Gerald Cleaver; Marshall Allen/Christian McBride’s BASS ROOTS with Lee Smith, Josh Evans, Frank Lacy, Theo Hill, Rashaan Carter, Kush Abadey; Thomas Flippin, Jason Moran, Tarus Mateen, Kaoru Watanabe Howard Cooper Roulette 7 pm $30 Kyle Poole and Friends Smalls 7:30, 10 pm 12 am $20 Highline Ballroom 8 pm $25-30 • Keystone Korner Presents: Jean and Doug Carn Sextet with Stacy Dillard • Perry Smith Trio with Sam Minaie, Colin Stranahan êAhmed Abdullah Jazz 966 8:15, 10:15 pm Iridium 8, 10 pm $30 Bar Next Door 8:30, 10:30 pm $12 • Rudder: Henry Hey, Keith Carlock, Tim LeFebvre, • Blue Note Jazz Festival: Revive Big Band • Aaron Alexander and The Klez Messengers Rockwood Music Hall 11 pm Highline Ballroom 8 pm $20-25 Stephen Wise Free Synagogue 7:30 pm $15 • Tardo Hammer Trio with Earl Sauls, Jimmy Wormworth; Mike DiRubbo Quintet with • Miles Davis Festival: Joshua Bruneau Sextet with Ken Fowser, Steve Davis, • Carlos Cuevas solo Jazz at Kitano 8 pm Mike Rodriguez , Brian Charette, Dwayne Burno, Rudy Royston David Hazeltine, , Joe Farnsworth • Greg Diamond Somethin’ Jazz Club 9 pm $10 Smalls 7:30, 10:30 pm $20 Smoke 7, 9, 10:30 pm • Akemi Yamada Duo Tomi Jazz 8 pm êMichaël Attias/Sean Conly Greenwich House Music School 7:30 pm $15 • Pascal’s Triangle: Pascal Le Boeuf, Linda Oh, Justin Brown and guest Dayna Stephens • Caleb Curtis Trio The Garage 6 pm • Alexis Cuadrado’s A Lorca Soundscape with Claudia Acuña, Yosvany Terry, Dan Tepfer 55Bar 7 pm • Luiz Simas Bryant Park 12:30 pm 92YTribeca 8 pm $15 • Billy Newman Sextet with Kirk Knuffke, Michael Attias, Eric Schugren, Leco Reis, • ShapeShifter Lab 8:15, 9:30 Vanderlei Pereira; Trio Jota Sete: Jason Ennis, Michael O’Brien, Conor Meehan Wednesday, June 19 êMiles Davis Festival: Freddie Hendrix Quintet with Abraham Burton, Orrin Evans, Cornelia Street Café 8:30, 10 pm $10 êDavid Murray Infinity Quartet with Marc Cary, Jaribu Shahid, Nasheet Waits Corcoran Holt, Eric McPherson Smoke 7, 9, 10:30 pm $35 • Ehud Asherie Duo; Spike Wilner Birthday Celebration and guest Macy Gray SubCulture 7:30 pm $35 êBrian Carpenter’s Ghost Train Orchestra with Mazz Swift, Andy Laster, Smalls 7:30, 11:30 pm $20 êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, Dennis Lichtman, Matt Bauder, Curtis Hasselbring, Ron Caswell, Cynthia Sayer, • Nicky Schrire Quartet with Glenn Zaleski, Matt Aronoff, Jake Goldbas; Sean Rickman ShapeShifter Lab 8:15, 9:30 pm Rob Garcia Barbès 10 pm $10 Natalie Cressman and Secret Garden with Ivan Rosenberg, Samora Pinderhughes, • Ben Wolfe Quartet with Stacy Dillard, Orrin Evans, Donald Edwards • Philip Dizack The Jazz Gallery 9, 10:30 pm $20 Martin Nevin, Jake Goldbas ShapeShifter Lab 8:15, 9:30 pm $15 Jazz Standard 7:30, 9:30 pm $20 • Ben Waltzer Cornelia Street Café 9, 10:30 pm $15 • Davy Mooney Trio with Matt Clohesy, Mark Ferber êMiles Davis Festival: Duane Eubanks Quintet with Abraham Burton, Mulgrew Miller, • Paul Bollenback Trio with Joseph Lepore, Roberto Gatto Bar Next Door 8, 10 pm $12 Ameen Saleem, Eric McPherson Smoke 7, 9, 10:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Evan Gallagher’s Really Big Ensemble; Anders Nilsson, François Grillot, Jay Rosen êNed Rothenberg’s Sync with Jerome Harris, Samir Chatterjee • Jeff Walton Quartet with Sebastien Ammann, Danny Weller, Ian Chang ABC No-Rio 7 pm $5 The Stone 8, 10 pm $10 Ibeam Brooklyn 8:30 pm $10 • David Bertrand Quartet with Rafal Sarnecki, Seth Myers, Carter Bales; Lana Sokolov êCurtis Hasselbring’s Decoupage with Mary Halvorson, Matt Moran, Satoshi Takeishi • Sacha Boutros Quartet with John di Martino, David Wong, with Sagit Zilberman, Kyoko Oyobe, Ray Parker Barbès 8 pm $10 Jazz at Kitano 8, 10 pm $25 Somethin’ Jazz Club 7, 9 pm $10-12 • Peter Beets/Joe Cohn Quartet with Joe Cohn, John Webber, Lawrence Leathers • Matthew Silberman Press Play with Sam Harris, Ryan Ferreira, Simon Jermyn, • George Dulin Trio Tagine 8 pm Jazz at Kitano 8, 10 pm $10 Nate Wood; Underground Horns Nublu 9, 11:45 pm êMcCoy Tyner and The Latin All-Stars with Gary Bartz, Conrad Herwig, Brian Lynch, • Terrence McManus solo; Catherine Sikora, Nick Didkovski, Jessica Lurie, • Douglas Bradford’s The Longest Day of the Year; Josh Henderson; Gerald Cannon, Francisco Mela, Miguel Valdez Lucien Menegon; Dustin Carlson Quartet with Jake Henry, Josh Sinton, Kate Pittman Aryeh Kobrinsky Group Douglass Street Music Collective 8 pm $10 Blue Note 8, 10:30 pm $45 Spectrum 8 pm • Alexis Parsons/Mark Soskin; Water Esc: Ehud Ettun, Tal Gur, Haruka Yabuno, êAzar Lawrence Quintet with Freddie Hendrix, Benito Gonzalez, Essiet Essiet, Billy Hart • Nir Felder Quartet with Aaron Parks, Matt Penman, Nate Smith; Aidan Carroll Quartet Natti Blankett Somethin’ Jazz Club 7, 11 pm $12 Jazz Standard 7:30, 9:30 pm $25 with John Ellis, Sullivan Fortner, Darrell Green • Tomoyasu Ikuta Tomi Jazz 9 pm $10 êWillie Jones III Septet with Jeremy Pelt, Stacy Dillard, Warren Wolf, Eric Reed, Smalls 9:30 pm 12 am $20 • Joonsam Lee Trio Cleopatra’s Needle 8 pm Dezron Douglas Dizzy’s Club 7:30, 9:30 pm $30 • Paul Abler/Tomoko Ohno Zinc Bar 7 pm • Joel Perry Trio; Kevin Dorn and the Big 72 • Shane Endsley Group with Matt Brewer, Ted Poor • Arthur Hnatek Nonet; J Lew Treboo 4tet with Ohad Talmor The Garage 6:15, 10:45 pm SEEDS 8:30, 10 pm SEEDS 8:30, 10 pm • Sari Kessler Trio Tagine 8 pm • Greg Osby 4 with Simona Premazzi, Matt Brewer, Damion Reid • John Amira Afro Cuban Bata Drum Ensemble with Harris Eisenstadt, Lorne Watson; • Freddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and Village Vanguard 8:30, 10:30 pm $25 Sing Sing Rhythms: Cheikh Tairou Mbaye, Abdou Mbaye, Babacar Mbaye guest Harry Allen Jazz Standard 7:30, 9:30 pm $30 êManhattan Noir - A Tribute to Singers and George Russell: Ran Blake solo Cornelia Street Café 8:30, 10 pm $10 • Eric Alexander/Harold Mabern Quintet Zeb’s 6 pm $20 • Sharón Clark with Chris Grasso Trio; Deanna Kirk Dizzy’s Club 7:30, 9:30 pm $35 • Melissa Stylianou Band Saint Peter’s 5 pm Metropolitan Room 7, 9:30 pm $20 • Matthew Jodrell Dizzy’s Club 11 pm $20 • Ben Monder solo Barbès 5 pm $10 • Natalia Bernal and La Voz de Tres Terraza 7 9:30 pm • Sharón Clark with Chris Grasso Trio; Susan Tobocman and Cliff Monear Trio with • Brandee Younger Perez Jazz 3 pm $20 • Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor; Jeff Pedraz, Ari Hoenig Metropolitan Room 7, 9:30 pm $20 • Giulia Valle Quintet with Ben Monder Hyuna Park Quintet with Leonor Falcon, David Bertrand, Amadis Dunkel, Joseph Han, • Mark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore Blue Note 12:30, 2:30 pm $29.50 Russell Carter Jr. Somethin’ Jazz Club 7, 9 pm $10 Village Vanguard 8:30, 10:30 pm $25 êRed Hook Jazz Festival: Mike Pride’s From Bacteria to Boys with • Hajime Yoshida Tomi Jazz 8 pm • Stacey Kent Birdland 8:30, 11 pm $30-40 Jon Irabagon, Jonathan Moritz, Alexis Marcelo, Peter Bitenc; • Nick Moran Trio; Cecilia Coleman Quartet êRossano Sportiello Trio with Joel Forbes, Dennis Mackrel Allison Miller’s Big Molasses with Brandon Seabrook, Hagar Benari; The Garage 6, 10:30 pm Café Carlyle 8:45 pm 50-125 Electric LARK: Kris Davis, Ralph Alessi, Ingrid Laubrock, Tom Rainey; • John McLaughlin and the 4th Dimension with Gary Husband, Étienne Mbappé, êReut Regev R*time Trio with Mark Peterson, Igal Foni Bad Touch: Loren Stillman, Nate Radley, Gary Versace, Ted Poor; Paul Kogut Trio with Ranjit Barot Blue Note 8, 10:30 pm $55 Bryant Park 12:30 pm Drew Gress, Vinnie Sperrazza Cabrini Green Urban Meadow 1 pm êPapo Vazquez Mighty Pirates Troubadours with Willie Williams, Rick Germanson, • Luiz Simas Bryant Park 12:30 pm • Laura Brunner Trio with Paul Odeh, Kevin Hailey Dezron Douglas, Alvester Garnett, Anthony Carrillo, Carlitos Maldonado North Square Lounge 12:30, 2 pm Dizzy’s Club 7:30, 9:30 pm $30

50 June 2013 | THE NEW YORK CITY JAZZ RECORD Saturday, June 22 • New York Electronic Art Festival: Pauline Oliveros; Electric Kulintang: Susie Ibarra/ • Magos Hererra Trio with Mike Moreno, Hans Glawischnig Roberto Rodriguez; JG Thirlwell Schimmel Center for the Arts 7:30 pm Bar Next Door 8:30, 10:30 pm $12 êBlue Note Jazz Festival - Jazz Piano Summit: Cedar Walton and Barry Harris with • Peter Mazza/Jacam Manricks Duo Bar Next Door 8, 10 pm $12 • Milton Suggs; Jonathan Gee Trio with Larry Bartley, Ernesto Simpson Buster Williams, Willie Jones III Allen Room 7:30, 9:30 pm 55-65 • Al Gallorado 100th Birthday Concert with Chad Smith Zinc Bar 7, 9 pm $8 êNed Rothenberg, Sylvie Courvoisier, Mark Feldman; Ned Rothenberg/Adam Matta Christ and St. Stephen’s Church 7 pm $25 • Masako Fujimoto Quartet Tomi Jazz 8 pm The Stone 8, 10 pm $10 • Dee Lucas’ Rebirth of the Smooth; La Tanya Hall • Eyal Vilner Big Band; Mayu Saeki Trio • John Hébert Trio with Bennie Wallace, Billy Drummond Metropolitan Room 7, 9:30 pm $20 The Garage 7, 10:30 pm Cornelia Street Café 9, 10:30 pm $15 • Yorgis Goiricelaya Drom 5:30, 8 pm $69 • Joel Forrester Bryant Park 12:30 pm • Russell Kirk and The Path with Kevin Clark, Ed Howard, Clarence Penn; • Swingadelic Swing 46 8:30 pm Greg Osby 4 with Simona Premazzi, Pablo Menares, Damion Reid • Carlo Costa Quartet with Jonathan Moritz, Steve Swell, Sean Ali; Michael Kwong, ShapeShifter Lab 8:15, 9:30 pm Tuesday, June 25 Constance Cooper, Anthony Cerretani êDavid Torn ShapeShifter Lab 8:15, 9:30 pm • Blue Note Jazz Festival: Nina Simone Tribute with Magic Man Sam Waymon ABC No-Rio 7 pm $5 Lucille’s at BB King’s Blues Bar 8 pm • Midsummer Night Swing: Jazz at Orchestra • MUSOH: Yutaka Uchida, Jostein Gulbrandsen, George Dulin, Trifon Dimitrov Damrosch Park 7:30 pm $17 êMiles Davis Festival: Freddie Hendrix Quintet with Abraham Burton, Orrin Evans, Somethin’ Jazz Club 7 pm $12 Corcoran Holt, Eric McPherson Smoke 7, 9, 10:30 pm $35 êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, êSadao Watanabe with Lawrence Fields, Yasushi Nakamura, Greg Hutchinson Quincy Phillips Village Vanguard 8:30, 10:30 pm $25 êYoni Kretzmer 4 with Eric Placks, Joe Fonda, Ehran Elisha; Chris Welcome Group Blue Note 8, 10:30 pm $35 Ibeam Brooklyn 8:30, 10 pm $10 êCécile McLorin Salvant and Aaron Diehl Trio • Freddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and 54 Below 7, 9:30 pm $25-35 • Ed Cherry Trio with Pat Bianchi, Chris Beck guest Harry Allen Jazz Standard 7:30, 9:30 pm $25 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Made in the UK: Soweto Kinch Trio with Nick Jurd, Shaney Forbes • Eric Alexander/Harold Mabern Quintet Dizzy’s Club 7:30, 9:30 pm $30 • Tim Green 5tet with Romain Collin, Gilad Hekselman, Linda Oh, Kush Abadey Dizzy’s Club 7:30, 9:30 pm $30 The Jazz Gallery 9, 10:30 pm $20 • Kyle Poole Dizzy’s Club 11 pm $10 • Mark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Dorado Schmitt, • Changwon Lee Quartet with Sunseek Jun, Tina Lama, Luiz Ebert; The Grautet: Village Vanguard 8:30, 10:30 pm $25 Andrew Grau, Austin Day, Alessandro Fadini, Luke Markham Samson Schmitt, Ludovic Beier, Pierre Blanchard, Amati Schmitt, Bronson Schmitt, • Kirk Knuffke, Christof Knoche, Sean Ali DouDou Cuillerier, Xavier Nikq, Francko Merhrstein and guest Peter Beets Somethin’ Jazz Club 5, 7 pm $10-12 Downtown Music Gallery 6 pm • Allegra Levy; Arthur Sadowski Tomi Jazz 8, 11 pm $10 Birdland 8:30, 11 pm $30-40 • Angelo Di Loreto Trio Saint Peter’s 5 pm • Carol Fredette with Carlton Holmes, Dean Johnson, Ron Vincent • Satachamo Mannan Quartet Cleopatra’s Needle 8 pm • Ras Moshe Outsight with Chris Forbes, Dave Miller, James Keepnews; êSadao Watanabe with Lawrence Fields, Yasushi Nakamura, Greg Hutchinson Iridium 8, 10 pm $25 Harmonic Monk: Matt Lavelle/John Pietaro; Music Now: Ras Moshe, Joel Freedman, Chris Bergson Band with Craig Dreyer, Matt Clohesy, Tony Leone, Freddie Hendrix, Blue Note 8, 10:30 pm $35 John Pietaro, Kevin Ray, Nicolas Letman-Burtinovic, Tom Zlabinger • êDavid Schnitter Quartet with Spike Wilner, Ugonna Okegwo, Anthony Pinciotti; David Luther, Ian Hendrickson–Smith and guest Ellis Hooks Brecht Forum 4 pm $10 Jazz Standard 7:30, 9:30 pm $20 Mike DiRubbo Quintet with Mike Rodriguez, Brian Charette, Dwayne Burno, • Joe Alterman Trio with guest Houston Person Rudy Royston Smalls 7:30, 10:30 pm $20 • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 Blue Note 12:30, 2:30 pm $29.50 êIngrid Laubrock’s Sleepthief with Liam Noble, Tom Rainey • Sacha Boutros Quartet with John di Martino, David Wong, Lewis Nash • Roz Corral/Eddie Monteiro Duo North Square Lounge 12:30, 2 pm Jazz at Kitano 8, 10 pm $25 Spectrum 8, 9:30 pm • Iris Ornig Quartet; David Coss Quartet; Afro Mantra êZeena Parkins/Mick Barr Duo; Zeena Parkins/Nate Wooley Duo • Freddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd and The Garage 11:30 am 6:30, 11 pm guest Harry Allen Jazz Standard 7:30, 9:30 pm $30 The Stone 8, 10 pm $10 • Eric Alexander/Harold Mabern Quintet • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Lucas Pino No Net Nonet with Dizzy’s Club 7:30, 9:30 pm $35 Monday, June 24 Matthew Jodrell, Alex LoRe, Andrew Gutauskas, Rafal Sarnecki, Glenn Zaleski, • Matthew Jodrell Dizzy’s Club 11 pm $20 • The Greyboy Allstars with guest Houston Person Desmond White, Camila Meza, Colin Stranahan; Kyle Poole and Friends • Sharón Clark with Chris Grasso Trio Blue Note 8, 10:30 pm $35 Smalls 7:30, 10 pm 12 am $20 Metropolitan Room 7 pm $20 • Spiritrio: Dmitri Kolesnik, Brandon Lewis, Anthony Wonsey • Sheryl Bailey 3 with Ron Oswanski, Ian Froman • Mark Turner Quartet with Avishai Cohen, Joe Martin, Marcus Gilmore Dizzy’s Club 7:30, 9:30 pm $30 55Bar 7 pm Village Vanguard 8:30, 10:30 pm $25 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Superette: Jonathan Goldberger, Curtis Hasselbring, Chris Lightcap, Dan Rieser; • Stacey Kent Birdland 8:30, 11 pm $30-40 • Bloodlines: Kaoru Watanabe, Marika Hughes, Sara Schoenbeck; Ted Poor Korzo 9, 10:30 pm êRossano Sportiello Trio with Joel Forbes, Dennis Mackrel Kaoru Watanabe Ensemble with Sumie Kaneko, Barbara Merjan • Jacam Manricks Trio with Gianluca Rienzi, Ross Pederson Café Carlyle 8:45 pm $50-125 ShapeShifter Lab 8:15, 9:30 pm $12 Bar Next Door 8:30, 10:30 pm $12 • Marsha Heydt Quartet; Champian Fulton Quartet êPeter Bernstein solo; Ari Hoenig Group with Tivon Pennicott, Jean-Michel Pilc, • On The Way Out: The Curators: James Ilgenfritz, Mikko Innanen, Joe Hertenstein; The Garage 12, 6:15 pm Sam Minaie; Spencer Murphy Smalls 7:30, 9:30 pm 12:30 am $20 Andrew Barker Trio with Will Holhouser, Tim Dahl • One for the Dark: Pascal Niggenkemper, Dan Peck, Jeff Snyder; The Backroom 8:30, 10 pm $10 Sunday, June 23 Federico Ughi Quartet with Kirk Knuffke, David Schnug, Jeff Snyder • Gonzalo Bergara Quartet Joe’s Pub 7:30 pm $15 Muchmore’s 8:30, 10 pm $10 • Carlos Cuevas solo Jazz at Kitano 8 pm • Keystone Korner Presents: Tommy Smith and The Scottish National Jazz Orchestra • Tone Collector: Eivind Opsvik, Tony Malaby, Jeff Davis; • Jordan Young and Friends; Lines Of Progression: Loren Stillman, Jesper Lovdal, Iridium 8, 10 pm $30 Glue Gun Optimism: Ed Rosenberg, Brian Drye, Justin Carroll, Simon Jermyn, Soren Moller, Greg Ritchie Somethin’ Jazz Club 7, 9 pm $10-12 êLeon Redbone/Vince Giordano Abrons Arts Center 8 pm $45 Alex Wyatt Sycamore 8:30, 9:30 pm $10 • Yasuno Katsuki Quartet Tomi Jazz 8 pm êNed Rothenberg with Mivos String Quartet: Olivia de Prato, Joshua Modney, • Frank Carlberg’s Monk Dreams, Hallucinations and Nightmares with John Carlson, • New Tricks; Tsutomu Naki Trio The Garage 6, 10:30 pm Victor Lowrie, Mariel Roberts The Stone 8, 10 pm $10 Gary Wang, Ben Holmes, Albert Leusink, Kenny Pexton, Max Siegal, Jason Yeager, • The Greyboy Allstars with guest James Carter • Miles Davis Festival: Allan Harris Smoke 7, 9, 10:30 pm Christine Correa, John O’Gallagher, Jeremy Udden, Brian Landrus Blue Note 8, 10:30 pm $35 • Joe Cohn/Peter Beets Trio; Bruce Harris Quintet with Andy Farber, Jeb Patton, Tea Lounge 9, 10:30 pm • Dak Square Shrine 6 pm David Wong, Peter Van Nostrand Smalls 7:30, 11:30 pm $20 • Joel Forrester Bryant Park 12:30 pm Cobi Narita Presents at Zeb’s EVERY FRIDAY - 6:30 to 9:30 PM OPEN MIC/JAM SESSION Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists, Poets - hosted by Frank Owens, one of the most gifted pianists you will ever hear! Our Open Mic is one of the best of the Open Mics happening in New York & elsewhere, with the incomparable Frank Owens playing for you. An unmatchable moment in your life! As a participant, or as an audience member, you will always have an amazing time, one you will never forget! Don’t miss! Admission: $10.

SUNDAY, JUNE 16 - 6 PM RAN BLAKE SOLO PIANO “Manhattan Noir: a Tribute to Singers and George Russell” I. Dedication to Singers: Billie Holiday, Stevie Wonder, Chris Connor, Abbey Lincoln, Michael Jackson, , Joao Gilberto, Jeanne Lee, Ray Charles and Mahalia Jackson II. Dedication to George Russell - includes works by George Russell, Richard Rodgers, Vernon Duke and Jimmie Davis & Charles Mitchell. Admission: $20; $15 Students, Seniors, Members. SUNDAY, JUNE 30 - 6 PM ARLEE LEONARD “It’s All About Love!” Arlee Leonard, vocals; Art Hirahara, piano; Elias Bailey, bass; Dwayne “Cook” Broadnax, drums Admission: $20. ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd flOOR walk-up cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010

THE NEW YORK CITY JAZZ RECORD | June 2013 51 Wednesday, June 26 • NY Theremin Society: Thorwald Jorgensen, Llamano, Anthony Ptak, Rob Schwimmer; REGULAR ENGAGEMENTS No BS! Brass Band Joe’s Pub 7, 11:30 pm $14-15 êAnat Cohen Quartet with Jason Lindner, Joe Martin, Ulysses Owens MONDAYS • Ben Monder with Bill McHenry, Chris Lightcap, Ted Poor • Tom Abbott Big Bang Big Band Swing 46 8:30 pm Madison Square Park 7 pm Cornelia Street Café 9, 10:30 pm $15 • Keystone Korner Presents: Akiko Tsuruga Quartet • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Ben Holmes, Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza and guest Chris Speed • /Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 Iridium 8, 10 pm $30 Barbès 8 pm $10 • Miles Davis Festival: Josh Evans Sextet with Vincent Herring, Abraham Burton, • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm • Makaya McCraven Trio with Guests • Tribute with Dan Barman The Counting Room 8 pm Orrin Evans, Dezron Douglas, Chris Beck Drom 7:15 pm $15 Smoke 7, 9, 10:30 pm • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm • Johnny Be Good, Mikko Innanen, Josh Sinton • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm êZeena Parkins/Weasel Walter Duo; Zeena Parkins/Deep Singh Duo Douglass Street Music Collective 8 pm $10 The Stone 8, 10 pm $10 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) • Gene Ess and Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland, • Joel Forrester solo Brandy Library 8 pm • Ohad Talmor Trio with Miles Okazaki, Dan Weiss Gene Jackson; Fiberglass Jungle: Anders Nilsson, Timucin Sahin, Jochem van Dijk SEEDS 8:30 pm • George Gee Swing Orchestra Gospel Uptown 8 pm Ibeam Brooklyn 8:30, 9:30 pm $10 • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) • Bizingas: Brian Drye, Ches Smith, Jonathan Goldberger, Kirk Knuffke • Keisha St. Joan with Bertha Hope, Jazzberry Jam Barbès 8 pm $10 • Grove Street Stompers Arthur’s Tavern 7 pm Jazz 966 8:15, 10:15 pm • JFA Jazz Jam Local 802 7 pm • Made in the UK: Cleveland Watkiss Quartet with Jonathan Gee, Larry Bartley, • Stefania Carati Quartet with Antonello Parisi, Tina Lama; Hye-Jeung; Yui Tsuchida, Ernesto Simpson Dizzy’s Club 7:30, 9:30 pm $30 • Jam Session with Jim Pryor Cleopatra’s Needle 8 pm Erisa Ogawa, Tomoya Ogawa, Edgar Gomez, Ekah Kim • Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm • Kyle Poole Dizzy’s Club 11 pm $10 Somethin’ Jazz Club 7, 9, 11 pm $10 • Tony Middleton Quartet with Jesse Elder, James Cammack, Darrell Green • Stan Rubin All-Stars Charley O’s 8:30 pm • Takeshi Asai 2 Tomi Jazz 9 pm $10 • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 Jazz at Kitano 8, 10 pm $10 • Darrell Smith Trio Cleopatra’s Needle 8 pm • Simona Premazzi Quartet with Melissa Aldana, Ameen Saleem, Jochen Rueckert; • Diego Voglino Jam Session The Village Lantern 9:30 pm • Michika Fukumori Trio; Jason Prover and the Sneak Thievery Orchestra • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Jared Gold Trio with Dave Stryker, Chris Beck The Garage 6:15, 10:45 pm Smalls 9:30 pm 12 am $20 TUESDAYS êRoy Haynes Blue Note 8, 10:30 pm $35 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • Hans Tammen’s Zavodniks! with Dafna Naphtali, Ursel Schlicht, Shoko Nagai, êHugh Masekela/Larry Willis Jazz Standard 7:30, 9:30, 11:30 pm $35 Briggan Krauss, Josh Sinton ShapeShifter Lab 9:30 pm $10 • Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI) êHenry Threadgill The Jazz Gallery 9, 10:30 pm $25 • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Jacob Teichroew’s The Music Of Tableaux with Syberen Van Munster, Jarrett Cherner, êMiles Davis Festival: Lenny White Quintet with Tom Guarna, Theo Bell, Victor Bailey Petros Klampanis, Ronen Itzik; Walking Distance: Caleb Curtis, Kenny Pexton, • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) Smoke 7, 9, 10:30 pm $35 • George Gee Swing Orchestra Swing 46 8:30 pm $12 Adam Coté, Shawn Baltazor Cornelia Street Café 8:30, 10 pm $10 • Dion Parsons and the 21st Century Band with Ron Blake, Carlton Holmes, • Paul Abler/James Weidman Zinc Bar 7 pm Reuben Rogers, Alioune Faye, Victor Provost and guest Rashawn Ross • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • Erika Dagnino Trio with Ras Moshe, Rocco John Iacovone Dizzy’s Club 7:30, 9:30 pm $35 • Art Hirahara Trio Arturo’s 8 pm Green Pavilion Restaurant 8 pm • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Kyle Poole Dizzy’s Club 11 pm $20 • Jam Session Cleopatra’s Needle 8 pm • Pawel Ignatowicz Quartet Kosciuszko Foundation 7 pm êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, • Mamiko Taira Duo Tomi Jazz 8 pm • Sandy Jordan and Larry Luger Trio Notaro 8 pm Quincy Phillips Village Vanguard 8:30, 10:30 pm $25 • Mike LeDonne Quartet; Mike DiRubbo B3-3 Smoke 7, 9, 10:30, 11:30 pm êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Dorado Schmitt, Quincy Phillips Village Vanguard 8:30, 10:30 pm $25 Samson Schmitt, Ludovic Beier, Pierre Blanchard, Amati Schmitt, Bronson Schmitt, • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Dorado Schmitt, DouDou Cuillerier, Xavier Nikq, Francko Merhrstein and guest Anat Cohen • Mona’s Hot Four Jam Session Mona’s 11 pm Samson Schmitt, Ludovic Beier, Pierre Blanchard, Amati Schmitt, Bronson Schmitt, • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm Birdland 8:30, 11 pm $30-40 • Annie Ross The Metropolitan Room 9:30 pm $25 DouDou Cuillerier, Xavier Nikq, Francko Merhrstein and guest Peter Beets • Kendra Shank Quartet with Frank Kimbrough, Dean Johnson, Tony Moreno Birdland 8:30, 11 pm $30-40 55 Bar 6 pm • Slavic Soul Party Barbès 9 pm $10 • Chris Bergson Band with Craig Dreyer, Matt Clohesy, Tony Leone, Freddie Hendrix, • Joel Forrester Bryant Park 12:30 pm • Diego Voglino Jam Session The Fifth Estate 10 pm David Luther, Ian Hendrickson–Smith and guest Ellis Hooks WEDNESDAYS Jazz Standard 7:30, 9:30 pm $20 Saturday, June 29 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • The Greyboy Allstars with guest Gary Bartz • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Blue Note 8, 10:30 pm $35 • What Is?? What Is Is?: Zeena Parkins, Ryan Sawyer, Ryan Ross Smith • Brianna Thomas Quartet Smoke 11:30 pm • Winelight Quintet The Garage 6 pm The Stone 8, 10 pm $10 • Walter Fischbacher Trio Water Street Restaurant 8 pm • Giacomo Gates Saint Peter’s 1 pm $10 êIconoclast: Julie Joslyn/Leo Ciesa The Flea Theater 7 pm • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • Joel Forrester Bryant Park 12:30 pm • Kris Davis’s Capricorn Climber with Mat Maneri, Ingrid Laubrock, John Hébert, • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm Tom Rainey Cornelia Street Café 9, 10:30 pm $15 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Thursday, June 27 • Petros Klampanis Trio with Lefteris Kordis, John Hadfield • Guillaume Laurent Trio Bar Tabac 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jake K. Leckie Trio Kif Bistro 8 pm êRoy Haynes Blue Note 8, 10:30 pm $35 • Richard Bliwas with Daniel Carter, Ben Scher, Jerrold Kavanagh ê • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) Hugh Masekela/Larry Willis Jazz Standard 7:30, 9:30 pm $30 Brecht Forum 8 pm $15 • Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm êHenry Threadgill The Jazz Gallery 9, 10:30 pm $25 • Craig Hartley Trio with Carlo De Rosa, Jeremy “Bean” Clemons; Eugene Marlow’s • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Dion Parsons and the 21st Century Band with Ron Blake, Carlton Holmes, The Heritage Ensemble with Bobby Sanabria, Michael Hashim, Frank Wagner, • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm Reuben Rogers, Alioune Faye, Victor Provost and guest Rashawn Ross Matthew Gonzales; Butcher Brown: Devonne Harris, Chris Smith, Corey Fonville, • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) Dizzy’s Club 7:30, 9:30 pm $30 Keith Askey Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Alex Obert’s Hollow Bones Via Della Pace 10 pm • Kyle Poole Dizzy’s Club 11 pm $10 • Daniel Benett; Sam Kulok Tomi Jazz 8, 11 pm $10 ê • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Blue Note Jazz Festival: Youn Sun Nah/Ulf Wakenius • Larry Newcomb Quartet Cleopatra’s Needle 8 pm • Saul Rubin Vocalist Series Zeb’s 8 pm $10 Rockwood Music Hall 7 pm êRalph Alessi/Fred Hersch Duo Jazz at Kitano 8, 10 pm $25 • Stan Rubin Orchestra Swing 46 8:30 pm • Blue Note Jazz Festival: The Stooges Brass Band; High & Mighty Brass Band; • Peter Zak Trio with Dwayne Burno, Joe Strasser; Lew Tabackin Trio with Boris Kozlov, • Alex Terrier Trio Antibes Bistro 7:30 pm DJ Cochon de Lait Sullivan Hall 8:30 pm $15 Mark Taylor Smalls 7:30, 10:30 pm $20 • Justin Wert/Corcoran Holt Benoit 7 pm • Rob Garcia; Andrew D’Angelo’s DNA Big Band with Zach Lucas, Bill McHenry, êRoy Haynes Blue Note 8, 10:30 pm $35 • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm Josh Sinton, Brian Drye, Josh Roseman, Marcus Rojas, Kirk Knuffke, Seneca Black, • Marcus Strickland’s Twi-Life Blue Note 12:30 am $15 Jacob Wick, Ben Monder, Noah Garabedian, Mike Pride; Phil Robson’s Philanthropix • Bill Wurtzel Duo Velour Lounge 6:30 pm êHugh Masekela/Larry Willis Jazz Standard 7:30, 9:30, 11:30 pm $35 THURSDAYS with John O’Gallagher, Jason Palmer, Dave Whitford, Billy Hart êHenry Threadgill The Jazz Gallery 9, 10:30 pm $25 ShapeShifter Lab 7, 8:30, 9:30 pm $12 • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm êMiles Davis Festival: Lenny White Quintet with Tom Guarna, Theo Bell, Victor Bailey • Jason Campbell Trio Perk’s 8 pm êSonelius Smith Trio Cleopatra’s Needle 7 pm Smoke 7, 9, 10:30 pm $35 êSlavic Soul Party! Joe’s Pub 9:30 pm $16 • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Dion Parsons and the 21st Century Band with Ron Blake, Carlton Holmes, • Eric DiVito The Flatiron Room 8 pm • Phantom Orchard: Zeena Parkins/Ikue Mori Reuben Rogers, Alioune Faye, Victor Provost and guest Terell Stafford The Stone 8, 10 pm $10 • Gregory Generet Smoke 7, 9, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $35 • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • TILT Brass 10: An Anniversary Celebration • Kyle Poole Dizzy’s Club 11 pm $20 Roulette 8 pm $15 • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, • Jam Session Shell’s Bistro 9 pm • Mamiko Watanabe Trio with Corcoran Holt, Francisco Mela Quincy Phillips Village Vanguard 8:30, 10:30 pm $25 Jazz at Kitano 8, 10 pm $10 • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Dorado Schmitt, • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) • Meg Okura Pan Asian Chamber Jazz Ensemble Samson Schmitt, Ludovic Beier, Pierre Blanchard, Amati Schmitt, Bronson Schmitt, David Rubenstein Atrium 7:30 pm DouDou Cuillerier, Xavier Nikq, Francko Merhrstein and guest Edmar Castaneda FRIDAYS • NJMH Allstars play Gordon Parks Studio Museum in Harlem 7 pm $15 Birdland 8:30, 11 pm $30-40 • Scot Albertson/Lucy Galliher Parnell’s 8 pm • Carlo De Rosa with Mark Shim, Luis Perdomo, Rudy Royston • Moth To Flame Shrine 6 pm • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm Cornelia Street Café 8:30 pm $10 • Ben Healy Trio; Mark Devine Trio; Carl Bartlett Jr. Quartet • Deep Pedestrian Sintir 8 pm • Mimi Jones; Emmet Cohen Trio Smalls 9:30 pm 12 am $20 The Garage 12, 6:15, 10:45 pm • Charles Downs’ Centipede The Complete Music Studio 7 pm êGato Loco de Bajo Barbès 10 pm $10 • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm • Olli Hirvonen, Emmet Cohen, Jake Goldbas • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 Scandinavia House 7:30 pm $12 Sunday, June 30 • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Mike Rood Trio with Drew Gress, Colin Stranahan êAndy Bey solo Blue Note 8, 10:30 pm $35 • Tommy Igoe Birdland Big Band Birdland 5 pm $25 Bar Next Door 8:30, 10:30 pm $12 • Miles Davis Festival: Bruce Harris Quintet with Myron Walden, Jeb Patton, David Wong, • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Andrea Wolper’s IP; TranceFormation: Connie Crothers, Ken Filiano, Andrea Wolper Pete Van Nostrand Smoke 7, 9, 10:30 pm • Kengo Nakamura Trio Club A Steakhouse 11 pm Ibeam Brooklyn 8:30, 9:30 pm $10 • Lace Piece: Jim Staley, Ikue Mori, Ned Rothenberg, Chris McIntyre, David Shively, • Brian Newman Quartet Duane Park 10:30 pm • Torben Waldorff Wah-Wah with Gary Versace, Jon Wikan, Orlando Le Fleming Anthony Coleman The Stone 8, 10 pm $10 • Frank Owens Open Mic Zeb’s 6:30 pm $10 Nublu 10 pm êEri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) • Jonathan Gee, Joseph Lepore, Rob Garcia Cornelia Street Café 8:30 pm $10 • Richard Russo Quartet Capital Grille 6:30 pm Douglass Street Music Collective 8:30 pm $10 • Peter Mazza Trio with Misha Tsiganov, Thomson Kneeland • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) • Ambient Chaos: Shoko Nagai; Dog Adrift; Feeding Goats Bar Next Door 8, 10 pm $12 • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Spectrum 7:30 pm • The Pookestra: Carolin Pook, Svetlana Shmulyian, Anastasiya Roytman, • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) • Johnny Be Good, Mikko Innanen, Joe Herteinstein Alastair Ottesen, Sarah Renfro, Scott Tixier, Frederika Krier, Jen Herman, Brian Sanders, • Rakiem Walker Project Shrine 6 pm Goodbye Blue Monday 9 pm Craig Akin, Pascal Niggenkemper, Christof Knoche; LES Hot Club: Joel Beaver, SATURDAYS • Yael Acher “Kat Modiano/Corcoran Holt Glenn Tosto, Ari Folman-Cohen, Carolin Pook, Svetlana Shmulyian; Gypsy Jazz Jam • Avalon Jazz Quartet Matisse 8 pm Indian Road Café 8 pm ShapeShifter Lab 7:30, 8:30, 9:30 pm $10 • Candy Shop Boys Duane Park 8, 10:30 pm • Ron Dabney Metropolitan Room 7 pm $20 • Leo Genovese and Legal Aliens El Taller LatinoAmericano 8 pm • Jesse Elder/Greg RuggieroRothmann’s 6 pm • Billy Carrion Jr. with Luke Celenza, Jon Di Fiore • Lezlie Harrison Smalls 7:30 pm $20 • Joel Forrester solo Indian Road Café 11 am Somethin’ Jazz Club 9 pm $10 • Johnny Be Good/Mikko Innanen; Anne Tobey Bassen Ensemble; Bassentric: • Guillaume Laurent/Luke Franco Casaville 1 pm • Yuko Ito Trio Tomi Jazz 9 pm $10 Jane. Grenier B. Poetry/Albey Balgochian • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Dre Barnes Project; Masami Ishikawa Trio ABC No-Rio 7 pm $5 • Johnny O’Neal Smoke 11:45 pm The Garage 6, 10:30 pm • Christian Artmann Quartet with Gregg Kallor, Johannes Weidenmueller, Jeff Hirshfield • Skye Jazz Trio Jack 8:30 pm êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Somethin’ Jazz Club 7 pm $10 • Michelle Walker/Nick Russo Anyway Café 9 pm Quincy Phillips Village Vanguard 8:30, 10:30 pm $25 êHugh Masekela/Larry Willis Jazz Standard 7:30, 9:30 pm $30 • Bill Wurtzel Duo Henry’s 12 pm êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Dorado Schmitt, • Dion Parsons and the 21st Century Band with Ron Blake, Carlton Holmes, SUNDAYS Samson Schmitt, Ludovic Beier, Pierre Blanchard, Amati Schmitt, Bronson Schmitt, Reuben Rogers, Alioune Faye, Victor Provost and guest Terell Stafford • Avalon Jazz Quartet The Lambs Club 11 am DouDou Cuillerier, Xavier Nikq, Francko Merhrstein and guest David Langlois Dizzy’s Club 7:30, 9:30 pm $30 • Birdland Jazz Party Birdland 6 pm $25 Birdland 8:30, 11 pm $30-40 êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, • Marc Devine Trio TGIFriday’s 6 pm • Dario Boente Citigroup Center Plaza 12:30 pm Quincy Phillips Village Vanguard 8:30, 10:30 pm $25 • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Stooges Brass Band Metrotech Commons 12 pm êDjango Reinhardt Festival - Young Lions of Gypsy Jazz: Dorado Schmitt, • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Joel Forrester Bryant Park 12:30 pm Samson Schmitt, Ludovic Beier, Pierre Blanchard, Amati Schmitt, Bronson Schmitt, • Sean Fitzpatrick and Friends Ra Café 1 pm DouDou Cuillerier, Xavier Nikq, Francko Merhrstein and guest Edmar Castaneda • Joel Forrester solo Grace Gospel Church 11 am Friday, June 28 Birdland 8:30, 11 pm $30-40 • Nancy Goudinaki’s Trio Kellari Taverna 12 pm êBill Horvitz Expanded Band with Omid Zoufonoun, Kathy Halvorson, Mike McGinnis, êBlue Note Jazz Festival: Wayne Shorter Quartet with , John Patitucci, Marty Ehrlich, Matt Bauder, Dave Sewelson, Sara Schoenbeck, Vincent Chancey, • Enrico Granafei solo Sora Lella 7 pm Brian Blade; Esperanza Spalding Trio; Dave Douglas/Joe Lovano Soundprints Quintet Nate Wooley, Riley Mulherkar, Steve Swell, Marcus Rojas, , Jason Hwang, • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm with Lawrence Fields, James Genus, Joey Baron Tomas Ulrich, Ken Filiano, Bobby Previte • Annette St. John; Roxy Coss Smoke 11:30 am :30 pm Town Hall 8 pm $47-152 • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm Roulette 6 pm $15 • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 êRalph Alessi/Fred Hersch Duo Jazz at Kitano 8, 10 pm $25 êJohn Hébert solo 61 Local 6 pm êMarion Cowings Trio; Lew Tabackin Trio with Boris Kozlov, Mark Taylor • Peter Leitch Duo Walker’s 8 pm • Hans Tammen/Dom Minasi Downtown Music Gallery 6 pm • Alexander McCabe Trio CJ Cullens Tavern 5 pm Smalls 7:30, 10:30 pm $20 • Arlee Leonard with Art Hirahara, Elias Bailey, Dwayne “Cook” Broadnax êTim Berne’s More Snake Oil with Herb Robertson, Trevor Dunn, Matt Mitchell, Zeb’s 6 pm $20 • Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 Ches Smith, Oscar Noriega, Erik Friedlander, Ryan Ferreira, Mat Maneri • Lu Reid Jam Session Shrine 4 pm • Magos Herrera Band Saint Peter’s 5 pm • Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm Roulette 8 pm $15 • Camille Thurman Quartet Emmanuel Baptist Church 3 pm • Zeena Parkins solo; Zeena Parkins with White Out: Lin Culbertson/Tom Surgal • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm êBen Allison Trio Blue Note 12:30, 2:30 pm $29.50 • Sara Serpa/André Matos Pão Restaurant 2 pm The Stone 8, 10 pm $10 • Roz Corral Trio with Ron Affif, Boris Kozlov • Trio with Jon Burr, Mike Clark North Square Lounge 12:30, 2 pm • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm • Matt Garrison; Grégoire Maret ShapeShifter Lab 9:30 pm $15 • Brian Woodruff Jam Blackbird’s 9 pm

52 June 2013 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 54 Below 254 West 54th Street • David Rubenstein Atrium Broadway at 60th Street (212-258-9800) • The Old Stone House 336 Third Street, between 4th and 5th Avenues (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (718-768-3195) Subway: M to Union Street www.theoldstonehouse.org www.54below.com www.new.lincolncenter.org/live/index.php/atrium • Panoply Performance Lab 104 Meserole Street (269-317-5394) • 55Bar 55 Christopher Street (212-929-9883) • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: G to Broadway; L to Montrose Avenue www.panoplylab.org Subway: 1 to Christopher Street www.55bar.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Pão Restaurant 322 Spring Street • 61 Local 61 Bergen Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com (347-763-6624) Subway: F, G to Bergen Street www.61local.com • Douglass Street Music Collective 295 Douglass Street • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • 92YTribeca 200 Hudson Street Subway: R to Union Street www.295douglass.org 160th Streets (212-781-6595) Subway: C to 155th Street (212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org • Downtown Music Gallery 13 Monroe Street www.parlorentertainment.com • Aaron Davis Hall 133rd Street and Convent Avenue (212-650-7100) (212-473-0043) Subway: F to East Broadway • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: 1 to 137th Street/City College www.aarondavishall.org www.downtownmusicgallery.com Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • ABC Chinese Restaurant 34 Pell Street • Drom 85 Avenue A (212-777-1157) • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway (212-346-9890) Subway: J to Chambers Street Subway: F to Second Avenue www.dromnyc.com • The Players Club 16 Gramercy Park South • ABC No-Rio 156 Rivington Street (212-254-3697) • Duane Park 157 Duane Street (212-732-5555) (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org Subway: J,M,Z to Delancey Street www.abcnorio.org Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com • The Plaza Hotel Rose Club Fifth Avenue at Central Park South • Aaron Davis Hall 133rd Street and Convent Avenue • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com (212-650-7100) Subway: 1 to 137th Street/City College Subway: C, E to Spring Street www.earinn.com • Rockwood Music Hall 196 Allen Street (212-477-4155) www.aarondavishall.org • El Taller LatinoAmericano 2710 Broadway (at 104th Street - 3rd floor) Subway: F, M to Second Avenue www.rockwoodmusichall.com • Abrons Arts Center 466 Grand Street (212-665-9460) Subway: 1 to 103rd Street • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) (212-598-0400) Subway: F to Grand Street www.abronsartscenter.org • Emmanuel Baptist Church 279 Lafayette Avenue (718-622-1107) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: G to Classon Avenue www.ebcconnects.com • Roulette 509 Atlantic Avenue Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • Rubin Museum 150 W. 17th Street (212-620-5000) Subway: E to 53rd Street www.folkartmuseum.org • The Fifth Estate 506 5th Avenue, Brooklyn Subway: A, C, E to 14th Street www.rmanyc.org • An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com • St. Anselm Church 685 Tinton Avenue www.LindasJazzNights.com • The Firehouse Space 246 Frost Street (718-585-8666) Subway: 2, 5 to Jackson Avenue • Antibes Bistro 112 Suffolk Street (212-533-6088) Subway: L to Graham Avenue www.thefirehousespace.org • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: J, Z to Essex Street www.antibesbistro.com • The Flatiron Room 37 West 26th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Anyway Café 34 E. 2nd Street (212-533-3412) (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com • San Martin Restaurant 143 E. 49 Street between Lexington and Park Subway: F to Second Avenue • The Flea Theatre 41 White Street (between Church and Broadway) Avenues (212-832-0888) Subway: 6 to 51st Street • Ardesia Wine Bar 510 W. 52nd Street (212-219-8242) Subway: 1 to Franklin Street www.theflea.org • Sapphire NYC 333 E. 60th Street (212-421-3600) (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com • Arthur’s Tavern 57 Grove Street (212-675-6879) (718-625-9339) Subway: G to Fulton Street • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) Subway: 1 to Christopher Street www.arthurstavernnyc.com • The Garage 99 Seventh Avenue South (212-645-0600) Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org • Arturo’s 106 W. Houston Street (at Thompson Street) Subway: 1 to Christopher Street www.garagerest.com • Schimmel Center for the Arts 3 Spruce Street (212-346-1715) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street www.schimmel.pace.edu • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza (212-319-5300) Subway: 6 to 51st Street www.acfny.org • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) www.seedsbrooklyn.org • Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com • ShapeShifter Lab 18 Whitwell Place • BB King’s Blues Bar 237 W. 42nd Street • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com • Shell’s Bistro 2150 5th Avenue www.bbkingblues.com • Grace Gospel Church 589 E. 164th Street (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn (718-328-0166) Subway: 2, 5 to Prospect Avenue • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 • Green Pavilion Restaurant 4307 18th Avenue #A Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com to Atlantic Avenue www.bam.org (718-435-4722) Subway: F to 18th Avenue • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bflat 277 Church Street (between Franklin and White Streets) • Greenwich House Music School 46 Barrow Street Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: 1, 2 to Franklin Streets (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Silent Barn 603 Bushwick Avenue • The Backroom 627 5th Avenue (718-768-0131) • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street Subway: J, M, Z to Myrtle Avenue www.silentbarn.org Subway: D, N, R to Prospect Avenue www.freddysbar.com • Highline Ballroom 431 W 16th Street • Silvana Club 330 West 116 Street Subway: B, C to 116th Street • Bar Next Door 129 MacDougal Street (212-529-5945) (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Sintir 424 E. 9th Street between Avenue A and First Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-477-4333) Subway: 6 to Astor Place • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 4th Avenue www.ibeambrooklyn.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn Subway: F to 7th Avenue www.barbesbrooklyn.com • Indian Road Café 600 W. 218th Street @ Indian Road (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Benoit 60 W. 55th Street (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: F to 57th Street, N, Q, R,W to 57th Street • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) Subway: 5 to Sterling Street www.plgarts.org • Smoke 2751 Broadway between 105th and 106th Streets (212-281-0777) Subway: 2, 3 to 125th Street • Intar 500 W 52nd Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Birdland 315 W. 44th Street (212-581-3080) (212-695-6134) Subway: C, E to 50th Street www.intartheatre.org • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) • The Bitter End 147 Bleecker Street between Thompson and LaGuardia Subway: 1,2 to 50th Street www.theiridium.com Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street Subway: A, B, C, D, E, F, V to W. 4th Street • Issue Project Room 22 Boerum Place (718-330-0313) www.somethinjazz.com/ny • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Sora Lella 300 Spring Street (212-366-4749) www.facebook.com/bizarrebushwick • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: C, E to Spring Street www.soralellanyc.com • Blackbird’s 41-19 30th Avenue (718-943-6898) • Jazz 966 966 Fulton Street • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street Subway: R to Steinway Street www.blackbirdsbar.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com www.spectrumnyc.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Stage 72 158 West 72nd Street, 2nd floor Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com Subway: 4, 5, 6 to Grand Central www.kitano.com (800-838-3006) Subway: B, C to 72nd Street www.stage72.com • The Bowery Electric 327 Bowery (212-228-0228) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Stephen Wise Free Synagogue 30 W. 68th Street Subway: 6 to Bleecker Street www.theboweryelectric.com Subway: N, R to 28th Street www.jazzgallery.org (212-877-4050) Subway: 1 to 66th Street www.swfs.org • Brandy Library 25 N. Moore Street • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) • The Stone Avenue C and 2nd Street (212-226-5545) Subway: 1 to Franklin Street Subway: 6 to 125th Street www.jazzmuseuminharlem.org Subway: F to Second Avenue www.thestonenyc.com • Brecht Forum 451 W. Street (212-242-4201) • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Studio Museum In Harlem 144 West 125th Street Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212-864-4500) Subway: 2, 3 to 125th Street www.studiomuseum.org • Brooklyn Bowl 61 Wythe Avenue • Joe G’s 244 W. 56th Street (212-765-3160) • SubCulture 45 Bleecker Street (212-533-5470) (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 6 to Bleecker Street www.subculturenewyork.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Joe’s Pub 425 Lafayette Street (212-539-8770) • Sullivan Hall 214 Sullivan Street Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com (212-634-0427) Subway: A, B, C, D, E, F, V to W. 4th Street • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Kellari Taverna 19 W. 44th Street (212-221-0144) www.sullivanhallnyc.com Subway: 4, 5, 6 to 42nd Street www.bryantpark.org Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us • Sunset Park Library 5108 4th Avenue, Brooklyn • CJ Cullens Tavern 4340 White Plains Road, Bronx • Kings Highway Library 2115 Ocean Avenue (718-567-2806) Subway: R to 53rd Street Subway: 2 to Nereid Avenue/238th Street (718-375-3037) Subway: B, Q to Kings Hwy www.brooklynpubliclibrary.org • Swing 46 349 W. 46th Street (646-322-4051) • Cabrini Green Urban Meadow President and Van Brunt Streets • Korzo 667 5th Avenue, Brooklyn (718-285-9425) Subway: A, C, E to 42nd Street www.swing46.com Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus Subway: R to Prospect Avenue www.korzorestaurant.com • Sycamore 1118 Cortelyou Road (347-240-5850) • Café Carlyle 35 E. 76th Street (212-744-1600) • Kosciuszko Foundation 15 East 65th Street Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com Subway: 6 to 77th Street www.thecarlyle.com (212-239-9190) Subway: 6 to 68th Street • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharp Theatre • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • The Lambs Club 132 W. 44th Street & Bar Thalia 2537 Broadway at 95th Street (212-864-5400) (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Caffe Vivaldi 32 Jones Street • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Tagine 537 9th Ave. between 39th and 40th Streets Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Capital Grille 120 Broadway • Lehman Center 250 Bedford Park Boulevard West, Bronx • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com (718-960-8833) Subway: 4, D train to Bedford Park Blvd. Subway: N, R to Union Street www.tealoungeNY.com • Casaville 633 Second Avenue • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Terraza 7 40-19 Gleane Street (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (718-803-9602) Subway: 7 to 82nd Street/Jackson Heights • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) www.terrazacafe.com (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com Subway: 1 to 145th Street www.londelsrestaurant.com • Tomi Jazz 239 E. 53rd Street • Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue • L’ybane 709 8th Avenue (212-582-2012) (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com (212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Town Hall 123 W. 43rd Street (212-997-1003) • Charley O’s 1611 Broadway at 49th Street • McDonald’s 160 Broadway between Maiden Lane and Liberty Street Subway: 1, 2, 3, 7 to 42nd Street-Times Square www.the-townhall-nyc.org (212-246-1960) Subway: N, R, W to 49th Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • University of the Streets 130 E. 7th Street • Chez Lola 387 Myrtle Avenue, Brooklyn • Madison Square Park 5th Avenue and 23rd Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org (718-858-1484) Subway: C to Clinton-Washington Avenues Subway: R, W to 23rd Street • Velour Lounge 297 10th Avenue www.bistrolola.com • Matisse 924 Second Avenue (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Via Della Pace 48 E. 7th Street and Second Avenue Subway: C to Lafayette Avenue www.chezoskar.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) (212-253-5803) Subway: 6 to Astor Place • Christ and St. Stephen’s Church 120 W. 69th Street Subway: N, R to 23rd Street www.metropolitanroom.com • The Village Lantern 167 Bleecker Street Subway: 1, 2, 3 to 72nd Street • Metrotech Commons corner of Flatbush and Myrtle Avenues (718-488-8200) (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street • Church For All Nations 417 West 57th Street between 9th & 10th Avenues Subway: A, C, F to Jay Street/Borough Hall • The Village Trattoria 135 W. 3rd Street (212-598-0011) Subway: 1, A, B, C, D to Columbus Circle • Miller Theater 2960 Broadway and 116th Street (212-854-7799) Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com • Citigroup Center Plaza 53rd Street and Lexington Avenue Subway: 1 to 116th Street- www.millertheater.com • Village Vanguard 178 Seventh Avenue South at 11th Street Subway: 6 to 51st Street • MIST - My Image Studios 40 West 116th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Clemente Soto Velez Cultural Center 107 Suffolk Street Subway: 2, 3 to 116th Street • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens Subway: F, J, M, Z to Delancey Street www.csvcenter.org • Mona’s 224 Avenue B Subway: L to First Avenue (718-721-3010) Subway: N to Ditmars Blvd-Astoria • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Morris Jumel Mansion 65 Jumel Terrace, between 160th & 162nd Streets, • Walker’s 16 North Moore Street (212-941-0142) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com St Nicholas & Edgecombe Avenues Subway: C to 163 Street Subway: A, C, E to Canal Street • Club A Steakhouse 240 E. 58th Street (212-618-4190) • Muchmore’s 2 Havemeyer Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: 4, 5, 6 to 59th Street www.clubasteak.com (718-576-3222) Subway: L to Bedford Avenue Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Water Street Restaurant 66 Water Street (718-625-9352) • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: F to York Street, A, C to High Street (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • The Waterfront Museum 290 Conover Street at Pier 44 Bus: B61 or B57 • Cornelia Street Café 29 Cornelia Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • Williamsburg Music Center 367 Bedford Avenue (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • North Square Lounge 103 Waverly Place (212-254-1200) (718-384-1654) Subway: L to Bedford Avenue www.corneliastreetcafé.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Zeb’s 223 W. 28th Street • The Counting Room 44 Berry Street (718-599-1860) • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: L to Bedford Avenue www.thecountingroombk.com Subway: 6 to 33rd Street • Zinc Bar 82 W. 3rd Street (212-477-8337) • Culture Project 45 Bleecker Street • Nublu 62 Avenue C between 4th and 5th Streets Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com (212-925-1806) Subway: 6 to Bleecker Street www.cultureproject.org (212-979-9925) Subway: F, M to Second Avenue www.nublu.net • ZirZamin 90 West Houston Street • Damrosch Park at Lincoln Center Broadway and 62nd Street • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street Subway: 1 to 66th Street (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org www.zirzaminnyc.com

THE NEW YORK CITY JAZZ RECORD | June 2013 53 (ULRICHSBERGER CONTINUED FROM PAGE 13) why this off-the-beaten-path festival still provides a nourishing musical meal after 28 years. v Bill Elgart, an American drummer expatriated to Germany in the mid ’70s, provided the foundation of a For more information, visit jazzatelier.at trio filled out by Berlin bassist Meinrad Kneer and Amsterdam multi-reedist Ab Baars. More elegant and insinuating than Altschul, Elgart’s strategies involved timed smacks on distinctive red plastic cowbells and (FIMAV CONTINUED FROM PAGE 13) frequent mallet pops on mini-cymbals. Memorably, he often timed those pulses in tandem with Baars’ airy they might have for their appearance on Saturday shakuhachi wisps or Kneer’s below-the-bridge arco evening, as the group’s sound engineer was left strokes. Dr. Jekyll and Mr. Hyde on his other horns, stranded at the Canadian border. Victoriaville is Baars offered contralto clarinet squeezes alongside the renowned for its commitment to excellent sound, but bassist’s rubbery spiccato and Elgart’s bass drum the replacement had his hands full with the various thwacks or thickly vibrated wide sprays of sound from cues required by the program. Apart from that, the his tenor sax to toughen rhythmic tonal exchanges music was full of grand gestures that promised much with the others. but did not quite deliver. Another resourceful percussionist is Gerry The Johnny Cash music playing in the Colisée Hemingway, now a Swiss resident, who moved before The Thing’s performance was a good omen. between vibraphone and drum kit during his duet Saxophonist Mats Gustafsson, bassist Ingebrigt Håker with pianist Marilyn Crispell. With an affiliation going Flaten and drummer Paal Nilssen-Love were joined by back to the ‘80s, the two know one another so well that , with whom they have recently Hemingway’s primary role was as colorist, using recorded. The quartet moved through several techniques as common as ratamacues and rattles or as improvisations, with Moore scraping out electronic distinctive as humming on drum tops or bow-stroking sounding guitar lava as sax, bass and drums battled, vibe bars. Likewise, Crispell continually confirmed her jostled and jabbed through a set of hyper-masculine facility. Sometimes dynamic glissandi crystallized into free jazz - another festival high point. romantic interludes resembling “Prelude to a Kiss”, This left Japanese group Hikashu the unenviable yet when gentility threatened to become paramount task of trying to match such intensity but their manic she let loose with carbide-hard, repeated note clusters mix of speed metal, slapstick vocal routines, and high-intensity chording involving the entire psychedelia and a peculiarly Japanese take on show keyboard. Reaching a crescendo of exuberant tunes did just that. Whew - what a night! percussiveness, the two proved that legato melodies Sunday’s program was dedicated to John Zorn in and jagged accents can be mutually satisfying. honor of his 60th birthday in September. The day’s Reinforcing his keyboard mastery was Russian program showed off the range of Zorn’s composing, Simon Nabatov, now a Köln resident. Tackling a solo starting with three classical pieces in the early concert. program of Herbie Nichols compositions, the pianist Especially satisfying was the apparently seamless meld was respectful of themes such as “Lady Sings the of composition and free jazz dissonance and energy by Blues” and “The Third World”, emphasizing the pianist Stephen Gosling, bassist Trevor Dunn and lyricism of the former and the staccato progressivism drummer Kenny Wollesen. of the latter. However, Nabatov’s bouncy, pressurized The Song Project is an interesting move by Zorn, renditions emphasized not only the serrated tightness setting lyrics to pieces from his huge songbook. Zorn of Nichols’ lines, but also the composer’s unbreakable introduced the first piece by saying that when you’re links to earlier jazz traditions. Taking this relationship 60, you have classic pieces in your repertoire, then it one step further, Nabatov’s wholly improvised encore was a burst of surf punk led by Marc Ribot and a was as old-timey as it was modern, quoting “Dinah” scream from Mike Patton as the band plunged headlong and confirming a direct line from Earl Hines to Nichols into a Naked City piece, one of the most exhilarating and, by inference, to himself. moments of the festival. The set was a mixed bag, as Drawing on another tradition where jazz meets Patton stole the show from the other vocalists, Sofia rock via blues licks and pummeling percussion was the Rei and Jesse Harris. festival-closing trio of Americans Elliott Sharp (electric The big show of the evening was a Dreamers/ guitar and soprano saxophone) and Melvin Gibbs Electric Masada double bill, with each group doing a (electric bass) with Swiss drummer Lucas Niggli. Solid, 40-minute set. This is well-worn music that the muscular and louder than any other concert, this was musicians clearly enjoy playing and the capacity crowd intelligent fusion. With foot-pedal dexterity, Gibbs in the Colisée ate it up. The evening ended with Zorn emphasized his instrument’s flexibility, conflating surf playing a free show on organ in a local church, a runs and programmed loops that complicated rather 30-minute set that was not terribly coherent but did than simplified the improvisations. In a similar manner have its moments. Sharp’s whammy bar acuity and bottleneck whines It was appropriate that the festival ended in a established dual links to minimalism and Delta blues concert space not normally used. The 29th edition while saxophone flutter tonguing added jazz-improv quietly marked the end of an era when it was confirmed, echoes. As for Niggli, his backbeat was suitably in response to a question at the closing press conference, chunky, but bass drum kicks plus shakes from strung- that the venerable Cinéma Laurier would be torn down together hand cymbals demonstrated his creative in the next year, to be replaced (well, projected) in the subtlety. spring of 2015 by a new cultural facility that would Thematic mixtures extended to the Austrian- include at least two concert spaces, including a black Romanian-Polish-Czech band F.O.U.R. Alive with box theater. nervous energy, the pleasure in its presentation lay in In the last few years, artistic director Michel observing how Raimund Vogtenhuber’s juddering Levasseur and his team have revitalized the festival, laptop processing bonded with Adam Stodolski’s not least through their sound installation project that slapped bass lines and Petr Zelenka’s guitar-string brings the music - or at least the idea of adventure and scraping without sabotaging Claudia Cervenca’s challenge in music-making - to the people of a town sound-singing. Encompassing guttural mumbles, that has largely ignored its own world-class event. The operatic bel canto and aviary warbles, amplified with optimistic tone of the final press conference reflected a live sampling, her theatrical declarations were as renewal of energy by the festival team and, presumably, obtuse as they were melodious. one can look forward to a bright future for FIMAV. v The continued exposure of evolving bands like this as well as established improvisers demonstrates For more information, visit fimav.qc.ca

54 June 2013 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin DON BLACKMAN - The keyboardist/singer/composer worked with a DON SHIRLEY - Shirley was a classical pianist of great renown, who number of luminaries in the funk and soul genres - Parliament; Earth, Wind worked with and composed for many starting in the mid ‘40s. But and Fire - but also had a number of jazz sideman credits with the likes of he also had interest in and experience with jazz, working in duo with bassist Lenny White, , and David Sanborn. and playing Ellington’s “New World A-Coming” at Carnegie Blackman died Apr. 11th at 59. Hall in the mid ‘50s. Shirley died Apr. 6th at 86.

DWIKE MITCHELL - The pianist was in the bands of and DAVID TORRES - The composer/arranger/pianist had a long affiliation Dizzy Gillespie in the ‘50s. It was while working with the former that he with conguero Poncho Sanchez, starting in the mid ‘80s. His composition reconnected with French horn player Willie Ruff. The pair formed a duo that “Dizzy’s Dashiki” was on the 2012 Latin Grammy-nominated Poncho worked steadily for the next 56 years and often visited unusual-at-the-time Sanchez and Terence Blanchard album Chano Y Dizzy! (Concord Picante). places for jazz like the Soviet Union and China. Mitchell died Apr. 7th at 83. Torres died Apr. 22nd at an unknown age. BIRTHDAYS June 1 June 6 June 11 June 15 June 21 June 26 † 1921-85 †Jimmie Lunceford 1902-47 †Clarence “Pine Top” Smith †Allan Reuss 1915-1988 †Dewey Jackson 1900-94 †Teddy Grace 1905-92 †Herbie Lovelle 1924-2009 †Raymond Burke 1904-86 1904-29 †Erroll Garner 1921-77 †Jamil Nasser 1932-2010 †Don Lanphere 1928-2003 †Hal McKusick 1924-2012 †Gil Cuppini 1924-96 †Shelly Manne 1920-84 † 1922-99 b.1932 †Jimmy Deuchar 1930-93 Lennie Niehaus b.1929 †Grant Green 1931-79 †Hazel Scott 1920-81 Mel Moore b.1923 Jon Hiseman b.1944 Dave Grusin b.1934 Rossano Sportiello b.1974 Monty Alexander b.1944 †Bob Gordon 1928-55 Tony Oxley b.1938 Chuck Anderson b.1947 Reggie Workman b.1937 †Zbigniew Seifert 1946-79 Nils Lindberg b.1933 Eric Reed b.1970 Joey Baron b.1955 June 2 Paul Lovens b.1949 Bernard “Pretty” Purdie b.1939 June 16 Bill Cunliffe b.1956 †Ernie Hood 1923-91 G. Calvin Weston b.1959 Jamaaladeen Tacuma b.1956 †“Lucky” Thompson 1924-2005 June 22 b.1979 Gildo Mahones b.1929 Alex Sipiagin b.1967 †Clarence Shaw 1926-73 Ray Mantilla b.1934 John Pisano b.1931 June 7 b.1969 Joe Thomas b.1933 Hermeto Pascoal b.1936 June 27 Pierre Favre b.1937 †Gene Porter 1910-1993 b.1946 Heikki Sarmanto b.1939 †Elmo Hope 1923-67 MISHA MENGELBERG Irene Schweizer b.1941 †Tal Farlow 1921-98 June 12 Fredy Studer b.1948 Eddie Prevost b.1942 George Braith b.1939 June 5th, 1935 Matthew Garrison b.1970 †Tina Brooks 1932-74 Marcus Belgrave b.1936 Mike Baggetta b.1979 Ed “Milko” Wilson b.1944 Todd Herbert b.1970 The Dutch pianist is the Noah Preminger b.1986 Norberto Tamburrino b.1964 Kent Carter b.1939 Ryan Keberle b.1980 elusive, understated foil to June 23 June 28 Devin Gray b.1983 Chick Corea b.1941 drummer Han Bennink in June 3 Jesper Lundgaard b.1954 June 17 †Eli Robinson 1908-72 †Jimmy Mundy 1907-83 † 1918-1977 June 8 Geri Allen b.1957 †Lorenzo Holden 1924-87 †Milt Hinton 1910-2000 †Arnold Shaw 1909-89 various amalgamations Al Harewood b.1923 †Billie Pierce 1907-74 Oscar Feldman b.1961 Frank E. Jackson, Sr. b.1924 †Eddie Miller 1911-91 Gene Traxler b.1913 going back to the mid ‘50s, Phil Nimmons b.1923 †Erwin Lehn 1919-2010 Christian Munthe b.1962 b.1940 †Helen Humes 1913-81 †Pete Candoli 1923-2008 including some of Eric †Dakota Staton 1932-2007 † 1929-85 Peter Beets b.1971 Tom Varner b.1957 †Lance Harrison 1920-2000 Bobby White b.1926 Dolphy‘s last sessions †Bob Wallis 1934-91 Bill Watrous b.1939 †George Russell 1923-2009 John Lee b.1952 (“Hypochristmutreefuzz” † 1935-2012 Julie Tippetts b.1947 June 13 June 18 † 1925-89 Tierney Sutton b.1963 was written to test Dolphy). Grachan Moncur III b.1937 Uri Caine b.1956 †Charlie Elgar 1885-1973 †Sammy Cahn 1913-93 †Hank Shaw 1926-2006 Aaron Alexander b.1966 With Bennink and Willem Corey Wilkes b.1979 † 1905-97 William Hooker b.1946 Donald Harrison b.1960 Jesse Stacken b.1978 Breuker, he founded the June 9 †Eddie Beal 1910-84 Instant Composers Pool, a June 4 †Les Paul 1915-2009 † 1919-2008 June 19 June 24 June 29 mainly Dutch improvising †Teddy Kotick 1928-86 †Jimmy Gourley 1926-2008 † 1927-98 †Joe Thomas 1909-86 †Charlie Margulis 1903-67 †Mousey Alexander 1922-88 collective that just celebrated † 1932-75 †Eje Thelin 1938-90 Buddy Catlett b.1933 †Jerry Jerome 1912-2001 †Manny Albam 1922-2001 † 1922-2001 its 45th anniversary with a †Alan Branscombe 1936-86 Kenny Barron b.1943 Frank Strozier b.1937 Al Kiger b.1932 †George Gruntz 1932-2013 †Ove Lind 1926-1991 massive boxed set release. Mark Whitecage b.1937 Mick Goodrick b.1945 Harold Danko b.1947 Chuck Berghofer b.1937 †Frank Lowe 1943-2004 b.1935 When not working with Ted Daniel b.1943 Mike Khoury b.1969 Paul Nieman b.1950 †Clint Houston 1946-2000 Ike Sturm b.1978 Bennink in duo or as part of Anthony Braxton b.1945 June 10 Billy Drummond b.1959 Greg Burk b.1969 the ICP Orchestra, the pianist Paquito D’Rivera b.1948 †Chink Martin 1886-1981 June 14 John Hollenbeck b.1968 †Bernardo Sassetti 1970-2012 June 30 makes occasional recordings b.1962 †Willie Lewis 1905-71 †John Simmons 1918-79 †Harry Shields 1899-1971 under his own name or with †Dicky Wells 1907-85 Burton Greene b.1937 June 20 June 25 Grady Watts b.1908 European collaborators, such June 5 †Guy Pedersen 1930-2005 Pete Lemer b.1942 †Doc Evans 1907-77 †Jean Roberts 1908-81 †Lena Horne 1917-2010 as It won’t be called broken †Kurt Edelhagen 1920-82 †John Stevens 1940-94 Marcus Miller b.1959 †Lamar Wright 1907-73 Johnny Smith b.1922 †Andrew Hill 1937-2007 chair, a 2006 session with †Specs Powell 1922-2007 Gary Thomas b.1961 Gary Husband b.1960 †Thomas Jefferson 1920-86 †Bill Russo 1928-2003 Chris Hinze b.1938 British saxophonist Evan †Pete Jolly 1932-2004 Charnett Moffett b.1967 Diallo House b.1977 † 1928-64 Joe Chambers b.1942 Jasper Van’t Hof b.1947 Parker, their first recorded Misha Mengelberg b.1935 Jonathan Kreisberg b.1972 Loren Stillman b.1980 Joe Venuto b.1929 Marian Petrescu b.1970 b.1951 meeting since 1970. -AH Jerry Gonzalez b.1949 Ben Holmes b.1979 Ben Syversen b.1983 Anders Nilsson b.1974 John Yao b.1977 Ken Fowser b.1982 ON THIS DAY by Andrey Henkin

Lost Tapes: Baden Baden - June 23, 1958 Soul Sister Home Jazzbühne Berlin ‘85 Live... Zoot Sims (JazzHaus Music) (Prestige) Ken McIntyre (SteepleChase) Vienna Art Orchestra (Amiga) (Jazz Door) June 23rd, 1958 June 23rd, 1960 June 23rd, 1975 June 23rd, 1985 June 23rd, 1990 Part of a new trove of unreleased Perhaps not the most politically Multi-instrumentalist Ken McIntyre The Vienna Art Orchestra (VAO) had A supergroup to be sure, this German recordings, this album is a correct title, it is nonetheless a good (he added Makanda to his name in the been a staple among European big document was taken from a concert at leader date in a year when the sobriquet for Scott, who was a major ‘90s) had a productive career starting bands since the late ‘70s (due to Philadelphia’s Mellon Jazz Festival. saxophonist barely recorded under progenitor of the soul jazz genre in the as a leader right away in 1960 and is financial reasons, it disbanded in Drummer Jack DeJohnette, his own name. Joining Sims is an late ‘50s-60s, both as a prolific leader mostly known for an early date 2010). Led and composed for by keyboardist Herbie Hancock and assortment of known and obscure and in work with saxophonists Eddie featuring Eric Dolphy (Looking Ahead). Mathias Rüegg, the VAO released bassist were all Germans (among the former are “Lockjaw” Davis” and (husband) This session, his second after a nearly over 20 albums during its existence, members at one time or another of the saxophonist Hans Koller and bassist . Though recorded eight-year hiatus, features old friend/ on labels like hatART, Verve, TCB and groups of Miles Davis (though rarely Peter Trunk) plus Americans Willie in 1960, the album wasn’t released pianist Jaki Byard and a new rhythm EmArcy. This date is taken from a together). Prior to this date, guitarist Dennis (trombone) and until six years later and featured the section: Reggie Workman and Andrei concert at the Friedrichstadtpalast in Pat Metheny had worked with (drums). Sims brings only “Trottin’” unusual pairing of Scott’s organ and Strobert. McIntyre wrote all ten tunes Berlin, Germany and includes five Hancock and Holland only once each to the date, the rest of the set standards Lem Winchester’s vibraphone (plus for the session and appears on flute, tunes across its just-over 40 minutes: but was a regular collaborator with or originals by pianist Hans the rhythm section of bassoon, bass clarinet and alto “Perpetuum Mobile”, “Lady Delay”, DeJohnette. Everyone contributes Hammerschmid. This date presages and Arthur Edgehill) for a program of saxophone while Byard switches to “Woodworms In The Roots”, tunes to this two-disc set, including by two months Zoot Meets Hans. mostly standards. electric piano for one track. “Romana” and “Mutzerl”. one DeJohnette/Metheny piece.

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THE NEW YORK CITY JAZZ RECORD | June 2013 55