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FEBRUARY 2017—ISSUE 178 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

RALPH TOWNERSOLO HOMECOMING

CYRUS INGRID RICHARD JODIE CHESTNUT JENSEN TEITELBAUM CHRISTIAN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East FEBRUARY 2017—ISSUE 178 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Cyrus Chestnut 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : 7 by ken waxman General Inquiries: [email protected] On The Cover : 8 by john pietaro Advertising: [email protected] Encore : by kurt gottschalk Calendar: 10 [email protected] VOXNews: Lest We Forget : 10 by anders griffen [email protected] LAbel Spotlight : Trytone by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Miscellany 30 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Event Calendar 32 Elliott Simon, Andrew Vélez, Ken Waxman, Contributing Writers Robert Bush, Matthew Kassel, M.J. Lester, Ivana Ng, Eric Wendell It’s usually tough to get excited about anything in February. The days are cold, the nights are long and it seems like there is a wind with your name on it lurking around every corner. Contributing Photographers Unfortunately for us, the unseasonable warmth in the city is tempered by a chill blowing up Scott Friedlander, Angela Jimenez, Gulnara Khamatova, Maarit Kytöharju from Washington, DC. No one has any idea how the next years will play out but reports of Alan Nahigian, Caterina di Perri, cuts in arts funding and a move away from celebrating diversity only reinforces our personal R.I. Sutherland-Cohen, Jack Vartoogian responsibility to champion the best things this city and country have to offer. Jazz, of course, is one of them, no matter who pulls the levers of power. Fact-checker Nate Dorward Luckily we are flush with opportunities to celebrate throughout the month throughout the city: legendary guitarist Ralph Towner (On The Cover) makes a triumphant solo return with two nights at Jazz Standard; pianist Cyrus Chestnut (Interview) testifies for a week at Birdland; trumpeter Ingrid Jensen (Artist Feature) celebrates a new CD at The Jazz Gallery; and electronics pioneer Richard Teitelbaum (Encore) performs at Dizzy’s Club with drummer . And even if the warmish weather may not last, bundle up with our Event Calendar, toasty with hundreds of shows for your perusal and enjoyment. nycjazzrecord.com Spring will soon be here but it is upon us to bring life and positivity back into the world...

On The Cover: Ralph Towner (© Caterina di Perri) Corrections: In our Best of 2016 spread and Recommended New Releases in the January issue, ’s As The Wind was released by Psi. All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 FEBRUARY 2017 | THE JAZZ RECORD WWW.BLUENOTEJAZZ.COM FEBRUARY 2017

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THU-FRI FEB 9-10 &ALFREDO RODRIGUEZ pedrito martinEZ “VENUE OF THE YEAR” 2016 -NYCJR H“TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY”- NY MAGAZINE SAT-SUN FEB 11-12 WED-SAT FEB 1-4 RICKY RODRIGUEZ ALFREDO RODRIGUEZ TRIO MICHAEL OLIVERA MONTY ALEXANDER: “LOOKING BACK” TUE FEB 14 WED FEB 1 VALENTINE’S DAY REMEMBERING 1969: That’s the Way It Is BRIA SKONBERG: CELEBRATION & QUINTET MATHIS PICARD - CORCORAN HOLT - JEROME JENNINGS WARREN WOLF - RON BLAKE - HASSAN SHAKUR - JASON BROWN WED-THU FEB 15-16 THU FEB 2 REMEMBERING 1977: JAZZ AT the PHILHARMONIC RALPH TOWNER: SOLO , & Milt Jackson FRI-SUN FEB 17-19 DOMINICK FARINACCI - ANDRAE MURCHISON - WARREN WOLF - RON BLAKE - HASSAN SHAKUR - JASON BROWN FESTIVAL FRI-SAT FEB 3-4 MINGUS BIG BANDWEEKEND 2017: JAMAICA & JAZZ: HARLEM-KINGSTON EXPRESS PLUS TUE-SUN FEB 21-26 REMEMBERING STUDIO ONE ANDRAE MURCHISON - RON BLAKE - DOMINICK FARINACCI - ANDY BASSFORD JOSHUA THOMAS - HASSAN SHAKUR - KARL WRIGHT - JASON BROWN quartet ADAM ROGERS - DEZRON DOUGLAS - EJ STRICKLAND SUN FEB 5HCLOSED TUE FEB 28 TUE FEB 7 - GWILYM SIMCOCK - - - SHAI MAESTRO - CHRIS TORDINI - JOHN HOLLENBECK HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH WED FEB 8 MON FEB 6, 13 & 27 MON FEB 20 GLENN ZALESKI MATT PENMAN YOTAM silberstein ERIC HARLAND MINGUS MINGUS ORCHESTRA HJAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM [EXCEPT 2/5]-DIRECTED BY DAVID O’ROURKEH NEW YORK @ NIGHT

In contemporary New York City—or anywhere that Broken Shadows is tenor saxophonist Chris Speed’s this music is played, really—the likelihood of platform for staging and adapting ’s convening a working large ensemble is pretty low. It’s vital but often overlooked late ‘60s/early ‘70s output actually a remarkable thing that William Parker, who with , and . celebrated his 65th birthday on Jan. 10th, has been able On a drizzly weeknight (Jan. 3rd), ensconced in Korzo’s to convene the Little Huey Creative Music Orchestra boxy but cozy backroom in ’s South Slope, as many times as he has since its 1994 inception. The with Speed playing the role of Redman, alto group is a “living, breathing organism” as AUM saxophonist as Coleman, bassist Reid Fidelity founder Steven Joerg puts it and was in fine Anderson as Haden and drummer Dave King as form through an uninterrupted 90-plus-minute work Blackwell, the improvising troupe both reenacted and titled “Creation of the Tone World” at Roulette (Jan. contemporized the Coleman quartet’s now-classic 14th). This particular Huey was made up of repertoire and ethos. Opening with the calypsoidian 14 musicians, some veterans of the group and some “Una Muy Bonita”, a heterophonic reading of “As It new, young conscripts and through self-conduction the Should Be” (aka “Comme il Faut”, from the 1969 live five brass, six woodwinds and three rhythm players recording Broken Shadows) and then a brisk “Toy encouraged one another, gestated ideas and improvised Dance”, Berne and Speed passed the musical baton problems and solutions with grace and flair. The piece back and forth, sometimes even wresting it away from began and ended with Parker on doson n’goni (West each other mid-solo while Anderson plunked African lute), limned by Rob Brown’s , Brandon unrelenting cascades of quarter-notes and the Lopez’ arco bass and shimmering clatter from the horn irrepressible King stole several scenes with his players (clacking objects on the floor or tapping their audacious avant-swing and potent accompaniment. instruments) and in between were occasional frontline Most of the short but compelling melodies (“Song for swells and, more often, group interplay atop chugging, Ché” by Haden, “Walls-Bridges” by Redman, “Humpty unflappable vamps, with solos and duets rising to the Dumpty”) served as scripts for outward-bound but pulpit to declaim and flush out any demons. Charles thematically motivated improvisation, Speed’s cool/ Mingus, and Chris McGregor seemed to ecstatic demeanor poised against Berne’s dense, barbed inspire the lushest, riskiest and most infectious declamations. The beautiful ballad “Broken Shadows” components but the results were entirely owed to Huey was followed by a rousing romp through “Street Jackson. —Clifford Allen Woman”, an apt finale. —Tom Greenland A l a n h i g © R . I S u t h e r l a n d - C o / j z x p s i g William Parker @ Roulette Chris Speed @ Korzo

One central aspect of Arts for Art, the organization Celebrating three-fourths of a century on the planet run by Patricia Nicholson Parker (a choreographer and (six decades spent as an improvising musician), Nova the wife of William Parker), is providing not only Scotian drummer Jerry Granelli started his new year community but also a sense of community history. This off with a weeklong residency at The Stone. Thursday’s is something not easy to glean through most other (Jan. 5th) event, titled What I Hear Now, arose, as he areas of creative, contemporary music. As much as the explained to the packed room, from imagining Jane Ira vanguard is celebrated, Arts for Art also continually Bloom’s playing alongside Dave fêtes those who have gone before, such as trumpeter Douglas’ , with bassist making it Roy Campbell, Jr., who died on Jan. 9th, 2014 at 61. a foursome. Alone, wielding a peacock’s fan of Agogô Campbell was a longtime fixture in the jazz bells, his bare hands darting across the toms, Granelli underground, starting in earnest in the ‘70s, and set the mood for “Enter, A Dragon”, until Bloom, bridged hardbop tradition and free music. His work hunched, restive, arching sideways or kicking up her was given continued life in a departure-day concert at knees like an Irish dancer, introduced the theme. Clemente Soto Velez Cultural Center, presenting sets Ornette Coleman’s “ Connotation” was laid-back by the Pyramid for Roy; a vibraphone-bass- and swinging, Granelli mouthing his ‘melodies’. On drums trio of Bryan Carrott, Hilliard Greene and “Walter White”, a wire-brushed original ballad named Michael Wimberly that had supported various for the anti-hero of Breaking Bad, Douglas drooped Campbell projects; and The Nu Band. The latter was pitches for effect, Bloom supplying a pithy rejoinder. one of Campbell’s finest units and joined him with On “Dangerous Times” she, Granelli and Douglas saxophonist , bassist and created Doppler effects by panning their instruments drummer Lou Grassi to explore spiraling freedom and like pulsating sprinklers. “Tronz”, by Granelli’s son bluesy modern-jazz incisiveness. German-born J. Anthony (for guitarist David Tronzo) mounted a trumpeter Thomas Heberer stepped into Campbell’s bop-tinged line over a D. C.-style go-go groove, Dresser shoes upon his death and brings a devilish, crisp in a rowdy mood. Following a soulful cover of Dinah technique and explosive dynamism, egging on Washington’s “”, the perky original Whitecage’s brusque cries and the hard-charging but “Run Danny Run” showed that, contrary to the old defiantly swinging rhythm section. The late trumpeter saw about cooks in the kitchen, four musical chefs can loved bearing overhead witness, I’m sure, to this collaborate well together, even when each adds an storming, witty incarnation of the group. (CA) incongruent ingredient to the collective recipe. (TG)

4 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD It is ironic that what enters our heads when thinking With a résumé boasting years of experience with Art about 19th century American cowboy culture was Blakey and , is as deeply actually the product of two Italians working in the mid rooted in the traditions of both mainstream jazz and WHAT’S NEWS ‘60s. The grim, dusty, loping visual and aural aesthetic modern AfroCaribbean music as any player on the comes from a series of films, dubbed Spaghetti scene today. On his latest recording Madera Latino: A major initiative has been announced between NPR and WBGO to expand the latter’s web presence, with “on demand content, Westerns and starring Clint Eastwood, by director A Perspective On The Music Of Woody Shaw including all WBGO on-air programming for two weeks after air Sergio Leone and his soundtrack Ennio (Hollistic Musicworks), the trumpeter brings the date, a curated selection of exclusive WBGO archival content Morricone. The latter is the inspiration for guitarist fusion of the two genres into sharp focus with exciting and more.” The revamped website launched last month and Marco Cappelli’s deliciously named Italian Surf of pieces from the late trumpeter’s former New York Times critic Nate Chinen was tapped to be Academy, which played an intimate show at songbook. Celebrating the release of the album at Jazz Director of Editorial Content. For more information, visit Rockwood Music Hall Stage 3 (Jan. 4th). It is a zesty Standard (Jan. 3rd), Lynch led a fiery septet with an wbgo.org. trio filled out by electric bassist Damon Banks and allstar Latin rhythm section of pianist Zaccai Curtis, It has been reported that The Stone, ’s venue named drummer Dave Miller, performing works by Morricone bassist Ruben Rodriguez, drummer Obed Calvaire and for late music aficionado Irving Stone that opened in April 2005, is and originals by the leader. Cappelli favors a slightly conguero Little Johnny Rivero backing a three-horn entering the last year of its operation. The club will close in overdriven tone while Banks recalls ‘70s fusion bassists frontline with fellow trumpeters Ingrid Jensen and February 2018, concluding its programming with a week of Zorn like Ralphe Armstrong in his sound and muscular Philip Dizack. From the opening strains of “Zoltan”, improvs Feb. 20th-25th. For more information, visit thestonenyc.com. approach and Miller was not so much robotic as the compatibility of Shaw’s compositions with martial. Lest you think that it was an entire set of AfroCuban cadences was obvious, Lynch playing the ACT Music, the German label based in Munich, is celebrating its clip-clop rhythms and emulating the sound of distant martial melody over an emphatic clavé beat, Jensen 25th anniversary this year and there will be a jubilee concert Apr. crows, Cappelli liberally sprinkles Morricone’s vision and Dizack riffing a harmonizing countermelody to 2nd at the Konzerthaus. For more information, visit with psychedelia washes, art-rock flourishes and even spur the leader on. Throughout the evening each konzerthaus.de/de/ACT25. arena rock-style anthemic declarations. While no one trumpeter exhibited a firm grasp on Shaw’s harmonic New York State Governor Andrew Cuomo vetoed a legislative would ever accuse Eastwood of being a comic actor, language, judiciously interjecting the late trumpeter’s measure brought before the state legislature relating to the Italian Surf Academy injected a thread of humor into voice into their own sound. The rhythm section, with employment status of independent musicians and their eligibility its calisthenic workouts, like Tonto riding alongside Rivero out front, fired up the horns on Shaw’s “Joshua’s for workplace protections. To read the vetoed bill, visit The Lone Ranger. As the set high-plains-drifted along, Seed” and “Sweet Love Of Mine”, then mixed rumba nysenate.gov/legislation/bills/2015/a10283. it was refreshing to see that while Cappelli is an guaguancó and straightahead rhythms on Judi Singh’s accomplished player, he was also actually “The Time Is Right”. Lynch’s original “Blues for Woody Montblanc, makers of fine writing instruments, produced a very limited-edition pen honoring trumpeter as part of its accomplishing something. —Andrey Henkin and Khalid” closed out the set. —Russ Musto Great Characters Limited Edition, joining such figures as Andy Warhol, John F. Kennedy, Albert Einstein, Leonardo da Vinci, Alfred Hitchcock and Mahatma Gandhi. For more information, visit montblanc.com/en-us/discover/limited-editions/great- characters.html. o s The National Endowment for the Arts has announced a number of awards given to institutions throughout the U.S. as part of its Art Works: Creativity Connects program. Local organizations who received funding towards jazz-related programming are Harlem Stage, Apollo Theater, Arts for Art, Jazz at Lincoln Center, Jazz Foundation of America, The Jazz Gallery, JazzReach and Search and Restore. For more information, visit arts.gov. The Creative Music Studio New York City Workshop will take o g i a n / F r t R w P h

t place Mar. 31st-Apr. 2nd at the Greenwich House Music School

a r and will include guitarist Nels Cline and drummer Susie Ibarra alongside founders Karl Berger and Ingrid Sertso. For more information and registration, visit creativemusic.org/ nyc-workshop-2016.html.

s c o t f r i e d l a n © 2 0 1 6 J a c k V , Thomas Buckner and Pauline Marco Cappelli @ Rockwood Music Hall Stage 3 Brian Lynch @ Jazz Standard Oliveros (posthumous) will receive the 2017 Now Visionary Awards as part of a ceremony and concert Feb. 1st at There is lots of talk these days about elites, a term spat While best known as a forward-looking artist through the DiMenna Center to open the Composers Now 2107 Festival. For more information, visit composers-now.org. out by certain politicians and segments of the country associations with top-tier players of the ‘70s avant with a terrifying virulence, a thorough condemnation garde, reed player Marty Ehrlich is a musician well The Schomburg Center for Research in Black Culture has of those who have it good and have forgotten about schooled in the entire jazz tradition, as he proved in been designated a National Historic Landmark. those who don’t. Well, I have little sympathy for those a rare one-nighter at Smalls (Jan. 13th) fronting his The who choose to live in a place where they can’t go out Philosophy Of The Groove. The versatile quartet of The Jazz Gallery has announced the latest participants in its on a random Wednesday night and see world-class pianist James Weidman, five-string electric bassist Residency Commission program: Joel Ross, Maria Grand and and Adam O’Farrill will each receive a commissioning fee, use of jazz in a cozy venue for $12 and the price of a beer. Jerome Harris and drummer Ben Perowsky opened The Jazz Gallery for composing, rehearsing and recording and That is what was on offer at (Jan. 11th) with the their set with Ehrlich’s “Hymn”, a spiritual outing will have their works premiered during the concert season. Brian Charette Trio. The organ player had enlisted with Capetown cadences featuring the bandleader’s Additionally, the inaugural recipients of the Fellowship program a pair of similarly white, middle-aged males in guitarist dark-toned . Switching to flute for have been announced: and Johnathan Blake will each Peter Bernstein and drummer Ari Hoenig but this was “Cantarnos” by his former employer, pianist Andrew receive $10,000, a two-week residency at the Pocantico Center hardly a rally for the disaffected. Instead, it was a Hill, Ehrlich soared over the loping Latin-tinged of the Rockefeller Brothers Fund and access to The Jazz Gallery for miscellaneous purposes. For more information, visit celebration of the diversity and joie de vivre that makes rhythm, utilizing the full range of his instrument, jazzgallery.org. jazz emblematic of the best this country has to offer the alternating upper and lower register lines accented world. The trio played tunes by , Jimmy with dissonant trills. Back on alto he dug deep into his Fred Taylor, a legend in the Boston jazz scene, was abruptly let Smith, Woody Shaw and Larry Young to go with roots on his episodic “Price Of The Ticket”, which go from his position as Entertainment Director at Scullers Jazz Charette originals, one whose humorous working title referenced several of the songs that moved him in his Club, which he has booked since 1991. was “No More Songs for Girls”. While this organ- youth, including “Amazing Grace”, “My Lord What Belgian production group Outhere Music has acquired the guitar-drums format is an established one in jazz, the A Morning” and “A Lone Wayfaring Stranger”, catalogue of Swiss imprint hatHUT Records. Label founder threesome inhabiting it are notable for jumping over highlighting the band’s ability to shift seamlessly Werner X. Uehlinger will continue to be on board and plans are walls of their musical borders: Charette can ooze with through various moods and tempos. Harris was for 12-16 releases annually. soul but just as easily sound like he is scoring a video featured on vocals for Bobby Blue Bland’s “Ain’t No game in his head, maintaining an uncommon lightness Love In The Heart Of City”, after which the players Marshall University in Huntington, West Virginia, has been named home for the newly established triennial Ellis Marsalis for the instrument; Bernstein never resolves his took turns deconstructing Jerome Kern’s “The Song Is International Jazz Piano Competition, which will begin in 2018. melodic lines where you expect; and Hoenig swings You”. Ehrlich’s soprano was in the spotlight for his and shuffles to be sure but he also brings a healthy melancholic “Line On Love”, before he funked it up on rock-bashing vibe to up the energy. More of this is alto, closing out the set with the band’s break song “Let Submit news to [email protected] what will make America great again. (AH) Me Hear You Say”. (RM)

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 5 INTERVIEW

Boston because not only did I learn about music but also life as well.

TNYCJR: You won quite a few awards during your years at Berklee. What drove you to achieve such high CYRUS standards? CC: Hard work, that’s it in a nutshell. When other cats were hanging out trying to look at women, I was headed to the practice room. I never hung out a lot. I was either going to the practice room or to the gig. t i s College was a time where you were supposed to a r explore all kinds of things but pretty much all I did (CONTINUED ON PAGE 38)

o f t h e CHESTNUT t e s y

c o u r by ken dryden Cyrus Chestnut brings joy, a gift for improvising and TNYCJR: You studied classical music at the Peabody tremendous chops to every musical situation. The Institute. How much time do you devote to keeping up native started playing at an early age and there was no your classical chops? stopping him from achieving his goal to be a jazz pianist, though his inspiration draws from many different styles, all CC: I listen to the music all the time. Rather than just transformed into a unique, swinging approach. Schooled at playing pieces, if it’s my choice, I like to play within Peabody Preparatory Institute and , the period. I might play something that was Baroque- followed by post-graduate studies on the road accompanying inspired or if I’m listening to a Gregorian chant, vocal great Betty Carter, Chestnut has gone on to lead or I do that. Or some Debussy. I’ll work on the sound of co-lead over two dozen CDs under his name, in addition to the idiom versus playing the specific repertoire. being a prolific composer, arranger and jazz educator. Sometimes I’ll go back and learn a piece and really figure out what it is and how I can take it apart as well. The New York City Jazz Record: Since you started piano so young, you must have been in a musical family. TNYCJR: Tell me about your experience at Berklee, both the influence of the faculty and your interaction Cyrus Chestnut: Yes, that’s true. My father was my with your fellow students, many of whom became first teacher. I saw him play piano and then I tried to professionals like you. do as he did. My mom sang in the church choir. She was choir director and a great singer. So music was CC: I am very grateful to my piano teachers. Michael around all of the time. My father said at the age of Marra, first and foremost, for instilling a great three I climbed up on the piano and since then I’m still discipline in me. Giving me the focus to learn the nuts trying to figure out how to do it. and bolts of playing jazz. Also having an opportunity to study with , he opened my ears and TNYCJR: What music styles were you exposed to on exposed me to so many different possibilities. There record and the radio as a youth? was also an improvisation teacher named Alex Elin. I remember him because I would always get to class CC: In the house, gospel was the dominant idiom that a little bit earlier and he would be playing and we was played all the time. However, my mom had some would start playing duo together. It was so much fun. records of , Aretha Franklin and King There was an arranging teacher, Donnie Nolan, who Curtis. There were other records that I was able to find. had an amazing mind, and another was Bruce Thomas. I really enjoyed them. I would also go to the radio. These gentlemen really challenged me and I think After listening to all of the usual stations, I was about it in retrospect and I’m so glad that I had the interested in what else was playing besides what I was opportunity to cross paths with them. There was Gary very familiar with. Solt, my ear-training teacher. I had a good ear so I was I think the thing that drew me to jazz was that able to start in the highest ear-training level, but just there were times I would play in the church and the because we were there didn’t mean that we had to just minister would look at me during the service and say, take it easy. He put the pedal to the metal, so to speak, “Son, just go play something.” So I had to make things and we were constantly challenged. Last, but certainly up. Even studying in the musicianship program at the not least, I will always treasure trombonist Phil Wilson, Peabody Institute in Baltimore, we studied because he helped me in so many ways in the art of Gregorian chants and various different periods of early playing music, composition and arranging. He allowed music. We had to write our own Gregorian chants, so me to be in the [Berklee College of Music] International at an early age I was already immersed in composing. Blues Band with him and also in the first incarnation of When I was nine years old, I heard this Thelonious the [Berklee College of Music] Rainbow Band. I was Monk record. It just struck me, I don’t know what it able to write a lot of music for it and he was a real was. I remember seeing this album with this man serious mentor, always caring about what we did and playing the piano and thought that the cover looked so if it wasn’t right, he would make sure to say that. cool. I started listening to the music and really liked it. Students? I was there with Greg Osby, Terri Lyne The notes, the rhythms, the harmonies, it just got me. Carrington, , Delfeayo Marsalis, Donald I just went right on and wanted to find out more music Harrison, James Gates and Tim Williams. We would like that. I would switch stations and found the have these sessions and we always cared about each Baltimore station with disc jockey Robert Ford was other, especially Tim Williams, the trombonist. He’d running some good programming. Then there was this say, “Chestnut! Come here! You shedding?” I’d say, program called “Jazz Straightahead” that I listened to “Yes, sir!” He’d ask me who I was ‘shedding’ on and every day to hear more music like that. Composing who was my focus of practice. After a while he told me transitioned to playing on the fly. So when I got out of to come to the session and when I did, it was all of high school, rather than study Beethoven, Brahms and these incredible musicians and I thought, “I’m not Bach, I was studying , and going to play there.” But over time I did get a chance to Dizzy Gillespie. play and it was really special. I do treasure my time in

6 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit ingridjensen.com. Jensen is at The Jazz Gallery Feb. 17th. See Calendar.

Recommended Listening: • Ingrid Jensen—Vernal Fields (Enja, 1994) • /Sam Newsome/Ingrid Jensen/ INGRID /Johannes Weidenmüller/ Jochen Rückert—SteepleChase Jam Session Vol. 4 (SteepleChase, 1997) • —Round ‘Bout Now (Playscape, 2002) • Maria Schneider Orchestra—Sky Blue (ArtistShare, 2007) • Nordic Connect—Spirals (ArtistShare, 2008) • Ingrid and Christine Jensen (with Ben Monder)— JENSEN Infinitude (Whirlwind, 2015) J i m e n z

A n g e l a by ken waxman “I’m still a gun for hire as long as the music is good the sexes and my opposite number was a guy named and the pay is right,” jokes trumpeter Ingrid Jensen Bunmi who was built like a linebacker. Luckily I had describing her recent career. But Jensen, 51, who was been studying with [brass instructor] Laurie Frink brought up in Nanaimo, British Columbia and lives in before that. She really saved my chops and my career,” Westchester, N.Y., now has to spread her musical gun- remembers Jensen. slinging talents among many locations. In demand as The Vienna Art connection soon led to her an instructor at various international jazz schools, she becoming the youngest professor in the history of the is also a regular sideperson in large groups headed by Bruckner Conservatory in Linz, Austria, which also the likes of Maria Schneider and Darcy James Argue gave her a chance to play with such jazz masters as plus smaller bands such as ’s , and Clark Terry who were touring Mosaic Project. Then there are her own groups. One Europe. The latter helped line up her first leader she is particularly invested in premieres its new CD CD with . Soon afterwards, it was time to Infinitude (Whirlwind Records) this month. Besides concentrate on her own playing and composing. Jensen guitarist Ben Monder, an associate from the Schneider relocated back to New York, jobbed and recorded with Orchestra, the other person in the frontline is Jensen’s such respected players as saxophonist sister, Christine, a respected Montréal-based alto and drummers and . At the saxophonist. same time she joined the all-female DIVA big band, “The idea was Christine’s,” reveals Jensen. “She which “gave us lots of potential to play until your face would come down to hear me play with the Schneider falls off.” Orchestra in the ‘90s and loved the way Ben comped Her professional affiliation with Christine came when I soloed. But my idea isn’t being a soloist, but to about during this century, when she heard some of her add textures to the performances.” Infinitude is actually sister’s compositions and decided to record them. the fourth CD the Jensens have recorded together. “At that point they sounded like the compositions of Another, 2011’s Treelines (Justin Time), with Ingrid as , who I was trying to write like at the featured soloist with Christine’s Montréal orchestra, time,” she recalls. Eventually she and Christine began won a , the Canadian equivalent of playing and recording together, leading to the creation a Grammy. Yet before comparisons with other musical of the Infinitude band. All three principles write for the siblings arise, it’s crucial to realize that this group, whose music Jensen describes as existing like collaboration is fairly recent. Jensen has been following the sculpture waiting underneath a piece of stone for her own path since she left Nanaimo for Berklee the chisel to expose it. To give the band an individual College of Music in 1989. sound, besides Monder’s electric guitar stylings, That was the turning point in starting her Jensen uses electronics attached to her trumpet. She professional career, Jensen states, although she initially began using loops to bring something different modestly claims that most of the time she merely to the Schneider Orchestra and has continued to followed suggestions made by her elders. Exposed to include effects when warranted. jazz and swing through her mother’s record collection, When it comes to her own bands, she has a group a young Jensen entered Nanaimo’s excellent school of players she regularly calls upon, some females, but music program—singer/pianist is another mostly males. “I love to play with women if they have, alumna—and since Christine, who is four years say, the skill and stamina of Bill Stewart or Victor younger, was already playing piano and an older sister Lewis. But I don’t feel I should have to go backwards played , she settled on trumpet after her in the level of the music I play just because of political mother suggested playing “that correctness,” she avers. Although she’s been part of instrument that I loved.” She played it throughout many all-women ensembles, Jensen states, “You high school and community college and even worked couldn’t pay me enough to be in an all-female band in a local ska band, but didn’t commit to a career until that isn’t any good—and I’d have to wear high heels.” she attended one jazz summer camp in the late ‘80s. That said, she’s still helping nurture other young Pianist Hal Galper, one of the instructors there, said it female jazz musicians. During the past three years she was time she challenge herself and move east. has taught at pianist Geri Allen’s All-Female Jazz She did so and immersed herself in the classes, Residency at the Performing Arts Center in recitals and student jam sessions at Berklee for the next Newark. This camp for female instrumentalists age three years. After graduating she spent three months 15 to 23 is designed to “give them more confidence and relaxing at her aunt’s home in Copenhagen, Denmark, kick their butts,” she explains. The target ages are where every night she would bicycle to local jam those during which when most female instrumentalists sessions to play standards with other musicians. give up playing. “They’re more self-conscious in their Serious dues paying came when she moved to New playing,” she relates. “It’s part of our body make-up. York for a year after that, a situation that was resolved When boys play a bad solo they just go on to the next when she was asked to join the Vienna Art Special— one, but girls aren’t like that.” Fe & Males, a band which featured an equal number of At least these budding players have role models women and men instrumentalists. “It was a battle of like Jensen to show them what can be achieved. v

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 7 ON THE COVER

RALPH TOWNER SOLO HOMECOMING

d i P e r by john pietaro t e r i n a © C a

“I haven’t played solo in New York City for so long. I had almost no family, no support and didn’t even bassist and drummers Jack DeJohnette Carnegie Hall in the ‘90s was probably the last time,” speak the language. I was lucky to be able to do and , among others. His music has also explained Ralph Towner, the guitarist whose music something that impractical. I had to learn German been heard on film soundtracks, including William traverses boundaries well beyond the landscapes. along with the instrument.” Friedkin’s controversial Cruising (1980). “He was a big “I was actually scheduled to perform here on September Towner moved to Greenwich Village in 1968 to fan of Oregon and had initially been interested in one 14th, 2001 and was already in town on the morning of become integrated into the flourishing creative of my compositions for the main title theme to 11th. Looking down 6th Avenue you could see the community. “I lived in the West Village between Perry Exorcist. Well, that didn’t happen and it worked out smoke, the utter confusion,” he said, drifting off and Bleecker. So many artists were in the area. This well enough for Mike Oldfield. But then he later used momentarily. In the course of his latest tour, dates was made possible because downtown was so cheap to my ‘Waterwheel’ in Cruising. When the film was in scheduled in Manhattan resonate for Towner, the one- live in then. Two bedrooms, $120 per month. You could post-production, the anti-gay scandal already time New Yorker. Understandably. “Let’s just say I’m pay rent and eat with a couple of bad wedding gigs. surrounding it led me to demanding my name be looking forward to the homecoming.” Later I moved to Chelsea. Gentrification now has made removed from the credits. That pretty much ended Towner was born on Mar. 1st, 1940 in the small this all but impossible. It was an incredible time,” he Friedkin’s interest in my work.” town of Chehalis, Washington. His was a working- remembered fondly, if not forlornly. Oregon experienced the height of musical class home welcoming to the arts and the creative , by the late ‘60s, already leading his collaboration during their years together through expression of the children. “My mother taught piano in folk/jazz crossover Consort, made the decision to a series of world tours. But during a point of travel in our house and also played organ in church, so there invigorate the lineup with improvisers. Towner came 1984, a ride ended in a horrible accident and the was always music to be heard, piano books to be had. in during this time. “ was there for a untimely death of Walcott. The band, in both trio And my older brothers had a massive jazz record bit. too. Paul’s music was amazing. He format and in the presence of other percussionists, collection: swing bands, Nat Cole and other music of asked me if I knew a bassist and a percussionist and overcame the vacuum created by such a loss and even the period.” Towner’s father labored in a mill, leaving I had just the guys in mind, and Colin went on to a Grammy-nominated live recording from very early and getting home late each night. He also Walcott. [Reed player] Paul McCandless was there Moscow in 2000. Oregon remains the heart of the was, in whatever free time possible, a cornet player. already.” Soon Towner was the primary composer. The surviving members’ musical lives. A new recording Tragedy struck the household in 1943 when celebrated “Icarus” was his first contribution. The 1971 was released in 2016. Towner’s father died suddenly. Seeking out recording still commands the listener with a gentle Towner relocated to Italy some 25 years ago and it opportunity, the family relocated to the neighboring urgency, a rapturous, open call to oneness; this quality could be said he is equally at home amid the European state of Oregon within two years. “We moved to remains essential to the guitarist’s music. new music and jazz scenes as he is the American. And another small town,” he recalled, “Only 9,000 people, Towner, McCandless, Moore and Walcott officially with all of this expanse, when asked about special but we had wonderful music programs in the schools.” left the Winter Consort by 1972, but as early as 1970 memories, he cited a time when shared a bill By age six, young Towner had inherited his father’s their quartet, not yet named Oregon, was building with Oregon: “We had this gig in Berkeley which Bill horn and began studying the instrument. He became a a NYC fan base. A major platform was radio station was going to open. While we were in sound check, he part of the local scene, as it was, performing in concert WBAI’s Free Music Store concerts, which ran live on the comes running into the hall, shouting ‘You must listen and marching bands. Soon, he tried playing related air, midnight till 6 am. “The broadcasts were in front of to this!’ and takes over the piano. Bill was playing this brass instruments including and an audience that came into the old church on East 62nd amazing composition that sounded like Bartók. The and also performed with his family’s band. Street where BAI was based. We were engineer was getting really annoyed and we were Towner discovered improvisation early on. “We combining many instruments, completely improvising running late, so I had to try to get him off the piano. I had a wonderful school music teacher and in the third most of the time and kept pieces going in some cases had to be persistent. Back in college when I first became grade, she provided us with Tonettes, the little plastic continuously through daybreak. Duets would break out so enamored with Evans’ music, I never would’ve song-. The pieces were unison but I found myself when one or two of us would run out for coffee and dreamed that I’d eventually kick him off any piano.” harmonizing, adding in leading notes, full lines. When donuts and then would jump back in after.” Among The Evans connection can be heard to stunning I began playing trumpet in the school bands, those in the house one night was the acclaimed composer effect on Towner’s latest album My Foolish Heart, which I continued doing this.” Inspired by recordings of Aaron Copland. “He said, ‘[Luciano] Berio and those includes the Victor Young title standard made immortal Louis Armstrong and others, Towner’s penchant for ad guys spend so much trying to write this music and you by that original Bill Evans Trio. Towner’s solo acoustic lib took a turn toward the blues as he absorbed the guys are up there just improvising it,’” Towner stated, guitar take on it holds sacred the ringing intervallic repertoire. “I was born at a time when I was introduced laughing. “But improvisation is really still composing. leaps and spacious atmosphere as well as the driving to so many types of music. I spent my time growing One needs to make the same musical decisions but you move into the improv section. The guitarist makes the through different blocks of musical genres.” make them immediately.” piece his own. “Music has a direction,” he remarked. By 1958 at the University of Oregon, Towner Oregon took to the road in a small van. The “It comes from all we’ve learned. It’s temporal.” v pursued art and then later moved into composition. exposure brought the guitarist some notable attention; “I became serious about piano and was deeply in 1971, invited him to play on their For more information, visit oregonband.com. Towner plays influenced by Bill Evans; not only his playing and second release, I Sing the Body Electric. “It was a typical solo at Jazz Standard Feb. 15th-16th. See Calendar. composing, but every aspect of that original trio. NYC thing. called and asked me to play Looking back now, I don’t think I even played piano 12-string guitar, something I’d first begrudgingly done Recommended Listening: well enough to feel professional at the time.” At age 20 with Winter. My instrument had actually been stolen, • Oregon—Music of Another Present Era he experienced the death of his mother. Such a stirring so I rented one in the Village for $10.” Entrenched in (Vanguard, 1972) event can raise consideration of one’s place in the the primarily acoustic sphere, Towner was signed in • Ralph Towner—Old Friends, New Friends social order, but something powerful guided Towner 1972 by ’s ECM Records to which he (ECM, 1979) through another byway. “I had just discovered the has maintained a fierce loyalty. In addition to recording • Ralph Towner— (ECM, 1988) classical guitar and realized I needed to have serious solo works and Oregon with ECM, Towner’s • Ralph Towner—Lost and Found (ECM, 1995) education, lessons with a master. That was Karl Scheit sojourn led him to projects with pianist , • Oregon—1000 Kilometers (CAM Jazz, 2006) in Vienna. Anyone who knew me thought I was nuts. vibraphonist , guitarist John Abercrombie, • Ralph Towner—My Foolish Heart (ECM, 2016)

8 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD

ENCORE r e d and landed a job in the Psychology Department at and then plays the MicroMoog with it. That’s what I n a

l Queens College where he learned how to use the think is going on.” d e i RICHARD TEITELBAUM electrodes that would enable his idea about brainwave Cyrille and Teitelbaum continued to play together, r f music while saving enough money to buy a . doing some dates in Europe and in a trio with Anthony t t o by kurt gottschalk He made his way northwest to Trumansburg, NY, to Braxton. And it’s proven to be a lasting relationship. c s meet synthesizer pioneer Robert Moog. As it happened, Cyrille’s The Declaration of Musical Independence, Richard Teitelbaum puts it quite plainly. “I don’t saxophonist was in New York at the time as released by ECM last fall, includes Teitelbaum on consider myself to be a jazz musician, really,” he said, well and daily jam sessions during the summer of 1967 synthesizer and piano, guitarist and bassist speaking from his upstate New York home, where he is resulted in Chinese Food for LBJ with Irene Aebi . It’s a remarkable meeting—warm and a professor of music at Bard College. “I never play singing texts borrowed from the 6th century BCE inviting yet not quite like anything before it. And true changes.” But, by his own admission, he’s a lifelong Buddhist philosopher Lao Tzu. (Recordings of those to his roots, according to Teitelbaum, Cyrille made it listener of jazz. “I have this vague memory of walking sessions remained unreleased until 2012, when a real group session with everyone bringing in into a theater in and hearing Louis Emanem included them on the Lacy collection The a composition and the group doing several free Armstrong when I was young, sitting in the back row Sun.) Later that year, he returned to Italy, Moog synth improvisations as well. Teitelbaum’s “Herky Jerky” is of the balcony and thinking it was the loudest music in hand and rejoined MEV. Lacy would play with MEV a brief round, layered and angular, a catchy melody I’d ever heard,” he explained. “I listened to Dave for a while as well. “I look on Steve as my first growing surprisingly complex as it turns in on itself. Brubeck when I was in high school and college and improvisation teacher,” Teitelbaum said. Teitelbaum’s first band has proved to have staying and I liked that. I heard Another key figure from the jazz world who would power as well. While others have come and gone, the live in 1960 or so and then I heard him on the same figure prominently in Teitelbaum’s career is drum core of MEV—Curran, Rzewski and himself—has concert as Ornette Coleman.” legend Andrew Cyrille. The two were initially brought carried on. They played year’s Festival de Teitelbaum’s unique place straddling jazz, new together by the late violinist for his Space Actuelle Musique de Victoriaville in Quebec [issued as music and is just as informed by Minds, New Worlds, Survival of America album (Tomato, Symphony No. 106 on Victo, see review on pg. 22]. classical studies and jazz listening. He gave piano 1978). They met again on Valentine’s Day, 1981, when A tour this summer will take them to the Big Ears recitals of Brahms, Mendelssohn and Mozart as a youth Cyrille had two nights booked at the multicultural Festival in Knoxville, TN. “It’s been a kind of and in his 20s studied with the composer Luigi Nono in performance space Soundscape on W. 52nd Street and renaissance,” Teitelbaum said. “It was our 50th Italy on a Fulbright scholarship. While in , he invited Teitelbaum to join him. “He invited me to play anniversary this year so we took that as an opportunity began performing with Alvin Curran, Frederic Rzewski with him at Verna Gillis’ club,” Teitelbaum remembered. to try to get some gigs.” Asked what he attributes and an assemblage of other soundmakers under the “Totally free.” That encounter was released by Silkheart MEV’s longevity to, Teitelbaum laughed. “Old age,” he name Musica Elettronica Viva (MEV), applying John in 1997 under the name Double Clutch. A peek at the answered. “Most of us are still around.” v Cage’s aesthetics to the practice of , credits shows Teitelbaum’s set-up at the time: contributing to the mid ‘60s development of non-genre PolyMoog synthesizer, modified MicroMoog For more information, visit inside.bard.edu/teitelbaum. improv being practiced by AMM and the Spontaneous synthesizer, Zannini custom random generator and Teitelbaum is at Dizzy’s Club Feb. 16th with Andrew Music Ensemble in . He attended concerts by SYM-1 single board computer. He elaborates in Kevin Cyrille. See Calendar. Enrico Rava and and got to be friends with Whitehead’s liner notes. “My equipment on that Coleman. Such straddling styles turned out to be a concert was a PolyMoog synthesizer, a MicroMoog Recommended Listening: lifetime pursuit. synthesizer and some modifications and custom stuff, • Steve Lacy—The Sun (Roaratorio-Emanem, 1967-68) The main thing driving that pursuit was a desire to namely, an analog random generator that I had made • Leroy Jenkins—Space Minds, New Worlds, Survival of learn and to invent. It was around that time while in Italy way back in the ‘60s. And then there is a America (Tomato, 1978) living in Europe, that he had a vision that set him on computer, a single-board digital processor. It’s pre- • /Richard Teitelbaum— course for unearthing unusual sounds.“I got interested MIDI, so the instruments are analog, but the PolyMoog Open Aspects 1982 (hatHUT, 1982) in brain waves,” he said. “I had a fantasy one night that puts out a control voltage which gets converted from • Joëlle Léandre—Joëlle Léandre Project (Leo, 1999) I could make music with brainwaves and Rzewski told analog to digital and goes into the computer, where it • Richard Teitelbaum—Solo Live (Mutable Music, 2009) me about this guy called ‘Moog’.” goes through all kinds of delays and loops and • Andrew Cyrille—The Declaration of Musical The New York City native promptly headed home sequences and overlays and multitracks, in real time Independence (ECM, 2014) LEST WE FORGET

teacher and also took him to performances at places including boogaloo and jazz funk. The double LP like the Savoy, the Regal and the Theater. He Excursions (Atlantic, 1966–73) includes “Aleph the JODIE CHRISTIAN also participated in choirs from a young age and credits Fool”, an amazing performance showcasing Christian’s this for his early musical training. “I sang all the parts,” virtuosity and innovation. His accompaniment to by anders griffen he told the Chicago Tribune. “A lot of times I wouldn’t Harris is like a simultaneous solo in counterpoint, know a song, but I could anticipate what was coming exploiting the tune’s dissonance, and he constructs the Jodie Christian, who died five years ago this month at next because I had experience doing that, singing bulk of his own solo out of 2nds, striking adjacent keys 80, was a pianist from Chicago, best known locally as a parts.” But he always knew he wanted to play piano simultaneously. His unique energy and musicality is founding member of the Association for the and the ability to anticipate what was coming would also evidenced on The Chase by and Advancement of Creative Musicians. Possessing both serve him well in the rhythm section. In the ‘40s he was —you can’t miss the animated live technical facility and great melodic originality, underage at the Savoy Ballroom when he heard Gene audience; this music is burning! In the ‘80s-90s Christian always preferred the supporting role. He Ammons and Charlie Parker. He had heard some Christian made several great recordings for the spent most of his life in Chicago and made numerous records before, but seeing this music performed live Chicago-based Delmark label with artists such as records with artists like Dexter Gordon, and was transformative. He was soon out playing jazz and , Harold Ousley and Eric Alexander. Les McCann, as well as fellow Chicagoans Gene became a mainstay on Chicago’s rich south side jazz He also made the first recordings under his own name Ammons, and . Primarily scene from the late ‘40s through the ‘50s and beyond, with the label, producing five albums between 1991- a straightahead musician, he worked locally developing his own provocative voice on the piano. 2000 and another one for SteepleChase in 1994. These with , , , Christian demonstrated leadership as an engaged present a seasoned master who loved the music. v and Wilbur Campbell, among many accompanist, urging the soloists rhythmically and others, and played behind all the big names passing harmonically whatever the situation. Two of his great Recommended Listening: through, such as saxophonists , early records are under the leadership of bop trumpeter • —Blue Stroll (with Johnny Griffin) , and , to name Ira Sullivan: Nicky’s Tune and Bird Lives, recorded in (Delmark, 1959) a few. He also accompanied vocalists and a range of 1958 and 1962, respectively. On these early quintet • Eddie Harris—The Electrifying Eddie Harris performers from bluesman Jimmy Reed to intrepid sessions, the pianist’s musical voice and individual (Atlantic-Rhino, 1967) saxophonist Roscoe Mitchell. feeling are readily apparent. In the ‘60s he appeared on • — Christian grew up surrounded by music. His several popular albums by Eddie Harris on Atlantic, (Black Saint, 1986) parents were both pianists: his mother directed including The Electrifying Eddie Harris (1967), Plug Me • Von Freeman—Lester Leaps In (SteepleChase, 1992) a church choir and his father played the blues at In (1968), (1968) and High Voltage (1969). • Jodie Christian—Soul Fountain (Delmark, 1994) speakeasies and rent parties. His mother was his first These exhibit the inventive pianist in various settings • Jodie Christian—Reminiscing (Delmark, 2000)

10 FEBRUARY 2017 | THE NEW YORK CITY JAZZ SPOTLIGHT

1998 established Dutch jazz labels such as BVHaast foundation, over the years Trytone also organizes and ICP had begun limiting their releases to close specific events and concerts. TRYTONE associates. Other labels dedicated to the Dutch neobop Recording for Trytone means musicians “become scene, “were more commercial enterprises, following part of an international creative network with good by ken waxman the classic example of companies, which want to own distribution for a small independent label,” affirms the masters, do their own graphic design and keep clarinetist Oğuz Büyükberber, who has had four Although committed to bolstering the careers of financial matters as opaque as possible,” Klein recalls. releases on the label. He joined the team four years ago musicians who live in the Netherlands, Amsterdam- “There was a real lack of a label with an open ear to and is responsible for Trytone’s social media and based label Trytone doesn’t dictate what is released on hybrid or eclectic jazz/improv, which might also newsletter. Büyükberber, who has recorded about 50 its CDs, as long as “there’s a certain minimum amount include influences of rock, pop, ethnic and electronic CDs, including a dozen of his own for many companies, of improvisation plus a sense of adventure and music, etc.” Munzruh, a quintet featuring Klein that says non-team members want the Trytone imprint originality,” says clarinetist Tobias Klein, the label’s attempted to link punk, contemporary and improvised since it “gives artists a better chance for their work to coordinator. Founded in 1998 and with 70 releases so music, was the label’s first release. While he admits be reviewed in the press compared to an obscure label far, the imprint is managed by a seven-person collective that “Munzruh’s concept was maybe formulated a bit or much less a completely home-made release. It has so that when a session is submitted for consideration too ambitiously, right now combining different extensive catalogue and a rather well established good “the whole team listens and decides together whether influences from various genres is very common to the reputation.” or not to release it.” catalogue.” No member of the Trytone team is paid for his While Trytone is as Dutch as windmills and Gouda Klein, who has been featured on 16 of the label’s efforts, so once the label decides to take on a project, cheese, the makeup of the collective has changed over discs, continues: “Today, the question could be why the musicians involved are responsible for all aspects the years. At Trytone’s birth German-born Klein, who maintain a label? Many musicians are releasing and of the production, including personnel, engineering, has lived in the Netherlands for more than a quarter marketing their recordings on their own. One good mastering, production and design. “Trytone doesn’t century, was the only non-Dutch person involved; reason is that people who are interested in music and actively suggest any projects or combinations to today some other members, all of whom have specific buying CDs still find that labels make it easier to keep anybody,” says Klein. The usual pressing is 500 copies, jobs within the collective, hail from Argentina, Portugal an overview of what’s out there happening and which are then distributed by Trytone. “For releases by and Turkey. Although this reflects the increasingly available. For anyone interested in adventurous jazz groups, which aren’t led by one of the team members, international mien of Dutch improv, the clarinetist and improv from the Netherlands, Trytone is a pretty Trytone withholds 33% of the sales, in order to cover doesn’t think music internationalism contributed to good place to start. There are also practical reasons. overhead expenses,” he explains. “The rest goes to the the need to set up the label. Still its continued existence As a musician, you can build a web shop and get your artist. For groups that are led by one of the team and openness to many substrata of music and music out to digital distributors pretty easily, but it’s members, 100% goes to the artist. Musicians pay all musicians—about one-third of its releases are from also very time-consuming. Sharing some of the and get all. Although Trytone doesn’t declare itself to non-team members—testifies to the gap it filled when infrastructure definitely makes sense. Any musician be a non-profit label, in reality it is one.” first created. can submit a recording to Trytone, although chances Guitarist Niels Brouwer, whose band Boi Akih, has Klein recalls that the imprint’s original impetus are very small for anyone who is not connected in some just released a Trytone CD, says he joined the team this was to garner exposure for younger improvisers. In way to the Netherlands.” Legally constituted as a (CONTINUED ON PAGE 38)

bAgg*fisH 2005-2015 Les Indignés Wobbly Strata Liquid Songs Michael Fischer/Marcos Baggiani Spinifex C.B.G. Oğuz Büyükberber/Simon Nabatov Boi Akih VOXNEWS

collaborations outside of jazz with artists like David divided and many of these tracks reflect the feelings Bowie, Steely Dan, Cyndi Lauper, Jackson Browne, that we...are going through on an individual level.” IN RECOGNITION Michael Feinstein and Paul Simon. But she has received Lundy will offer a preview of the album at Birdland most of her acclaim for her work as a jazz singer. In (through Feb. 4th) before its release on Feb. 17th. by suzanne lorge 2012 she won a shared Grammy Award for her rolling One of Lundy’s followers is innovative singer rendition of “Crazy Blues,” which appeared on the Charenée Wade, who leapt into prominence with her The U.S. first celebrated Negro History Week, the soundtrack album for the hit TV show Boardwalk self-released 2010 debut album Love Walked In. brainchild of historian Carter G. Woodson, in February Empire. This year she is nominated again—this time for Subsequent to this album, in October 2010, Wade 1926, to fill some gaps in U.S. history as it was then Best Vocal Jazz Album. Harlem On My Mind (Jazz placed for the second time in the prestigious Thelonious written, absent any mention of the accomplishments of Village) is an elegant release that digs deep into the Monk Competition—something that no singer had African Americans. 50 years later, Woodson’s vocal jazz tradition and reveals Russell’s tremendous done before. But it was with her 2015 album, Offering: Association for the Study of African American Life and versatility as a singer. (See the September 2016 The Music of Gil Scott-Heron & Brian Jackson (Motéma History, the sponsoring organization, expanded the VOXNews column for a review.) Two days after the Music) that Wade established herself as one of her weeklong commemoration to a month. Now, each Grammy Awards broadcast, Russell will have a run at generation’s finest arrangers of jazz compositions for February the federal government, employers, Birdland (Feb. 14th-18th). voice. Wade will appear with her regular band to politicians and civic leaders in the U.S. acknowledge Code Noir was a nasty bit of legislation in the late perform at Monk in Motion (Feb. 18th), a program at the importance of African American History Month. 17th century that legitimized the horrifying treatment Tribeca Performing Arts Center showcasing former This February, several singers—each a history-maker of slaves in the French colonies of the Caribbean and Monk competition finalists. in her own right—will pay tribute. North America. Singer Carmen Lundy borrows the The is one of the longest- As the daughter of trumpeter Louis Armstrong’s title of her latest album from this oppressive code; in living jazz institutions . Basie started the arranger/bandleader Luis Russell and singer/ so doing she reclaims the power of the African diaspora jazz big band in 1935 in Kansas City and it has stayed instrumentalist Carline Ray, Catherine Russell grew and its influence on modern music. The 12 originals on together in one form or another almost without up among jazz nobility. This pedigree makes her the Code Noir (Afrasia Productions) cut a swath through interruption since then. The band has furthered the perfect host for Who Is Louis Armstrong?, an hour- the musical genres that derive from African-based careers of some of the world’s most iconic jazz long family concert at Jazz at Lincoln Center’s Rose rhythms and styles—Bossa nova, funk, blues, Swing, singers—, , Helen Humes, Theater (Feb. 4th). Russell will sing, tell stories and jazz and the avant garde. These songs “encompass the , Joe Williams and Billy Eckstine among play recordings as she walks the audience through the many emotions that are prevalent in the country right them; modern-day jazz icon Dee Dee Bridgewater will life of one of our greatest jazz musicians. now,” writes Lundy on her website. “We are going participate in this tradition when she fronts the band at Russell’s own path as a musician has led her to through tough times, with a country that is sorely Blue Note (through Feb. 5th). v

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 11 IN MEMORIAM

CARLOS AVERHOFF (Dec. 6th, 1947— Open at Dec. 22nd, 2016) The Cuban saxophonist (father to saxophonist Carlos Averhoff, Jr.) was an original member of Cuban 7pm! by andrey henkin fusion group Irakere and continued to perform as part of the ensemble through the new millennium as well as separately with Irakere members like Arturo Sandoval to go along with a 1987 album as a leader and a career as an educator. Averhoff died Dec. 22nd at 69.

KNUT KIESEWETTER (Sep. 13th, 1941—Dec. 28th, 2016) The German trombonist and singer/songwriter This Month! released his debut (playing pop) as a leader in the late ‘60s and continued Live! releasing numerous albums through the WED BRUCE HARRIS 7:30PM ‘80s spanning Dixieland, jazz-pop and 2/1 CLAFFY SESSIONS 10PM even a traditional jazz album on MPS from 1970 with musicians like Gerd Dudek, and THU WAYNE TUCKER 7:30PM . Kiesewetter died Dec. 28th at 75. 2/2 CHRIS NORTON 10PM

FRI KEN FOWSER QUINTET 7:30PM HARRIS LEWINE (Nov. 24th, 1929— 2/3 ALMA BRASILERIA 10:30PM Alphone Mouzon, a mighty fusion drummer who Dec. 13th, 2016) The designer, who worked with Weather Report, McCoy Tyner, The would go on to work with the Associated SAT SPIKE WILNER QUARTET 7:30PM Eleventh House and a host of others in a career Press and various book publishers, got 2/4 SVETLANA & THE DELANCEY FIVE 10:30PM spanning five decades, died Christmas Day 2016 after his start as Co-Art Director at Riverside a brief battle with Neuroendocrine Carcinoma. Records from 1956-60, responsible for Mouzon was born Nov. 21st, 1948 in Charleston, the designs of such albums as Bill WED BRUCE HARRIS 7:30PM South Carolina. Before he even appeared on record, Evans’ New Jazz Conceptions and Everybody Digs Bill 2/8 CLAFFY SESSIONS 10PM percussionist Mongo Santamaria waxed two of his Evans, Blue Mitchell’s Out of the Blue, ’s compositions, establishing him as a composer before Abbey is Blue, ’s At Town Hall and THU DAVID GIBSON QUINTET 7:30PM he became known as a hard-hitting drummer first with dozens of others. Lewine died Dec. 13th at 87. 2/9 LUKE CARLOS O’RILEY BAND 10:30PM and Eugene McDaniels and then Weather FRI KEN FOWSER QUINTET 7:30PM Report. In a 2015 interview with Anders Griffen for DAVID MELTZER (Feb. 17th, 1937— 2/10 CARTE BLANCHE 10:30PM this gazette, Mouzon recalled how he came to be the Dec. 31st, 2016) The New York-born drummer for the famed fusion band’s eponymous poet began a long career in late ‘50s San SAT JOEL WENHARDT TRIO 7:30PM debut: a few months after recording Shorter’s Odyssey Francisco, during which time he 2/11 EVAN SHERMAN BIG BAND 10:30PM of Iska, he, Tyner, bassist Miroslav Vitous and recorded Poet w/ Jazz, reciting in front of percussionist Barbara Burton were part of a band that a group that included pianist Bob had made a Shorter record in 1970 for Blue Note, which Dorough. Meltzer died Dec. 31st at 79. WED BRUCE HARRIS 7:30PM was ultimately never released. “We were actually the 2/15 CLAFFY SESSIONS 10PM first version of Weather Report before JACQUES SCHOLS (Jun. 21st, 1935— replaced McCoy and Airto replaced Barbara,” recalls Dec. 30th, 2016) The Dutch bassist THU MAURICE DOORS Mouzon. “It was Wayne’s vision.” Mouzon did not began his career in 1960 as part of 2/16 BROWN 8PM continue with the band, instead having a fruitful two- pianist Cees Slinger’s The Diamond FRI KEN FOWSER QUINTET 7:30PM year period with Tyner that led to the albums Sahara, Five, went on to work with Boy Edgar, 2/17 MARK WHITFIELD ALBUM RELEASE 10:30PM , and , Dexter Gordon and Toots Enlightenment (all Milestone). Mouzon made his own Thielemans but is best known for SAT ANTOINE DRYE 7:30PM handful of albums for Blue Note in the early to mid participation in what had erroneously been thought of 2/18 SY SMITH 10:30PM ‘70s, the first of nearly 50 albums as a leader for MPS as ’s final recording in June 1964. Schols from 1975-80, ECM in 1981, Pausa from 1981-85 and, died Dec. 30th at 81. finally, his own Tenacious Records. A particularly WEDS BRUCE HARRIS 7:30PM fascinating entry into his discography is Trilogue DAVE SHEPHERD (Feb. 7th, 1929— 2/22 CLAFFY SESSIONS 10PM (MPS), a 1976 live date from the Berlin Jazz Days in Dec. 15th, 2016) The English clarinetist company of German trombonist spent his career being compared to THU NATHAN PECK & 7:30PM and Weather Report’s soon-to-be bassist . , a fact he encouraged 2/23 THE FUNKY ELECTRICAL UNIT Though short-lived, Mouzon’s participation in by working often with pianist Teddy IAN HENDRICKSON-SMITH 10PM guitarist ’s The Eleventh House, a late Wilson (a late ‘30s Goodman alumnus) FRI KEN FOWSER QUINTET 7:30PM answer more to the Mahavishnu Orchestra than and releasing albums such as 1975’s 2/24 TONY HEWITT SEXTET 10:30PM Weather Report, which later became the Coryell- Benny Goodman’s Classics and 1984’s Benny Goodman Mouzon Band, established him alongside such equally Style as part of a discography mostly for Black Lion. SAT DAN ARAN BAND 7:30PM powerful fusion drummers as Billy Cobham, Horacee Shepherd died Dec. 15th at 87. 2/25 LOS HACHEROS 10:30PM Arnold and Lenny White. The Eleventh House reformed in 1998 and had played intermittently since, MICHAEL WHITE (May 14th, 1930— including at Blue Note in July 2015. Dec. 6th, 2016) The violinist was a part Mouzon has been credited as an influence by of the famed Quintet that numerous drummers, none less significant than late performed at the 1965 Monterey Jazz The Roxy Hotel Led Zeppelin drummer John Bonham. Interested Festival, co-founded fusion group The 2 AVE. OF THE listeners can hear many of Mouzon’s older recordings Fourth Way with , Ron Reservations Information AMERICAS through recent reissues in his Tenacious Records McClure and Eddie Marshall, recorded (212)519.6649 Cellar Level THEDJANGONYC com imprint, mainly because he never ceded control. As he with John Coltrane in 1966 (Infinity), Tribeca told Griffen, inadvertently explaining his label’s name, in 1970 (Thembi), McCoy Tyner in 1972 (Song For My “If you’re the owner of a pizza place, own the recipe. Lady) and in 1973 (The Elements), Record companies will rip you off if you don’t watch reuniting with Handy and Sanders in the ‘90s, to go CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! it. You could have 15 million plays and they might give along a handful of releases in the ‘70s on Impulse and you a thousand dollars... I don’t give up, I’m resilient Elektra and then 1995’s Motion Pictures (Intuition) LOCATED IN THE OF TRIBECA and tenacious like a pit bull, I’ve got to keep going.” featuring Bill Frisell. White died Dec. 6th at 86. v

12 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT WE JAZZ WINTER JAZZFEST by phil freeman by ivana ng a

o v Wed, Feb 1 TOBIAS MEINHART QUINTET, NATURAL PERCEPTION 8PM t Ingrid Jensen, Yago Vazquez, Jesse Simpson MATT MARANTZ QUARTET 9:30PM Luke Marantz, Rick Rosato, Adam Arruda

K h a m Thu, Feb 2 STEVE SANDBERG & ALAYA 8PM & 9:30PM , Michael O’Brien, Mauricio Zottarelli

Fri, Feb 3 AUBREY JOHNSON GROUP 9PM & 10:30PM M a r i t K y ö h j u G u l n a r Iro Haarla Pharoah Sanders Tomoko Omura, Michael Sachs, Glenn Zaleski, Matt Aronoff, Jeremy Noller

Sat, Feb 4 BOSTON COLLECTIVE 9PM & 10:30PM If you’ve ever heard Finnish being spoken, it shouldn’t Winter Jazzfest has always been a platform for radical Phil Grenadier, Leo Genovese, Dave Zinno, Bob Gullotti come as a surprise that Finns have an affinity for jazz. new voices in jazz and experimental music. Now in its Wed, Feb 8 NOAM WIESENBERG QUINTET 8PM & 9:30PM The language has a melodious quality and dancing 13th year, this year’s festival centered on the theme of Godwin Louis, Dayna Stephens, Glenn Zaleski, Kush Abadey internal rhythm that are innately musical. Finnish swings. social justice. Known for its choose-your-adventure- Thu, Feb 9 THE POWELL BROTHERS 8PM & 9:30PM So does the We Jazz festival, held four years style two-night marathon, the festival expanded to six Jonathan Powell, Jeremy Powell, Marko Churnchetz, running at a variety of locations throughout central days (Jan. 5th-10th) to include exciting concept shows Jeff Miles, Edward Perez, Allan Mednard Helsinki. The weather can be tear-your-face-off cold in and panel discussions about the intersections of music, Fri, Feb 10 ARI HOENIG BRAZILIAN TRIO 9PM & 10:30PM December, so it’s the perfect time to gather inside and political activism and social justice. Chico Pinheiro, Eduardo Belo listen to music by local jazz performers and a few Saxophonist Pharoah Sanders kicked off the honored guests. This year, saxophonist Mark Turner’s extravaganza with a breezy two-hour set at Le Poisson Sat, Feb 11 3 9PM & 10:30PM Matt Penman, Obed Calvaire quartet performed, as did alto saxophonist Logan Rouge (LPR). His quartet bounced from bluesy numbers Richardson (with a Finnish rhythm section, under the to spiritual jazz classics like “Astral Traveling” and Sun, Feb 12 ANOUMAN 8:30PM & 10PM Peter Sparacino, Koran Agan, Josh Kaye, Eduardo Belo collective name Dunstan) and the quartet Amok Amor: “The Creator Has A Master Plan”, with fellow American trumpeter and Germans saxophonist (and son of onetime Sanders employer Tue, Feb 14 NANCY MARANO AND JACK WILKINS DUO 8PM saxophonist Wanja Slavin, bassist Petter Eldh and John Coltrane) Ravi Coltrane hopping onstage to solo. Wed, Feb 15 ALEXA BARCHINI 8PM & 9:30PM drummer Christian Lillinger. The focus though was Opener Shabaka & The Ancestors, a quintet of young Julian Shore, Jorge Roeder, Andre Matos definitely on homegrown talent. up-and-comers from London and South Africa, When I arrived on the fifth night of the eight-night explored African diaspora with evocative chants and Thu, Feb 16 MARTIN NEVIN GROUP 8 & 9:30PM Curtis Macdonald, Kyle Wilson, Sam Harris, Eric McPherson festival (Dec. 4th-11th), Swedish saxophonist Otis Caribbean grooves. It was invigorating to see multiple Sandsjö performed at Kahvila Sävy, a tiny coffee shop generations of jazz royalty sharing the stage. Fri, Feb 17 SARA SERPA TRIO 9PM & 10:30PM Ingrid Laubrock, decorated with photos by local legend M.A. Numminen. The weekend marathon (Jan. 6th-7th) hosted over Sandsjö appeared with a trio of drummer Tomi 130 bands across 13 venues throughout the West and Sat, Feb 18 KINAN AZMEH’S CITY BAND 9PM & 10:30PM Leppänen and Aki Rissanen on keyboards and laptop. East Village and lower Manhattan. One could easily Kyle Sanna, Josh Myers, John Hadfield

They played a single extended piece that began very discover visionary up-and-comers, dissect free jazz Sun, Feb 19 MOSTLY OTHER PEOPLE DO THE KILLING, quietly—long slow air-escaping-a-balloon tones, and dance to swinging bebop all in one night. At LPR, CD RELEASE: LOAFER’S HOLLOW 8:30PM & 10PM delicately whisked cymbals, electronic static. 24-year-old singer Daymé Arocena invoked Yoruban Steven Bernstein, Bryan Murray, Dave Taylor, Brandon Seabrook, Ron Stabinsky, Moppa Elliott, Kevin Shea Eventually it swelled into mantra-like looping cries spirituality and Cuban neo-soul with a spirit that was from Sandsjö atop a fierce motorik beat. Rissanen’s fresh, hopeful and forward-looking. Over at Tue, Feb 21 TRIO 8PM & 9:30PM Jacob Sacks, contributions were both the most unexpected and, SubCulture, Darcy James Argue’s Secret Society occasionally, the weak point; he shifted moods often, explored the more pessimistic theme of “the paranoid Wed, Feb 22 TOM GUARNA’S WISHING STONES PROJECT 8PM from abstract electronic squiggles to synth washes style in American politics.” The 18-piece big band Jon Cowherd, Matt Clohesy, Allan Mednard JON COWHERD MERCY PROJECT 9:30PM recalling ‘80s Miles or soaring melodies perhaps played their latest album Real Enemies. Excerpts from Tom Guarna, Dan Rieser, Doug Weiss inspired by the retro movie soundtracks (and imaginary speeches and hearings were seamlessly woven in, movie soundtracks) that are all the rage these days. daring listeners to reckon with the absurdity of Thu, Feb 23 PAUL JONES SEXTET 8PM & 9:30PM Alex LoRe, Perry Smith, Glenn Zaleski, Johannes Felscher, Allan Mednard I caught the night’s next performances at Genelec American politics. Some left us stunned while others House, a small art space on the edge of a park. The resonated so deeply that we couldn’t help but laugh Fri, Feb 24 THE CRASH TRIO + ONE 9PM & 10:30PM , Leo Genovese, Santi Debriano, Francisco Mela path to the front door was lit by small candles and (“You never want a serious crisis to go to waste.”) inside it was warm and intimate. First up were Buba One of the highlights was pianist Samora Sat, Feb 25 TOM CHANG QUINTET 9PM & 10:30PM Wii Aa, a highly precise organ trio (Mikael Myrskog on Pinderhughes’ Transformations Suite at The New Jeremy Powell, Quinsin Nachoff, Sam Minaie keyboards, Eero Seppä on bass and audience repartée School Box Theater, a five-part tone poem Sun, Feb 26 SOFIA RIBEIRO 8:30PM & 10PM and Sami Nummela on drums). They were happy to set performed over meticulously arranged big band jazz Juan Andres Ospina, Petros Klampanis, Marcelo Woloski up smooth, ticking grooves and play the blues on top. instrumentals examining the radical history of Tue, Feb 28 MARTA SANCHEZ QUINTET 8PM Myrskog is a terrific, melodic player and Nummela’s resistance within the communities of the African Roman Filiu, Jerome Sabbagh, Rick Rosato, Daniel Dor drumming occasionally offered some surprises and Diaspora. Spoken word artists Jeremie Harris and Jules CARMEN STAAF TRIO 9:30PM unexpected bursts of machine-gun aggression. Latimer delivered poignant performances, bringing the Jorge Roeder, Colin Stranahan Up next was saxophonist Pauli Lyytinen’s Magnetia audience to the emotional brink as they declared, “We Orkesteri, a quartet with trumpeter Verneri Pohjola, cannot retreat in the face of inequity, we cannot ignore bassist Eero Tikkanen and drummer Mika Kallio. Their the patterns of brutality, we will not be silenced.” work was reminiscent of New York quartet Hush Point While some artists dealt with the festival’s theme in its emphasis on subtlety and interplay, but Pohjola’s more explicitly, others focused more on creative flutelike approach also showed the influence of Arve survival through thoughtful instrumentation and Henriksen. Lyytinen switched capably between soprano inventive musical fusion. Ye Olde, a playful quintet led and tenor and the secret leader of the group was Kallio, by trombonist Jacob Garchik at SubCulture, featured (CONTINUED ON PAGE 39) (CONTINUED ON PAGE 39)

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 13 CD REVIEWS

notable for its light rhythm section, with the pianist This is a song-cycle in the classic sense, tied together in leaving a lot of space in his playing while drummer Jo a singular message. The American Black experience is Jones switched the timekeeping role from the bass drum illustrated through both lyrics and musical elements of to the hi-hat cymbal. Lightness was also a key aspect of the diaspora. Unfortunately the majority herein are saxophonist Lester Young’s tone. While Coleman ballads in the popular interpretation and carry too Hawkins had been the dominant voice of the tenor for many ‘fuzak’ qualities to honor the cause vividly, more than a decade, Young had a floating lighter-than- Lundy’s hushed, smoky alto sitting atop the thicket of air sound even when he swung at his hardest. With such clouded harmonies (though Patrice Rushen’s piano other distinctive soloists as trumpeters offers beautifully discordant touches in the opening

The Savory Collection, Volume 2 and Harry “Sweets” Edison, trombonist Dicky Wells track, “Another Chance”). Much of the recording is (Jumpin’ At The Woodside) and the Hawkins-inspired tenor of Herschel Evans based on this model, to the detriment of the urgent Count Basie Orchestra (Jazz Museum in Harlem) (succeeded after his death by Buddy Tate) along with statement within. “Live Out Loud” contains a lyric one by Scott Yanow the definitive male swing singer , the might think of as prime Last Poets, but the treatment Count Basie Orchestra made quite an impact when it here is overwhelmingly Sade-esque. Though voices While record sales and live performances were arrived in New York from Kansas City. like Marvin Gaye proved that protest songs can be important during the Swing Era, radio was particularly The 22 performances are surprisingly well lush, he did so amid a culture of dissent. significant in popularizing the music. Swing fans of recorded (after being cleaned up) and offer many “Black and Blues” features a powerfully radical the Depression years were able to enjoy free surprises. Some of the pieces (such as “I Ain’t Got lyric about police killings of African-Americans in entertainment through the many number of broadcasts Nobody”, “Rosetta”, “Limehouse Blues” and “Bugle recent years. The piece is built on a rap-inflected melody that featured big bands and combos. While the majority Call Rag”) were not otherwise recorded by the full encompassing reggae and jazz. Rushen and guitarist Jeff are lost to history, some were documented and have Basie band during this period. Some of the Parker offer probing—and all too brief—solo statements been released during the past few decades. arrangements, particularly “Honeysuckle Rose”, differ while bassist Ben Williams and drummer Kendrick Scott Bill Savory (1916-2004) worked in a radio quite a bit from the studio recording. With many of are fittingly unbridled, dropping in rhythmic explosives transcription studio during 1935-41, recording these renditions being four to five minutes long rather that cry out for an extended cut. The album has other hundreds of hours of broadcast performances by big than the usual three minutes that 78s could hold, the musical highlights, including galloping sambas and the bands and combos that were not otherwise released. solos tend to be longer and the riffing more involved. closing track, “Kumbaya”, not the folk song of summer Loren Schoenberg, a tenor saxophonist who has Even the performances that stick close to the familiar camps but a prideful statement of African American worked as a and jazz journalist, met recordings feature different solos. heritage and a call for change. Throughout Code Noir, Savory and in 2010, six years after Savory’s death, Among the highlights: “Honeysuckle Rose”; racing Lundy and ensemble, including backing vocalist worked with the National Jazz Museum in Harlem to tempos of “Swinging The Blues” and “I Ain’t Got Elisabeth Oei, are masterful in their execution, but the acquire the music. Thus far two sets of music have Nobody” (the latter with Rushing); a vocal by Helen compositions never build to the boil one expects from been released as downloads available from iTunes. Humes on “Blue And Sentimental”, which was usually commentary on such ‘dangerous times’ as upon which While Volume 1 features several different artists and played as an instrumental; the joyful tradeoff between we are embarking. bands, Volume 2 (subtitled “Jumpin’ At The Woodside”) Young and Basie on “Roseland Shuffle”; and rare concentrates on the Count Basie Orchestra of 1938-40. glimpses of Young’s playing. The detailed liner For more information, visit afrasiaproductions.com. This The Basie band of the late ‘30s was particularly notes by Schoenberg are an added plus. project is at Birdland through Feb. 4th. See Calendar.

For more information, visit jazzmuseuminharlem.org. The USED • Frank Carlberg Large Ensemble— Basie Orchestra is at Blue Note through Feb. 5th. See Calendar. R Monk Dreams Hallucinations and NEW Nightmares (Red Piano) e • Emmet Cohen—Masters Legacy Series Volume 1 (featuring Jimmy Cobb) c (Cellar Live) • Stephan Crump/Ingrid Laubrock/ o Cory Smythe—Planktonic Finales (Intakt) • Robert Dick—Our Cells Know (Tzadik) m • Chano Dominguez— (Sunnyside) m • Roberto Fonseca—Abuc (Impulse!) 236 West 26 Street, Room 804 • Ingrid and Christine Jensen e (with Ben Monder)—Infinitude (Whirlwind) New York, NY 10001 Code Noir • Charlie Sepulveda & The Turnaround— Carmen Lundy (Afrasia Productions) n Mr. EP (A Tribute to Eddie Palmieri) Monday-Saturday, 10:00-6:00 by John Pietaro (HighNote) d • Trio—Piano Song Tel: 212-675-4480 The role of the jazz musician was born of the social e (Thirsty Ear) Fax: 212-675-4504 system in which it was cast. The music was the • —Daylight Ghosts (ECM) byproduct of abduction and forced labor, a testament d Laurence Donohue-Greene, Managing Editor to the survival of African peoples. And while the slave Email: [email protected] trade may have sought the complete erasure of African • —The Rose Window Web: jazzrecordcenter.com culture, what occurred was a tapestry of the new. n (Live at Theater Gütersloh) (Intuition) Bearing the eternal sting of institutional racism, jazz as • Count Basie Orchestra featuring LP’s, CD, Videos (DVD/VHS), an art form has never been fully devoid of the singular e Lester Young—The Savory Collection, Books, Magazines, Posters, rebellion and sense of otherness from which it arose. Volume 2 (Jumpin’ At The Woodside) w (Jazz Museum in Harlem) Postcards, T-shirts, Code Noir was a 17th century French law which • Don Byas Meets The Jacobs Brothers— Calendars, Ephemera made illegal the integration of Africans into white Groovin’ High (Live in Haarlem 1964) society. The concept was carried into the American (Dutch Jazz Archive) Buy, Sell, Trade south in a most brutal fashion. By 1865 slavery in the r • Dr. Mint—Voices in the Void (Orenda) U.S. ended, but with the assassination of Lincoln, the • Friedrich Gulda Orchestra— gains of Reconstruction were swiftly replaced with the e Jazz at Auditorium (Sonorama) Collections bought • Paul Dunmall Brass Project— and/or appraised new southern “Black Codes” designed to oppress free l Maha Samadhi (SLAM) African-Americans via profiling, continuous arrests and • Martin Küchen/Mark Tokar/ the chattel slavery of the chain-gang. A century later, e Arkadijus Gotesmanas— Also carrying specialist labels acts of violence continued as the nation quaked in Live at Vilnius Jazz Festival (NoBusiness) e.g. Fresh Sound, Criss Cross, struggles for Civil Rights, peace and the liberation of a • Livehuman—scratchBop (Cosmic) blacks, women, native peoples and the LGBT community. • // Ayler, Silkheart, AUM Fidelity, s Fred Lonberg-Holm/— Nagel Heyer, Eremite, Venus, With Code Noir: A Song Cycle for These Dangerous The Chicago Plan (Clean Feed) Clean Feed, Enja and many more Times, vocalist Carmen Lundy’s statement of pride and e • Craig Taborn—Daylight Ghosts (ECM) rising-up coincides with both Black History Month and the glaring imagery of Donald Trump’s inauguration. s Andrey Henkin, Editorial Director

14 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD

issued, Nuclear Family is an unearthed gem rescued from obscurity by Corbett vs. Dempsey. It features UNEARTHED GEM French reedplayer André Jaume, one of McPhee’s closest associates of the period. While many of his albums at this time contained occasional standards or modern classics to emphasize the link to the tradition, the program here reverses the balance with seven out of the nine cuts from the canon: a brace each from Mingus, Monk and Ellington and a singleton by Ornette Coleman

Convergence for a set of tuneful give and take, the songs played straight in pared-back instrumentation. But having said Warren Wolf (Mack Avenue) In Paris: The ORTF Recordings by George Kanzler that, the best moments come from the stretch of form Larry Young (Resonance) and tonality subsequent to the familiar airs. Sitting by Duck Baker This album from Warren Wolf is illustrative of the cheek by jowl with this consonance is the title number, quality of the Mack Avenue imprimatur. It has provided one of the more radical pieces, which comprises a first The Resonance label has, in a very short time, the vibraphonist with an allstar cast of bassist Christian half of breathy exhalations, whistling screeches and established itself at the forefront of companies McBride, pianist , guitarist vibrant overtones before a finale of sparky staccato for releasing previously unissued material of great and drummer Jeff “Tain” Watts. But the CD features all McPhee’s pocket cornet and Jaume’s throaty attacks importance from such giants as John Coltrane, Wes five on only two tracks; the other nine vary from (guitar- sidling into piping falsetto. The latter’s hints of abrasion Montgomery, Charles Lloyd, Bill Evans and Thad less) quartet and trio to duos and one solo track. 6 of the and tonal distortion complement in the more inside Jones-. But none of these triumphs are 11 are Wolf originals, most exemplifying his claim that pieces and he enthusiastically explores the outer more exciting than this set by the brilliant but under- he writes “people-friendly melodies”. extremes. There are three solos, alongside the duets, recorded organ master, Larry Young. To put it Among the most people-friendly is the urban with McPhee’s tender interpretation of Mingus’ “Self- simply, Young never sounded better than this and groove of the soul-jazz inspired “Soul Sister”, a quintet Portrait In Three Colors” and a similarly affectionate neither did trumpeter Woody Shaw. track that kicks off the album with a funky backbeat, rendition of ’s “Chelsea Bridge” by Young started his recording career in 1960 at catchy theme and gritty electric guitar solo. Scofield is Jaume while the disc closes with McPhee’s quietly the age of 20 and had already, by time of his brief back later on the other quintet track, Wolf’s “Havoc”, impassioned take on Coleman’s “Lonely Woman”. 1964-1965 Paris sojourn, led four dates and appeared a brighter theme with postbop-sprung rhythms Six years later, Live from the Magic City, McPhee at as sideman on several others. These Paris recordings featuring vibraphone and guitar trading solos in short the University of Alabama in Birmingham revealed fall between Young’s first and second Blue Note bluesy phrases. Wolf’s people-friendly philosophy is more of his experimental side. His companion was sessions (Into Somethin’ and Unity) and show that he perfectly expressed on “Cell Phone”, taking a basic another French partner, electric guitarist Raymond was not just poised on the brink of greatness, but T-Mobile ringtone melody through a series of harmonic Boni, who often completed a trio along with Jaume. already there. Though he leads on only three tracks and rhythmic changes. Wolf’s originals also include the For this previously unreleased date, McPhee restricts (trio tunes with drummer Franco Manzecchi and more ambitious “Four Stars from Heaven”, which his palette to soprano saxophone, though supplemented either percussionist Jacky Bamboo or bassist Jacques references the Modern Jazz Quartet, beginning with an by electronics and voice. Even in this setting McPhee’s B. Hess), Young is the only musician present evanescent rubato intro before a drum solo leads into a flair for extemporized melodies shines through, throughout and the overall feeling fits perfectly swinging waltz and further movements suggesting free exchange forming the meat of the session, with what he was doing in the U.S. at the time. gospel and classical influences; Mehldau enhances the especially in the 36-minute long dialogue of “Set 1”. The central figure in the history here, though, is MJQ vibe by playing a spare, John Lewis-like solo. Two Boni supplies shimmering chords, spiky crabbed saxophonist Nathan Davis, who had established duets are standouts: “King of Two Fives” is a sunny figures and hyperfast strumming as well as echo and himself in Paris in 1962 and had an inside track with piece with II-V chord progressions bounced along by looped pattern effects. The electronics become almost a pianist Jack Diéval, who was producing live jazz bass and vibraphone; “New Beginnings” is a sumptuous third presence as the show progresses. In “Set 2 part radio dates (many readers will remember that Eric take on a ballad for vibraphone and A” McPhee repeatedly intones Eric Dolphy’s famous Dolphy’s last session was actually one of these). piano. Another vibraphone master, , axiom “when you hear music, after it’s over, it’s gone, Dolphy, Davis and Donald Byrd were among the is honored with his Latin-tinged “Montara”, showcasing in the air...”, latterly modulated by electronics while American musicians who were packing Paris jazz marimba with bass and drums. Wolf overdubs Boni provides gradually more frantic accompaniment. clubs in 1964 and, after Dolphy’s death, Davis was keyboards behind vibraphone and marimba on a McPhee switches to swirling soprano after seven asked to form a band that would commemorate him, percolating rendition of ’s “Knocks Me minutes, alternating recitation and instrument using one of the musicians Dolphy had been Off My Feet” and ends the CD with a solo medley of thereafter. It’s a novel experience but some of the planning to bring over from the U.S. to play with “Stardust” and “The Minute Waltz” on marimba and electronics-driven passages don’t hold up. him. This was the young Shaw (not quite 20 when vibraphone, emphasizing a lush sense of melody. From a decade later comes Seven Pieces, a meeting he arrived in Paris). Though Shaw’s playing amazed with two fellow reedplayers, Frenchman Daunik Lazro everyone, he soon got homesick and to keep him For more information, visit mackavenue.com. Wolf is at Jazz and Englishman Evan Parker, recorded at the 1995 happy Davis helped pay the way for Shaw’s Standard through Feb. 2nd with Monty Alexander, Dizzy’s Willisau Festival and again unissued until now. It’s not hometown associates, Larry Young and drummer Club Feb. 3rd-5th with Gerry Gibbs and Feb. 13th with quite a one-off, as the concert constituted part of a Billy Brooks, to come over. The resulting Davis-led Sarah McKenzie. See Calendar. short tour. In fact the set from six days previous was working unit is heard on 4 of the 10 tracks here released as McPhee/Parker/Lazro on the Vand’Oeuvre (Shaw and Young also appeared on Davis’ rare label. No one leads or follows. Given that all are such Happy Girl SABA LP). There are also excellent trio distinctive stylists, it can be surprisingly hard to tracks (one featuring Young on piano). Remaining distinguish between them. That is a testament to the tracks feature a slightly larger ensemble (filled out amount of listening and sublimation of ego that goes by Diéval, Hess, Manzecchi and Bamboo, billed as on, epitomized by the poised conversational interplay The Jazz aux Champs-Élysées All-Stars), but Young, on “Echoes Of Memory”. It’s not until McPhee wields Davis and Shaw are all on hand, all in fantastic Nuclear Family his trumpet, Parker unleashes a tirade of circular- form. Highlights include killer quartet versions of Joe McPhee/André Jaume (Corbett vs. Dempsey) breathed notes and Lazro plumbs the depths of his Shaw’s “Zoltan” and Wayne Shorter’s “Black Nile”, Live from the Magic City (Birmingham, Alabama) baritone that it becomes clear who is doing what and a larger-group version of Young’s “Talkin’ ‘Bout Joe McPhee/Raymond Boni (Trost) that’s in spite of a decent well-balanced sound. The J.C.” and all the trio numbers. His piano playing on Seven Pieces (Live at Willisau 1995) Evan Parker/Daunik Lazro/Joe McPhee (Clean Feed) five trios, one duo and one solo sound like excerpts “Larry’s Blues” manages, somehow, to evoke by John Sharpe culled from a longer performance. “Florid (for G.L.)” Thelonious Monk and McCoy Tyner in equal proves an extended tour de force for Parker’s soprano, measure. Veteran multi-instrumentalist Joe McPhee is justly as he blows a sustained warbling flow, from which There will never be enough Larry Young, but celebrated for his unfettered blend of - voices in other registers seemingly emerge. All three this set fills in what had been an almost blank inspired mayhem allied with a refined lyrical are masters of the saxophone dark arts and it may have portion of canvas with some of the brightest of imagination on both reeds and brass. He has also shown been instructive had they each cut loose more often. colors. Sound quality is terrific and the himself to be exceptionally open to collaborating with accompanying notes and photos add enormously. lesser-known players, a particular asset earlier in his For more information, visit corbettvsdempsey.com, trost.at career, when much of his work was done in Europe. and cleanfeed-records.com. McPhee is at Alain Kirili Loft For more information, visit resonancerecords.org Prepared for release by hatHUT in 1979 but never Feb. 1st. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 15

warble. This is often in service of sonic architecture, GLOBE UNITY: DENMARK wherein layered spectral folds of electroacoustic sound disorient and reshape the environment. Pale Horse is one of the few groups Cymerman regularly convenes and joins him with percussionist Brian Chase and cellist Christopher Hoffman. Badlands is their second disc, continuing the path laid out on their self-titled debut by presenting two pieces that total just over 30 minutes, but utterly captivate and expand in that time. Caleidoscopia Carsten Dahl Experience (Storyville) Mood The aesthetic of Pale Horse is meant to convey Compositions Part 1 (SteepleChase) a post-apocalyptic, unpopulated environment through Laura Toxvaerd (ILK Music) plodding, warped and amplified unison movements, Live at 5e by Ken Dryden ZAKS (ILK Music) a bleak and stifling pace broken by miniscule events by Tom Greenland Mood is a virtual master class for young players, as it and areas of queasy discomfort. Startling, massed focuses on ballads. Too many up-and-coming glissandi open “Hitchhiker” and act as varied signposts Denmark has long been receptive to jazz, at first saxophonists focus on frenzied theatrics in uptempo throughout the piece, reminiscent of the torqued and looking to American artists for guidance, then settings so it is refreshing to hear a veteran finding heated chamber music of Romanian composer Iancu producing its own innovative improvisers with new approaches to the most time-tested works, each Dumitrescu. In between these shimmering, strange distinctive original styles. This column offers a small played at a tempo that leaves no place for the soloist to freights are sections of apposite action—bowed and sampling of the larger scene. hide. Accompanied by pianist Harold Danko, bassist hurled metal, subtonal growls, brushy tom patter Formed in 2007, The Carsten Dahl Experience and drummer , Perry’s or the odd juxtaposition of gruff harmonics and recorded three albums before Caleidoscopia, which rich tone and creative improvisations flow effortlessly,! saccharine cello pleading. Cymerman even stretches continues the group’s exploration of collective the result of honing his craft over time. out for a spell, his klezmer-ready phrasing catapulted composition/improvisation. Although the pianist His treatment of “Detour Ahead” (written by over cut-time percussion and thrumming strings. wrote three pieces, all lovely ballads in a somber pianist Lou Carter of The Soft Winds, though Beginning with obsessively workmanlike flutters and tone, the remaining ones are credited to the quartet, co-credited to his fellow band members and whirs, “Drifter” is a bit more hardscrabble, giving completed by alto saxophonist Jesper Zeuthen, Johnny Frigo, per their agreement to share all Hoffman space early on to let the horsehairs fly in bassist Nils Davidsen and drummer Stefan Pasborg. compositions written during the trio’s existence) a furious unaccompanied section, glinted with just The music, paradoxically, is both highly cohesive and evolves from a soft rhapsody into effusive, emotional enough reverb to tie him to the larger form. While unpredictable, as if the musicians are spontaneously playing. Anderson’s inventive undercurrent supports unison swoops appear in this piece as well, as structural discovering melodies. On the title track, for example, a gorgeous rendition of the Jimmy Van Heusen markers they are fewer and farther between, allowing it’s hard to tell whether the ‘theme’ was precomposed standard “But Beautiful”. Many people overlook the the players more room to dust up the proceedings in or improvised. Perhaps, like a football team, the genius of Thelonious Monk when it comes to composing this charged, multi-dimensional frame. musicians went into a brief huddle before the play, timeless ballads; the air of loneliness is ever present in giving brief indications of which direction they’d be Perry’s moving duet with Anderson on “Monk’s For more information, visit 5049records.com. This project is running. Dahl, a fine technician and melodicist, Mood”. There’s no missing the romanticism in the at Happylucky no.1 Feb. 3rd. See Calendar. generally underplays here, in service of the emergent superb chemistry on an of Sergio

songs, which are often rendered by Zeuthen’s Mihanovich’s “Sometime Ago”; played at a very Interpretations 28 distinctive quavering alto. deliberate tempo, both Danko and Perry make great Dahl also appears on alto saxophonist Laura use of space in their economical but lyrical solos, with THURS FEB 9 | 8PM Toxvaerd’s Compositions, Part 1, which was recorded Anderson and Hirshfield (on brushes) unobtrusively ROBERT DICK & URSEL SCHLICHT “The Galilean Moons” live in Copenhagen. Toxvaerd is a no-limits improviser in support. The melancholy air of Jule Styne’s “I Fall In GUSTAVO AGUILAR GET LIBRE COLLECTIVE who plays all over her horn with distinctive glissandos Love Too Easily” gets the message across without the Flutist Robert Dick & pianist Ursel Schlicht celebrate the release of and buzzy timbre. A proponent of graphic scores, she need of a vocalist, this extended interpretation almost their CD The Galilean Moons, co-created for the Festival Cervantino in Mexico. Percussionist Gustavo Aguilar premieres But We Must Build As recently published a book of compositions, but whispered to the listener. If The Sand Were Stone, based on the writings of Jorge Luis Borges, w/ unfortunately none of these elaborate visual works are Mood should be considered essential listening for Anthony Davis (piano), Earl Howard (electronics), JD Parran included with the disc. During the concert, performed anyone looking to pursue a performing career. Perry (woodwinds) & Gustavo Aguilar (percussion). with Dahl, bassist Jonas Westergaard and Swedish proves that an all-ballad session in the right hands can drummer , she is heard to full effect on captivate any jazz fan. | the opener “Rawhide”, where she gives an extended THURS MAR 16 8PM exposé in the high register, and “Urnable”, carrying on For more information, visit steeplechase.dk. Perry is at Bar DAVID BEHRMAN: “Unexpected Places” GISBURG SINGS with MICHEL FOUCAULT & FRIEDRICH NIETZSCHE an intimate musical conversation with Dahl; the latter Next Door Feb. 2nd and Roulette Feb. 28th with Richard is featured towards the end of “Quarrel”, where he Sussman. See Calendar. Vocalist Gisburg presents a musical visual theater for vocals and live band based on works by Michel Foucault & Friedrich Nietzsche. David plays much more extrovertedly than he does on his Behrman presents Unexpected Places, featuring the duo String own CD. “Tickled” and “Urnable” feature Toxvaerd Noise (Pauline Kim Harris & Conrad Harris). and Westergaard singing her lyrics in harmony. Live at 5e was recorded at the 2014 ILK | Jazzfestival. This one most reflects a let’s-just-start- THURS APR 13 8PM playing-and-see-what-happens ethos. Nestled close THOMAS BUCKNER w/ EARL HOWARD, JD PARRAN, & ANDREW DRURY in the cozy, 50-seat venue, the upright piano Works by Annea Lockwood, Earl Howard, & More uncovered for additional volume, the ZAKS quartet Thomas Buckner, baritone, with JD Parran (woodwinds), Andrew Drury (percussion), Earl Howard, (electronics), Theodore Mook, (cello), and (Jesper Zeuthen: alto saxophone; Jacob Anderskov: Pete Wyer, guitar, perform works by Annea Lockwood, Earl Howard, piano; Rune Kielsgaard: drums; Jeppe Skovbakke: Pete Wyer, & Daniel Rothman. bass) performs in close physical and musical Badlands proximity. Zeuthen’s signature vibrato is prominent, Jeremiah Cymerman Pale Horse (5049 Records) THURS MAY 25 | 8PM guiding the group through a series of intense organic by Clifford Allen lulls and climaxes over the first five tracks, which SPACE (ROSCOE MITCHELL, THOMAS BUCKNER, & SCOTT ROBINSON) segue into one long through-improvised suite. Jeremiah Cymerman appears to be one of the hardest- REGGIE NICHOLSON Percussion Concept Anderskov has strong chops, piling up gushing working people in the Downtown avant garde and it’s The trio SPACE was formed in 1979 by Roscoe Mitchell, Thomas Buckner phrases or rhapsodic chords, always in the spirit of & Gerald Oshita. Now, 25 years since the passing of Gerald Oshita, the not necessarily that he performs a ton or participates in group reconvenes with Scott Robinson as the new third member. free play. Zeuthen ranges from bristly wails to tender a dozen groups. Sure, the clarinetist and electronics Drummer & percussionist Reggie Nicholson, a member of the AACM flutters, sometimes both at once. He and Anderskov artist has a few cooperative ensembles and gives since 1979, will present new music for his group Percussion Concept.

engage in nervous hocketing dialogue before the periodic concerts, but it’s presumably tough to do concert closes with a gentle folksy tune. given the fact that he runs a label (5049 Records), works ROULETTE as a recording engineer and curates a podcast featuring 509 Atlantic Ave Brooklyn NY | 2, 3, 4, 5, A, C, G, D, M, N, R, B, Q & LIRR For more information, visit storyvillerecords.com and detailed interviews with other young improvisers. $20 General $15 Members, Students, Seniors ilkmusic.com Cymerman tends to favor the upper register of the INTERPRETATIONS.INFO, ROULETTE.ORG clarinet in piercing shouts or evince a distant, grungy

16 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD

paced tune in a more progressive postbop style. “The overdriven chords, bowed bass and plaintive low-end 20th century Trad Band”, as its title implies, takes piano phrases, create a quiet storm of sound one a modern approach to traditional New Orleans sounds, imagines could accompany a coma dream. This is with fine work again from Parker and Goldberg, the largely an instrumental album; four songs feature the latter on clarinet, along with pianist Austin Johnson. band, or some permutation thereof, on its own. The album captures the raucous spirit and energy When Bleckmann enters the fray, he mostly sings at the heart of this great American city, providing wordlessly and the effect is mildly disorienting and a snapshot of all the different kinds of music that mostly mesmerizing. In “The Mission”, he uses long together are the lifeblood of New Orleans. Marsalis tones to create a kind of disturbing fantasia of sound,

Heirs of the Crescent City and company do a fine job here of showing how the layered with piano and guitar. The title track, more Jason Marsalis (ELM) city honors its vibrant musical past while pushing the creepy than elegiac, sounds like music that one could by Joel Roberts tradition forward. envision emerging from some jazzy satanic ritual. “Wither”, with a rubato feel, is monastic in tone, Heirs of the Crescent City is the soundtrack to a For more information, visit jasonmarsalis.com. Marsalis is Bleckmann updating the Gregorian chant for the 21st documentary film examining the persistence of cultural at Miller Theatre Feb. 4th with and Dizzy’s century. traditions in New Orleans. It’s a subject that few artists Club Feb. 21st-22nd. See Calendar. This is, indeed, a deeply ascetic album, in that it are better suited to explore than drummer/vibraphonist seems to deny the listener any hint of humor, which

Jason Marsalis, the youngest member of the city’s first might have been considered for an album whose theme family of music. is the ultimate end. There were moments when I wanted Marsalis and his ensemble of top-tier New Orleans to laugh, but didn’t get the sense Bleckmann was in on musicians cover a wide variety of styles associated the joke. Stephen Sondheim’s “Comedy Tonight”, for with The Big Easy. The music of the Mardi Gras Indians instance, is so weird and somber as to be unrecognizable. is represented by an inspired reading of the traditional Since Bleckmann is more a sound man than a word “Indian Red”, featuring the soulful horns of trumpeter man, there is the sense of merely using the tune as a Ashlin Parker and tenor saxophonist Joe Goldberg. vessel without much consideration of its content. The The early New Orleans classic “Didn’t He Ramble” is same logic applies to “Take My Life”, a Bleckmann reimagined through the lens of Thelonious Monk in original, whose rhythm is so jaunty and melody so Elegy a solo piano tour de force from guest and longtime Theo Bleckmann (ECM) sanguine as to cancel out its apocalyptic title. Marsalis family collaborator Marcus Roberts. Marsalis, by Matthew Kassel And on “To Be Shown to Monks at a Certain meanwhile, switches from drums to vibraphone for Temple”, a poem by the Eighth century Buddhist monk “The South is Asleep”, an original based on the Singer Theo Bleckmann’s Elegy is—you Chiao Jan, Bleckmann gets at the heart of this album’s harmonies of Louis Armstrong’s popular theme song guessed it—about death. Featuring an excellent quartet contradictory feel. “Not yet to the shore of non-doing,” “When It’s Sleepy Time Down South”. of Ben Monder (guitar), Shai Maestro (piano), Chris Bleckmann intones. “It’s silly to be sad.” Elsewhere, the funky side of New Orleans comes Tordini (bass) and John Hollenbeck (drums), the album out on “E.B.’s Magnolia Meter” and “Mardi Gras at the has an appropriately subdued and funereal feel. For more information, visit ecmrecords.com. This project is Carnival Ball” while “Peace in the Forest” is a slower- Sensitive stick and brushwork, combined with soft at Jazz Standard Feb. 7th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 17

and architecture. organic quality permeates what becomes a very “Milonga Gris” starts in a romantic place and, intimate setting. Sotti takes advantage of the space and even as the tempo picks up, the delicacy of the lines is front and center on nine originals and and playing helps retain the initial colors. “Nocturno” a remake of Antônio Carlos Jobim’s “How Insensitive”, is a gentle ballad that features Silberstein’s evanescent the latter’s jazzier side showcased through a lines softly leading to a solo of magical simplicity by combination of Latin-tinged chords, clean runs and Goldberg. “Albayzin” is dedicated to the late Paco de wide rhythmic space. Lucía and reflects the passion of flamenco, “Changes” The pretty melody and non-confrontational feel of is a subtle take on the changes in chords of “Giant opener “Redemption” immediately involve the listener

The Village Steps” and “O Voo da Mosca” is a spirited take on a in a manner that makes the boppish intensity of Yotam Silberstein (jazz&people) tune by Brazilian mandolin legend Jacob do Bandolim. “Dangerous Walk” all the more passionate. “Is That by Donald Elfman The Village rests on the understanding of musicians What You Think” showcases Sotti’s fleetness in a more playing as a unit. Under the exceptional leadership of challenging bluesy context while “Beginning Now”, a Guitarist Yotam Silberstein is a brilliant example of Yotam Silberstein, the album deepens and expands melancholy short solo acoustic guitar piece, a musician absorbing the sounds of great players on such a group’s horizons. dramatically slows down the pace. This beautifully his instrument but also keeping his ears open for new transitions to the session’s worldly aspects: the ways to complement and color these voices from the For more information, visit jazzandpeople.com. Silberstein aforementioned Jobim tune and a lively rendering of past. The album title can be read as suggestive of the is at Jazz Standard Feb. 8th. See Calendar. the island-infused “Thalia”. international village of music informing Silberstein’s Sotti plays with a combination of clarity and aesthetic. It is his first album for jazz&people after alacrity that belies the complexity of the music. The a Fresh Sound-New Talent debut and subsequent final three tunes are the most cerebral and the most releases on Posi-Tone and Jazz Legacy Productions. engaging. ”So Far So Close” is an elegant interchange “Parabens” opens the album with pulsing force between delicate guitar and Peter Slavov’s emotive and a beautifully sensual—even at this tempo—feel for bass while the title cut is an intricate multi-stylistic Brazil. Silberstein and pianist Aaron Goldberg trade panoply with interesting twists and turns. “The several solo statements, driven by the steady yet Bridge” closes out the session with an ethereal intro almost volcanic rhythms of bassist and and an electric bluesy warmth offset by a slow floating drummer Greg Hutchinson, the latter also taking an rhythm courtesy of drummer Francisco Mela. appropriately dynamic solo. Closer “Lennie Bird” In their first 40 years musicians typically create a Forty celebrates one of jazz’ great schools—bebop as Fabrizio Sotti Trio (Incipit) context they continue to inhabit for the rest of their conceptualized by the pianist and improvisation guru by Elliott Simon careers. Sotti, however, has gone back to the source for Lennie Tristano. Guitarist and pianist tackle the unison a fresh perspective and in the process created a new lines of the theme in giddy, breathless abandon, feeling Guitarist Fabrizio Sotti turned 40 the year of this 2016 statement. simultaneously planned and dazzlingly in the moment. release. The session, both breath-catcher and mid-life Silberstein has the chops to wow but he uses them, self-analysis, engenders a wonderful old-school feel For more information, visit egeamusic.com/incipit.aspx. even at this speed, to make a powerful case for logic not present on Sotti’s previous offerings. This delightful Sotti is at Blue Note Feb. 8th. See Calendar.

Jodie Christian on Delmark!

Rain or Shine Experience with Roscoe Mitchell, Art Chicago’s master jazz pianist solo P o r t e r, a n d F r a n c i n e G r i f fi n debut **** Downbeat **** 1/2 Stars Downbeat

Christian offers the straightahead, purely musical side of bop, without extraneous flourishes or nervous qualities; lyricism with a crystal touch is the heart and soul of his art.- The album is Experience (Delmark) and it’s a piano lover’s joy.” -John Litweiler Downbeat

Plus don’t miss these exceptional Jodie albums: Front Line with , Eddie Johnson and Francine Griffin Soul Fountain with Art Palmer, Roscoe Mitchell **** Downbeat Reminiscing “Reminiscing is a musical autobiography” - Allmusic

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18 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD MONK IN MOTION Presenting Finalists of Previous Thelonious Monk International Jazz Competitions

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Distances; it runs 38 of the album’s 69 minutes and of the . There’s also a prescient conversation switches rhythm sections after its first two movements. between drums and piano on “Mind Space”, where When the change comes, on the third track, it’s Baker provides a sterling example of how to sustain instantly apparent. Ferber had been playing extremely interest and motion without ever threatening to aggressively, particularly on “Against the Sky”, the upstage his partner, allowing Shipp’s ideas to shine on second section of the suite, and his last appearance their own. until its conclusion. Davis, by contrast, sits down with Another highlight comes on “The Nature Of”, brushes in hand on “Hanaya”, a gentle, rippling ballad a bluesy solo piano rumination, which brings the work featuring an extended solo from the leader in piano- of Alice Coltrane to mind. It’s chock full of dizzying

The Galilean Moons trio mode. That’s succeeded by a verbose statement ebullience and channels directly into a stream of higher Robert Dick/Ursel Schlicht (Nemu) from alto saxophonist Sharel Cassity vacillating consciousness. by Mark Keresman between patient keening and attempts to overstuff measures with notes. The shortish “This Great For more information, visit thirstyear.com. This project is American flutist Robert Dick and German pianist Ursel Darkness” is a bouncing exercise in fleet swing from at The Cutting Room Feb. 9th. See Calendar. Schlicht are musicians whose methodologies include— Davis and de la Portilla, topped by sharp, precise and blur the differences between—jazz, classical, film triplets from the horns. Irabagon is the soloist, with music and rock. Both utilize extended techniques: Dick long, obsessive Joe Henderson-esque phrases tumbling overblows, hums and sings through his various flutes, from the bell of his tenor. drawing out sounds resembling percussion and wind One of the most surprising aspects of Infinite howling through tunnels while Schlicht can tinkle the Distances is the restraint shown by Pelt. He confines keys gracefully or in a manner resembling an orchestra himself almost exclusively to playing the heads, of percussionists as well as vigorously tackling the allowing the saxophonists, particularly Irabagon, to innards of the piano. This set of duets is inspired by dominate the spotlight. When he does solo, as on the science fiction and humanity’s fascination of things Andrew Hill-ish “They Who??”, his full, lush tone and extraterrestrial (especially Earth’s moon). artfully smeared notes are extremely welcome. Ominously titled opener “Tendrils” is practically Haidu is a deft, technically adept pianist with begging to be used in a space opera. It is resplendent quick reflexes and an agile mind. His compositions with fluttery tones evoking alien tongues, drastically display imagination, but never waste the listener’s overblown vocalized notes and serrated metallic time with glib melodic tricks or harmonic puzzles. This shards of sound in what is a sonic sojourn into the is ambitious but pleasingly traditional jazz, played by unknown with only the conclusion to remind you that musicians at their creative and technical peak. you’re hearing a pianist and flutist. “Galilean Moons: Europa” is a compendium of shrieks and unearthly For more information, visit cellarlive.com. This project is at wails resembling electric guitar feedback, rainforest Birdland Feb. 9th. See Calendar. wood flutes, tortured sounds of metal coupling and uncoupling in the airless reaches of space, of air and breath being filtered through machinery. But while it might be somewhat abstract, there is an internal logic, a genuine flow therein. “A Lingering Scent of Eden” has Impressionist touches, thick, sparse, but obliquely harmonious chords setting the stage for sighing flute then piano rumbling like thunder. This is followed by ringing keyboard runs and agitated flute lines, then comes full circle, including shades/shards of hesitant optimism, a sense of exploratory wonder and of hope. Piano Song Galilean Moods is about the most outbound aural Matthew Shipp Trio (Thirsty Ear) exploration(s), a soundtrack for (reconnoitering) by Robert Bush unearthly territories to which no one has gone before. Matthew Shipp has been pushing the envelope on For more information, visit nemu-records.com. This project piano performance for nearly 30 years and amassed a is at Roulette Feb. 9th. See Calendar. collection of more than 60 recordings to document his development as a major voice on the instrument. February 7th Shipp’s touch and ideas can conjure a passing resemblance to Cecil Taylor on one hand or, at the Jorge Sylvester other extreme, Keith Jarrett, but those references wilt against the actual experience of listening to him closely —where he only sounds like himself. This superbly balanced trio of bassist and drum poet February 14th Newman Taylor Baker fit the pianist like a glove and their dialogue on Piano Song represents a singular Mike Longo Trio achievement in the piano trio pantheon. Shipp opens the disc with a short solo piece, Infinite Distances “Links”, which acts as a pensive reflection rippling Noah Haidu (Cellar Live) February 21 by Phil Freeman over an ecstatic foundation. “Cosmopolitan” introduces the full trio with an angular, Monk-ish Lou Caputo Pianist Noah Haidu’s third album as a leader is his theme and a spectacular bass solo. All three seem to first for the Cellar Live label, following two releases on glide in separate orbits until Baker emerges with an Little Big Band Posi-Tone. He’s leading his largest band to date: architecturally inspired episode reminiscent of the a three-horn unit with two different rhythm sections. late, great Steve McCall. Several of the players here—trumpeter , There is an exquisite sense of flow permeating this tenor and soprano saxophonist and document, from the rubato ballad “Silence Of”, which New York Baha’i Center drummer John Davis—were previously featured on leans on groaning bass whole notes and feathery brush 53 E. 11th Street Haidu’s 2011 debut Slipstream; the rest are newcomers work to the off-kilter funk of “Flying Carpet”, (between University Place and Broadway) in his discography. On four tracks, the bass and drums toggling between dark piano harmonies and hissing Shows: 8:00 & 9:30 PM are handled by Peter Brendler and Mark Ferber while hi-hat. Bisio and Baker engage in a rhythm section Gen Adm: $15 Students $10 the rest of the album features Ariel Alejandro de la workout on “Scrambled Brain”, where the rubbery 212-222-5159 Portilla and Davis. pizzicato layers effortlessly alongside shimmering bahainyc.org/nyc-bahai-center/jazz-night The six-part title suite takes up the bulk of Infinite cymbals and a symphony of soft clicks from the edges

20 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD

augmented by vigorously atonal and creaky shredding Possessed of an opaque style that revels in psychedelic by guitarist Rafiq Bhatia. The vocals of Roman Diaz, rock and blues riffs, the guitarist could have made his overdubbed and repeated as a mantra, spiral over the mark in the ’60s with Booker T & the MGs or The Electric foundational drumming of Marcus Gilmore and Flag, while perhaps doing double duty penning Ennio Virelles’ dynamic electric piano. For those who like to Morricone-like Western scores. Millevoi amplifies these groove, Virelles ups the ante with “Rumbakua”, skills on Desertion, shoring up his playing and composing a glistening shard of danceable Latin hip-hop driven by echoing more genres with a state-of-the-art band: by Etian Brebaje Man’s impassioned flowing. If there’s bassist Johnny DeBlase, a longtime member of Millevoi’s a tune here that approaches straightahead it’s “El Titan trio; drummer Ches Smith, known for his work with

Antenna de Bronce”, where Virelles keeps steady on acoustic Tim Berne; and mercurial keyboardist , who David Virelles (ECM) piano at the forefront with electric piano and other also recorded the session. by Terrell Holmes effects being laid down. Like the first half of a double feature, tracks such Perhaps a second astronomical entity can be used as “Desertion and the Arsonist’s Match” and “Just For In order to understand the quality of David Virelles’ to describe Antenna: a pulsar, a neutron star that is the a Moment, I Stood There in Silence”, with their chiming album Antenna, one may be best served by gazing up at compact remnant of a supernova producing intense guitar patterns, durable drum beats and tremolo a clear night sky in search of meteoroids. These objects, magnetism. This album might be brief but Virelles has fluctuations from Hammond organ, are very much in small as sand grains, ignite brilliantly upon entering created an innovative, enduring work whose style and the rock-blues revival style. Then the second feature Earth’s atmosphere and disappear in a second. This themes, one hopes, he will continue to explore. begins with “Where They Do Their Capers” and description, however, is not applied to Antenna in the continues to the CD’s end. Suggesting a Cinemascope- tragic sense of brevity. This album is a forward-facing For more information, visit ecmrecords.com. Virelles is at like panning shot of a desolate landscape, as the lone excursion into 21st century jazz and packs serious The Jazz Gallery Feb. 10th-11th. See Calendar. guitar-slinging cowpoke comes into view, the track dynamism in its short—but not laconic—22 minutes. brings out further shoot-out-like blares with whammy

Virelles invites the listener into the creative process bar gun-shot-like pops. The performance that could by leaving in the sounds of his electronic instruments situate the MGs in the O.K. Corral occurs on the being turned on and off in opener “Binary”. Each click climactic finale “The Fire That Partially Damaged City and hum of the console, the baring of the seams of Hall”, Smith’s blacksmith anvil-like pounding and production, is the sound of a door opening into his Saft’s saloon piano fills building up the theme to world. The atavistic drumming cacophony that follows a crescendo of thundering menace. is Virelles having a blast to the point of invoking If there’s any push back from the Technicolor scene a percussion ensemble alter ego. The plot thickens with this band creates, it would be because some townsfolk “Water, Bird Headed Mistress”, a hypnotic and aren’t ready to see their landscape dominated by sonically enhanced dreamscape anchored by Alexander a varmint band whose outlaw gear is musical Desertion Overington’s brooding cello drone and the redoubtable instruments rather than quick-draw revolvers. Nick Millevoi (Clean Feed) Henry Threadgill playing almost elegiac alto by Ken Waxman saxophone. The sound of a fly buzzing at the beginning For more information, visit cleanfeed-records.com. This project of the adventurous “Threshold” is echoed and Perhaps Nick Millevoi is a musician born out of time. is at Greenwich House Music School Feb. 11th. See Calendar.

20% Grace Kelly OFF (geneurse JR20 Quartet al tickets only) FEB 24 | FRI | 8 PM @ FLUSHING TOWN HALL

At the ripe old age of 24, this straight ahead jazz phenomenon and vocalist has released 10 albums, headlined more than 700 shows in 30 countries and recorded or performed with notable musicians like , and Harry Connick, Jr. Grace Kelly is a seven-time winner of the Downbeat critics poll.

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photo by Taso Papadakis

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 21

Any improvising band of great duration develops unforced ventures that balance the acoustic signatures strategies for interaction and MEV’s include layering, of each instrumentalist: lyric pulsing of the piano; and direct response. Its history is also one of thick, overtone-rich timbre of bowed cello; birdlike technological change, early contact mics and primitive ‘calls’ of curved soprano horn; and shimmering sustain giving way to sampling and computers as of accordion. Throughout the record there are well as Rzewski’s grand piano and Curran’s shofar dialogues, ‘tri’-alogues and two memorable solo piano and its history also includes specific social protest and tracks (“Daydream” and “Nightdream”), but even the commentary. All of these elements are apparent in the busiest sections retain a certain lightness and Victoriaville performance, a single hour-long piece penetrability, like sun-rays filtered through a

Típico now dubbed Symphony No. 106. Tarkovskian forest scene. Miguel Zenón (Miel Music) It opens with isolated piano tones and electronic by David R. Adler twitterings, some reflecting the natural world of crickets For more information, visit ecmrecords.com. François and birds, others not; gradually a piano melody arises Couturier and Anja Lechner are at Greenwich House Music Alto saxophonist Miguel Zenón has maintained one and the electronics become more continuous, some in School Feb. 18th. See Calendar. of jazz’ steadiest working units for well over a decade. apparent sympathy to the piano, some seemingly But although he keeps pianist Luis Perdomo, bassist unrelated. Sometimes the parts are related only by the Hans Glawischnig and drummer Henry Cole at the fact that they take place in the same environment; at center of his endeavors, he has led the lineup through other times, patterns seem evident, though where collaborations with string quartet, plena percussion meaning and relationships are being constructed is ensemble, wind ensemble and big band. Típico is the subject to constant listening and hypothesizing. first quartet-only release since Jíbaro in 2005. Rzewski begins to speak. He mentions “1914”, While the quartet is back down to its core, it has there’s the sonic simulation of a bomb falling, Curran never sounded so huge. The music rushes forth in a begins speaking rapidly, Rzewski gives up his address. near-blizzard of rhythmic detail and yet conveys The work builds through sonic blocks, Rzewski’s piano looseness and breath—in a word, alma (soul). The improvisations, created with a melodic fluidity infectious asymmetric groove patterns and precise suggestive of Robert Schumann, arising intermittently, unison lines of opener “Academia” suggest right away moving through the denser layers of electronic that the band has reached yet a new level of expressive material, industrial rhythm and steam whistle organ urgency and technical accomplishment. “Cantor” and tones. Near the conclusion, Rzewski begins his 1914 “Sangre de Mi Sangre”, dedicated to Guillermo Klein story again. It’s about his father’s father being seized and Zenón’s daughter, respectively, have a mellower by Cossacks and carried back to Russia, focusing on feel, but moments of utter surprise and intensity lurk. themes of displacement and ultimately contributes a zenón’s compositional approach still leaves narrative dimension to a work that is already capacious, everyone a lot of room to stretch. His alto is supple and a symphony created and performed by three musicians. warm but can also scream, as on the title track and elsewhere. Perdomo is on fire as a soloist while For more information, visit victo.qc.ca. Richard Teitelbaum mastering the dual role of the pianist as both a frontline is at Roulette Feb. 16th with Andrew Cyrille. See Calendar. melodic voice and a rhythmic anchor. Glawischnig and

Cole sound all the more razor-sharp thanks to Perdomo’s spot-on execution of every metrical shift, RichaRd SuSSman every daunting written passage. “the evolution Suite” FoR Jazz Quintet, StRing QuaRtet, and electRonicS zenón dedicates a piece to each of his mates. a compelling integRation oF Jazz, “Corteza”, for Glawischnig, is a riot of polyphony and contempoRaRy claSSical muSic & electRonicS! formal intricacy, with a root melody that could be a nod to “Parker’s Mood”. “Entre Las Raíces”, for compoSeRS now FeStival conceRt Perdomo, occasions some of the freest improvisation Roulette, Feb. 28, 8pm but also the tightest unison lines and overall cohesion. 509 atlantic avenue, bRooklyn “Las Ramas”, for Cole, begins with plaintive whistling, Nuit blanche then works up to a rousing finale steeped in Zenón’s Tarkovsky Quartet (ECM) RichaRd SuSSman - language: galloping rhythmic twists; gorgeous modern by Tom Greenland compoSeR, piano, electRonicS harmony; and relentlessly difficult ensemble writing tim haganS - tRumpet, Flugel hoRn that somehow always sounds unruffled. ndrei Tarkovsky was a filmmaker’s filmmaker, Rich peRRy - A mike Richmond - baSS renowned for the spectral imagery, extended takes, claRence penn - dRumS For more information, visit miguelzenon.com. This project nonlinear narratives and, above all, transcendental maRk Feldman - violin maRio FoRte - violin is at Village Vanguard Feb. 14th-19th. See Calendar. impulses of his pictures. French pianist François Ron lawRence - peteR Sachon - cello Couturier has over the last decade recorded a solo album TickeT Pricing: $20 general admission •

and three more with a quartet named for and inspired by $15 seniors • $10 sTudenTs FoR ticketS & moRe inFo: (but not necessarily imitative of) the Soviet director. www.rouleTTe.org • (917) 267-0368 Joined by longtime collaborators—cellist Anja Lechner, www.RichaRdSuSSmanJazz.com soprano saxophonist Jean-Marc Larché and accordion player Jean-Louis Matinier—the latest recording continues the established format of improvised pieces mingled with formal compositions. The title track, referring to the surreal quality of an undarkening, sleepless night and many others (“Rêve I-II”, “Dream III- IV”, “Daydream”, “Nightdream”, “Traum V-VI”, Symphony No. 106 “Vertigo”) all allude to the liminal quality of dream-like Musica Elettronica Viva (Victo) by Stuart Broomer experiences: between sleep and wakefulness, between night and day, where human consciousness becomes Musica Elettronica Viva (MEV), founded in Rome in more permeable, more susceptible to sensuality. 1966, is a collective devoted to the live creation of The album contains seven Couturier originals— . Its personnel eventually became fixed one co-written with Larché, one based on Toru with the trio of composer/performers Alvin Curran, Takemitsu’s Nostalghia (itself a tribute to Tarkovsky)— Frederic Rzewski and Richard Teitelbaum, but through plus covers of “Quant ien congneu a ma pensee” the years it has collaborated with Steve Lacy, Anthony (an anonymous piece from the early Renaissance) and Braxton, Roscoe Mitchell and AMM. This performance Vivaldi’s “Cum dederit delectis suis somnum” the evolution Suite by RichaRd SuSSman and the RichaRd SuSSman enSemble haS been made poSSible with SuppoRt FRom chambeR muSic ameRica’S 2014 recording from the 2016 FIMAV festival in Victoriaville, (a setting of Psalm 127, vs. 2-3). Interlaced with these new Jazz woRkS: commiSSioning and enSemble development pRogRam Funded Quebec, commemorates the band’s 50th anniversary. are ten short, group-improvised vignettes, subtle, thRough the geneRoSity oF the doRiS duke chaRitable Foundation.

22 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD Close Up / (Audiographic: Systems vs. Artifacts) Schlager C. Spencer Yeh/Ken Vandermark (Audiographic: Systems vs. Artifacts) by Marc Medwin

The fact that reedplayer Ken Vandermark regularly demonstrates a sonic palette whose depth and scope would make lesser players jealous is no surprise to his many listeners. Even that he does so in the company of these two sound sculptors brings no revelations to fans of his many and varied projects. What sets these duo offerings apart is that sonic intrigue comes in recordings packing a huge wallop but delivering the most subtle detail imaginable, rendering each work with absolute precision while making it bigger than life. When heard on a good set of speakers or headphones, Vandermark and the versatile Lasse Marhaug offer up a 40-minute thrill ride on Close Up, traversing pitch and timbral spectra and much more interactive than could be imagined from the opening moments of asynchronous repetition. Listen, just as a single example, to Vandermark’s swoops, trills and swirls beginning at 6:15; these are duly noted and answered by Marhaug, who shifts into consenting slides, glides and growls, rendering his electronics endearingly human. These then slow down, separating into their banged components, branching out into the first stereo of the disc just as Vandermark, switching to clarinet, responds with percussive exclamations of his own. Marhaug gives the venerable noise pioneer a run for his money in the sonic diversity department and Vandermark rasps his way along similarly constructed roads. The irrepressible C. Spencer Yeh opens Schlager, appropriately enough, with what seems to be a bit of gradually processed microphone manipulation, pummeling and scratching its way across the stereo spectrum. It has its own organic approach, a buoyant soundscape of increasing density existing well outside of any conventionally analytical terminology but strangely ‘classical’ in construction. For anyone still unaware of Vandermark’s solo clarinet prowess, his response on the second track will provide a fitting wake-up call. Its motivic unity is matched by unflagging invention. Much of the disc has a live performance feel about it, but a notable exception occurs during the fourth track. Beginning at 2:53, Vandermark settles on an F, Yeh’s voice ultimately coming to rest, Phil Minton style, on the B-flat two- and-a-half octaves below. And then the fun begins. Yeh processes the repeating clarinet figures and adds other layers of sonic mayhem to build a makeshift orchestral texture of loops and something approaching groove. Devotees of Yeh’s violin playing will not be disappointed, as Schlager is loaded with it, sometimes in combination with clarinet or, when the mood strikes, with huge baritone drones and other associated antics. All three performers push sonic invention to the limit, but it would be for naught unless the recordings do them justice. Fortunately, the music’s visceral nature is simultaneously captured and countered by production in which every microdynamic inflection is fully audible, a testament to improving technologies and the wherewithal to use them with finesse equal to that of the musicians.

For more information, visit audiographicrecords.com. Marhaug and Yeh are at Swiss Institute Contemporary Art Feb. 20th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 23

as Nelson’s “Stolen Moments” featuring an amazing the ears of Gary Burton and Mick Goodrick, soon performance by Turk and a heartbreaking rendition of enthusiastic mentors and colleagues. Three decades on, Dameron’s killer torch song “If You Could See Me that touch is still palpably platinum, the tunes airy and Now” by Caputo on baritone saxophone. subtle, solos rhythmically complex, with quicksilver Two Latin-oriented pieces (“Los Cielos De Ayer” turnarounds, occasionally veering towards ecstasy. and Corea’s “Guijira”) are features for Montalvo while For his latest effort, Muthspiel merges two recent Campenni is especially melodic on DeJohnette’s samba trios—bassist and drummer Brian “Festival” as well as on the closer “Busy, Busy, Busy”, Blade with pianist Brad Mehldau and trumpeter which also has a fine solo by Crow (who also wrote Ambrose Akinmusire—to fashion a quintet unhurriedly

Uh Oh! and arranged the track “News From Blueport”). Also plying as one the sparkling waters of his art songs. Lou Caputo Not So Big Band (Jazzcat 47) notable are exciting work by both Smith and Perry on Muthspiel’s deference toward them encourages their by Marcia Hillman the aforementioned “Festival”. loose but vested weaving into his fabrics; these unfold For lovers of the big band sound, it is heartening to spontaneously, with little flourishes around every The Lou Caputo Not So Big Band, a 15-piece group know that Lou Caputo’s Not So Big Band is keeping it phrase, every bar line, but may finish after all, a little performing steadily in the New York City area for the alive and well. too gray and pat. last 10 years, presents a collection of not-so-famous The opening title track, ending with a sudden jazz compositions along with better known titles For more information, visit loucaputo.com. This band is at NYC whoosh, is followed by “Intensive Care”, which ends written by Tadd Dameron, Jack DeJohnette, Oliver Baha’i Center Feb. 21st and Sir D’s Feb. 27th. See Calendar. with an intake of breath. Mehldau’s “Waltz” (the only Nelson, Dexter Gordon and Chick Corea. non-Muthspiel original) places the leader to the fore

The collective band itself is truly the artist on this with extra support from its composer while Muthspiel album, which features just about every member takes a tantalizingly brief, careening solo on the (although leader Caputo gets a lot of solo time on cryptic, brainy “Boogaloo”. Akinmusire offers a few saxophones or flute); fortunately the liner notes list the surprises: nimbly dipsydoodling before soaring off on solo personnel for each track so listeners know which the Flamenco-tinged “Father and Sun” and musician is playing (the band is comprised of Caputo roughhousing briefly with Mehldau on the cerulean on saxophones, clarinet and flute, saxophonists Geoffry blue quasi-swinger “Superonny”. Burke and Virginia Mayhew, trumpeters John Eckert On a tensely unfurling paean to late trumpeter and Dave Smith, trombonist Jason Ingram, player Kenny Wheeler the five circle each other, rising in Dale Turk, bassist Bill Crow, guitarist Joel Perry, pianist amity like a kettle of hawks, Akinmusire soloing briefly Rising Grace Don Stein, drummers Mike Campenni and Rudy Wolfgang Muthspiel (ECM) at its eye, Mehldau grounding all with a cascading Petschauer, vibraphonist Warren Smith and by Fred Bouchard flourish near the close. These confident wheelings in a percussionists Eddie Montalvo and Leopoldo Fleming. gyre make for only slightly unsettling, consistently The arrangements come from several different Back in 1986 a lithe guitarist from Austria made quiet enjoyable listening. pens and most are uptempo, which really shows off waves at Berklee College and New England this band’s ability to swing with the best of the big Conservatory with his fluid ideas, cantabile lines and For more information, visit ecmrecords.com. This project is bands. But there are also change-of-pace tracks, such sure, gossamer touch. Wolfgang Muthspiel beguiled at Jazz Standard Feb. 28th. See Calendar. ROBERT DICK Residency at The Stone - March 21 - 26, 2017, all concerts at 9 PM $20 - corner of East 2nd Street and Avenue C Tuesday, March 21 — We Are the Walrus — FEB 1–2 FEB 15 Thomas Buckner, baritone and Robert Dick, flutes javon jackson band delfeayo marsalis and the Two long-time musical collaborators who always surprise each other and themselves! uptown jazz orchestra Wednesday, March 22 — Dissonant Geranium — FEB 3–5 Miya Masaoka, koto; Ken Filiano, bass and Robert Dick, flutes FEB 16 Robert has played many times with Miya in duo and with Ken in a wide range of gerry gibbs sextet featuring tom ensembles. This is the first outing for this intensively colorful trio. harrell andrew cyrille quartet with bill frisell, ben street and Thursday, March 23 — Raise the River — Flutes and Drums — FEB 6 richard teitelbaum Tiffany Chang, drums and Robert Dick, flutes devin bing Primal music from the next dimension. FEB 17–19 Friday, March 24 — The Time Between Us — FEB 7 Stephanie Griffin, viola; , alto sax, and shakuhachi; trio Satoshi Takeishi, drums; Robert Dick, flutes camille thurman FEB 20 Improvisations and compositions by Robert. FEB 8 Saturday, March 25 — Bermuda Rectangle — juilliard jazz ensembles Vince Bell, spoken word and song; David Mansfield, guitars of all types; the flail Ratzo B. Harris, bass; Robert Dick, flutes and voice FEB 21–22 Blues deconstructed — and reconstructed! FEB 9–12 jason marsalis vibes quartet Sunday, March 26 — Our Cells Know — Robert Dick, contrabass flute solo freddy cole quartet: Celebrating the release of Robert’s solo contrabass flute CD on Tzadik! Music that’s truly unique. songs for lovers FEB 23–26

FEB 13 MONDAY NIGHTS WITH WBGO the music of dexter gordon: a celebration “A flutist whose imagination and sarah mckenzie dexter gordon legacy ensemble technical resources seem limitless.” — Alan Kozinn, new York Times FEB 14 FEB 27 brianna thomas: it had to be you william patterson university big *sets at 7pm & 9:30pm; menu included, band and ensembles special pricing applies FEB 28 a gotham kings mardi gras celebration swing by tonight set times 7:30pm & 9:30pm jazz.org / dizzys

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

24 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD at Cavatappo Grill

In Boston (Live at the Hi-Hat 1953) Live Jazz Music Stan Getz Quintet (Fresh Sound) In Denmark (1959-1960) every Tuesday (8-10 pm) & Jan Johansson (featuring Stan Getz) (Stunt) Getz/Gilberto ‘76 & João Gilberto/Stan Getz (Resonance) by Andrew Vélez Thursday (9-11 pm) Tenor saxophone giant Stan Getz, who would have turned 90 this month, was one of the rare jazz musicians Live piano every Monday (7-10 pm) who enjoyed popular success and the respect of his fellow musicians, including generations for whom his playing remains an inspiration. This trio of releases “It’s a joy to create jazz in such a positive atmosphere and covers a span of decades and locales: 1953 at the legendary Hi-Hat Club in Boston; a collection of 1959- to be so close to the people too! Enjoying a great bowl of pasta 60 performances in Denmark; and a 1976 live set from listening to world class jazz is the only way to go” the famed Keystone Korner in San Francisco. Each find John Pizzarelli, Grammy-nominated guitarist and singer him in the company of first-rank musicians. On In Boston (Live at the Hi-Hat 1953), one of the first appearances of the then-recently formed Getz Quintet Mondays with Roger Lent solo piano with valve trombonist , bop classic “Ornithology” gets a heated take with pianist Duke 7-10pm no cover Jordan, bassist Bill Crow and drummer Al Levitt keeping close company with Getz. Hearing their sizzle together February 2nd makes it easy to see why Jordan became a Getz regular for years. “These Foolish Things Remind Me of You” is Pasquale Grasso Getz at his best, with an exquisite sense of melody and tone. These live performances radiate a sense of great 9/10 pm $10 cover music happening in an agreeably noisy room. Years later the great was to say “the band with February 7th Getz and Brookmeyer is my favorite of all the jazz groups I’ve ever heard.” This set is a thrilling find. ***Bucky Pizzarelli Trio*** In Denmark 1959-1960 is a collection of performances from Copenhagen’s famed Tivoli Gardens. Bassist 6/8 pm $15 cover Oscar Pettiford had come to reside in Copenhagen, finding the racially tolerant atmosphere a welcome February 9th change from the prejudice in America. The three Getz performances heard here came out of his fronting an Mafalda Minnozzi & Paul Ricci exceptional quartet with drummer Joe Harris and the 9/10 pm $10 cover now mostly forgotten but brilliant pianist Jan Johansson, who died not long afterwards in a car accident. The music represents the formative years of February 14th Valentine the modern Danish jazz scene. On his own tune, Gabrielle Stravelli “Laverne Walk”, Pettiford’s solo is outstanding with beautiful intonation and time and Johansson swinging 8/10 pm no cover melodically in tandem. On the now classic “I Remember Clifford”, Getz blows in and is then joined by the February 16th group, Harris and Pettiford making for a propulsive pair. The ease with which Getz solos on Coleman Nick Myers Hawkins’ “Stuffy” makes it seem as if his notes are floating on air. The performances on this collection are 9/10 pm $10 cover genuine treasures. The release of Getz/Gilberto ‘76 unearths a Bossa February 21st nova classic from the archives of impresario Todd Jam Session hosted by Mike Sailors Barkan. It includes all the songs that vocalist/guitarist João Gilberto performed during a rare week with the 8/10pm $5 cover Getz group, a reunion of their giant success with “The Girl From Ipanema” 12 years earlier. The special Feb 23rd tickles of Gilberto’s guitar and feather light vocalizing is a perfect pairing air with Getz’ smooth heat. The Jason Tiemann haunting “É Preciso Perdoar” (“One Must Forgive”) opens the set; into the palm of that trancelike setting 9/10 pm $10 cover Getz gently swings to complement Gilberto’s dreamlike voice. “Aguas de Marco” (“Waters of March”) is a Jobim gem with drummer keeping the Luca’s Jazz Corner background beat to Gilberto’s solo. Getz takes an especially beautiful solo on “Retrato em Branco e at Cavatappo Grill Preto”. The amazing chemistry on this set is a reminder of the evergreen pleasures of the bossa sound. 1712 First Avenue - (212) 987-9260

For more information, visit freshsoundrecords.com, sundance.dk and resonancerecords.org lucasjazzcorner.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 25

released to the public until 1976, two years after the accounts for the title. The nine studio excerpts go from Duke’s death. During his lifetime, Ellington sometimes the brightness of “Light And Variable Sins” with its played “The Single Petal of A Rose”, a piano solo unfurling reed lines contrasting with pointillist piano movement from the suite, in concert. droplets and violin plucks, interrupted by towering Neumeister plays that piece as a trombone fanfares, to the mysterious gloom of “Whistling In The a cappella solo, replete with harmonics and Dark” with its low-key eeriness, created by rubbed while still taking the piano rendition as piano strings and hushed shakuhachi. But whatever a blueprint. The rest of the suite, which featured some the level of illumination, the threesome succeeds in of Ellington and Billy Strayhorn’s most exotic keeping the listener guessing. This set should suit

Fried Bananas instrumental voicings, adapts surprisingly well to this those looking for bracing complexity down to the Dexter Gordon (Gearbox) sextet, with alto saxophonist Billy Drewes’ clarinet ground. by Scott Yanow often a dominant lead voice, as are on the original recording. The movements present highly For more information, visit cleanfeed-records.com. This In 1972, Dexter Gordon was 49, had lived in Europe impressionistic aural snapshots of their titles. project is at Bar Lunàtico Feb. 6th. See Calendar. for a decade and was in one of his peak periods. He “Lightning Bugs and Frogs” is full of flashes from Jim had been a major part of the jazz world since the mid Rotondi’s trumpet, trombone and ’s ‘40s. Thought of as one of the first major bop tenor drumkit, with bassist Peter Herbert suggesting frogs, IN PRINT saxophonists, Gordon participated in legendary Los and the whole piece flickering through short solo Angeles nightly jam sessions with fellow tenors bursts and tricky turnarounds. Heraldic, descending and Teddy Edwards and survived a bad lines dominate “Apes and Peacocks” while the late drug habit in the ‘50s. After making a comeback with Fritz Pauer’s piano is strongly Ellingtonian, especially his Blue Note sets of the early ‘60s, he moved to Europe. on “Sunset and the Mocking Bird” and “Le Sucrier Gordon recorded for several labels during his years Velours”. While the six Queen’s Suite tracks are all overseas, his SteepleChase albums of 1971-76 include relatively short, concentrating on the written work, the some of his most rewarding performances. sextet’s improvisers are showcased on the other three Fried Bananas consists of three songs from a Dutch longer tracks: Neumeister, Ballard and Pauer on club date of Nov. 3rd, 1972. The previously unreleased “Caravan”; Pauer and Drewes (clarinet) on a semi- music is solely available as an audiophile LP. The rubato “Come Sunday”; and the leader, Rotondi and album documents the otherwise unrecorded quartet Pauer on “DEPK” from The Far East Suite. Jazzing: New York City’s Unseen Scene Tom Greenland (University of Press) that Gordon led for two months. The Dutch rhythm by Ken Waxman section (pianist Rein De Graaff, bassist Henk Haverhoek For more information, visit pao.at. Neumeister is at Zürcher and drummer Eric Ineke) became familiar with Gallery Feb. 7th and Christ and Saint Stephen’s Episcopal The precedent to Jazzing is Margaret Mead’s Coming Gordon’s playing quickly and gave him swinging Church Feb. 10th. See Calendar. of Age in Samoa, wherein anthropologist Mead support and fine bop-oriented solos. followed the culture of the peaceful Samoan Islanders The LP consists of 14-minute versions of “Fried in the ‘20s while Jazzing’s author Tom Greenland Bananas” (Gordon’s line on “It Could Happen To You”) researched the mores and folkways of a more fractious and his boogaloo blues “The Panther”. Also included is group: fans of New York’s jazz scene. Greenland the tenor’s seven-and-a-half-minute solo on “Body conducted more than 100 interviews with enthusiasts, And Soul”, fading out after he had made his statement. club owners, musicians and critics to produce this The recording quality, particularly on part of the title unique portrait of those “active listeners”. Non- track, is a little erratic, Gordon sounding off mic in musicians who attend upwards of four jazz spots, but it does not take away from the overall joy performances a week [!], this small group prefers its and swing of the music. music live and its practitioners experimental The great tenor takes lengthy solos on each of the proponents of free music. These fans often selections, never running out of ideas. It is obvious In Cahoots communicate non-verbally with the players and Ned Rothenberg/Mark Feldman/ that he enjoyed performing with this group, stretching sometimes become their friends. They’re continuously (Clean Feed) out without any worry that the trio could keep up with by John Sharpe searching for unpredictable sounds, plus the “perfect him. The result is a valuable album that Gordon set”, that the late Irving Stone, one veteran follower, collectors will savor. It’s a name that has proven popular in the jazz world said produces figurative “blood” from the musicians. over the years with various albums and even bands This group of mostly males frequently attains For more information, visit gearboxrecords.com. The Dexter rejoicing under the moniker, but this In Cahoots by a near-trance state during performances, ranks Gordon Legacy Ensemble is at Dizzy’s Club Feb. 23rd-26th. long-established Downtown stalwarts Ned Rothenberg listening to music as necessary as nourishment and See Calendar. (reeds), Mark Feldman (violin) and Sylvie Courvoisier experiences near-schizophrenia when, as poet Steve (piano) stands out more than most. Behind the Dalachinsky says, there’s a “divided night” forcing

popularity lies the truth that the title sums up the sense them to choose between two anticipated shows. of near-telepathic common purpose so prevalent in Although Greenland’s delineation of these improvised music. Another slightly whimsical listeners’ motivations is exemplary, showing how deconstruction of the name—Inca hoots—also contains their tastes help shape the parameters of the New a truth about the set here: the demonstrative exotic York scene, for example due to the mentorship of language used. Stone to innovators like John Zorn, he’s less precise That shared vocabulary is one that avoids in defining what the presence of these fans means for prolonged rhythm, melody or easy resolution in favor the continued well-being of the city’s jazz scene, of a spontaneous, sometimes dramatic, sometimes which at his count encompassed about 830 venues

ascetic, exchange of textures and motifs, which recalls during one five-year period. Especially vexing is that Suite Ellington Ed Neumeister (PAO) contemporary classical as much as any other idiom. while most of his interviewees frequent bare-bones, by George Kanzler Even when a recognizable snatch of romantic piano or low-admission music spaces, his talks with club C&W sawing surfaces, it is so decontextualized as to owners, organizers, critics and publicists focus on the Most small group albums today that devote space to take on an alien sheen. All three participants are expert problems of more established neighborhood bars and Ellingtonia present versions of tunes from the ‘greatest at this sort of interplay, generating a rich tapestry of major jazz venues, which must maintain a balance hits’ medley the Duke included in the majority of his sound based on responsive flurries, intuitive between noisy free-spending jazz tourists and concerts, the pop-jazz songs that supplied, through connectedness, contrary undercutting and occasional regulars who may nurse one drink, resent a minimum publishing rights, the fuel for Ellington to keep his passages of fleeting consonance. and demand reverent silence. band intact. Although trombonist Ed Neumeister’s Often the instrumental voices proceed in parallel, Written in a refreshing non-academic style and sextet begins with popular Ellingtonia, “Caravan” and making the rare convergence all the more striking. One despite such shortcomings, Jazzing offers a valuable “Come Sunday”, the bulk of this live CD is devoted to such comes in “For A Minute, It Was Almost Like portrait of the ever-changing New York jazz scene. the relatively rare The Queen’s Suite, a circa 1960 work Opera”, where soaring violin and woody clarinet spin Ellington wrote for Queen Elizabeth II, sending the out serpentine threads over choppy piano undercurrent, For more information, visit press.uillinois.edu only LP copy to her as a gift. The suite itself was not before Feldman bows the urgent warble that perhaps

26 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD

would have turned 69 on Feb. 14th (he died in 1998 Along with their very tight backing instrumental after a lengthy battle with cancer), was a force of nature trio of pianist Michael Cabe, bassist Matt Aronoff and on the tenor saxophone and his peals of sound came drummer Jared Schonig, Duchess are astute enough to from air and earth in reflection of forebears like John present themselves not simply as revivalists. Instead of Coltrane, Albert Ayler and Frank Wright. Spearman’s devolving into caricature, they use the genre as early ensemble work with the cooperative unit a platform to introduce guest instrumentalists that Emergency and Dutch trumpeter Nedley Elstak include tenor saxophonist Jeff Lederer, guitarist Jesse certainly bears out that fact, though a 1981 duo with Lewis, clarinetist Anat Cohen and trombonist Wycliffe fellow Bay Area stalwart, drummer Donald Robinson, Gordon to the style. The Clarence Williams-Lewis

Expansions Live is much more loosely melodic than sheer paint-peeling Raymond-Walter Bishop-penned opener “Swing Group (Whaling City Sound) exercise. Brother Swing” cleverly entreats Lederer to eschew by Ken Dryden Spearman’s explorations ran the gamut from bop for swing and the program takes off from there internally-structured large groups to smaller, freer with Cohen updating the aforementioned Boswell Dave Liebman is one of the most fascinating musicians blowing ensembles, with confreres including trumpeter Sisters’ signature with wonderful clarinet lines. Her active today. Not only a prolific composer in a variety Raphé Malik, saxophonists and Larry beautiful horn is also integral to the lovely swing and of styles, the saxophonist also leads a number of Ochs, percussionist , bassists William sway of Ross Porter-Hughie Charles’ “We’ll Meet different bands around the world. Liebman’s most Parker and and pianists Matthew Goodheart Again”. compelling lineup is the quintet he bills as The Dave and . There was much yet to do when Each vocalist is given their featured moment: Liebman Group: Expansions, featuring two brilliant Spearman died, but luckily a significant legacy of Cervini pairs with Lewis’ skillful guitar runs to inform young virtuosos whom he mentored in the Poconos, recorded work exists with secrets yet to be unlocked. ’s “Give Him the Oo La La”; Lewis and pianist Bobby Avey and reed player Matt Vashlishan, Blues for Falasha was Spearman’s only recording Cabe artfully color Stylianou’s performance of Leslie along with veteran bassist Tony Marino and drummer for the Tzadik label and while little of the saxophonist’s Bricusse-Anthony Newley’s ”Where Would You Be Alex Ritz. Together they create magic, whether music carries with it overt spiritual references, this Without Me”; and Gardner provides an album negotiating Liebman’s challenging originals and disc signified his exploration of black Jewish roots and highlight with an exceptional take on ’ arrangements or those by the gifted Avey. One can feel was released as part of the Radical Jewish Culture “Hallelujah I Love Her (Him) So”. Gordon’s vocally the energy on the bandstand right at the beginning of series. Blues for Falasha contained some of Spearman’s expressive trombone infuses otherwise sedate Disc 1 in Liebman’s “JJ”, with furious solos by Liebman last recorded music and poetry and it was released presentations of Frank Perkins-Mitchell Parish’s “Stars (soprano saxophone) and Vashlishan fueled by the posthumously in 1999 (the label has just reentered it Fell on Alabama” and ’s “Creole Love inspired rhythm section. Liebman’s wild reworking of into circulation). Call” with welcomed sassiness. “Dawn”, a previously Miles Davis’ “All Blues” is recognizable, though the Joining the leader are Ochs, Brown, Winant, unrecorded lament penned by Vet Boswell, is an apt much freer playing and rhythmic elasticity takes it far Robinson and Ellis on a program of four pieces, session closer. Laughing at Life creates its own turf and, from the expected paths. The leader’s brooding culminating in the nearly-30-minute “Seed Sounds”. although a studio recording, the 14 tunes capture the “Vendetta” showcases Avey at length and the haunting Following from the tense pastoral amble of “Cold Water heart and soul of the group’s live show. blend of Liebman’s soprano with Vashlishan’s flute. and Dirt”, which is without saxophones, “Seed Sounds” The playful romp through Tadd Dameron’s “Good picks up as piano string clatters die down, Ochs and For more information, visit anzicrecords.com. This project Bait” is far from its typically loping setting, spiced with Spearman in steely, hoarse and bluesy resolve as the is at 55Bar Feb. 22nd-25th. See Calendar. a tasty dissonance in the solo sections, while John rhythm section gels behind them into an airy groove. Coltrane’s “” is an intense, extended interpretation. The leader stretches out in chordal pontification, The Duluth, Georgia concert on Disc 2 has some punctuated by pulpit-splintering peals, staccato interesting background. While the group was doing emphatics and panning blats, Brown feeding dense, a soundcheck, Liebman liked the venue’s acoustics and detailed runs and clanging intervallic leaps. There are the work of the sound technician so much that he asked short statements and occasional plaintive sections for for a recording to be made. He also made this the first piano, bass and percussion on their own but the focus is all-electric Expansions concert and the musicians on Spearman’s charged reflectiveness and, occasionally, responded with some of their best playing together. the narrow, grubby glossolalia of Ochs’ sopranino and Liebman’s “Surreality” has an eerie air, accented by stippled tenor. The two saxophonists close in heaving off-center rhythms and growls of electric keyboard. unison and, as the disc also opens, the specter of field- The spacey arrangement of Wayne Shorter’s recorded chants. Circularity is also reflected in the “Footprints” is also taken into new territory and incantatory poem, “The Old Book”, a meditation on the features Marino and Ritz in an intimate duet, with ceaseless wander of Jewish and black people. Blues for Avey joining them to take the piece further into the Falasha is a deep late offering from one of this music’s hinterlands. Avey’s scoring of “Love Me Tender” is most intriguing figures. ominous with its captivating blend of soprano, flute and keyboard. To wrap the evening, Liebman’s For more information, visit tzadik.com. arrangement of Olivier Messiaen’s “Dance De La

Fureur” is avant jazz at its best, keeping listeners on the edge of their seats trying to anticipate each new twist. The confidence that Dave Liebman shows in the chemistry of his musicians is justified and each hearing reveals new facets of these musical gems.

For more information, visit whalingcitysound.com. This band is at Smoke Feb. 17th-19th and The Cell Feb. 25th. See Calendar.

Laughing at Life Duchess (Anzic) by Elliott Simon From the ‘20s through the Swing Era, the Boswell Sisters and later the Andrews Sisters had many hits within a unique but highly influential swinging jazz niche. The style, exemplified by the former’s rendition of “Everybody Loves My Baby”, was defined by close

harmony, scat singing, quick phrasing and perfect Blues for Falasha (Tzadik) intonation. Duchess, comprised of vocalists Amy by Clifford Allen Cervini, Hilary Gardner and Melissa Stylianou, cheerfully provides a new twist to the genre on their Reed player and composer Glenn Spearman, who sophomore release.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 27

Chris Lightcap and drummer Dave King. Marsalis also mines gold outside of the Crescent City: Taborn’s playing is forceful and repetitive, “Second Line” is a swinging piece of Ellingtonia; recalling Philip Glass rather than his jazz ’s “Symphony in Riffs” is pitch perfect; contemporaries. Opener “The Shining One” begins and “All of Me”, with stellar piano from Kyle Roussel, with a dramatic call to attention from King, but the is as smooth and sweet as beignets from Café du melody—performed in unison with Speed—is a kind Monde. The adjective ‘lyrical’ is sometimes overused of intricate leaping-about requiring no guidance from but it describes Marsalis’ lead on “Skylark” perfectly. bass or drums. Once the saxophonist fades into the Marsalis’ own compositions reflect an energetic, background, Taborn seems to disappear into his own balanced blend of the traditional and the contemporary,

Tropes head, running over the same patch of keyboard ground layered with historical perspective and Matt Mayhall (Skirl) again and again, like a child striving to beat a uncompromising social commentary. The leader flips by Mark Keresman particularly difficult video game level. a racist epithet to construct a statement embracing On “The Great Silence”, Taborn doubles on piano racial identity on “Back to Africa”. Rapper Dee-1 LA-based drummer Matt Mayhall is an eclectic sort— and synth, adding tiny background countermelodies provides the inspirational voice here and on “Living from 2008-2013 he was a member of the rock band seemingly derived from Sketches of Spain, as clarinet Free and Running Wild”, a song rooted in Spain along with bassist Charlie Haden’s son Josh drifts in and out and King gently shakes maracas. and gospel, which envisions America as a pre- (Mayhall studied under Haden, Matt Wilson and “Abandoned Reminder” starts out as a ballad with an Columbus utopia. Cynthia Liggins Thomas adds sultry ). He has played/recorded with old-school lushness, granted a slight modern sheen by vocals to “Dream On Robben”, an AfroCuban-flavored actress/singer Emmy Rossum, reed-playing LA avant a barely perceptible electronic drone occasionally tribute to Nelson Mandela. The title song is a serpent- garde icon Vinny Golia and guitarist Anthony Wilson. present in the middle distance. In its second half, toothed satire narrated by Wendell Pierce, whose For Tropes, his debut as a leader, Mayhall enlisted though, things pick up. Speed grows cranky and baritone perfectly articulates the maddening similarly-eclectic players in guitarist and introspective and Taborn hammers the keys with an contradictions that have defined this country. Within bassist Paul Bryan. equally disgruntled vigor. the smoothly delivered sarcasm, though, is a warning Despite its title, “Dum Dum” is a majestic blues- Many of the more uptempo melodies have a sort of against revisiting the injustices that lie beneath our laced monster, guest Chris Speed’s tenor saxophone staccato bounce; toward the end of “Subtle Living so-called greatness. The album ends with a crisp big adding textural shading and some judiciously agitated Equations”, Taborn begins to strike the keyboard with band arrangement of Aaron Copland’s “Fanfare for the soloing. Parker’s thick, slightly distorted chords fierce stabs, creating frantic patterns like high-speed Common Man” which, like “The Star-Spangled shimmer like a mirage, with a stately, slow-burning Morse code. Banner”, is quintessentially American. solo. Mayhall’s drumming is disarmingly simple and On the final track, “Phantom Ratio”, Taborn sets With Make America Great Again! Marsalis isn’t almost march-like. Put them all together and you have up a keyboard pattern straight out of the ’80s simply playing music, he’s practicing a faith. He a vividly noir-ish audio film. “A&A” has a dramatic soundtrack- and video game music-inspired genre celebrates black pride and American pride and shows introduction, followed by some soulful old-school known as synthwave. The simple loop allows Speed to how one man’s use of words to divide and conquer rhythm ‘n’ blues flavor from Parker, playing in uncoil a slow, ominous solo, around which Taborn may be used by another man as an embrace. a measured, tantalizingly unhurried manner, soon scatters small clutches of notes as King rattles out displaying hints of Jim Hall and Wes Montgomery in a tense, clattering beat. For more information, visit delfeayomarsalis.com. Marsalis his phrasing. Mayhall thrashes in the background but Taborn has been one of America’s most interesting is at Dizzy’s Club Feb. 15th. See Calendar. his tempo mirrors Parker’s approach, like a storm in and recognizable keyboard talents for close to 20 years. the distance getting gradually closer. The brief, slightly This album is terrific—the work of a mature stylist surreal interlude “A Pact of Forgetting” is all ringing with deep confidence in his ideas. chords and bowed bass. “Picture Day” is the only piece approaching traditional swing via the leader’s sensitive For more information, visit ecmrecords.com. This project is brushwork, then builds into a feverish dreamscape at Village Vanguard Feb. 28th-Mar. 5th. See Calendar. anchored by his drumming; Parker’s dense forays suggest the music for The Twilight Zone, especially with a cyclical, slightly menacing motif. Throughout this album Mayhall adds embellishments via atmospheric keyboards and synthesizer sounds, save for the lyrical, spare solo acoustic piano coda that is “Myopic”. He’s a very self- effacing drummer—no solos but crisp and subtly propulsive throughout. Tropes is not fusion in the usual sense, but does deftly combine cinematic shadings, baroque dynamics, themes of and classy, fluid improvisational nature of jazz. Rockers Make America Great Again! might say it’s jazz, jazz fans might call it rock— Delfeayo Marsalis/Uptown Jazz Orchestra (Troubador Jass) regardless, this is a brilliant debut. by Terrell Holmes For more information, visit skirlrecords.com. This project is With Make America Great Again! trombonist Delfeayo at Rockwood Music Hall Feb. 25th. See Calendar. Marsalis and the Uptown Jazz Orchestra fires one of what will be many artistic salvos across the bow of our TRIO new administration. He seizes a presumptuous and Frank Kimbrough - piano hackneyed political slogan and throttles its empty Jay Anderson - bass promise through a work bursting with pride, Jeff Hirshfield - drums affirmation and damn good music. The all-brass version of “The Star-Spangled On his astute and poetic new album, “Solstice,” Banner” with which the album opens might be Kimbrough elaborates on compositions associated with considered as Marsalis’ own State of the Union address important figures in his life, including his fellow pianists in that there’s an undercurrent of foreboding and its , Andrew Hill and . final note lingers on uncertainty instead of expressing - Nate Chinen, New York Times triumph. The trombonist reveres New Orleans musical Daylight Ghosts Craig Taborn (ECM) history and upholds that tradition proudly. “Snowball”, Friday and Saturday, by Phil Freeman a tune made famous by the Dirty Dozen Brass Band, February 10-11, 2017 includes a bodacious baritone saxophone turn by Sets at 8 pm and 10 pm Pianist Craig Taborn’s third ECM release offers eight DDBB co-founder Roger Lewis. Marsalis gives a shout of his own compositions and a version of Roscoe to the Rebirth Brass Band with a roof-raising rendition Jazz at Kitano Mitchell’s “Jamaican Farewell” (from the Art Ensemble of “Put Your Right Foot Forward” and a loving tip of 66 Park Ave at 38th Street of Chicago’s Coming Home Jamaica), performed by a the hat to the recently departed Allen Toussaint with Reservations advised : 212.885.7119 quartet of saxophonist/clarinetist Chris Speed, bassist a spirited performance of his light-hearted “Java”.

28 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD

could still command the economic respect to make bittersweet ballad “Space Between Us” unwinds lush orchestral albums, Clark After Dark, subtitled The gradually, with David providing a lush background for Ballad Artistry of Clark Terry, features Terry, who died his father’s emotional guitar. “Fortress” is a lively funk two years ago this month, on throughout, vehicle with electric piano as the leader shows the draped in the sumptuous wrappings of a 50-piece influence of George Benson. “Undiscovered” is an orchestra of British musicians recorded in London extended workout with terrific interplay between the under German conductor Peter Herbolzheimer, who guitarist and his rhythm section. The groove-oriented also arranged seven of the ten tracks. Those “Pulse PT. 2” was penned by the two brothers, though arrangements have aspects of easy listening, although Whitfield can’t resist a few fireworks in his mostly

Loafer’s Hollow a lot more appealing and musically challenging than vocal-like guitar solo. With this strong release, Mark Mostly Other People Do the Killing (Hot Cup) most Montovani. and on the Whitfield is back on the jazz scene to stay. by Stuart Broomer two heartbeat-tempo swingers included are more of the template. For more information, visit markwhitfield.com. This project It’s almost a given that each new CD from bassist Terry is rarely alone with just a rhythm section, is at The Django Feb. 17th. See Calendar. Moppa Elliott’s Mostly Other People Do the Killing usually surrounded by the strings, brass and reeds of must be unlike its predecessor. Loafer’s Hollow is very an engulfing orchestra. But he is indubitably the star, different from the modern jazz of Mauch Chunk that his distinctive individual voice dominating the overall ON SCREEN preceded it and announced pianist Ron Stabinsky as a proceedings. On most of the ballads his flugelhorn member, joining regulars saxophonist Jon Irabagon takes the lead on melodies and he brings a rich and and drummer Kevin Shea. It’s different, too from voluminous sound to those leads, but also stands out 2014’s Blue, the critically-decried note-for-note as a distinctive jazz soloist, improvisations full of the replication of Miles Davis’ Kind of Blue. wit and boppish flair that always characterized his However, Loafer’s Hollow is very much like 2013’s playing. The repertoire here ranges from tunes that Red Hot: the band once again expands to a septet with were pop hits in the post-World War II era like “Nature the returning Brandon Seabrook (banjo and electronics) Boy”, “Misty” and “Georgia On My Mind” to older and Dave Taylor (bass trombone), Steven Bernstein standards such as “Willow Weep for Me” and playing trumpet and slide trumpet; the musical subject “Yesterdays”. The most arresting ballad arrangements matter is the way early jazz penetrated instrumental are “November Song” (from arranger Horst Muhlbradt) pop music. One hears (or imagines) echoes of phrases, a romantic piece by German songwriter Willi Fruth, There’s a Future in the Past (Hudson West Productions) rhythmic patterns and sounds from “Sugar Blues”, floated on a cushion of strings under Terry’s lead, with by Scott Yanow “Hello Dolly”, “April Pink...” and the theme from a perfectly melded bebop solo in the center; and “Angel The Flintstones. At times Loafer’s Hollow suggests that Eyes”, limned by Terry over ominous orchestral chords Vince Giordano is remarkable. He performs on bass handed scores to the Dukes of Dixieland and yearning brass. Leavening this loaf of ballads are saxophone, tuba and string bass, which, while having and a saxophonist equally indebted to Evan Parker two easy swingers in a Count Basie mode: the title similar functions, hail from the reed, brass and string and Sam Butera showed up as a soloist. track from Herbolzheimer’s pen and Neal Hefti’s “Girl families. An expert on jazz of the ‘20s and ‘30s, he has Elliott reveals a fondness for big strange books, short Talk”, the only track where Terry shares the solo space a collection of vintage arrangements and, for the past tracks (8 in 40 minutes) and instrumental soliloquies. with two talented band members: tenor saxophonist 40 years, he has led the Nighthawks, a state-of-the-art Five of the tracks are a literary suite with dedicatees Tony Coe and guitarist Martin Kershaw. ‘20s jazz big band. There’s a Future in the Past, including James Joyce (“Bloomberg”), Thomas Pynchon beautifully filmed and superbly edited, is an (“Mason and Dixon”) and David Foster Wallace (“Glen For more information, visit mps-music.com. entertaining and informative 90-minute documentary Riddle”), apparently basing the compositions on the by Dave Davidson and Amber Edwards. The joy of rhythms of phrases. A kind of Dixieland frontline (lots of the music is equaled by Giordano’s enthusiasm for wah-wah brass), prominent banjo and drum patterns set vintage jazz, high musicianship of his sidemen and the dominant tone of the music, but almost everyone gets realization of how much work and creativity it takes featured. The opening “Hi-Nella” devotes half its length to keep the Nighthawks working in the 21st century. to Bernstein’s unaccompanied slide trumpet solo, a fine Quite a few of the sidemen are interviewed along comic turn; Irabagon’s stratospheric sopranino intro to the way, including saxophonist Mark Lopeman (who “Kilgore (for Kurt Vonnegut)” suggests the squeaks of reveals that the band is constantly called upon to wire transmission; Stabinsky sets “Bloomberg” with sight-read charts on the gig), cornet player Jon-Erik ancient Music Hall excess and “Mason and Dixon” with Kellso (a 25-year veteran of the Nighthawks), violinist Scriabin-like abstraction. Andy Stein and reed player Dan Levinson, who Grace Repeated listening reveals the depth and strength admits, “I’m spoiled for life because I’ll probably Mark Whitfield (Marksman Productions) of Elliott’s work beyond the music’s compulsively by Ken Dryden never play in another band that does this better.” shifting, exaggerated, comic surface. Like the authors The Nighthawks are seen at the Newport Jazz to whom he pays tribute, Elliott is creating dreamscapes, Mark Whitfield’s career took off during the ‘90s as the Festival (George Wein looking on with great interest), works that fracture the quotidian surface to reveal guitarist found himself in demand as a leader and Lincoln Center’s Midsummer Night Swing, the Music layers, collisions and dislocations of memory and sideman. Since 2000, he has stayed busy though Mountain Festival in , completing their meaning. recording less frequently. His latest CD debuts a new five-year stint at Sophia’s, beginning their new band featuring his sons David and Mark, Jr. on engagement at Iguana, appearing on A Prairie Home For more information, visit hotcuprecords.com. This project keyboards and drums respectively, with Yasushi Companion, performing at Wolf Trap, at a recording is at Cornelia Street Underground Feb. 19th. See Calendar. Nakamura on bass. Both sons are Berklee graduates session for Boardwalk Empire and the New York Hot and began appearing on stage with their father at Jazz Festival. Among the songs that are heard are

a young age. It is always difficult for children of a well- “Sugar Foot Stomp”, “Gee Baby Ain’t I Good To You”, known jazz musician to follow in a parent’s footsteps “One More Time”, “Shake That Thing”, “Keeping but, now in their 20s, both show plenty of promise. Out Of Mischief Now”, Nighthawks’ theme song Whitfield remains a challenging musician to “The Moon In You”, a bit of “Rhapsody In Blue” and classify as he straddles many different styles, even a number with vocalist Catherine Russell. within the space of a single release. His blistering solo Maintaining a big band of top-notch musicians on “Afro Samurai” is fueled by the rhythm section’s together is an extremely difficult task. Finding ones vibrant support, with David alternating between piano who are creative within the genre of ‘20s jazz, willing and electric keyboard. “Blue D.A” has a funky, upbeat to wear tuxedos and available to work regularly flavor, the spotlight on spry piano and hip bass. The twice a week is nearly impossible. Somehow Clark After Dark title track adds vocalist Sy Smith as a guest (she also Giordano has done it for decades. Clark Terry (MPS) by George Kanzler contributed the lyric) in a warm urban contemporary ballad, marred somewhat by the overdubbed vocals For more information, visit hudsonwest.org. This band is Pretty isn’t a word used often to describe jazz, but this and use of delay. “Double Trouble” is postbop at its at Tribeca Performing Arts Center Feb. 9th as part of is a pretty album—gorgeous, lush, beautiful, yes, but best, with the leader’s explosive solo and the rhythm Highlights in Jazz. See Calendar. also pretty. Recorded in 1977, when jazz musicians section negotiating the many hairpin turns. The

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 29 MISCELLANY ON THIS DAY by Andrey Henkin

Compatability A Story Tale The Standard Live At The 6th Music Joy ‘90 (Jump/Zim - Delmark) /Sonny Red (Jazzland) Don Cherry (JCOA) The Super Jazz Trio (Baystate) AEC/ (DIW) February 14th, 1955 February 14th, 1961 February 14th, 1973 February 14th, 1980 February 14th, 1990 This oddly misspelled album is a Though born only a few months The label of the Jazz Composers An allstar trio of pianist Tommy This album, recorded at Showa reissue of two LPS, one for Jump apart, this is the only recorded Orchestra Association released a Flanagan, bassist Women’s University Hitomi (Playing by Hall Daniels’ Septet) and meeting between tenor saxophonist handful of albums by its members, all and drummer Joe Chambers (the Memorial Hall, brings together the Zim (Nash-Ville by Zoot Sims-Dick Clifford Jordan and alto saxophonist large ensemble recordings with latter two working together regularly), Art Ensemble of Chicago (Roscoe Nash). Both sessions (10 tracks total; Sonny Red (the former having a much overlapping personnel. Don Cherry’s this group first recorded as a rhythm Mitchell, , Lester the CD adds three unissued tracks) longer career). The rhythm section is entry (he also appeared on the Jazz section for Japanese alto/soprano Bowie, and Don features tenor saxophonist Zoot Sims bassist Art Davis and drummer Elvin Composers Orchestra 1968 self-titled saxophonist Hidefumi Toki in July Moye) and Bowie’s own Brass Fantasy in an octet with Nash (trombone), Jones, the piano chair revolving album and ’s 1970 Escalator 1978. Four months later they waxed with Vincent Chancey, Clifton Hall (trumpet), (baritone between Ronnie Mathews and Over The Hill), seven tunes by the their own session, followed by a May Anderson, , Eddie Allen, saxophone), Rolly Bundock (bass), . Jordan wrote three trumpeter, is a horn- and string-heavy 1979 date supporting flugelhornist Gerald Brazel, Stanton Davis and Bob (drums), Tony Rizzi of the tunes, Red a pair, with the rest affair, featuring such players as Bley, Art Farmer and then this, their final Stewart. Each group plays three (guitar) and Paul Atkerson (piano). of the tracks filled out by a , , Frank date (all the above for ’s shortish pieces, the former originals, The material is somewhat repeated on collaborative piece and standards by Lowe, Dewey Redman, Leroy Jenkins, Baystate). As implied by the title, the the latter covers, before coming both original LPs, including what Walter Donaldson, Irving Berlin and Charlie Haden, Ed Blackwell and seven tracks contained herein are jazz together to perform a pair of tunes became the title track to this CD. Jack Lawrence. . and songbook standards. each by Mitchell and Turre. BIRTHDAYS February 1 February 6 February 11 February 16 February 21 February 25 †James P. Johnson 1894-1955 † 1921-83 † 1901-62 †Bill Doggett 1916-96 †Tadd Dameron 1917-65 † 1900-43 † 1904-46 Sammy Nestico b.1924 †Matt Dennis 1914-2002 †Charlie Fowlkes 1916-80 †Eddie Higgins 1932-2009 †Ray Perry 1915-50 Sadao Watanabe b.1933 †Bernie Glow 1926-82 †Martin Drew 1944-2010 b.1943 †Nina Simone 1933-2003 †Fred Katz 1919-2013 Tyrone Brown b.1940 Tom McIntosh b.1927 Raoul Björkenheim b.1956 b.1954 †Graham Collier 1937-2011 †Rene Thomas 1927-75 Bugge Wesseltoft b.1964 †Nelson Boyd 1928-1985 Didier Lockwood b.1956 Akira Sakata b.1945 † 1929-75 Joshua Redman b.1969 Oleg Kiryev b.1964 Jaleel Shaw b.1978 February 17 b.1951 †Tommy Newsom b.1929-2007 b.1968 †Wallace Bishop 1906-86 Warren Vaché b.1951 †Ake Persson 1932-75 February 2 Scott Amendola b.1969 February 12 † 1906-82 Matt Darriau b.1960 Brian Drye b.1975 † 1924-82 †Paul Bascomb 1912-86 †Harry Dial 1907-1987 Christian Howes b.1972 †Mimi Perrin 1926-2010 February 7 † 1914-2000 †Alec Wilder 1907-80 February 26 †Stan Getz 1927-91 †Eubie Blake 1887-1983 †Hans Koller 1921-2003 †Buddy DeFranco 1923-2014 February 22 b.1925 DAVID MURRAY James Blood Ulmer b.1942 †Ray Crawford 1924-97 †Art Mardigan 1923-77 †Buddy Jones 1924-2000 †James Reese Europe 1881-1919 †Chris Anderson 1926-2008 February 19th, 1955 Louis Sclavis b.1953 †Ray Alexander 1925-2002 †Mel Powell 1923-98 b.1949 † 1907-67 †Hagood Hardy 1937-97 †King Curtis 1934-71 b.1948 Nicole Mitchell b.1967 †Claude “Fiddler” Williams Trevor Watts b.1939 One of the biggest questions February 3 Sam Trapchak b.1984 b.1955 1908-2004 Yosuke Yamashita b.1942 in jazz since 1967 is who †Lil Hardin Armstrong Ron Horton b.1960 February 18 †Buddy Tate 1914-2001 Guy Klucevsek b.1948 would take the mantle left 1898-1971 February 8 Szilárd Mezei b.1974 †Hazy Osterwald 1922-2012 † 1922-2014 by the tragic early death of †Dolly Dawn 1919-2002 †Lonnie Johnson 1889-1970 †Frank Butler 1928-84 Dave Bailey b.1926 February 27 John Coltrane? One strong † 1919-2011 †Buddy Morrow 1919-2010 February 13 †Billy Butler 1928-91 George Haslam b.1939 †Leo Watson 1898-1950 candidate should be tenor †Chico Alvarez 1920-92 †Pony Poindexter 1926-88 †Wingy Manone 1900-82 Jeanfrançois Prins b.1967 Marc Charig b.1944 †Mildred Bailey 1907-51 saxophonist/bass clarinetist John Handy b.1933 † 1930-2009 † 1903-62 Gordon Grdina b.1977 Harvey Mason b.1947 †Abe Most 1920-2002 David Murray. Not because Leroy Williams b.1937 Renee Manning b.1955 †Wardell Gray 1921-55 Joe La Barbera b.1948 †Dexter Gordon 1923-90 he sounds the same but b.1945 †Ron Jefferson 1926-2003 February 19 †Chuck Wayne 1923-97 because during a steady Greg Tardy b.1966 February 9 Keith Nichols b.1945 † 1897-1937 February 23 Rob Brown b.1962 career starting in 1975 with Rob Garcia b.1969 †Walter Page 1900-57 Fred Van Hove b.1937 †Hall Overton 1920-72 Joey Calderazzo b.1965 sessions led by Ted Daniel † 1910-79 February 14 b.1944 †Johnny Carisi 1922-92 and William Hooker, February 4 †Joe Dodge 1922-2004 †Perry Bradford 1893-1970 Blaise Siwula b.1950 †Richard Boone 1930-99 February 28 through his own many †Manny Klein 1908-96 †Joe Maneri 1927-2009 †Jack Lesberg 1920-2005 David Murray b.1955 †Les Condon 1930-2008 †Louis Metcalf 1905-81 albums and membership in †Artie Bernstein 1909-64 Steve Wilson b.1961 b.1925 Wayne Escoffery b.1975 Svend Asmussen b.1916 the long-standing World †Harold “Duke” DeJean Daniela Schaechter b.1972 Phillip Greenlief b.1959 February 20 †Bill Douglass 1923-94 Saxophone Quartet, Murray 1909-2002 Behn Gillece b.1982 Jason Palmer b.1979 †Jimmy Yancey 1894-1951 February 24 † 1932-89 has been the closest hewing †Jutta Hipp 1925-2003 †Fred Robinson 1901-84 †Eddie Chamblee 1920-99 †Willie Bobo 1934-83 to Coltrane’s exploratory †Wally Cirillo 1927-77 February 10 February 15 †Oscar Aleman 1909-80 †Ralph Pena 1927-69 Charles Gayle b.1939 aesthetic, pushing himself † 1927-69 †Chick Webb 1909-39 †Harold Arlen 1905-86 †Frank Isola 1925-2004 †Andrzej Kurylewicz 1932-2007 Pierre Dørge b.1946 and his bandmates to †John Stubblefield 1945-2005 †Sir 1932-2002 †Walter Fuller 1910-2003 †Bobby Jaspar 1926-63 Michel Legrand b.1932 Hilliard Greene b.1958 greater purpose album after †Walter Perkins 1932-2004 Nathan Davis b.1937 Nancy Wilson b.1937 †David “Fathead” Newman Mikko Innanen b.1978 album, whether small-group February 5 †Rahn Burton 1934-2013 b.1937 † 1944-2015 1933-2009 sessions or his big band. †Roxelle Claxton 1913-95 b.1944 Henry Threadgill b.1944 Anthony Davis b.1951 †Steve Berrios 1945-2013 February 29 After many years in Europe, †Gene Schroeder 1915-75 †”Butch” Morris 1947-2013 †Edward Vesala 1945-99 Leroy Jones b.1958 Vladimir Chekasin b.1947 †Jimmy Dorsey 1904-56 Murray recently returned to Rick Laird b.1941 Michael Weiss b.1958 Herlin Riley b.1957 Darek Oles b.1963 Bob Magnusson b.1947 †Paul Rutherford 1940-2007 New York City. -AH Bill Mays b.1944 b.1961 Dena DeRose b.1966 Iain Ballamy b.1964 Maggie Nicols b.1948 Richie Cole b.1948 CROSSWORD

1 2 3 4 5 6 ACROSS DOWN

1. AACM ‘70s supergroup with pair of Muse albums 1. 7 8 9 Pipa player Luo ____-Yun 4. Re-Do-Do (solfège) 2. Another word for headphones 7. played a tune named for 3. This punk club hosted a free jazz series in its 10 11 this Melville captain lounge during the Aughts 8. Organization run by James Jabbo Ware 4. The second Blue Note to die

12 13 14 10. Fiddler Billy 5. -- 11. 1980 String Trio of New York Black Saint album standard “I Should ____” ____ Code 212 6. John La Porta drummer ____ De Rosa 15 16 12. Comedian Bill with a lifelong attachment to jazz 7. Alphabetical label? 14. This label released the first Last Exit album 9. Bob Dylan song “Lay, Lady, ____” covered by

17 15. Montréal’s ____ Per Il Popolo festival Dick Hyman, John Handy and others 17. 2013 Paal Nilssen-Love/ 13. This Lateef had three faces for Riverside in 1960 Bocian album ____ Gas 14. Spaghetti Western chef Morricone 18 19 18. Pianist Alves 16. 1958 Jerome Richardson New Jazz album 20. & Midnight ____ 20 21 22 23 24 25 26 23. A horse’s favorite saxophonist? 18. Basie arranger who wasn’t wimpy? 27. “Maple ____ Rag” 19. 1978 / HORO album 28. Steve Coleman 1996 BMG album 20. 1985 Carla Bley WATT album Night-____ 27 28 The Sign And The ____ 21. 14 Down did the soundtrack for the film 29. 1977 Jimmy Smith Mercury album Sit ____! Metti, Una Sera A ____ 29 30 30. ‘30s big band standard “Three Little Fishies 22. ‘50s Beverly Hills club Falcon’s ____ (____ Bitty Poo)” 24. Blind Spanish pianist Montoliu 31. Drummer Hoenig or saxophonist Brown 25. Grady once a drummer now a singer 31 32 32. 1969 Deram album How Many 26. Drummer Dunbar who has worked with Clouds Can You ____? Monty Alexander, and others By Andrey Henkin visit nycjazzrecord.com for answers 30 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD STEPHANE WREMBEL PRESENTS DJANGO A GOGO March 3rd, 2017 - 8 pm Stern Auditorium at CARNEGIE HALL featuring Al Di Meola Stochelo Rosenberg Larry Keel Ryan Montbleau David Gastine Nick Anderson Thor Jensen Ari Folman-Cohen

for tickets and more information: www.djangoagogo.com CALENDAR

Wednesday, February 1 êJoel Ross Good Vibes with Immanuel Wilkins, Jeremy Corren, Benjamin Tiberio, • Melanie Marod Birdland 6 pm $15-30 Jeremy Dutton The Jazz Gallery 7:30, 9:30 pm $22 Saint Peter’s 5 pm êLouie Belogenis/Joe McPhee Alain Kirili Loft 7 pm • DODO Orchestra; Joe Pino Quintet Club Bonafide 7:30, 9:30 pm $15 • , Janet Planet, Tom Washatka êThe Count Basie Orchestra with Dee Dee Bridgewater • Ken Fowser Quintet; Alma Brasileria with Yotam Silberstein Saint Peter’s 5 pm Blue Note 8, 10:30 pm $45 The Django at The Roxy Hotel 7:30, 10:30 pm êBriggan Krauss 440Gallery 4:40 pm $10 • Carmen Lundy with Victor Gould, Darryl Hall, Andrew Renfroe, Kassa Overall • Tredici Baci: Sami Stevens, Abigail Reisman, Abby Swidler, Joanna Mattrey, Ezra Weller, • Jen Baker solo Spectrum 2 pm Birdland 8:30, 11 pm $40 Daniel Pencer, Marie Abe, Evan Allen, Jesse Heasly, Simon Hanes, JG Thirlwell, • Rich Shemaria Big Band Blue Note 11:30 am 1:30 pm $35 êThat’s The Way It Is—Remembering Milt Jackson And Ray Brown: Ryan Power The Stone 9 pm $20 Monty Alexander with Warren Wolf, Ron Blake, Hassan Shakur, Jason Brown êConrad Tao/ Spectrum 8 pm Jazz Standard 7:30, 9:30 pm $35 • Monika Ryan/Satoshi Innoue Metropolitan Room 7 pm $24 Monday, February 6 êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown • Laurin Talese Minton’s 7 pm Village Vanguard 8:30, 10:30 pm $30 • Craig Brann Trio Tomi Jazz 8 pm $10 êMcCoy Tyner Blue Note 8, 10:30 pm $45 • Javon Jackson Band with Jeremy Manasia, David Williams, Willie Jones III • Julie Bluestone Trio Cleopatra’s Needle 8 pm êNed Rothenberg’s In Cahoots Quartet with Mark Feldman, Sylvie Courvoisier, Dizzy’s Club 7:30, 9:30 pm $30 êThe Count Basie Orchestra with Dee Dee Bridgewater Billy Mintz Bar Lunàtico 8:30, 10 pm $10 • Kali Rodriguez Dizzy’s Club 11:30 pm $5 Blue Note 8, 10:30 pm $45 êDan Tepfer/Dayna Stephens; Pasquale Grasso êMelissa Aldana/Glenn Zaleski Sextet with Philip Dizack, Ben Van Gelder, Rick Rosato, • Carmen Lundy with Victor Gould, Darryl Hall, Andrew Renfroe, Kassa Overall Mezzrow 8, 11 pm $20 Craig Weinrib The Jazz Gallery 7:30, 9:30 pm $22 Birdland 8:30, 11 pm $40 • Kenneth Salters’ Haven with Dayna Stephens, Dennis Irwin, Aki Ishiguro, Brad Whiteley, êJames Brandon Lewis Trio with Luke Stewart, Warren G. Crudup III and guest êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown Matt Holman; Ari Hoenig Trio with Gilad Hekselman, Matt Penman; Jonathan Michel Anthony Pirog Roulette 8 pm $20 Village Vanguard 8:30, 10:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20 êGreg Lewis Organ Monk Bar Lunàtico 8:30, 10 pm $10 • Revisiting Jamaica’s Studio 1: Monty Alexander’s Harlem–Kingston Express with • Osso String Quartet; Miki Hiyama; Billy Kaye Jam • Roberta Piket/Virginia Mayhew; Tony Hewitt/Pete Malinverni Andrae Murchison, Dominick Farinacci, Ron Blake, Andy Bassford, Hassan Shakur, Fat Cat 6, 9 pm 12:30 am Mezzrow 8, 11 pm $20 Joshua Thomas, Jason Brown, Karl Wright • Rodrigo Bonelli Quintet Subrosa 8, 10 pm $10 • Jared Gold Trio; Aaron Seeber Smalls 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $35 • Devin Bing Dizzy’s Club 7:30, 9:30 pm $25 • Groover Trio; Ned Goold Jam Fat Cat 9 pm 12:30 am • Alfredo Colon Quartet Shrine 6 pm • Peter Amos Trio with Michael Brownell, Sebastian Chiriboga; Beat Kaestli Trio with • Melissa Hamilton Quartet with Lee Tomboulin, Rusty Holloway, Peter Runnels Cordeon, Jesse Lewis Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz at Kitano 8, 10 pm $17 • Musicianer: Josh Sinton, Jason Ajemian, Chad Taylor; Lukas Koenig • Emily Braden Quartet with Matthew Fries, Phil Palombi, Charles Goold Saturday, February 4 Delroy’s Café and Wine Bar 9, 10 pm $10 An Beal Bocht Café 8, 9:30 pm $15 • Jon De Lucia Octet with Marc Schwartz, John Ludlow, Jay Rattman, Andrew Hadro, • Juan Carlos Polo Quartet with Wayne Tucker, Caili O’Doherty, Tamir Shmerling êMarcus Roberts Trio with Rodney Jordan, Jason Marsalis Aidan O’Donnell, Ray Gallon, Steve Little Smoke 7, 9, 10:30 pm $12 Miller Theatre 8 pm $20-35 Sir D’s Lounge 8 pm • Tobias Meinhart Quintet with Ingrid Jensen, Yago Vazquez, Jesse Simpson; • Jazz Stories: Bernard Purdie, David Haney, Adam Lane, Steve Swell, Nora McCarthy, • Glenn Crytzer Trio Radegast Hall 8 pm Matt Marantz Quartet with Luke Marantz, Rick Rosato, Adam Arruda Kat Modiano Joe’s Pub 7:30 pm $20 • Akemi Yamada Trio; Lee Ryeog Jeong Duo Cornelia Street Underground 8, 9:30 pm $10 êGeorge Garzone Boston Collective with Phil Grenadier, Leo Genovese, Dave Zinno, Tomi Jazz 8, 11 pm • ANONYM: Sami Stevens, Simon Hanes, Joanna Mattrey, Evan Allen Bob Gullotti Cornelia Street Underground 9, 10:30 pm $10 The Stone 9 pm $20 êSolo + Duo + Trio = 5: Min Xiao-Fen solo; Dim Sum: Min Xiao-Fen/Satoshi Takeishi; • Jerome Sabbagh Trio Minton’s 6:30 pm WORKS: Michel Gentile, Daniel Kelly, Rob Garcia Tuesday, February 7 • Bruce Harris Group with Brendan Skidmore; Alexander Claffy Group with Brooklyn Conservatory of Music 7:30 pm $15 Sullivan Fortner The Django at The Roxy Hotel 7:30, 10 pm êScott Robinson Quartet with , Martin Wind, Pete Van Nostrand êVanguard Jazz Orchestra 51st Anniversary Celebration • Sebastien Ammann/Caroline Davis Quartet with Adam Coté, Vinnie Sperrazza; Jazz at Kitano 8, 10 pm $32 Village Vanguard 8:30, 10:30 pm $30 Caleb Curtis Double Trio with Troy Roberts, Scott Colberg, Adam Coté, êMonk in Motion: with Tim Warfield, Jr., Ben Wolfe, Donald Edwards êBucky Pizzarelli Trio Cavatappo Grill 6, 8 pm $15 Vinnie Sperrazza, Jay Sawyer; Conscience Collective Tribeca Performing Arts Center 7:30 pm $30 • Fred Hersch; Miki Yamanaka/Adi Meyerson ShapeShifter Lab 7, 8:15, 9:30 pm $8 êReggie Nicholson Brass Concept with Jose Davila, Curtis Fowlkes, Vincent Chancey, Mezzrow 8, 11 pm $20 • Dena Ressler Trio with David Licht Jalopy 8:30 pm $15 Nabate Isles Sistas’ Place 9, 10:30 pm $20 • Camille Thurman and Darrell Green Trio with David Bryant, Lonnie Plaxico • Raquel Rivera Duo; Abel Mireles Trio êJohn Ellis Double Wide Bar Lunàtico 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 Tomi Jazz 8, 11 pm • Freddie Bryant Trio with Boris Kozlov, Obed Calvaire • Atla and Matt DeChamplain Dizzy’s Club 11:30 pm $5 • Ben Cassara, Addison Frei, Iris Ornig Bar Next Door 7:30, 9:30, 11:30 pm $12 • Theo Bleckmann with Ben Monder, Shai Maestro, Chris Tordini, John Hollenbeck Saint Peter’s 1 pm $10 • Luiz Simas/Nanny Assis Metropolitan Room 7 pm $25 Jazz Standard 7:30, 9:30 pm $25 • Taka Kigawa solo; Sebastein Ammann’s Color Wheel with Michaël Attias, • BossaBrasil: Marcos Valle with guest Celso Fonseca Noah Garabedian, Nathan Ellman-Bell Birdland 8:30, 11 pm $40 Thursday, February 2 Greenwich House Music School 7:30 pm $18 • ConceptualMotion Orchestra: Jorge Sylvester, Nora McCarthy, Hayes Greenfield, • Lena Bloch, Cameron Brown, Billy Mintz Gene Jefferson, Jay Rodriguez, Karel Ruzicka, James Stewart, Waldron Mahdi Ricks, • Skúli Sverrisson’s Sería National Sawdust 7 pm $34 The Drawing Room 7 pm $20 Wayne Cobham, Anthony Sisson, Antoine Drye, Marshall Sealy, Alfred Patterson, êBill Ware/Jay Rodriguez City Winery 7 pm êTheo Hill Trio; Marta Sanchez Quintet with Roman Filiú, Jerome Sabbagh, Rick Rosato, James Hall, Robert Stringer, Jose Davila, Pablo Vergara, Marvin Sewell, Donald Nicks, • Claudia Acuña; Spike Wilner Mezzrow 8, 11 pm $20 Daniel Dor The Cell 8, 9:30 pm NYC Baha’i Center 8, 9:30 pm $15 • Chet Doxas Band; Ken Fowser Quintet; Joel Ross • Spike Wilner Quartet with ; Svetlana and The Delancey Five êEd Neumeister solo Zürcher Gallery 8 pm $10 Smalls 7:30, 10:30 pm 1 am $20 The Django at The Roxy Hotel 7:30, 10:30 pm êAllison Miller’s Boom-Tic-Boom Bar Lunàtico 8:30, 10 pm $10 • The Flail; Saul Rubin Zebtet; Pablo Bencid • Robert Quintero; Raphael D’lugoff Quintet; Greg Glassman Jam êKris Davis Trio with Stephan Crump, Eric McPherson Fat Cat 7, 10 pm 1:30 am Fat Cat 7, 10 pm 1:30 am The Stone 9 pm $20 • Bill Cantrall Axiom with Joe Magnarelli, Stacy Dillard, Mike DiRubbo, Ugonna Okegwo, • Ruweh Records Presents: Raphael Malfliet’s Noumenon with Todd Neufeld, • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Lucas Pino Nonet; McClenty Hunter Smoke 7, 9, 10:30 pm $12 Carlo Costa; Rema Hasumi/Satoshi Takeishi Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 êAruán Ortiz Bar Lunàtico 8:30, 10 pm $10 Happylucky no.1 8, 9:30 pm $10 • Saul Rubin Zebtet; David Oquendo and Havana 3; Jeremy Manasia • Matt Hollenberg, Simon Hanes, Greg Fox • David Acker; Rubens Salles Williamsburg Music Center 10, 11:15 pm Fat Cat 7, 9 pm 12:30 am The Stone 9 pm $20 • Leonieke Scheuble Nuyorican Poets Café 9:30 pm $20 • Caroline Davis, Julian Shore, Tamir Shmerling, Jay Sawyer; Jen Shyu solo • Geoff Gallante Quintet with Micah Thomas, Morgan Guerin, Phil Norris, • Rocco John Duo; Greg DeAngelis Tomi Jazz 6, 8 pm Korzo 9, 10:30 pm Julius Rodriguez Jazz at Kitano 8, 10 pm $17 • Masami Ishikawa Trio Cleopatra’s Needle 8 pm • Pedrito Martinez Group Subrosa 7, 9 pm $10 • David Kuhn Trio with Patricia Wichmann, Aron Caceres; Rich Perry Trio with êGerry Gibbs Sextet with , Robin Eubanks, Warren Wolf, Alex Collins, • Nathan Peck and the Funky Electrical Unit; Andy Bianco Quintet; Giacomo Merega solo Leslie Pintchik, Scott Hardy Bar Next Door 6:30, 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $45 ShapeShifter Lab 7, 8:15, 9:30 pm $8 • Emilio Teubal Trio Club Bonafide 7:30 pm $15 • Kali Rodriguez Dizzy’s Club 11:30 pm $20 • Tal Yahalom Trio with Almor Sharvit, Russsell Holzman; Matt Marantz Trio with • MSM Jazz Arts Vocal Big Band Manhattan School Ades Performance Space 7:30 pm êDavid Berkman Quartet with Linda Oh, Johnathan Blake and guests Dayna Stephens, Rick Rosato, Jochen Rueckert Bar Next Door 6:30, 8:30, 10:30 pm $12 • Steve Sandberg’s Alaya with Mark Feldman, Michael O’Brien, Mauricio Zottarelli Adam Kolker, Billy Drewes Smoke 7, 9, 10:30 pm $38 • Claire Natirbov Trio; The Embers Trio; Kenny Brooks Duo Cornelia Street Underground 8, 9:30 pm $10 • George Burton; Theo Hill Mezzrow 8, 11 pm $20 Tomi Jazz 8, 9:30, 11 pm • Pasquale Grasso Quartet Cavatappo Grill 9, 10 pm $10 • Ralph Lalama Bop-Juice with David Wong, Clifford Barbaro; Joe Farnsworth Quartet êMcCoy Tyner Blue Note 8, 10:30 pm $45 • Wayne Tucker; Chris Norton The Django at The Roxy Hotel 7:30, 10 pm with Abraham Burton, Isaiah Thomson, Gerald Cannon; Brooklyn Circle: Stacy Dillard, • Liberté Big Band Williamsburg Music Center 8 pm Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20 • Roel Tempelaar Duo Cleopatra’s Needle 7 pm • Jill McCarron/Chris Haney Knickerbocker Bar and Grill 9:45 pm $3.50 Wednesday, February 8 • Rick MacLaine Trio NYLO Hotel 9, 10:15 pm êJoel Ross Good Vibes with Immanuel Wilkins, Jeremy Corren, Benjamin Tiberio, êThe Count Basie Orchestra with Dee Dee Bridgewater Jeremy Dutton The Jazz Gallery 7:30, 9:30 pm $22 êSusie Ibarra’s Dreamtime Ensemble with Claudia Acuña, Jennifer Choi, Blue Note 8, 10:30 pm $45 • Tredici Baci: Sami Stevens, Abigail Reisman, Abby Swidler, Joanna Mattrey, Ezra Weller, Yves Dharamraj, Jake Landau, Jean-Luc Sinclair • Carmen Lundy with Victor Gould, Darryl Hall, Andrew Renfroe, Kassa Overall Daniel Pencer, Marie Abe, Evan Allen, Jesse Heasly, Simon Hanes, JG Thirlwell, Roulette 8 pm $20 Birdland 8:30, 11 pm $40 Ryan Power The Stone 9 pm $20 • Yotam Silberstein Quartet with Glenn Zaleski, Matt Penman, Eric Harland êRevisiting Montreux ’77: Monty Alexander with Warren Wolf, Dominick Farinacci, êThe Count Basie Orchestra with Dee Dee Bridgewater Jazz Standard 7:30, 9:30 pm $25 Andrae Murchison, Ron Blake, Hassan Shakur, Jason Brown Blue Note 8, 10:30 pm $45 êRick Germanson Quintet with Vincent Herring, Brian Lynch, Gerald Cannon, Jazz Standard 7:30, 9:30 pm $35 • Carmen Lundy with Victor Gould, Darryl Hall, Andrew Renfroe, Kassa Overall Wille Jones III Smoke 7, 9, 10:30 pm $12 êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown Birdland 8:30, 11 pm $40 • The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Charles Goold Village Vanguard 8:30, 10:30 pm $30 êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown Dizzy’s Club 7:30, 9:30 pm $30 • Javon Jackson Band with Jeremy Manasia, David Williams, Willie Jones III Village Vanguard 8:30, 10:30 pm $30 • Atla and Matt DeChamplain Dizzy’s Club 11:30 pm $5 Dizzy’s Club 7:30, 9:30 pm $30 • Revisiting Jamaica’s Studio 1: Monty Alexander’s Harlem–Kingston Express with • Fabrizio Sotti and Friends with Melanie Fiona, M1, Raymond Angry, , • Kali Rodriguez Dizzy’s Club 11:30 pm $10 Andrae Murchison, Wayne Escoffery, Andy Bassford, Hassan Shakur, Joshua Thomas, Blue Note 8, 10:30 pm $25 êMelissa Aldana/Glenn Zaleski Sextet with Philip Dizack, Ben Van Gelder, Rick Rosato, Jason Brown, Karl Wright Jazz Standard 7:30, 9:30 pm $35 êKris Davis/Jen Shyu The Stone 9 pm $20 Craig Weinrib The Jazz Gallery 7:30, 9:30 pm $22 • The Firehouse Space Fundraising Party êDaniel Freedman Bar Lunàtico 8:30, 10 pm $10 • Mike Sailors Silvana 6 pm The Firehouse Space 4 pm $15 • Immanuel Wilkins Quartet with Shai Maestro, Daryl Johns, The Jazz Gallery 7:30, 9:30 pm $15 • Mike Eckroth; Tony Hewitt/Pete Malinverni Friday, February 3 Sunday, February 5 Mezzrow 8, 11 pm $20 • Sean Nowell Quartet with Art Hirahara, Michael O’Brien, Joe Abba; êGerry Gibbs Sextet with Tom Harrell, Robin Eubanks, Warren Wolf, Alex Collins, êAlan Broadbent Trio with Putter Smith, Billy Mintz Curtis Nowosad Quintet with Duane Eubanks, Jonathan Thomas, Andrew Renfroe, Buster Williams Dizzy’s Club 7:30, 9:30 pm $35 The Drawing Room 7 pm $20 Luke Sellick; Sanah Kadoura Smalls 7:30, 10:30 pm 1 am $20 • Kali Rodriguez Dizzy’s Club 11:30 pm $10 êGuillermo Gregorio/Art Bailey; Nico Letman-Burtinovic, Elijah Shiffer, Britt Ciampa • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam êDavid Fiuczynski’s KiF; Jonathan Scales Fourchestra Downtown Music Gallery 6, 7 pm Fat Cat 7, 9 pm 12:30 am Drom 8 pm $15 êEd Cherry Trio Radegast Hall 7 pm • Danny Bacher Quartet with Allen Farnham, Dean Johnson, Mark McLean êDavid Berkman Quartet with Linda Oh, Johnathan Blake and guests Dayna Stephens, • JP Jofre; John Merrill Mezzrow 8, 11 pm $20 Jazz at Kitano 8, 10 pm $17 Adam Kolker, Billy Drewes Smoke 7, 9, 10:30 pm $38 • Charles Owens Quartet with Joel Frahm, Alexander Claffy, Ari Hoenig; Hillel Salem • Noam Wiesenberg Quintet with Godwin Louis, Dayna Stephens, Glenn Zaleski, • George Burton; Johnny O’Neal Mezzrow 8, 11 pm $20 Smalls 10:30 pm 1 am $20 Kush Abadey Cornelia Street Underground 8, 9:30 pm $10 • Dan Block Quintet with Adam Birnbaum, Jennifer Vincent, Alvester Garnett, • Terry Waldo Gotham City Band; Jade Synstelien Fat Cat Big Band; • Bruce Harris Group with Brendan Skidmore; Alexander Claffy Group Godwin Louis; Joe Farnsworth Quartet with Abraham Burton, Isaiah Thomson, Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am The Django at The Roxy Hotel 7:30, 10 pm Gerald Cannon Smalls 7:30, 10:30 pm $20 • Ken Ychicawa Williamsburg Music Center 9 pm • Schapiro17: Bryan Davis, Andy Gravish, Eddie Allen, Tony Speranza, Debbie Weiss, • Ai Murakami Quintet; Jared Gold/Dave Gibson; Ray Gallon • Giuseppe De Gregorio NYC Gospel Jazz Syndicate Alex Jeun, Nick Grinder, Walter Harris, Rob Wilkerson, Candace DeBartolo, Paul Carlon, Fat Cat 6, 10:30 pm 1:30 am Club Bonafide 7:30 pm $15 Rob Middleton, Matt Hong, Roberta Piket, Sebastian Noelle, Evan Gregor, Jon Wikan • Joyce Breach Trio with Jon Weber, Jay Leonhart • David Love Duo Tomi Jazz 8 pm ShapeShifter Lab 7, 8:15, 9:30 pm $8 Jazz at Kitano 8, 10 pm $32 êGerry Gibbs Sextet with Tom Harrell, Robin Eubanks, Warren Wolf, Alex Collins, • Juilliard Jazz Ensembles Zinc Bar 7:30, 9:30 pm êPale Horse: Jeremiah Cymerman, Christopher Hoffman, Brandon Lopez, Brian Chase Buster Williams Dizzy’s Club 7:30, 9:30 pm $25 • Hot Club of Flatbush Radegast Hall 9 pm Happylucky no.1 8:30 pm $10 êDavid Berkman Quartet with Linda Oh, Johnathan Blake and guests Dayna Stephens, • Chieko Honda Trio; Matt Gordeuk Tomi Jazz 8, 11 pm • Pedro Giraudo Tango Ensembles with guest Sofia Tosello Adam Kolker, Billy Drewes Smoke 7, 9, 10:30 pm $38 • Dillon Mansour Trio Shrine 7 pm Joe’s Pub 7:30 pm $25 • Tredici Baci: Sami Stevens, Abigail Reisman, Abby Swidler, Joanna Mattrey, Ezra Weller, • Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone, • Jill McCarron/Chris Haney Knickerbocker Bar and Grill 9:45 pm $3.50 Daniel Pencer, Marie Abe, Evan Allen, Jesse Heasly, Simon Hanes, JG Thirlwell, Terry Schwadron Caffe Vivaldi 8:30 pm • Aubrey Johnson Group with Tomoko Omura, Michael Sachs, Glenn Zaleski, Ryan Power The Stone 9 pm $20 êVanguard Jazz Orchestra 51st Anniversary Celebration Matt Aronoff, Jeremy Noller Cornelia Street Underground 9, 10:30 pm $10 êThe Count Basie Orchestra with Dee Dee Bridgewater Village Vanguard 8:30, 10:30 pm $30 • Jeff Barone Trio with Pat Bianchi, Bill Goodwin Blue Note 8, 10:30 pm $45 • BossaBrasil: Marcos Valle with guest Celso Fonseca Bar Next Door 7:30, 9:30, 11:30 pm $12 êAmbrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown Birdland 8:30, 11 pm $40 Village Vanguard 8:30, 10:30 pm $30 • Ayako Shirasaki/Noriko Ueda Saint Peter’s 1 pm $10

32 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD Thursday, February 9 Friday, February 10 Saturday, February 11

êFreddy Cole Quartet Dizzy’s Club 7:30, 9:30 pm $40 êDianne Reeves with Peter Martin, Romero Lubambo, Reginald Veal, Terreon Gully • Alfredo Rodriguez Trio with Ricky Rodriguez, Michael Olivera • Atla and Matt DeChamplain Dizzy’s Club 11:30 pm $10 Rose Theater 8 pm $40 Jazz Standard 7:30, 9:30 pm $30 • Highlights In Jazz 44th Anniversary Gala: Vince Giordano and the Nighthawks with êDrumbattle: Joe Farnsworth vs. Kenny Washington with Eric Alexander, , êKris Davis/Johnathan Blake The Stone 9 pm $20 Vinnie Knight, Andy Stein, Michael Ponella, Jon-Erik Kellso, Jim Fryer, Smoke 7, 9, 10:30 pm $38 • TK Blue Sistas’ Place 9, 10:30 pm $20 Adrian Cunningham, Mark Lopeman, Dan Levinson, Peter Yarin, Ken Salvo, Paul Wells; êFrank Kimbrough Trio with Jay Anderson, Jeff Hirshfield • Loren Connors, Isobel Sollenberger, Cynthia Sayer Joyride Band with Adrian Cunningham, Mike Weatherly, Larry Eagle Jazz at Kitano 8, 10 pm $32 Issue Project Room 8 pm $15 Tribeca Performing Arts Center 8 pm $50 êLove and Jazz: Trio with Dee Dee Bridgewater, Nicholas Payton êLage Lund 3 with Matt Penman, Obed Calvaire Met Museum Grace R. Rogers Auditorium 7:30 pm Cornelia Street Underground 9, 10:30 pm $10 êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker êDavid Virelles The Jazz Gallery 7:30, 9:30 pm $22 • Nick Millevoi’s Desertion Trio with Johnny DeBlase, Kevin Shea The Cutting Room 7:30 pm $30 • Orrin Evans; Johnny O’Neal Mezzrow 8, 11 pm $20 Greenwich House Music School 7:30 pm $15 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Behn Gillece Quartet with Nate Radley, Ugonna Okegwo, Jason Tiemann; • Manuel Valera Quartet Terraza 7 9:30 pm $10 • Alfredo Rodriguez/Pedrito Martinez Duane Eubanks Quintet with Abraham Burton, David Bryant, Gerald Cannon, • Yoon Sun Choi’s Owls At Night with Dana Lyn, Vinnie Sperrazza; Jazz Standard 7:30, 9:30 pm $30 Ralph Peterson Smalls 7:30, 10:30 pm 1 am $20 Dana Lyn’s Mother Octopus with Clare Kennedy, Mike McGinnis, Ty Citerman, • Ben Allison; Spike Wilner Mezzrow 8, 11 pm $20 • Oscar Williams; Jerome Jennings; Avi Rothbard Vinnie Sperrazza Ibeam Brooklyn 8:30 pm $15 • Tatum Greenblatt Quartet with Misha Piatigorsky, Sam Minaie, Donald Edwards; Fat Cat 6, 10:30 pm 1:30 am • Aquiles Navarro/Tcheser Holmes Duo; Ras Moshe Group with Kyoko Kitamura, Nick Hempton Band; Sarah Slonim êKris Davis/ The Stone 9 pm $20 Anders Nilsson, Luke Stewart; Heru Shabaka-ra’s Sirius JuJu Smalls 7:30, 10:30 pm 1 am $20 • Ari Hoenig Brazilian Trio with Chico Pinheiro, Eduardo Belo New Revolution Arts 8 pm • Rodney Green Quartet; Greg Glassman Quintet; Mimi Jones Cornelia Street Underground 9, 10:30 pm $10 • Jackie Gage with Mario Castro, Kelly Green, Kenji Tokunaga, Darrian Douglas; Fat Cat 7, 10 pm 1:30 am êNorthern Spy: Michael Bates, Michael Blake, Jeremy “Bean” Clemons Raviv Markovitz Quartet The Cell 8, 9:30 pm êKris Davis/Julian Lage The Stone 9 pm $20 KD’s 7:30 pm $5 • Tiempo Libre: Luis Beltran Castillo, Jorge Gómez, Leandro González, êBill Ware/Fima Ephron City Winery 7 pm • Braxton Cook BAMCafé 9:30 pm Xavier Mili Saint-Ives, Israel Morales Figueroa, Wilber Rodríguez Guerra, êInterpretations: Gustavo Aguilar with Anthony Davis, Earl Howard, JD Parran; • Anti-Social Music Drinks Alone: Ty Citerman, Domenica Fossati, Steven Gosling, Michel Ruíz Garcia Tribeca Performing Arts Center 8 pm $25-35 Robert Dick/Ursel Schlicht Roulette 8 pm $20 Mihai Marica, Pat Muchmore, Ed RosenBerg; Charlie Waters Peace Forms One with • Antoine Drye; Greg Glassman Jam Fat Cat 10 pm 1:30 am • Andy Milne and Dapp Theory with Aaron Kruziki, John Moon, Chris Tordini, Josh Sinton, Matt Lavelle Ibeam Brooklyn 8:30 pm $15 • ConSoul Big Band Williamsburg Music Center 10 pm Kenny Grohowski The Jazz Gallery 7:30, 9:30 pm $15 êImprovisatory Minds—Chamber Music by Jazz Composers: Miranda Cuckson, • Mark Cocheo Trio with Mark Zaleski, Brian Adler • Kathleen Landis Trio with Dan White, Boots Maleson Eden MacAdam-Somer, Jennie Hansen, Billy Drewes, Dominic Derasse, Chris Komer, Bar Next Door 7:30, 9:30, 11:30 pm $12 Jazz at Kitano 8, 10 pm $17 Ed Neumeister, John Arrucci, Brad Dutz, Lee Musiker, Bevan Manson • Joel Wienhardt Trio; Evan Sherman Big Band • Gregory Generet with Rick Germanson, Gerald Cannon, Laurence Leathers Christ and Saint Stephen’s Episcopal Church 8 pm $25 The Django at The Roxy Hotel 7:30, 10:30 pm Smoke 7, 9, 10:30 pm $12 • John Colianni/Boots Maleson Knickerbocker Bar and Grill 9:45 pm $3.50 • Kathryn Allyn Duo; Standard Procedures; Paul Lee Duke Guillaume and The Power Of Praise Band with Ted Cruz, Gil Defay, Patrick Andy, Tomi Jazz 6, 8, 11 pm $10 The Powell Brothers: Jonathan Powell, Jeremy Powell, Marko Churnchetz, Jeff Miles, • • Eli Menezes, Kenny Grohowski; Max Pollak Rumba Tap • Justin Lees Trio Cleopatra’s Needle 8 pm Edward Perez, Allan Mednard Cornelia Street Underground 8, 9:30 pm $10 Club Bonafide 7:30, 9:30 pm $15 • Blue Cha Cha Silvana 8 pm • Kevin Sun Williamsburg Music Center 9 pm • Ken Fowser Quintet; Carte Blanche The Django at The Roxy Hotel 7:30, 10:30 pm êDianne Reeves with Peter Martin, Romero Lubambo, Reginald Veal, Terreon Gully • David Gibson Quintet; Luke Carlos O’Riley Band • Clockwork Trio: Dylan McCarthy, Nicholas Telesca, Jared Nelson; Rose Theater 8 pm $40 The Django at The Roxy Hotel 7:30, 10 pm SuperBrain: Kevin Quinn, Mark Dziuba, Andrei Kvapil, Dean Sharp êDrumbattle: Joe Farnsworth vs. Kenny Washington with Eric Alexander, Steve Davis, • Passion: Josh Deutsch, Pat Carroll, Jure Pukl, Frank Cohen, Jihee Heo, Daniel Stein, ShapeShifter Lab 7, 8:15 pm $10 Peter Washington Smoke 7, 9, 10:30 pm $38 Cory Cox, Patricia Wichmann ShapeShifter Lab 8 pm $8 • Elad Kabilio; 12th Night Jazz Quartet; Thana Alexa êFrank Kimbrough Trio with Jay Anderson, Jeff Hirshfield • Bobby Katz Trio with Ryan Slatko, Tim Rachbach; Jonathan Greenstein Trio with Kingsborough Community College 7 pm $40 Jazz at Kitano 8, 10 pm $32 Sharik Hassan, Diego Ramirez Bar Next Door 6:30, 8:30, 10:30 pm $12 • Tom Dempsey Trio with Ron Oswanski, Vince Ector êDavid Virelles The Jazz Gallery 7:30, 9:30 pm $22 • Mafalda Minnozzi Duo Cavatappo Grill 9, 10 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Orrin Evans Mezzrow 8 pm $20 • Jason Prover Sneak Thievery Orchestra • Rale Micic Duo Symphony Space Bar Thalia 9 pm • Dave Schnitter Quartet; Duane Eubanks Quintet with Abraham Burton, David Bryant, Radegast Hall 9 pm • Takenori Nishiuchi Tomi Jazz 8 pm $10 Gerald Cannon, Ralph Peterson; Philip Harper Quintet • Greg Merritt Trio Tomi Jazz 8 pm $10 • Dona Carter Trio Cleopatra’s Needle 8 pm Smalls 7:30, 10:30 pm 1 am $20 • Joel Fass Duo Cleopatra’s Needle 7 pm • Alfredo Colon; Jeffrey Krol Group Shrine 6, 7 pm • John Colianni/Boots Maleson Knickerbocker Bar and Grill 9:45 pm $3.50 êVanguard Jazz Orchestra 51st Anniversary Celebration êFreddy Cole Quartet Dizzy’s Club 7:30, 9:30 pm $40 êFreddy Cole Quartet Dizzy’s Club 7:30, 9:30 pm $45 Village Vanguard 8:30, 10:30 pm $30 • Atla and Matt DeChamplain Dizzy’s Club 11:30 pm $10 • Atla and Matt DeChamplain Dizzy’s Club 11:30 pm $20 • Noah Haidu Infinite Distances with Jon Irabagon, Eric Wheeler, John Davis • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 Birdland 6 pm $25 • Alfredo Rodriguez/Pedrito Martinez êVanguard Jazz Orchestra 51st Anniversary Celebration • BossaBrasil: Marcos Valle with guest Celso Fonseca Jazz Standard 7:30, 9:30 pm $30 Village Vanguard 8:30, 10:30 pm $30 Birdland 8:30, 11 pm $40 êVanguard Jazz Orchestra 51st Anniversary Celebration • BossaBrasil: Marcos Valle with guest Celso Fonseca • Josh Lawrence Silvana 6 pm Village Vanguard 8:30, 10:30 pm $30 Birdland 8:30, 11 pm $40 • BossaBrasil: Marcos Valle with guest Celso Fonseca • Underground Horns Radegast Hall 3 pm • Joe Pino Quintet Shrine 6 pm Birdland 8:30, 11 pm $40

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 33 Sunday, February 12 • Akiko Tsuruga Group; Harold Mabern Group; Aaron Seeber Saturday, February 18 Smalls 7:30, 10:30 pm 1 am $20 êKris Davis/Ingrid Laubrock The Stone 9 pm $20 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam êDawn of Midi: Aakaash Israni, Amino Belyamani, Qasim Naqvi êPeter Bernstein/Michael Kanan The Drawing Room 7 pm $20 Fat Cat 7, 9 pm 12:30 am Park Avenue Armory 7, 9 pm $45 • David Hazeltine; John Merrill Mezzrow 8, 11 pm $20 • New York Brazilian and European Connection: John Snauwaert, George Dulin, • Ambrose Akinmusire, Kool A.D., Mivos Quartet • Ai Murakami Trio with Sacha Perry, Zaid Nasser; John Dokes Quintet with Nilson Matta, Anthony Pinciotti Jazz at Kitano 8, 10 pm $17 Merkin Hall 7:30 pm $25 David Gibson, Steve Einerson, Alexander Claffy, Lawrence Leathers; Hillel Salem • TALUJON + CTRL-Z The Jazz Gallery 7:30, 9:30 pm $15 êHarriet Tubman’s Meta with Melvin Gibbs, JT Lewis, Alicia Hall Moran, Smalls 4:30, 7:30 pm 1 am $20 • Alexa Barchini Quartet with Julian Shore, Jorge Roeder, Andre Matos Wadada Leo Smith The Stone 9 pm $20 • Terry Waldo Gotham City Band; Caroline Davis Quintet; Cornelia Street Underground 8, 9:30 pm $10 êMonk in Motion: Charenée Wade with Oscar Perez, Paul Beaudry, Darrell Green Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Bruce Harris Group with Brendan Skidmore; Alexander Claffy Group Tribeca Performing Arts Center 7:30 pm $30 • Amazonas Strings: Zamira Briceno, Tomoko Omura, Leonor Falcon, Eleanor Norton, The Django at The Roxy Hotel 7:30, 10 pm • François Couturier/Anja Lechner Greenwich House Music School 8 pm $20 Yuka Tadano, Jacquelene Acevedo and guest Cesar Orozco; Markus Reuter, • Sergej Avanesov 4tet ShapeShifter Lab 8 pm êSylvie Courvoisier/ Ibeam Brooklyn 8:30 pm $15 Mark Wingfield, Marko Djordjevic ShapeShifter Lab 8:15, 9:30 pm $10-15 • Racha; Alan Kwan Duo Tomi Jazz 8, 11 pm • Tomoko Omura Roots Quintet with Glenn Zaleski, Noah Garabedian, Jay Sawyer; • Michael Lytle, Nick Didkovsky, Matt Ostrowski êCatherine Russell with Matt Munisteri, Mark Shane, Tal Ronen, Mark McLean, Lisanne Tremblay Trio with Liberty Ellman, Gerald Cleaver Downtown Music Gallery 7 pm Jon-Erik Kellso, Evan Arntzen Birdland 8:30, 11 pm $40 The Cell 8, 9:30 pm • Anouman: Peter Sparacino, Koran Agan, Josh Kaye, Eduardo Belo êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole • Kinan Azmeh’s City Band with Kyle Sanna, Josh Myers, John Hadfield Cornelia Street Underground 8:30, 10 pm $10 Village Vanguard 8:30, 10:30 pm $30 Cornelia Street Underground 9, 10:30 pm $10 • Harry Smith; Matt Malanowski Williamsburg Music Center 9, 10:15 pm • Drew Zaremba Shrine 6 pm • Antoine Drye; Sy Smith The Django at The Roxy Hotel 7:30, 10:30 pm • Alex Simon Gypsy Swing Ensemble • Russ Kassoff Big Band Saint Peter’s 1 pm $10 • Chuk Fowler with Patsy Grant Sistas’ Place 9, 10:30 pm $20 Radegast Hall 7 pm • Ed Stoute Experience BAMCafé 9:30 pm • The Truthseekers Tomi Jazz 8 pm êJohn Ellis Double Wide Bar Lunàtico 8:30, 10 pm $10 • Alfredo Rodriguez Trio with Ricky Rodriguez, Michael Olivera Thursday, February 16 • Warren Chiasson Trio with Joe Cohn, Alex Gressel Jazz Standard 7:30, 9:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 êFreddy Cole Quartet Dizzy’s Club 7:30, 9:30 pm $35 êAndrew Cyrille Quartet with Bill Frisell, Ben Street, Richard Teitelbaum • Rogiérs Williamsburg Music Center 9 pm êDrumbattle: Joe Farnsworth vs. Kenny Washington with Eric Alexander, Steve Davis, Dizzy’s Club 7:30, 9:30 pm $45 • Sharp Tree Trio; Daniel Bennett Group; Jun Xiao Trio Peter Washington Smoke 7, 9, 10:30 pm $38 • Evan Sherman Entourage Dizzy’s Club 11:30 pm $10 Tomi Jazz 6, 8, 11 pm $10 • Rachelle Ferrell Blue Note 8, 10:30 pm $45 • Roy Ayers; Shareef Keyes and The Groove • Brandon Sanders Trio Cleopatra’s Needle 8 pm êVanguard Jazz Orchestra 51st Anniversary Celebration BRIC House Ballroom and Stoop 8 pm $18 êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, Village Vanguard 8:30, 10:30 pm $30 • Ches Smith, Craig Taborn, Alex Ritz Smoke 7, 9, 10:30 pm $40 • Benny Benack Band Birdland 6 pm $25 The Jazz Gallery 7:30, 9:30 pm $15 • Jazz of the ’50s—Overflowing with Style: Jazz at Lincoln Center Orchestra • Joel Frahm Saint Peter’s 5 pm êBrandon Ross and Blazing Beauty with Stomu Takeishi, Ron Miles, Tyshawn Sorey Rose Theater 8 pm $40 • Lauren Henderson Blue Note 11:30 am 1:30 pm $35 The Stone 9 pm $20 • Jonny King Mezzrow 8 pm $20 • Roz Corral Trio with Jim Ridl, Jay Leonhart êDaryl Sherman/Adrian Cunningham • Will and Peter Anderson Quintet with Tadataka Unno, Clovis Nicolas, Phil Stewart; North Square Lounge 12:30, 2 pm Jazz at Kitano 8, 10 pm $17 Quartet with Rossano Sportiello, Katie Thiroux, Matt Witek; • Ben Wolfe; Spike Wilner Mezzrow 8, 11 pm $20 Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal • Jeff Hirshfield Group; Carlos Abadie Quintet; Joel Ross Smalls 7:30, 10:30 pm 1 am $20 Monday, February 13 Smalls 7:30, 10:30 pm 1 am $20 êMingus Big Band Jazz Standard 7:30, 9:30 pm $30 • Maurice Brown The Django at The Roxy Hotel 10 pm êBenny Green Trio with David Wong, Rodney Green • The Baylor Project: Jean Baylor, Marcus Baylor, Shedrick Mitchell, Yasushi Nakamura, êEnrique Haneine Instants of Time with Loire Cotler, Lex Samu, Catherine Sikora, Dizzy’s Club 7:30, 9:30 pm $45 Keith Loftis, Freddie Hendrix, Stephanie Fisher and Voices of Inspiration Michael Rorby, Carlo de Rosa Metropolitan Room 9:30 pm $24 • Evan Sherman Big Band Dizzy’s Club 11:30 pm $20 Blue Note 8, 10:30 pm $20 êBill Ware/Ratzo Harris City Winery 7 pm • Roni Ben-Hur Quartet with Steve Nelson, Santi Debriano, Leroy Williams • Ed Palermo Big Band Iridium 8 pm $25 êAruán Ortiz Bar Lunàtico 8:30, 10 pm $10 Jazz at Kitano 8, 10 pm $32 • Kate McGarry; Pasquale Grasso Mezzrow 8, 11 pm $20 • Sean Noonan’s Soap with Alex Marcelo, Peter Bitenc • Robert Silverman/Davis Zox Knickerbocker Bar and Grill 9:45 pm $3.50 • Josh Lawrence Color Theory with Caleb Curtis, Orrin Evans, Luques Curtis, ShapeShifter Lab 7 pm $10 êCatherine Russell with Matt Munisteri, Mark Shane, Tal Ronen, Mark McLean, Anwar Marshall; Ari Hoenig Trio with Gilad Hekselman, Matt Penman; Jonathan Michel • Evil Giraffes on Mars: Doron Lev, Tom Monda, Ryan Slotnick, Matt La Von, Jon-Erik Kellso, Evan Arntzen Birdland 8:30, 11 pm $40 Smalls 7:30, 10:30 pm 1 am $20 Chad Lefkowitz Brown Club Bonafide 9:30 pm $15 êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole • Eric Fraser; Ned Goold Quartet; Billy Kaye Jam • Martin Nevin Group with Curtis Macdonald, Kyle Wilson, Sam Harris, Eric McPherson Village Vanguard 8:30, 10:30 pm $30 Fat Cat 6, 9 pm 12:30 am Cornelia Street Underground 8, 9:30 pm $10 • Rocco John Quartet Caffe Vivaldi 6 pm • Sarah McKenzie with Perry Smith, Reuben Rogers, Donald Edwards, Warren Wolf, • Liberté Big Band Williamsburg Music Center 8 pm • Shawn Maxwell Shrine 6 pm Troy Roberts Dizzy’s Club 7:30, 9:30 pm $25 • Tommaso Gambini Trio with Ben Tiberio, Dan JK Kim; Paul Pieper Trio with • 2017 Charles Mingus High School Competition and Festival êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Matt Pavolka, Shareef Taher Bar Next Door 6:30, 8:30, 10:30 pm $12 Manhattan School of Music 12 pm • Joe “Blaxx” Grisset Group Bar Lunàtico 8:30, 10 pm $10 • Nick Myers Quartet Cavatappo Grill 9, 10 pm $10 • Chameleon Trio: Abelita Mateus, Daseul Kim, Phillip Gillette • Linda Presgrave Tomi Jazz 8 pm $10 Subrosa 8, 10 pm $10 • Kate Cosco Trio Cleopatra’s Needle 7 pm Sunday, February 19 • The Westerlies Rockwood Music Hall Stage 1 8 pm • Rick MacLaine Trio NYLO Hotel 9, 10:15 pm • E Penniman James, Eric Reeves, Lisanne Tremblay; The Good Owls: Becca Leckie, êRalph Towner solo Jazz Standard 7:30, 9:30 pm $30 êMostly Other People Do the Killing: Steven Bernstein, Bryan Murray, Dave Taylor, Jake Leckie, Elena Bonomo, Russell Kranes êAlexis Cole with Jerry Weldon, Sullivan Fortner, Yasushi Nakamura, Mark Whitfield, Jr. Brandon Seabrook, Ron Stabinsky, Moppa Elliott, Kevin Shea Delroy’s Café and Wine Bar 9, 10 pm $10 Smoke 7, 9, 10:30 pm $12 Cornelia Street Underground 8:30, 10 pm $10 • Paul Jubong Lee Trio with Geo Progulakis, Tony Lannen; Elisabeth Lohninger Trio with êVeronica Swift Birdland 6 pm $25 • Phantom Station: Brandon Ross, Graham Haynes, Hardedge, JT Lewis Walter Fischbacher, Evan Gregor Bar Next Door 6:30, 8:30, 10:30 pm $12 êCatherine Russell with Matt Munisteri, Mark Shane, Tal Ronen, Mark McLean, The Stone 9 pm $20 • Bill Stevens, Rich Russo, Gary Fogel; Nicholas Brust Duo Jon-Erik Kellso, Evan Arntzen Birdland 8:30, 11 pm $40 êChesky Records Live: Ben Allison, Billy Drummond, Mark Whitfield; Ben Allison, Tomi Jazz 8, 11 pm êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole Billy Drummond, Camille Thurman, Mark Whitfield • Kevin Sun Trio Silvana 6 pm Village Vanguard 8:30, 10:30 pm $30 Rockwood Music Hall Stage 3 7, 8:30, 10 pm $20 • Travis Sullivan Silvana 6 pm • Nick Fraser/Ingrid Laubrock; Moosebumps: Katl Nyberg/Anton Jonsson Downtown Music Gallery 6, 7 pm Tuesday, February 14 • Gene Bertoncini solo The Drawing Room 7 pm $20 Friday, February 17 • David Frank; John Merrill Mezzrow 8, 11 pm $20 êCatherine Russell with Matt Munisteri, Mark Shane, Tal Ronen, Mark McLean, • Terry Waldo Gotham City Band; Brandon Lewis/Renee Cruz Jam Jon-Erik Kellso, Evan Arntzen Birdland 8:30, 11 pm $40 êIngrid and Christine Jensen Infinitude with Ben Monder, Matt Clohesy, Jon Wikan Fat Cat 6 pm 1 am êBria Skonberg with Mathis Picard, Corcoran Holt, Jerome Jennings The Jazz Gallery 7:30, 9:30 pm $22 • Guy Mintus Trio Williamsburg Music Center 9 pm Jazz Standard 7:30, 9:30 pm $30 êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and êSheila Jordan; Miki Yamanaka/Adi Meyerson Alex Ritz Smoke 7, 9, 10:30 pm $40 guests Jim Saporito, Harrison Hollingsworth Mezzrow 8, 11 pm $20 • Jazz of the ’50s—Overflowing with Style: Jazz at Lincoln Center Orchestra Symphony Space Bar Thalia 7 pm • Jeremy Manasia Trio with Mark Taylor, Mike Karn; Steve Nelson Group; Jon Beshay Rose Theater 8 pm $40 • The Highliners Tomi Jazz 8 pm Smalls 7:30, 10:30 pm 1 am $20 • Gregory Porter Valentine’s Day Concert with guest Kandace Springs êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, êBrianna Thomas Dizzy’s Club 7, 9:30 pm $140 Town Hall 8 pm $32-67 Alex Ritz Smoke 7, 9, 10:30 pm $40 • Evan Sherman Entourage Dizzy’s Club 11:30 pm $5 êCyrille Aimée Highline Ballroom 8 pm $30 êMingus Big Band Jazz Standard 7:30, 9:30 pm $30 êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole • ’ Miles Ahead: The London Vocal Project led by Pete Churchill êBenny Green Trio with David Wong, Rodney Green Village Vanguard 8:30, 10:30 pm $30 Saint Peter’s 7 pm Dizzy’s Club 7:30, 9:30 pm $35 êMike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 • Ken Fowser Quintet; Mark Whitfield Group êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole • Yet Another Plane: Brandon Ross, Stephanie Richards, Rubin Kodheli, Hardedge The Django at The Roxy Hotel 7:30, 10:30 pm Village Vanguard 8:30, 10:30 pm $30 The Stone 9 pm $20 • Jonny King; Johnny O’Neal Mezzrow 8, 11 pm $20 • Luis Perdomo Trio Saint Peter’s 5 pm • Nancy Marano/Jack Wilkins Cornelia Street Underground 8 pm $10 • Chuck Redd Group; Ken Peplowski Quartet with Rossano Sportiello, Katie Thiroux, • Mordy Ferber, Essiet Essiet, Adam Nussbaum • Gabrielle Stravelli Trio Cavatappo Grill 8, 10 pm Matt Witek Smalls 7:30, 10:30 pm $20 Blue Note 11:30 am 1:30 pm $35 • Richard Bonnet, James Carney, Gerald Cleaver • Sara Serpa Trio with Ingrid Laubrock, Erik Friedlander • Scott Morgan Trio with Billy Test, Luke Sellick Korzo 10:30 pm Cornelia Street Underground 9, 10:30 pm $10 North Square Lounge 12:30, 2 pm • Pedrito Martinez Group Subrosa 7, 9 pm $10 êMingus Big Band Jazz Standard 7:30, 9:30 pm $30 • 2017 Charles Mingus High School Competition and Festival • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop êBenny Green Trio with David Wong, Rodney Green Manhattan School of Music 9:30 am Fat Cat 7, 9 pm Dizzy’s Club 7:30, 9:30 pm $35 • Mark Phillips Trio with Hugh Stuckey, Sam Zerny • Evan Sherman Entourage Dizzy’s Club 11:30 pm $10 Bar Next Door 4, 6, 8, 10 pm $92 • Brandon Ross PENduLUM with Kevin Ross, Chris Eddleton, Hardedge, Sadiq Bey Monday, February 20 • Yun Huang Trio; George Dulin Tomi Jazz 8, 11 pm The Stone 9 pm $20 • Blu Cha Cha Shrine 8 pm • Gordon Beeferman, Anders Nilsson, Ches Smith êLasse Marhaug/C. Spencer Yeh Swiss Institute Contemporary Art 8 pm $15 • Drew Zaremba Silvana 6 pm Spectrum 9 pm $15 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Roni Ben-Hur Quartet with Steve Nelson, Santi Debriano, Helio Schiavo • The Loop Loft AllStars: Eric Harland, Nate Smith, Aaron Comess, Mino Cinelu, Jazz at Kitano 8, 10 pm $32 Mark Kelley, Doug Wamble, Bob Reynolds, David Cook Wednesday, February 15 • Gregorio Uribe Subrosa 7:30, 9:30 pm $10 Blue Note 8, 10:30 pm $25 êMarc Hannaford Trio with Simon Jermyn, Satoshi Takeishi; Kate Gentile/Jeremy Viner êBruce Barth Trio Bar Lunàtico 8:30, 10 pm $10 êRalph Towner solo Jazz Standard 7:30, 9:30 pm $30 Ibeam Brooklyn 8 pm $15 • Juilliard Jazz Ensembles led by Dr. Michael White êKeith Jarrett solo Stern Auditorium 8 pm $45-125 • Quentin Angus Trio with Desmond White, Ari Hoenig Dizzy’s Club 7:30, 9:30 pm $25 êDelfeayo Marsalis and The Uptown Jazz Orchestra with Khari Allen Lee, Bar Next Door 7:30, 9:30, 11:30 pm $12 êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 Jeronne Ansari, Gregory Agid, Scott Johnson, Roger Lewis, Terrance Taplin, • Anders T. Andersen; Dom Palombi Project • Robby Ameen Days in the Night Band with Troy Roberts, Manuel Valera, Yunior Terry Jeffery Miller, T.J. Norris, Maurice Trosclair; Andrew Baham, Scott Frock, Club Bonafide 7:30, 9:30 pm $15 Subrosa 8, 10 pm $10 Dr. Brice Miller, John Gray, Meghan Swartz, David Pulphus, Willie Green • Robert Silverman/Davis Zox Knickerbocker Bar and Grill 9:45 pm $3.50 • Steve Ash; Pasquale Grasso Mezzrow 8, 11 pm $20 Dizzy’s Club 7:30, 9:30 pm $35 • Kuni Mikami Trio Tomi Jazz 8 pm $10 • Marquis Hill Blacktet with Josh Johnson, Jeremiah Hunt; Ari Hoenig Trio with • Evan Sherman Entourage Dizzy’s Club 11:30 pm $5 • John David Trio Cleopatra’s Needle 8 pm Chico Pinheiro, Eduardo Belo; Jonathan Barber êAlexis Cole with Scott Wendholt, Sullivan Fortner, Yasushi Nakamura, Mark Whitfield, Jr. êCatherine Russell with Matt Munisteri, Mark Shane, Tal Ronen, Mark McLean, Smalls 7:30, 10:30 pm 1 am $20 Smoke 7, 9, 10:30 pm $12 Jon-Erik Kellso, Evan Arntzen Birdland 8:30, 11 pm $40 • Jaimie Branch; Will Greene/Zoe Christianson êFor Living Lovers: Brandon Ross, Stomu Takeishi, Tyshawn Sorey êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole Delroy’s Café and Wine Bar 9, 10 pm $10 The Stone 9 pm $20 Village Vanguard 8:30, 10:30 pm $30 • Flavio Silva Trio with Eduardo Belo, Rafael Barata; Roz Corral Trio with Paul Bollenback, • Larry Corban 3 Club Bonafide 7:30 pm $15 • 2017 Charles Mingus High School Competition and Festival Paul Gill Bar Next Door 6:30, 8:30, 10:30 pm $12 êGreg Lewis Organ Monk Bar Lunàtico 8:30, 10 pm $10 Manhattan School of Music 6 pm êPepper Adams Celebration: Barry Wallenstein: Alexis Cole, Alan Rosenthal, Ken Filiano, • Glenn Zaleski; Tony Hewitt/Pete Malinverni • Ben Holtzman Silvana 6 pm Vincent Chancey, Jeremy Carlstedt Mezzrow 8, 11 pm $20 • Alfredo Colon Quartet Shrine 6 pm Cornelia Street Underground 6 pm $20

34 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD Tuesday, February 21 • Senri Oe Tomi Jazz 8 pm $10 • Matt Baker Duo Cleopatra’s Needle 7 pm êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White êHenry Threadgill, Vijay Iyer, Dafnis Prieto Birdland 8:30, 11 pm $40 The Jazz Gallery 7:30, 9:30 pm $40 êJoe Lovano/ Sound Prints with Lawrence Fields, Linda Oh, êDuchess: Amy Cervini, Melissa Stylianou, Hilary Gardner with Michael Cabe, Rudy Royston Village Vanguard 8:30, 10:30 pm $30 Matt Aronoff, Jared Schonig 55Bar 7, 9 pm êRavi Coltrane Quartet with Adam Rogers, Dezron Douglas, EJ Strickland • Empathia Jazz Duo: Mafalda Minnozzi/Paul Ricci Jazz Standard 7:30, 9:30 pm $30 Birdland 6 pm $25 • Jason Marsalis Vibes Quartet with Austin Johnson, William Goble, David Potter êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White Dizzy’s Club 7:30, 9:30 pm $35 Birdland 8:30, 11 pm $40 • Kyle Poole Dizzy’s Club 11:30 pm $5 êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, • Ivan Neville Piano Sessions with Nick Daniels, Raymond Weber Rudy Royston Village Vanguard 8:30, 10:30 pm $30 Blue Note 8, 10:30 pm $25 êRavi Coltrane Quartet with Adam Rogers, Dezron Douglas, EJ Strickland • Lou Caputo Not So Big Band with John Eckert, Dave Smith, Jason Ingram, Dale Turk, Jazz Standard 7:30, 9:30 pm $30 Geoffrey Burke, Virginia Mayhew, Don Stein, Bill Crow, Rudy Petschaour, Joel Perry, • Noah Bless Silvana 6 pm Leopoldo Fleming, Susan Didrichsen, David Coss NYC Baha’i Center 8, 9:30 pm $15 êDan Weiss Trio with Jacob Sacks, Thomas Morgan Friday, February 24 Cornelia Street Underground 8, 9:30 pm $10 • Large Ensemble with Tyshawn Sorey, Matt Nelson, Chris Pitsiokos, êLee Konitz Quartet with Florian Weber, Jeremy Stratton, George Schuller Michael Foster, Jaimie Branch, Forbes Graham, Steve Swell, , Brandon Lopez, Jazz at Kitano 8, 10 pm $32 Brandon Seabrook, Leila Bordreuil • Mike Longo/Paul West Knickerbocker Bar and Grill 9:45 pm $3.50 Roulette 8 pm $20 êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson, Jr. êAllison Miller’s Boom-Tic-Boom Bar Lunàtico 8:30, 10 pm $10 Smoke 7, 9, 10:30 pm $38 • Dispatches from the Unknown: , Ike Sturm, Satoshi Takeishi, êThe Crash Trio + One: Tony Malaby, Leo Genovese, Santi Debriano, Francisco Mela Anna Webber, Chris Dingman The Stone 9 pm $20 Cornelia Street Underground 9, 10:30 pm $10 • Matt Pavolka’s The Horns Band with Loren Stillman, Jacob Garchik, Mark Ferber; • Bill Mobley Quartet with James Weidman, Essiet Essiet, Steve Nelson; Johnny O’Neal Leo Genovese Band Korzo 9, 10:30 pm Mezzrow 8, 11 pm $20 • Joanna Wallfisch; Miki Yamanaka/Adi Meyerson êTaru Alexander Group; Sam Newsome Quartet with Angelica Sanchez, Mark Helias, Mezzrow 8, 11 pm $20 Gerald Cleaver Smalls 7:30, 10:30 pm $20 • Marquis Hill Blacktet with Josh Johnson, Joel Ross, Jeremiah Hunt; Frank Lacy; • Grace Kelly Quartet with Julian Pollock, Julia Pederson, Bryan Carter Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 Flushing Town Hall 8 pm $16 • Saul Rubin Zebtet Fat Cat 7 pm êBrooklyn Raga Massive Rubin Museum 7 pm $20 • Pedrito Martinez Group Subrosa 7, 9 pm $10 • Omens: Steve Lehman, Matt Brewer, Tyshawn Sorey, Chris Dingman • Jeff Miles Trio; Nadav Peled Trio with Scott Colberg, Eran Fink The Stone 9 pm $20 Bar Next Door 6:30, 8:30, 10:30 pm $12 êUnderground Horns Nublu 9 pm • Hyuneng Kim Trio; Amanda Ruzza; Annie Chen Duo • Pedrito Martinez Group David Rubenstein Atrium 7:30 pm Tomi Jazz 8, 9:30, 11 pm • Adam Larson Quartet with Can Olgun, Raviv Markovitz, Johnathan Blake The Jazz Gallery 7:30, 9:30 pm $22 • Ken Fowser Quintet; Tony Hewitt Sextet Wednesday, February 22 The Django at The Roxy Hotel 7:30, 10:30 pm • West Side Story Revisited—A 60th Anniversary Tribute: êHenry Threadgill, Vijay Iyer, Dafnis Prieto MSM Afro-Cuban Jazz Orchestra Manhattan School Neidorff-Karpati Hall 7:30 pm The Jazz Gallery 7:30, 9:30 pm $40 • Aleks Fadini Band with Josiah Boornazian, Jakob Dreyer, Luke Markham êKahil El’Zabar’s Ethnic Heritage Ensemble with Corey Wilkes, Alex Harding Club Bonafide 7:30 pm $15 Nublu 9 pm • Paul Meyers Trio with Leo Traversa, Vanderlei Pereira êDuchess: Amy Cervini, Melissa Stylianou, Hilary Gardner with Michael Cabe, Bar Next Door 7:30, 9:30, 11:30 pm $12 Matt Aronoff, Jared Schonig 55Bar 7, 9 pm • Takenori Nishiuchi Tomi Jazz 8 pm $10 êStone Commissioning Series: Matt Mitchell with Kim Cass, Kate Gentile, Dan Weiss, • Art Lillard Trio Cleopatra’s Needle 8 pm Ches Smith, Patricia Brennan, Katie Andrews, Anna Webber, Jon Irabagon, Ben Kono, êThe Necks 30th Anniversary: Chris Abrahams, Lloyd Swanton, Tony Buck Sara Schoenbeck National Sawdust 7 pm $34 Issue Project Room 8 pm $30 • Tom Guarna’s Wishing Stones Project with Jon Cowherd, Matt Clohesy, Allan Mednard; êThe Music Of Dexter Gordon: Dexter Gordon Legacy Ensemble with , Jon Cowherd Mercy Project with Tom Guarna, Dan Rieser, Doug Weiss Abraham Burton, Josh Evans, Alan Palmer, Gerald Cannon Cornelia Street Underground 8, 9:30 pm $10 Dizzy’s Club 7:30, 9:30 pm $45 • KJ Denhert Quartet with Adam Klipple, Adam Armstrong, Joe Strasser • Kyle Poole Dizzy’s Club 11:30 pm $10 Smoke 7, 9, 10:30 pm $12 • Kermit Ruffins and The BBQ Swingers • Kenny Wollesen, Tony Scherr, Chris Dingman Blue Note 8, 10:30 pm $45 The Stone 9 pm $20 êDuchess: Amy Cervini, Melissa Stylianou, Hilary Gardner with Michael Cabe, • Bruce Harris Group with Brendan Skidmore; Alexander Claffy Group with Matt Aronoff, Jared Schonig 55Bar 7, 9 pm Aaron Goldberg, Ulysses Owens The Django at The Roxy Hotel 7:30, 10 pm êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White • Erica Seguine; Meg Okura ShapeShifter Lab 7:30, 9 pm Birdland 8:30, 11 pm $40 • William Tatge Trio with Pablo Menares, Nick Anderson êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Jazz at Kitano 8, 10 pm $17 Rudy Royston Village Vanguard 8:30, 10:30 pm $30 • Willerm Delisfort; Tony Hewitt/Pete Malinverni êRavi Coltrane Quartet with Adam Rogers, Dezron Douglas, EJ Strickland Mezzrow 8, 11 pm $20 Jazz Standard 7:30, 9:30 pm $35 • Gilad Hekselman Trio with Rick Rosato, Jonathan Pinson; Jim Pryor Quartet with • Joe Pino Quintet Silvana 6 pm Matt Dwonszyk, Stacy Dillard, Jonathan Barber • Alfredo Colon Quartet Shrine 6 pm Smalls 7:30, 10:30 pm $20 • Raphael D’lugoff Trio +1; Ned Goold Jam Fat Cat 7 pm 12:30 am Saturday, February 25 • Hila Kulik Bar Lunàtico 8:30, 10 pm $10 êThe Music of Oliver Nelson: Juilliard Jazz Orchestra conducted by Etienne Charles êDr. Lonnie Smith Trio Kumble Theater 8 pm $35 Juilliard School Peter Jay Sharp Theater 7:30 pm êJohn Coltrane’s Meditations Suite 50th Anniversary Celebration: Dave Liebman Group • Bjorn Ingelstam Hot 5 Radegast Hall 9 pm The Cell 8 pm • Erin McDougald Quintet Club Bonafide 9:30 pm $15 • AFROPUNK Unapologetically Black—The African American Songbook Remixed: • Michael Gallant Trio; Dayeon Seok Duo with guests Jill Scott, Bilal, Toshi Reagon, Staceyann Chin Tomi Jazz 8, 11 pm Apollo Theater 7:30 pm êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White • New Masses Nights Black History Month Celebration: Amina Baraka with Birdland 8:30, 11 pm $40 Red Microphone: John Pietaro, Ras Moshe Burnett, Rocco John, Laurie Towers; êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Larry Roland solo; Dave Ross Ensemble with Eric Lawrence, Ras Moshe Burnett, Rudy Royston Village Vanguard 8:30, 10:30 pm $30 Shlomit Oren Ross Henry Winston Unity Hall 7 pm êRavi Coltrane Quartet with Adam Rogers, Dezron Douglas, EJ Strickland • Waking Dreams: Ryan Ferreira, Chris Tordini, Justin Brown, Chris Dingman Jazz Standard 7:30, 9:30 pm $30 The Stone 9 pm $20 • Jason Marsalis Vibes Quartet with Austin Johnson, William Goble, David Potter êWorld on a String Trio: John Raymond, Gilad Hekselman, Colin Stranahan Dizzy’s Club 7:30, 9:30 pm $35 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Kyle Poole Dizzy’s Club 11:30 pm $5 • Carl Bartlett, Jr. Sistas’ Place 9, 10:30 pm $20 • Ivan Neville Piano Sessions with Nick Daniels, Raymond Weber • Pablo Bencid; Greg Glassman Jam Blue Note 8, 10:30 pm $25 Fat Cat 10 pm 1:30 am • Marlene VerPlanck/Tomoko Ohno Saint Peter’s 1 pm $10 • Dan Aran Band; Los Hacheros The Django at The Roxy Hotel 7:30, 10:30 pm • Tom Chang Quintet wth Jeremy Powell, Quinsin Nachoff, Sam Minaie Cornelia Street Underground 9, 10:30 pm $10 Thursday, February 23 • Ty Stephens and (the) SoulJaazz with Richard Cummings, Jr., Ron Monroe, Tony Lewis, Robert Taylor; Chardavoine Band with Kim Plainfield, Michael O’Brien, Carlos Cuevas, êThe Necks 30th Anniversary—Solo Performances: Chris Abrahams, Lloyd Swanton, Peter Brainin Club Bonafide 7:30, 9:30 pm $15 Tony Buck Issue Project Room 8 pm $15 • Matt Mayhall Trio with Sam Minaie, Charles Altura • /Christian McBride Rockwood Music Hall Stage 1 12 am Town Hall 8 pm $40-75 • Mughal Muesli; Jacob Varmus Williamsburg Music Center 10, 11:15 pm êThe Music Of Dexter Gordon: Dexter Gordon Legacy Ensemble with Louis Hayes, • Akihiro Yamamoto Trio; Yuko Ito Trio; Candice Reyes Abraham Burton, Josh Evans, Alan Palmer, Gerald Cannon Tomi Jazz 6, 8, 11 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 • Walter Williams and Gitesha Trio Cleopatra’s Needle 8 pm • Kyle Poole Dizzy’s Club 11:30 pm $10 êLee Konitz Quartet with Florian Weber, Jeremy Stratton, George Schuller • Kermit Ruffins and The BBQ Swingers Jazz at Kitano 8, 10 pm $32 Blue Note 8, 10:30 pm $45 • Mike Longo/Paul West Knickerbocker Bar and Grill 9:45 pm $3.50 • Cynthia Scott with James Weidman, Paul Beaudry, Dwayne “Cook” Broadnax êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson, Jr. Smoke 7, 9, 10:30 pm $12 Smoke 7, 9, 10:30 pm $38 • The Subliminal and the Sublime: Loren Stillman, Fabian Almazan, Ryan Ferreira, • Bill Mobley Quartet with James Weidman, Essiet Essiet, Steve Nelson Chris Tordini, Justin Brown, Chris Dingman Mezzrow 8 pm $20 The Stone 9 pm $20 êChip White Dedications Sextet with Patience Higgins, Michael Cochrane, • Charito and John di Martino Trio with Hans Glawischnig, Mark Taylor Matthew Parrish, Eli Asher, Sam Burtis; Sam Newsome Quartet with Angelica Sanchez, Jazz at Kitano 8, 10 pm $17 Mark Helias, Gerald Cleaver; Philip Harper Quintet êBill Ware Duo City Winery 7 pm Smalls 7:30, 10:30 pm 1 am $20 • Emilio Teubal Trio Terraza 7 9:30 pm $10 êThe Music Of Dexter Gordon: Dexter Gordon Legacy Ensemble with Louis Hayes, • Bill O’Connell; Spike Wilner Mezzrow 8, 11 pm $20 Abraham Burton, Josh Evans, David Bryant, Gerald Cannon, Eric McPherson • Gilad Hekselman Trio with Rick Rosato, Jonathan Pinson; Troy Roberts Quartet with Dizzy’s Club 7:30, 9:30 pm $45 Silvano Monasterios, Joseph Lepore, Jimmy Macbride; Sarah Slonim • Kyle Poole Dizzy’s Club 11:30 pm $20 Smalls 7:30, 10:30 pm 1 am $20 • Kermit Ruffins and The BBQ Swingers • Paul Jones 6 with Alex LoRe, Perry Smith, Glenn Zaleski, Johannes Felscher, Blue Note 8, 10:30 pm $45 Allan Mednard Cornelia Street Underground 8:30 pm $10 êDuchess: Amy Cervini, Melissa Stylianou, Hilary Gardner with Michael Cabe, • Nathan Peck and the Funky Electrical Unit; Ian Hendrickson-Smith Matt Aronoff, Jared Schonig 55Bar 7, 9 pm The Django at The Roxy Hotel 7:30, 10 pm êCyrus Chestnut Quartet with Steve Nelson, Buster Williams, Lenny White • NanJo Lee Trio with Rick Rosato, Colin Stranahan; Raviv Markovitz Trio with Birdland 8:30, 11 pm $40 Jimmy Macbride, Chad Lefkowitz-Brown êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Bar Next Door 6:30, 8:30, 10:30 pm $12 Rudy Royston Village Vanguard 8:30, 10:30 pm $30 • Jason Tiemann Trio Cavatappo Grill 9, 10 pm $10 êRavi Coltrane Quartet with Adam Rogers, Dezron Douglas, EJ Strickland • Albino Mbie Band Club Bonafide 7:30 pm $15 Jazz Standard 7:30, 9:30 pm $35 • Mute the Commercials; Matt Robbins Group • Alex Fadini Quartet Shrine 6 pm ShapeShifter Lab 7, 8:15 pm $8 êThe Necks 30th Anniversary—Timeline: Chris Abrahams, Lloyd Swanton, Tony Buck • Dan Pugach Nonet Williamsburg Music Center 8 pm and guests Issue Project Room 4 pm $20 • Gordon’s Grand Street Stompers Radegast Hall 9 pm

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 35 Sunday, February 26 • Chris Dingman The Stone 9 pm $20 REGULAR ENGAGEMENTS • Sofia Ribeiro with Juan Andres Ospina, Petros Klampanis, Marcelo Woloski Cornelia Street Underground 8:30, 10 pm $10 • Michael Kanan; John Merrill Mezzrow 8, 11 pm $20 MONDAY • Rodney Green Group; Ian Hendrickson-Smith Group; Hillel Salem • Richard Clements and guests 11th Street Bar 9 pm Smalls 7:30, 10:30 pm 1 am $20 • Glenn Crytzer Orchestra Slate 7:30 pm • Terry Waldo Gotham City Band; Brandon Lewis/Renee Cruz Jam • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Fat Cat 6 pm 1 am • Grove Street Stompers Arthur’s Tavern 7 pm • Kengo Yamada Tomi Jazz 8 pm • Vincent Herring Quartet and Smoke Jam Session Smoke 7, 9, 10:30 pm êWayne Escoffery Quartet with David Kikoski, Ugonna Okegwo, Ralph Peterson, Jr. • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm Smoke 7, 9, 10:30 pm $38 • Jazz Foundation of American Jam Session Local 802 7 pm êThe Music Of Dexter Gordon: Dexter Gordon Legacy Ensemble with Louis Hayes, • Arthur Kell and Friends Bar Lunatico 8:30 pm Abraham Burton, Josh Evans, David Bryant, Gerald Cannon, Eric McPherson and • Roger Lent solo Cavatappo Grill 7 pm guest Peter Washington Dizzy’s Club 7:30, 9:30 pm $35 • Renaud Penant Trio Analogue 7:30 pm • Kermit Ruffins and The BBQ Swingers • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm Blue Note 8, 10:30 pm $45 • Stan Rubin All-Stars Charley O’s 8:30 pm êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, • Svetlana and the Delancey 5 The Back Room 8:30 pm Rudy Royston Village Vanguard 8:30, 10:30 pm $30 • Swingadelic Swing 46 8:30 pm êRavi Coltrane Quartet with Adam Rogers, Dezron Douglas, EJ Strickland • Gracie Terzian Bar Hugo 6 pm Jazz Standard 7:30, 9:30 pm $30 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 • Aaron Rubinstein, Jonathan Milberger, Michael Larocca • James Zeller Duo Spasso 7 pm (ALSO SUN) Downtown Music Gallery 6 pm • Carrie Jackson Birdland 6 pm $30 • TK Blue Saint Peter’s 5 pm TUESDAY • New Orleans Mardi Gras Brunch: Joey Morant and Catfish Stew • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm Blue Note 11:30 am 1:30 pm $35 • Ronnie Burrage and The Robu Trio The Five Spot Brooklyn 11 pm $10 • Roz Corral Trio with Ron Affif, Paul Gill • Joel Forrester solo Stop Time 7 pm North Square Lounge 12:30, 2 pm • George Gee Orchestra Swing 46 8:30 pm • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Jerome Harris/Dave Baron Barawine 7 pm (ALSO SUN 6 PM) Monday, February 27 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • Art Hirahara Trio Arturo’s 8 pm • William Paterson University Big Band And Ensembles • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Dizzy’s Club 7:30, 9:30 pm $35 • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $30 • Mona’s Hot Four Jam Session Mona’s 11 pm • Sam Yahel; Pasquale Grasso Mezzrow 8, 11 pm $20 • Annie Ross The Metropolitan Room 9:30 pm $25 • Greg Murphy Murphtet with Eric Wheeler, Kush Abadey, Malou Beauvoir; • Bill Todd Open Jam Club Bonafide 9 pm $10 Ari Hoenig Trio with Gilad Hekselman, Orlando Le Fleming; Jonathan Barber • Diego Voglino Jam Session The Fifth Estate 10 pm Smalls 7:30, 10:30 pm 1 am $20 • The Westet Analogue 7:30 pm • George Burton Trio Bar Lunàtico 8:30, 10 pm $10 • Jiyoun Lee Trio Subrosa 8, 10 pm $10 • Lou Caputo Not So Big Band with John Eckert, Dave Smith, Jason Ingram, Dale Turk, WEDNESDAY MAR 3–4, 7PM & 9:30PM Geoffrey Burke, Virginia Mayhew, Don Stein, Bill Crow, Rudy Petschaour, Joel Perry, • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Leopoldo Fleming, Susan Didrichsen, David Coss • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) Sir D’s 8 pm • Django Big Band and Jam Session The Django 8 pm DAVE DOUGLAS

• Ras Moshe Burnett and The Black Experience In Sound with Larry Roland, • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm PHOTO COURTESY OF THE ARTIST Warren Smith The Brooklyn Commons 7, 8 pm $10 • Jeanne Gies with and Friends Joe G’s 6:30 pm • Andrew Shillito Trio with Marty Kenny, Ruben Steijn; Christine Tobin Trio with • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Smoke 7, 9, 10:30, 11:30 pm METAMORPHOSIS Phil Robson, Harvie S Bar Next Door 6:30, 8:30, 10:30 pm $12 • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm • Wishing on Stars; Hattie Simon Tomi Jazz 8, 11 pm • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm With Dave Douglas, Wadada Leo • Joe Breidenstine Quintet Silvana 6 pm • Les Kurtz Trio Cleopatra’s Needle 7 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Smith, , Andrew Cyrille, • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) Tuesday, February 28 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Marc Ribot, Myra Melford, Mark • Stan Rubin Orchestra Swing 46 8:30 pm êCraig Taborn Quartet with Chris Speed, , Dave King • Eve Silber Arthur’s Tavern 7 pm Dresser, and Susie Ibarra Village Vanguard 8:30, 10:30 pm $30 • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 • Donald Harrison Mardis Gras Celebration with Henry Butler, Theo Croker, Zaccai Curtis, • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm Max Moran, Joe Dyson Blue Note 8, 10:30 pm $35 THE APPEL ROOM êWolfgang Muthspiel with Ambrose Akinmusire, Gwilym Simcock, Scott Colley, Brian Blade Jazz Standard 7:30, 9:30 pm $25 THURSDAY êRichard Sussman Evolution Ensemble with Scott Wendholt, Rich Perry, • Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10:30 pm $10 Mike Richmond, Anthony Pinciotti Roulette 8 pm $20 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm • John Pizzarelli Birdland 8:30, 11 pm $50 • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 • A Gotham Kings Mardi Gras Celebration: Riley Mulherkar, Alphonso Horne, • Harlem Renaissance Orchestra Swing 46 8:30 pm Michela Lerman, Ayodele Casel, Marija Abne, Monique Scott, Big Chief Carl Hopkins, • Jazz Jam Session American Legion Post 7:30 pm FEB 10–11, 8PM Andy Clausen, Jefferey Miller, Corey Wilcox, Patrick Bartley, Gabe Schnider, • Kazu Trio Cleopatra’s Needle 11:30 pm David Linard, Russell Hall, Sammy Miller, Kyle Poole • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm Dizzy’s Club 7:30, 9:30 pm $35 • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm • Barry Stephenson Dizzy’s Club 11:30 pm $5 • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm Grammy Award-winning vocalist Dianne êOscar Noriega/Ches Smith The Stone 9 pm $20 • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Mickalene Thomas/Terri Lyne Carrington • Sol Yaged Grata 8 pm Reeves returns for Valentine’s Day weekend National Sawdust 7:30 pm $40 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) • Bryn Roberts/Lage Lund; Miki Yamanaka/Adi Meyerson Mezzrow 8, 11 pm $20 ROSE THEATER • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Steve Nelson Group; FRIDAY Jon Beshay Smalls 7:30, 10:30 pm 1 am $20 • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Itai Kriss Gato Gordo; John Benitez Latin Bop • Birdland Big Band Birdland 5:15 pm $25 FEB 17–18, 8PM Fat Cat 9 pm 12:30 am • Rick Bogart Trio New York Yankees Steakhouse 5 pm • Marta Sanchez Quintet with Roman Filiu, Jerome Sabbagh, Rick Rosato, Daniel Dor; • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Carmen Staaf Trio with Jorge Roeder, Colin Stranahan • Gerry Eastman Quartet Williamsburg Music Center 10 pm JAZZ OF THE ’50s: Cornelia Street Underground 8, 9:30 pm $10 • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Noah Garabedian Quartet with Raffi Garabedian, Pete Rende, Jimmy Macbride • Patience Higgins Sugar Hill Quartet Smoke 11:45 pm 12:45 am OVERFLOWING WITH STYLE Korzo 9 pm • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Pedrito Martinez Group Subrosa 7, 9 pm $10 • Michael Kanan Trio Arturo’s 8 pm Jazz at Lincoln Center Orchestra with Wynton • Sam Zerna Trio with Hugh Stuckey, Adam Arruda; Hendrik Meurkens Trio with • Richard Russo Quartet Capital Grille 6:30 pm Misha Tsiganov, Chris Berger Bar Next Door 6:30, 8:30, 10:30 pm $12 • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Marsalis and music director Chris Crenshaw • Sam Sowyrda solo; Devin Gray’s Fashionable Pop Music with Ryan Ferreira, perform the music of Miles Davis, , Jonathan Goldberger, Chris Tordini SATURDAY Delroy’s Café and Wine Bar 9, 10 pm $10 , and more • Charles Rhyner Trio; Antonio Feula Duo; Eric Plaks Duo • Rob Anderson Jam Session University of the Streets 10 pm Tomi Jazz 8, 9:30, 11 pm • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) • The Candy Shop Boys Duane Park 8, 10:30 pm ROSE THEATER • Barbara Carroll Birdland 6 pm $30 • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) • Assaf Kehati Duo Il Gattopardo 11:30 am MAR 3–4, 8PM • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm EDDIE PALMIERI: • Nabuko and Friends Nabe Harlem 12 pm • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am CELEBRATING 80 YEARS • James Zeller Trio Spasso 1pm Pianist, NEA Jazz Master, and Grammy SUNDAY Award-winner Eddie Palmieri celebrates his • Avalon Jazz Quartet The Lambs Club 11 am • Rick Bogart Trio New York Yankees Steakhouse 12 pm 80th birthday with a Latin jazz celebration • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 • The Candy Shop Boys The Rum House 9:30 pm ROSE THEATER • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Glenn Crytzer Group Pegu Club 6:30 pm • Stefano Doglioni Trio Analogue 7:30 pm • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm venue • Joel Forrester solo Grace Gospel Church 11 am frederick p. rose hall • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Ian Hendrickson-Smith The Strand Smokehouse 7 pm box office • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm broadway at 60th st., • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Tony Middleton Trio Jazz at Kitano 11 am $35 ground fl. • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm centercharge JAZZ.ORG • Lu Reid Jam Session Shrine 4 pm 212-721-6500 @jazzdotorg • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm • Sean Smith and guest Walker’s 8 pm

36 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com • 440Gallery 440 Sixth Avenue, Brooklyn • The Fifth Estate 506 5th Avenue, Brooklyn • North Square Lounge 103 Waverly Place (212-254-1200) (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • 5C Café 68 Avenue C • The Firehouse Space 246 Frost Street • Nublu 62 Avenue C between 4th and 5th Streets (212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org Subway: L to Graham Avenue www.thefirehousespace.org (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • 55Bar 55 Christopher Street (212-929-9883) • The Five Spot 459 Myrtle Avenue, Brooklyn • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C Subway: 1 to Christopher Street www.55bar.com (718-852-0202) Subway: G to Clinton/Washington (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • ABC Chinese Restaurant 34 Pell Street www.fivespotsoulfood.com • Opia 130 E. 57th Street (212-346-9890) Subway: J to Chambers Street • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com • Alain Kirili Loft 17 White Street (212-226-0343) Subway: 1 to Franklin (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Park Avenue Armory 643 Park Avenue • American Folk Art Museum 65th Street at Columbis Avenue • For My Sweet Restaurant 1103 Fulton Street at Claver Place (212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (917-757-0170) Subway: C to Franklin Avenue • Parlor Entertainment 555 Edgecombe Ave. #3F • American Legion Post 248 West 132nd Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Parnell’s 350 East 53rd Street #1(212-753-1761) • An Beal Bocht Café 445 W. 238th Street • Grace Gospel Church 589 East 164th Street Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com Subway: 1 to 238th Street www.LindasJazzNights.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Pegu Club 77 W. Houston Street (212-473-7348) • Analogue 19 West 8th Street (212-432-0200) • The Graham 190 Graham Ave (718-388-4682) Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com Subway: L to Montrose Avenue www.thegrahambrooklyn.com • 158 Ludlow Street • Apollo Theater & Music Café 253 W. 125th Street • Grassroots Tavern 20 Saint Marks Place (212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com (212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South www.apollotheater.org • Grata 1076 1st Avenue (212-842-0007) (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Prime and Beyond Restaurant 90 East 10th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Greenwich House Music School 46 Barrow Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Arthur’s Tavern 57 Grove Street (212-675-6879) (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Radegast Hall 113 North 3rd Street Subway: 1 to Christopher Street www.arthurstavernnyc.com • Happylucky no.1 734 Nostrand Avenue (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Arturo’s 106 W. Houston Street (at Thompson Street) (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • Rockwood Music Hall 196 Allen Street (212-477-4155) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. Subway: F, V to Second Avenue www.rockwoodmusichall.com • B.B. King’s Blues Bar 237 W. 42nd Street Subway: 2, 3 to 125th Street www.harlembesame.com • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square • Henry Winston Unity Hall 235 W. 23rd Street, 7th floor Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org www.bbkingblues.com Subway: 1 to 23rd Street www.facebook.com/NewMassesNights • Roulette 509 Atlantic Avenue • BAMCafé 30 Lafayette Ave at Ashland Place • Highline Ballroom 431 W 16th Street (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org (718-636-4139) Subway: M, N, R, W to Pacific Street; (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Rubin Museum 150 West 17th Street Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Bar Hugo 525 Greenwich Street Subway: F to 4th Avenue www.ibeambrooklyn.com • Rue B 188 Avenue B (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com • Iguana 240 West 54th Street (212-765-5454) (212-358-1700) Subway: L to First Avenue www.ruebnyc188.com • Bar Lunàtico 486 Halsey Street Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • The Rum House 228 W. 47th Street (917-495-9473) Subway: C to Kingston-Throop Avenues • Il Gattopardo 13-15 W. 54th Street (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • Bar Next Door 129 MacDougal Street (212-529-5945) (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street • Ryan’s Daughter 350 E 85th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com www.ilgattopardonyc.com (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com • Barawine 200 Lenox Avenue at W. 120th Street • Iridium 1650 Broadway at 51st Street (212-582-2121) • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue (646-756-4154) Subway: 2, 3 to 116th Street Subway: 1,2 to 50th Street www.theiridium.com • S.O.B.’s 204 Varick Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Issue Project Room 22 Boerum Place (212-243-4940) Subway: 1 to Varick Street www.sobs.com Subway: F to 7th Avenue www.barbesbrooklyn.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) www.issueprojectroom.org (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: 6 to 77th Street www.thecarlyle.com • Jalopy 315 Columbia Street, Brooklyn • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (718-395-3214) Subway: F to Smith Street www.jalopy.biz Avenues (212-832-0888) Subway: 6 to 51st Street (212-281-0777) Subway: 2, 3 to 135th Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • The Schomburg Center 515 Macolm X Boulevard • Birdland 315 W. 44th Street (212-581-3080) Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com (212-491-2200) Subway: 2, 3 to 135th Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) www.nypl.org/locations/schomburg • The Bitter End 147 Bleecker Street between Thompson and LaGuardia Subway: N, R to 28th Street www.jazzgallery.org • ShapeShifter Lab 18 Whitwell Place Subway: A, B, C, D, E, F, V to W. 4th Street • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Avenues (212-348-8300) Subway: 6 to 125th Street • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com www.jazzmuseuminharlem.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • BRIC House Ballroom, Media House and Stoop 647 Fulton Street • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) (718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Broadway Thai 241 West 51st Street • Joe G’s 244 W. 56th Street (212-765-3160) • Silvana 300 West 116th Street (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com • The Brooklyn Commons 388 Atlantic Avenue • Joe’s Pub at the Public Theater 425 Lafayette Street • Sir D’s 837 Union Street, Brooklyn Subway: M, R to Union Street Subway: A, C, G to Hoyt/Schermerhorn Streets (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn www.joespub.com (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) • Slate 54 W. 21st Street • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com (212-989-0096) Subway: F, M, N, R to 23rd Street www.slate-ny.com Subway: 6 to 77th Street www.thecarlyle.com • Juilliard School Peter Jay Sharp Theater and Paul Hall 155 W. 65th Street • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu Subway: 1 to Christopher Street www.smallsjazzclub.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • KD’s 408 Rogers Avenue between Lefferts and Sterling • Smoke 2751 Broadway between 105th and 106th Streets • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V Subway: 5 to Sterling Street www.plgarts.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com to W. 4th Street-Washington Square www.caffevivaldi.com • Kingsborough Community College 2001 Oriental Boulevard • Spectrum 121 Ludlow Street, 2nd floor • Capital Grille 120 Broadway (718-368-6686) Subway:Q to Brighton Beach www.kingsborough.edu Subway: F to Delancey Street www.spectrumnyc.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Stern Auditorium at Carnegie Hall 881 Seventh Avenue • Cavatappo Grill 1712 First Avenue www.facebook.com/konceptions (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com • Kumble Theater I University Plaza www.carnegiehall.org • The Cell 338 West 23rd Street (718-488-1051) Subway: B, M, Q, R to Dekalb Avenue • The Stone Avenue C and 2nd Street (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org www.brooklyn.liu.edu/kumbletheater Subway: F to Second Avenue www.thestonenyc.com • Charley O’s 1611 Broadway at 49th Street • The Lambs Club 132 W. 44th Street • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue (212-246-1960) Subway: N, R, W to 49th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231) • Christ and St. Stephen’s Church 120 W. 69th Street • Le Chéile 839 W. 181st Street Subway: N, Q to Broadway www.thestrandsmokehouse.com Subway: 1, 2, 3 to 72nd Street (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Subrosa 63 Gansevoort Street (212-997-4555) • City Winery 155 Varick Street • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com (212-608-0555) Subway: 1 to Houston Street www.citywinery.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Swing 46 349 W. 46th Street (646-322-4051) • Cleopatra’s Needle 2485 Broadway (212-769-6969) • L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street www.swing46.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Swiss Institute Contemporary Art 102 Franklin Street • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-925-2035) Subway: 1 to Franklin Street www.swissinstitute.net E, V to 53rd Street www.clubbonafide.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Symphony Space Thalia, Peter Jay Sharpe Theatre • Cornelia Street Underground 29 Cornelia Street (212-989-9319) • Manhattan School of Music Neidorff-Karpati Hall, Miller Recital Hall, and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Ades Performance Space, Carla Bossi-Comelli Studio Broadway and Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • The Cutting Room 44 E. 32nd Street 122nd Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street • Terraza 7 40-19 Gleane Street (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com www.msmnyc.edu (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com • David Rubenstein Atrium Broadway at 60th Street • Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam • Tomi Jazz 239 E. 53rd Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-501-3330) Subway: 1 to 66th Street-Lincoln Center (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com www.lincolncenter.org/atrium www.kaufman-center.org • Town Hall 123 W. 43rd Street • Delroy’s Cafe and Wine Bar 65 Fenimore Street • Metropolitan Museum Grace R. Rogers Auditorium (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries 1000 Fifth Avenue at 82n Street www.the-townhall-nyc.org • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org • Tribeca Performing Arts Center 199 Chambers Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Metropolitan Room 34 W. 22nd Street (212-206-0440) (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street • The Django The Roxy Hotel 2 Sixth Avenue (212-519-6600) Subway: N, R to 23rd Street www.metropolitanroom.com www.tribecapac.org Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Mezzrow 163 W. 10th Street • Troost 1011 Manhattan Avenue • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com • Miller Theater 2960 Broadway and 116th Street • Turnmill NYC 119 East 27th Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (212-854-7799) Subway: 1 to 116th Street-Columbia University (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • The Downtown Club 240 E. 123rd Street www.millertheater.com • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) (212-868-4444) Subway: 4, 5, 6 to 125th Street • Minton’s 206 West 118th Street Subway: B, D to 182-183 Streets www.universityofthestreets.org • Downtown Music Gallery 13 Monroe Street (212-473-0043) (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com • Village Vanguard 178 Seventh Avenue South (212-255-4037) Subway: F to East Broadway www.downtownmusicgallery.com • MIST - My Image Studios 40 West 116th Street Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • The Drawing Room 56 Willoughby Street #3 (917-648-1847) Subway: 2, 3 to 116th Street www.mistharlem.com • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • Mona’s 224 Avenue B Subway: L to First Avenue • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Drom 85 Avenue A (212-777-1157) • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: F to Second Avenue www.dromnyc.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Duet 37 Barrow Street (212-255-5416) • NYLO Hotel 2178 Broadway (718-384-1654) Subway: L to Bedford Avenue Subway: 1 to Christopher Street www.duetny.com (212-362-1100) Subway: 1 to 79th Street www.nylohotels.com • Zinc Bar 82 W. 3rd Street (212-477-8337) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • National Sawdust 80 N. 6th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com Subway: C, E to Spring Street www.earinn.com (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org • Zürcher Gallery 33 Bleecker Street • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: 1 to 145th Street www.farafinacafeloungeharlem.com www.jazzrightnow.com/new-revolution-arts-series www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 37 (INTERVIEW CONTINUED FROM PAGE 6) was all about putting all of that in its proper order. She one or two really visible labels, which also can help told me, “Chestnut, I see that you write and arrange. young musicians make their start and create some was play music, which is what I was there for and So I don’t want you playing any standards. And if you continuity. While lots of groups bring out their own wanted to do. Even to this day my focus is playing do play a standard, it has to be done a different way. CDs they have to do their promotion separately, which music and that’s what I have to keep working on, how Furthermore, once you finish with me, you don’t need isn’t very efficient.” His band had already self-released to do that. I’m very appreciative of all of the accolades to be in anybody else’s band, you need to be doing discs and recorded for other labels and he appreciates and awards, I’m very grateful about it, but it just comes your own stuff.” I’m grateful that she said it and I hope Trytone’s non-commercial and collectivist goals. from hard work. There was nothing that I was entitled she’s smiling from the jam session up above. I’m a “When the members like the music it will be released. to. I just got down to business and busted tail. product of her dauntless work just to keep the music Since nobody in the team earns money with the label, moving forward. costs are relatively low.” Brouwer, whose team function TNYCJR: You played or recorded with a lot of is maintaining the Trytone website and doing other prominent bandleaders after graduating. Betty Carter TNYCJR: How does a new composition evolve for you computer-related work, had already helped other was a mentor for many young artists. How did she from your initial idea to a completed piece? small groups record and mix their sessions, some of help you in your musical growth? which were released on Trytone. Continuing to do this CC: It’s about hearing a melody. Sometimes the while involved with the label is “like a link in the CC: When I started working with Betty, that was one of composition happens at the piano and other times chain,” he declares. the serious schools. The more known school was Art I hear it in my head and I just start writing. I actually 2005-2015, a five-CD set commemorating the 10th Blakey for horn players, pianists and bassists. If you prefer to hear the idea in my head and work from what anniversary of Spinifex, a band featuring Klein and got the stamp of working with Art Blakey, you’re pretty I’m hearing and use the piano as a finishing work. bass guitarist Gonçalo Almeida, another team member, much guaranteed you’d be able to do whatever you Sometimes when I sit at the piano and start playing, has so far been the label’s only multi-disc release. “The wanted. If you had the opportunity to work with Betty, I get too caught up in techniques and theories versus initiative was entirely Spinifex’ and it was definitely that was another school, kind of like the rhythm section pure melody in music. worth it,” affirms Klein. “It’s selling better than school. If you got the stamp of working with Betty, you expected and most sets are sold at concerts.” Trytone were assured of success wherever you wanted to go. TNYCJR: How do you choose music for a record date music is available through services such as CD Baby, In a nutshell, Betty inspired and continues to or performance? iTunes, Amazon, Spotify, etc., with about 50% of its inspire me. She could never be satisfied with the status revenue coming from digital sales. quo. She always encouraged me to think just because CC: Something that sounds good. I have certain ideas The label keeps growing. Three new sessions are something was done one way, it doesn’t have to be to test out and if it feels good I move onto it. I’ve scheduled for release this month: pianist Lisa Cay done the same way. She was very creative. You always learned to trust my instincts. Some things might sound Miller’s 682/861, which include Büyükberber in the had to mind your Ps and Qs because you never knew good, but then “Little Antonio” [referring to himself by personnel, and two CDs that feature non-team what she was going to do. The energy she put out was his middle name] comes up, taps me on the shoulder members: vocalist Kristina Fuchs’ Linden; and Music incredible. Sometimes when I’m playing I’m hearing and says, “No, don’t do that.” So I’ve learned to be from an Imaginary Land by Netherlands-based world- the voice of Betty inside talking about, “Why are you driven by the state of the music, not only in performance music trio Ava, consisting of players from Italy, Turkey doing that mess?” I worked with Jon Hendricks, but also on recording as well. You want a record to be and Iran. v George Adams, and Donald something that will be remembered for a long time. Harrison, but when I got to Betty it was all finished, it A record date shouldn’t be an exercise but a statement, For more information, visit trytone.org. a document of where you are at that time. So I try to make it a good story. In the words of Tom McIntosh, “Youngblood, always try to tell a good story, because if you do, you’ll never have to worry about your career. Academy Records Because everybody loves a good story.” TNYCJR: What have been some of the greatest & CDs challenges that you’ve faced in your career?

CC: Being true to yourself. There are some times in the business when people want you to do certain things and jump into fads. You have to go for it with your Cash for new and used own conviction. Sometimes it might be liked and sometimes it isn’t. If it isn’t right away, sometimes it compact discs,vinyl gets known. Monk used to get laughed at but now he’s records, blu-rays and heralded as the genius of modern music. Betty said that jazz is about finding out who you are. I’m dvds. continuing on that journey and finding out who Cyrus Chestnut is. I’m just working on it. If anything, I’m trying to send people away feeling better than when they arrived. v We buy and sell all

For more information, visit cyruschestnut.net. Chestnut is genres of music. at Birdland Feb 21st-25th. See Calendar. All sizes of collections Recommended Listening: welcome. • Donald Harrison/Terence Blanchard— Crystal Stair (Columbia, 1987) • Cyrus Chestnut—Nut (Evidence, 1992) • Cyrus Chestnut—Revelation (Atlantic, 1993) For large collections, • Lincoln Center Jazz Orchestra (with Wynton Marsalis)—Live in Swing City (Swingin’ With Duke) please call to set up an (Columbia, 1998) appointment. • Cyrus Chestnut Trio—Moonlight Sonata (Swingin’ Classics) (Venus, 2011) • Cyrus Chestnut—Natural Essence (HighNote, 2015) Open 7 days a week 11-7

(LABEL CONTINUED FROM PAGE 11) 12 W. 18th Street NY, NY 10011 212-242-3000 year because “I think the Dutch scene is better off with

38 FEBRUARY 2017 | THE NEW YORK CITY JAZZ RECORD (WE JAZZ CONTINUED FROM PAGE 13) of the audience skewed much younger than your typical jazz gig. Any fan of adventurous live music who who used a stack of ceremonial-looking cymbals to can handle the cold should consider going in 2017. v announce the next phase of pieces. The first performance on Friday night was by For more information, visit wejazz.fi. saxophonist Jorma Tapio and his trio Kaski with bassist Ulf Krokfors and drummer Simo Laihonen. When Tapio was on tenor, it was storming free jazz built (WINTER JAZZFEST CONTINUED FROM PAGE 13) around superficially simple melodies ascending into fiery solos, But he just as frequently played flute or three guitarists—Ava Mendoza, Mary Halvorson and alto flute and then the music had an almost Asian folk Jonathan Goldberger, each with a distinct style to sound, with plenty of nearly vocal exhortations. complement Garchik’s charismatic horn. The trio After that, Krokfors and I piled into a van and House of Waters at Bowery Electric experimented with careened across Helsinki to the Andorra Movie Theatre, elements of West African rhythms, jazz, psychedelic where he was one of two bassists with saxophonist Mikko rock and classical music, creating rich sheets of sound Innanen’s 10+ band. The music was a mix of high-energy with hammered dulcimer as the centerpiece. Drummer horn charts, blistering and martial drumming and fluid ’s Malamute, a quartet with tenor saxophonist and expressive solos. Between the pieces proper, Loftur Guðmundsson, keyboardist Elias Stemeseder momentum was sustained by individual players creating and electric bassist Chris Tordini, fused rock songcraft Euro improv-style squawks and squeals. and industrial percussion in an explosive and intimate Saturday offered one of the festival’s best set at 5th Floor Theater. performances. OK:KO (saxophonist Jarno Tikka, pianist Marathon Day 2 was spent around The New School Toomas Keski-Säntti, bassist Mikael Saastamoinen and campus, with the exception of trumpeter Peter Evans’ drummer Okko Saastamoinen) have only been a band for sextet at SubCulture. Before his set, Evans called out a year or so, but their music is solid. Tikka started the saxophonist Matana Roberts and other peers active in set—held in the Helsinki Contemporary art gallery—solo social justice movements. The music was marked by and one tune broke down to a piano-bass duo. But when vigorous tempo, complex grooves and Evans’ pointillistic all four were working together, their melodic postbop horns. Mary Halvorson played with her octet from their was at its best, the music built on grooves that had a more latest album, Away With You, to a packed The New School respiratory than hip-jutting rhythm. Oddarrang, a quintet 5th Floor Theater audience. She shone as a bandleader, whose music has gradually evolved from jazz to a kind of opening the floor for pedal steel guitarist Susan Alcorn’s instrumental post-rock with trombone, played at G ambient moods and Country-and-Western aesthetics. Livelab, a traditional club. They were almost entirely ECM Records curated a showcase at The New shrouded in blue mist, which suited their music, a kind of School Tishman Auditorium, including the duo of Ravi reverberant fog filling the room without ever making any Coltrane and pianist David Virelles. The latter’s real impression—it was like I had missed the inciting imaginative lines and rhythmic intuition was the sound and heard only the echoes. perfect complement to the former’s expansive solos. At The night concluded at Lapinlahden Lähde, The New School 12th Street Auditorium, drummer a former mental institution, with solo improv Andrew Cyrille, Artist in Residence at this year’s performances by bassist Ville Herrala, accordionist festival, led Haitian Fascination, exploring the rich Harri Kuusijärvi, guitarist Markus Pesonen and Anni music of Haiti, the quintet weaving American jazz Elif Egecioglu, who sang and accompanied herself on a themes with voudou percussion and twoubadou guitar. diminutive cello. In the main room, saxophonist Jukka It seemed appropriate to end my marathon Perko’s Avara trio with electric guitarist Jarmo Saari adventure at Zinc Bar, a cozy and always packed and acoustic guitarist Teemu Viinikainen combined mainstay of the Winter Jazzfest. As part of the “Out of fleet, John McLaughlin-esque finger-picking, washes Ra” (, that is) series on Saturday evening, the of swelling distortion and meditative saxophone. They AfroHORN Superband, led by Arkestra alumnus were followed by guitarist Mikko Sarvanne’s Hip Francisco Mora-Catlett, played a mix of AfroCuban Company, a big band backing up poet Beibi P, who rhythms, space-jazz and straightahead grooves. a journalist informed me afterward was hilarious. Beyond the marathon, this year’s edition also On Sunday, I returned to the gallery where I’d seen extended to Brooklyn with a show at Littlefield OK:KO for an extended improv duo by Mikko Innanen (Jan. 8th). The Thelonious Monk 100th Birthday Improv and Sami Laihonen. The former played a variety of Show brought together Kris Davis, David Virelles, saxophones and some uncommon flutes and recorders. Shabaka Hutchings, Sam Newsome, Marc Ribot, At various points, he and Laihonen also employed Charlie Burnham, Erik Friedlander, Linda Oh, Trevor twittering bird calls. The drummer maintained an Dunn, , Andrew Cyrille and Deva Mahal abstract, pulsing time with ritualistic tom pounding to play Monk’s classic in various and his kit deserves a special mention, custom-built configurations from solos to larger ensembles. Given from a rich brown wood and absolutely beautiful. that each group was created and assigned songs only The last performance I saw was by pianist Iro two weeks before, it was amazing to see the chemistry Haarla’s trio with bassist Ulf Krokfors and drummer onstage and hear the diverse range of interpretations. Markku Ounaskari, back at G Livelab. Haarla is signed The festival came full circle, ending at LPR with to ECM and the music had the soft-focus, Nordic feel a panel on environmental justice following a set by the common to that label, at least initially. Krokfors, who esteemed Charlie Haden Liberation Music Orchestra. composed the second piece, took a thickly resonant, Led by guest pianist Geri Allen, the 12-piece ensemble -esque solo to start and Haarla’s playing played their latest album Time/Life (Song For the Whales grew in intensity. By the fourth song, Ounaskari was and Other Beings) (Impulse), a series of pieces inspired awake and took a thundering solo of his own. The by environmental concerns. longer the group played, the more their spirits cohered Political expression is not new in the jazz and by the end they were in a zone of rare beauty, community but this year’s festival forced us all to creating an almost religious feeling of calm, as though engage with the current socio-political climate. they were performing in a cathedral, not a jazz club. Attendees discovered new music, communed with We Jazz’ achievement extends beyond the talent it artists and fostered dialogue. More than anything, this assembles. What really makes this festival great is the year’s Winter Jazzfest was a celebration of community way it integrates the music into the city, staging and the power of music to cultivate a sense of agency performances in unexpected venues and creating and ownership over our own political narrative. v a feeling of community. The public response was impressive; every show was crowded and the age range For more information, visit winterjazzfest.com.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2017 39 Wayne Shorter Weekend • April 21-23 Jazz greats salute one of their own: Newark’s famed saxophonist and composer in concert!

Wallace Roney Cécile McLorin Salvant

Wayne Shorter’s The Universe– Cécile McLorin Salvant Weather Report and A Concerto for Miles with Sullivan Fortner Beyond Reimagined By Wallace Roney Orchestra and The Emmet Cohen Trio Christian McBride, Rachel Z, Featuring Buster Williams, Friday, April 21 at 7:30pm Joe Lovano, Steve Wilson, Lenny White and Patrice Rushen and Manolo Badrena Thursday, April 20 at 7:30pm Saturday, April 22 at 8pm

Dorthaan’s Place Sunday Jazz Brunches NJPAC’s series of intimate jazz brunches returns, curated and hosted by jazz champion and WBGO legend Dorthaan Kirk, Newark’s “First Lady of Jazz.” NICO Kitchen + Bar • 11am & 1pm Rob Paparozzi March 12 Wayne Shorter Quartet Blues, harmonica and more from Christian McBride Wayne Shorter Quartet NJ’s Rob Paparozzi. & Esperanza Spalding: with special guests The Bucky Pizzarelli One on One Herbie Hancock and and Ed Laub Duo Sunday, April 23 at 3pm April 2 Sunday, April 23 at 7pm The accomplished guitar duo perform American Songbook selections.

For tickets & full schedule visit njpac.org or call 1.888.GO.NJPAC Groups 973.297.5804 One Center Street, Newark, NJ

NEW JERSEY PERFORMING ARTS CENTER Wayne Shorter Weekend events are produced with and co-sponsored by the Institute of Jazz Studies at Rutgers University-Newark.

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