OCTOBER 2013 - ISSUE 138 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM Space SUN In RA Time

MARIAN IN MEMORIAM 1918-2013 MCPARTLAND GINGER ••••BILL MARCUS BETHLEHEM EVENT BAKER MCHENRY BELGRAVE RECORDS CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK FEATURED ARTISTS / 7:00, 9:00 & 10:30pm SPECIAL EVENTS / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Oct 4 & 5 MIKE LEDONNE’S GROOVER QUARTET Sundays, Oct 6 & 13 JIMMY GREENE QUARTET MEETS THE GUITARISTS SaRon Crenshaw Band CD Release Preview Tue, Oct 1 Sundays, Oct 20 & 27 Jimmy Greene (tenor saxophone) ● Renee Rosnes (piano) Vivian Sessoms Ben Wolfe (bass, fri) ● John Patitucci (bass, sat) Bob Devos w/Eric Alexander & Carl Allen Jeff “Tain” Watts (drums) Tue, Oct 8 Mondays, Oct 7 & 21 Fri & Sat, Oct 11 & 12 Dave Stryker w/Vincent Herring & Joe Farnsworth Jason Marshall Big Band MONK BIRTHDAY CELEBRATION Tue, Oct 15 Mondays, Oct 14 & 28 featuring Orrin Evans Paul Bollenback w/Eric Alexander & Joe Farnsworth Captain Black Big Band Eddie Henderson (trumpet) ● Tim Warfield (tenor saxophone) Thursdays, Oct 3, 10, 17, 24 & 31 Orrin Evans (piano) ● Ben Wolfe (bass) ● Donald Edwards (drums) Tue, Oct 22 Ed Cherry w/Eric Alexander & Joe Farnsworth Gregory Generet Fri & Sat, Oct 18 & 19 Tue, Oct 29 MYRON WALDEN MOMENTUM Peter Bernstein w/Eric Alexander & Joe Farnsworth LATE NIGHT RESIDENCIES / 11:30 - Darren Barrett (trumpet) ● Myron Walden (tenor saxophone) Eden Ladin (piano) ● Yasushi Nakamura (bass) ● Mark Whitfield, Jr. (drums) Mon The Smoke Jam Session Fri & Sat, Oct 25 & 26 ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm Tue Milton Suggs Quartet “EDDIE WHO?” SEAMUS BLAKE Wed, Oct 2 Lauren Sevian’s “LSQ” Quartet Wed Brianna Thomas Quartet QUARTET PLAYS EDDIE HARRIS Wed, Oct 9 Seamus Blake (tenor saxophone) ● Brian Charette (keyboards) Thr Nickel and Dime OPS Gerald Cannon (bass) ● Joe Farnsworth (drums) Noah Jackson & Full Circle Wed, Oct 16 Fri Patience Higgins Quartet Fleurine JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Sat Johnny O’Neal & Friends Wed, Oct 23 Sundays The Baylor Project Sun Roxy Coss Quartet Vocal Jazz Brunch Wed, Oct 30 Annette St. John and Trio Tommy Campbell’s Vocal-Eyes 212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE Jazz is generally accepted as being born in some elemental form in New Orleans, bubbling up from the ethnic and cultural stew that was that city in the late 1800s New York@Night and beyond. But clearly jazz didn’t stay still, either in its development or its 4 location. It proliferated all over the world...and even beyond. Sun Ra (On The Interview: Ginger Baker Cover) showed that the influence of the music spread all the way through the galaxy to his home planet of Saturn (Birmingham, Alabama for the more prosaic). by Anders Griffen 6 Next year would have been the pianist/composer/bandleader’s 100th birthday Artist Feature: Bill McHenry and Jazz at Lincoln Center is starting the party early with an evening featuring by Sam Spokony Marshall Allen and the Sun Ra Arkestra this month. 7 A little more earthbound, drummer Ginger Baker (Interview) was an On The Cover: Sun Ra accomplished jazz drummer in his native London, England before ‘detouring’ into 9 by Russ Musto rock during the ‘60s. He revisits his first love at Iridium this month with his Jazz Confusion Band. Saxophonist Bill McHenry (Artist Feature) got his jazz grounding Encore: Lest We Forget: in the blueberry state of Maine but has been a key member of the NYC scene for 10 Marcus Belgrave Julius Watkins the past two decades. He brings his quartet to the Village Vanguard for a week this month. And England is again represented by an In Memorial Spread on the late by Terrell Holmes by Ken Waxman pianist/NPR radio host Marian McPartland, who died in late August. We have Megaphone VOXNews two spokesmen for the Detroit jazz realm in trumpeter Marcus Belgrave (Encore), 11 by Warren I. Smith by Katie Bull who receives the award of recognition from the Festival of New Trumpet Music (FONT) and performs for two nights at Jazz Standard, and the late French horn Label Spotlight: Listen Up!: player Julius Watkins (Lest We Forget), born 92 years ago this month. And to demonstrate the current state of local and international jazz, we have 12 Bethlehem Records Peter Brendler & Hashem Assadullahi festival reports from the US (Detroit Jazz Festival), Germany (A L’ARME!) and by George Kanzler Canada (Guelph Jazz Festival) and our CD Reviews encompass the traditions of Cuba, Russia, Spain, Brazil, Iceland, Morocco, Czech Republic, the UK, Denmark, 13 Festival Reports: A L’ARME! • Detroit • Guelph Belgium and dozens of other countries. It’s a big world and we’ll see you out there... 14 In Memoriam: Marian McPartland (1918-2013) Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director CD Reviews: The Claudia Quintet, Kenny Barron, Joe Fiedler, On The cover: Sun Ra - One World Family, Berkeley-11-1974 (Michael Wilderman/ 16 Gregory Porter, John Coltrane, Mike McGinnis, Tim Berne and more wildermanphoto.com)

Event Calendar Corrections: In last month’s Festival Reports, technically it is the 59th anniversary of 42 the first Newport Jazz Festival rather than the 59th edition; no festivals were held in 1961 or 1972-80. In last month’s CD Reviews, Laszlo Gardony was the arranger of 49 Club Directory “You Are The Sunshine of My Life” on Yoron Israel’s album. Submit Letters to the Editor by emailing [email protected] Miscellany: In Memoriam • Birthdays • On This Day US Subscription rates: 12 issues, $30 (International: 12 issues, $40) 51 For subscription assistance, send check, cash or money order to the address below or email [email protected].

The New York City Jazz Record www.nycjazzrecord.com / twitter: @nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull, New York, NY 10033 Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, United States Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Wilbur MacKenzie, Marc Medwin, Sharon Mizrahi, Russ Musto, Sean J. O’Connell, Laurence Donohue-Greene: Joel Roberts, John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman [email protected] Andrey Henkin: [email protected] Contributing Writers Adam Everett, Anders Griffen, George Kanzler, Suzanne Lorge, General Inquiries: [email protected] Robert Milburn, JD Parran & Warren Smith, Philip Smith, Sam Spokony Advertising: [email protected] Contributing Photographers Editorial: [email protected] Jim Anness, Scott Friedlander, Peter Gannushkin, Sasa Huzjak Calendar: [email protected] Marek Lazarski, Susan O’Connor, Jack Vartoogian, Michael Wilderman

All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

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

Sex Mob closed a three-night run at ShapeShifter Lab Seven-string guitarist Charlie Hunter has been (Sep. 14th) by inviting the enigmatic singer Shilpa Ray jamming with drummer Scott Amendola since the to open, singing heart-wrenching songs lost somewhere heyday of the Bay Area’s acid jazz scene, so their recent in the smoke between Billie Holiday and Deborah duo gig (Sep. 5th) at The Cutting Room was just the Harry and accompanying herself on harmonium. Sex continuation of a two-decade-long musical Mob played a fired up and unscripted set starting with conversation. After running down a couple of the “You Only Live Twice”, Bernstein sticking almost trickier heads during soundcheck, they opened the exclusively to the slide trumpet throughout the set, show with a slow shuffling blues, chuckling together, with Briggan Krauss pinching, squeaking and growing quiet, then bringing it on with a preaching bellowing along on alto and baritone saxophones. solo by Hunter, ending loud and proud to whooping They touched repeatedly on “Won’t Get Fooled Again”, applause. This set the tone for the session, a sequence Tony Scherr covering the guitar part on upright bass of earthy grooves grounded in Amendola’s nuanced and reducing the familiar power chords to a snail’s pocket-playing and Hunter’s muffled thumb-bass, pace as Bernstein occupied Kenny Wollesen’s gongs. overlaid with soulful Curtis Mayfield-style chordal They cycled further and further from The Who rock passages and vibrant leads. The repertoire featured anthem, enough so that it might not have been there many originals from Amendola’s upcoming release anymore, abetted for a spell by Peter Apfelbaum on Pucker, including “Leave On” (for Levon Helm) and tenor saxophone. Bernstein was clearly there to have “Scott’s Tune” (written by Amendola’s grandfather), fun, calling tunes in mid-air and reveling in his band along with John Lennon’s “Jealous Guy”, the Stylistics’ finding their way from A to B. The whole thing seemed “People Make the World Go Round”, gospel standard a joyful, hour-long intro to Sly Stone’s “Stand” once “You Gotta Move” and Billy Strayhorn’s “Rain Check”. that theme blared through in triumphant unison. They The pair was refreshingly casual onstage, obviously reverted back to Nancy Sinatra and then again to The having a good time and calling tunes on the fly. Who, then some quick jazzy fills like they couldn’t Brainstorming for a third song to play, Hunter rejected help themselves. It was a spirited round of riffs, themes Amendola’s first suggestion: “It’s gotta be a different and tropes, after which a spent and wobbly Bernstein key than the one we just did!” As seasoned jamsters, explained there was “No Fellini and nothing we played they paced themselves well, lowering the dynamic the last two days. That’s all I know. I just went for it.” level mid-set, then ramping the energy back up for a - Kurt Gottschalk rousing finale. - Tom Greenland Photo by Scott Friedlander © 2013 Jack Vartoogian/FrontRowPhotos Sex Mob with guest Peter Apfelbaum @ ShapeShifter Lab Scott Amendola & Charlie Hunter @ The Cutting Room

The 2013 Festival of New Trumpet Music had an In its ten-year history, six under the late Suzanne Fiol, esteemed opening at Roulette (Sep. 10th) with Issue Project Room has ‘squatted’ in three low-profile commissioned works by Christian Wolff and Roy residences, now occupying a more permanent and Campbell. Wolff’s “Octet for Brass With a Violin” visible home in downtown Brooklyn. A triple-bill (Sep. traded phrases between trumpet, trombone and violin, 12th) , the fourth event of a two-month festival, opened building quickly to a fanfare then reducing to muted with Irish acoustic guitarist Cian Nugent’s finger- solo lines, sometimes overlaid and with surprising picked pieces recalling the country blues of Mississippi speed hitting a full swell with dissonant edges. That John Hurt or Merle Travis, but rendered with half- was complemented by “Duo 6 for Violin and Trumpet”, bends and chromatic sequences suggesting a more with luxurious lines from the violin seeming to pull outré orientation. Alto saxophonist Matana Roberts semi-tones toward its favor, and the 1968 composition began on bended knee, offering a musical prayer to “Edges” played again by the nonet; scored but with the Fiol’s lingering spirit, then a more aggressive feel of a Euro-style free improv with slow progressions, exploration punctuated with foot stomps and it was ironically more cohesive as a result. Campbell’s exaltations: “Ten Years Alive!!” She had the mostly Akhenaten was a highlight of the 2007 Vision Festival white audience sing a drone on F# (“That’s your and one of his strongest records in years and, as the note!”), conducting us through “Bid ‘Em In”, a slave FONT concert demonstrated, the Egyptian inspiration is auction song that graphically lists the attributes of a still close to his heart. His septet opened with the young defenseless black girl, appended by Roberts’ 25-minute “Walking to the Pyramids” in three parts, own lyric, “Let’s dedicate this moment to you and me.” beginning in a spiritual vibe with Campbell on flute and “I’m here on my birthday,” she revealed in closing, moving into tribal drumming with powerful vibraphone “doing what I was born to do.” Guitarist Marc Ribot, work by Bryan Carrott before a prolonged hardbop long affiliated with the venue, delivered a sensational section. They followed that with a section from set, continuing the Delta blues theme in his cover of “A Campbell’s Armana suite, a bluesy piece building into a Ghost of a Chance”, followed by freer deconstructions majestic theme stated by the horns and violin. “Camel of Albert Ayler’s “Holy, Holy”, “April in Paris”, “I’ve Caravan” was more of a blazer, featuring Campbell and Grown Accustomed to Your Face” and the encore, Josh Evans swapping trumpet lines. The set ended with “Another You”, capped by a second encore with a song, “Thanks to the Creator”, underscoring the Roberts, a hard-rocking future-blues in the key of - you ancient mysticism of Campbell’s Egyptian dream. (KG) guessed it - F#. (TG)

4 October 2013 | THE NEW YORK CITY JAZZ RECORD Perhaps no club in the city upholds the jazz tradition The Jazz Gallery Residency Commission program better than Smalls. But in doing so, they have also continues to support emerging artists in creating new WHAT’S NEWS forged a new tradition through the younger generations works, allowing young composers to stretch out of musicians who play there. With that in mind, the beyond traditional artistic boundaries free of typical booking of bassist Eric Revis’ quartet (Sep. 4th-5th) economic constraints. Fabian Almazan premiered a The winners of the 2013 Thelonious Monk was not as surprising as perceived initially. Yes, Revis collection of new pieces at the venerable not-for-profit International Jazz Saxophone Competition have may be Branford Marsalis or Kurt Rosenwinkel’s institution’s newish midtown space (Sep. 13th), been announced. Melissa Aldana of Chile was the bassist but he also works with Andrew Cyrille and unveiling his first explorations into the world of vocal first-place winner. Runners up were Tivon Pennicott Peter Brötzmann, subverters of the tradition to be sure. music and lyric writing. The Cuban-born pianist, best of Georgia and Godwin Louis of Harlem. It should be His own quartet was filled with equally strong known for his work with trumpeter Terence Blanchard, noted and celebrated that Aldana is the first female personalities: saxophonists Darius Jones and Bill delivered an affecting set of duets with Chilean instrumentalist to win the competition since it began McHenry, with drummer Chad Taylor alongside the vocalist/guitarist Camila Meza, who sang the Spanish in 1987. For more information, visit monkinstitute.org. leader in the rhythm section. And tradition is a funny language lyrics with stirring emotion. Almazan’s thing. To close the first set of the second night, nearly compositions merged the jazz, European classical and Richard Parsons, former chairman of Citigroup and an hour of music that included Revis originals from the popular music traditions into a distinctively original the former Chairman and CEO of Time Warner and group’s forthcoming album and a tune by free jazz hybrid while his words probed various subjects of current Chairman of the Jazz Foundation of America legend Sunny Murray, the quartet played “The Shadow topical substance. His opening “Ella”, an unsentimental has announced the reopening of Minton’s this month World” by Sun Ra, followed by Johnny Hodges’ waltz with Gershwin-esque qualities that had Meza in its original location but “redesigned as a “Wiggle Awhile”, two sides of ‘60s large ensemble jazz. airily intoning the lyric buoyed by her ethereal guitar, contemporary jazz supper club.” A house band will be And in assembling his frontline, Revis couldn’t find spoke to women’s rights while “Esos Dias” and led by pianist Danny Mixon. For more information, two more complementary and respectful-of-the- “Espejos” dealt with the environment and politics, as visit MintonsHarlem.com. tradition players than Jones and McHenry, who the pair entwined their instrumental sounds with the navigated the tense arrangements with impassioned words’ compelling rhythms. Lower register piano Trumpeter and Jazz at Lincoln Center Artistic Director focus, never battling each other but fusing into a chords and high soprano voice united on “Juala”, a Wynton Marsalis has partnered with fashion covalent voice. During the Sun Ra, Jones began bleating Nelson Mandela-inspired paean to political prisoners. designers Isabel and Ruben Toledo on the Broadway with such fury, he sounded like a sheep being Finally the melancholic “Sol del Mar” and ascendant Musical After Midnight, celebrating Duke Ellington’s electrocuted, followed by McHenry’s foghorn tenor “Explicacion” were followed by a 16-voice choir tenure at the Cotton Club and including the poetry of solo. Anyone who came in during the finger-snappin’ singing the powerful tribute to courage “Caracol Langston Hughes set to Marsalis’ arrangements of closer had no idea what they missed. - Andrey Henkin Corriendo”. - Russ Musto Ellington’s music. Previews begin at the Brooks Atkinson Theatre Oct. 18th. For more information, visit aftermidnightbroadway.com. The first annual benefit for the John Coltrane home in Dix Hills, NJ will take place at En Brasserie Oct. 6th as organized by Friends of the Coltrane Home, whose mission is “the preservation of the home and the creation of a museum and cultural center.” The event, hosted by Carlos Santana, will include musical guests like Ravi Coltrane and guest speakers including Dr. Cornel West and Ashley Kahn. For more information, visit thecoltranehome.org. Among the latest in the United States Postal Service Music Icons Forever® Stamp series, pianist/vocalist Ray Charles was honored with his own stamp last month on what would have been his 83rd birthday. In

Peter Gannushkin/DOWNTOWNMUSIC.NET Anness Photo by Jim addition, Concord Records has released the Eric Revis Quartet @ The Stone Fabian Almazan @ The Jazz Gallery commemorative CD/DVD package Ray Charles Forever. For more information, visit usps.com and In a week at The Stone that functioned as a semi- 76 Moments of Joseph Jarman, a celebration of the concordmusicgroup.com. comprehensive overview of his work, trumpeter Peter birthday of the esteemed Art Ensemble of Chicago Evans presented a remarkably wide range of offerings: multi-instrumentalist at ShapeShifter Lab (Sep. 15th), The Afro Latin Jazz Alliance and the Harlem School a trio with Robert Dick and David Taylor; his working began with a most welcome surprise. Unannounced of the Arts will present Pueblo Harlem Oct. 5th, an trios Pulverize the Sound and Zebulon Trio; a first- and unexpected, fellow AACM luminary Muhal all-day celebration with exhibitions, musical time meeting with Joe McPhee (piccolo-pocket trumpet Richard Abrams strolled to the piano and played two demonstrations, master classes, dance lessons and duets!), his quintet alone and expanded to octet and short improvisations, then queried, “We gonna make performances by Arturo O’Farrill and the Afro Latin allstar group Rocket Science. But as sometimes happens some music?” The pianist was then joined onstage by Jazz Orchestra. For more information, visit with a roll of film, where the first picture is the keeper, members of guitarist John Ehlis’ ensemble - Olivia afrolatinjazz.org. it was the opening set of Evans’ residency that was the Foschi (voice), Sana Nagano (violin), Tony White (tenor most compelling and informed all that followed. The sax), Yasuno Katsuki (euphonium), Max Johnson (bass) Vocalist Rhiannon will be presenting a number of young trumpeter made a name for himself among the and Glen Fittin (percussion). Taking his seat center educational activities at ShapeShifter Lab Oct. international improvising community with a pair of stage, flanked by the guitarist, Jarman picked up his 18th-19th, including an open circle sing, talk about solo albums on Evan Parker’s psi label and it is still the alto sax and blew short sinuous lines in response to her new book Vocal River, master class and concert. best way to see him. All of his musical intellect is on Abrams’ melodic statements. Dressed conservatively For more information, visit rhiannonmusic.com. display, married to truly staggering technique and in muted colors, the saxophonist hardly resembled the stamina. He can produce such an array of sounds in fierce warrior-painted Art Ensemble magic man of Drummer Kresten Osgood has received the 2012 such quick succession that every minute he plays feels yore, but his distinctive tone clearly identified him as Ken Gudman Award, “given to a Danish musician like ten, the musical equivalent of binary code. But such. As the other players joined in the spontaneous who has made special contribution to the Danish unlike some other improvisers, Evans, who has a group improvisation, a cohesive musical statement of music scene.” classical background and extensive jazz knowledge, majestic beauty formed, then abruptly ended. The rest brings logical syntax to his pieces, no mean feat across of the set featured Jarman the poet on his pieces “Hail A social media site, FindJazzers.com, has been creations cresting the 20-minute mark. During that We Now Sing Joy”, “What’s To Say Is Nothing” and launched, with the mission of helping “jazz players initial set, the first piece relied on Evans manipulating “Lonely Child”, his words and cadences revealing the and singers find each other for gigging, jamming, or his piccolo trumpet through a microphone, at one point influence of his background as a Shinshu Buddhist just talking jazz.” The service is free. For more sounding like a broken air-conditioner invaded by priest. Drummer/AACM veteran Thurman Barker information, visit findjazzers.com. angry bees. The second featured his ‘regular’ trumpet fêted his friend with a solo piece, then was joined by impersonating a growling animal then an echoey alien the ensemble and Jarman, reciting his classic work “As Submit news to [email protected] message received from another galaxy. (AH) If It Were The Seasons”. (RM)

THE NEW YORK CITY JAZZ RECORD | October 2013 5 INTERVIEW

road. May I ask how your back is fairing?

GB: The spine’s all right. It’s before and after.

Ginger TNYCJR: Is there a Jazz Confusion recording available or forthcoming?

GB: No, we haven’t done a record at all. Baker TNYCJR: Is that in your plans? GB: Well, it depends on record companies, I guess. (CONTINUED ON PAGE 40)

“With Blessed, Neumann’s trio makes a worthy pilgrimage to the jazz holy land.” SCOTT -AllAboutJazz.com

© Sasa Huzjak / Courtesy of Ina Dittke by Anders Griffen NEUMANN’S NEU3 TRIO Ginger Baker is a drummer from South London, England TNYCJR: I’ve heard that he was the greatest of the jazz who became famous for his work with two short-lived but drummers over in Britain in his day. PRESENTS hugely successful groups of the mid to late ‘60s, Cream and “Blessed” Blind Faith, each featuring guitarist Eric Clapton. Before GB: Without a doubt. Featuring that, in the ‘50s and early ‘60s, he had been strictly a jazz Michael Blake musician until playing blues with Alexis Korner’s Blues TNYCJR: I even heard that Johnny Griffin said he and Mark Helias Incorporated and R&B with the Graham Bond Organization. sounded like Philly Joe Jones. In the early ‘70s, already well acquainted personally with Afrobeat sensation Fela Kuti, Baker traveled to Africa, GB: Well, he never sounded like Philly Joe Jones, he adventuring across the Sahara and absorbing more of that sounded like Phil Seamen. continent’s music in Ghana and Nigeria, eventually setting CD Release Show up a recording studio in Lagos. From 1970 onward, Baker TNYCJR: You’ve been prolific for decades now. Did Smalls Jazz Club released dozens of albums and has had numerous musical you have to motivate yourself to keep going or was it Saturday, October 5th 7:30 & 9pm quite natural, with always something more to do? projects with the likes of Kuti, Paul McCartney, Steve Available in stores & online Winwood, Jack Bruce, Adrian Gurvitz, Johnny Rotten, Jah on ORIGIN RECORDS Wobble, Sonny Sharrock, Peter Brötzmann, Nicky GB: I just played. Skopelitis, Bill Laswell, Bernie Worell, Foday Musa Suso, SCOTTNEUMANNMUSIC.COM Nana Vasconcelos and many others. In the ‘90s he did some TNYCJR: Wayne Shorter recently turned 80 years old of his best jazz work with the Ginger Baker Trio, with and I saw him in an interview where he said, “to me, Charlie Haden and Bill Frisell, and the DJQ20 with Ron the word “jazz” means: “I dare you.” Is that a sentiment Miles, Artie Moore and others. that resonates with you? There are a lot of wild stories about Ginger Baker out there. He was once called the least likely person to survive GB: I dare you? I don’t know. the ‘60s and is regularly described as quite surly and likely to express himself with his fists. He is the subject of a recent TNYCJR: Many years ago you sought out some of the documentary film, Beware of Mr. Baker, which preserves great jazz drummers and performed side by side with these notions. Maybe this public image serves his career. the likes of Art Blakey and Elvin Jones. Then again maybe it’s all true. However, when we spoke he was quiet and reserved. Music seems to be what he really GB: I didn’t search them out, it just happened. The cares about. He speaks and he performs with purpose. At Munich Jazz Festival had Blakey and I on the same first his responses were little more than one word, but he stage on the same night and we just did a drum thing opened up a bit and was quite good-humored and affable. together. It started off as a drum duel and ended up as a drum duet. It was really cool. The New York City Jazz Record: I’ve read that you don’t play the drum set except at gigs and that you TNYCJR: And there was another time with Elvin Jones, didn’t even practice much over the years when you correct? were very busy. There must have been a time, or times, when you practiced quite a lot. GB: Yeah, Elvin became a very close friend of mine. He was a really great guy, you know. Ginger Baker: No. Only in the ‘50s and very early ‘60s. I don’t really practice anymore at all. Once you can TNYCJR: Who are some of the other drummers you play what you want to play, what’s the point of played with? practicing? GB: Max [Roach]. TNYCJR: Did [British jazz drummer] Phil Seamen [1926-1972] have a direct influence on practice? TNYCJR: You’ve been performing with Ginger Baker’s Jazz Confusion for a couple years now. Is there special GB: He had a very big influence, yeah - not on significance to the name Confusion? practicing, on time in general. GB: No. No significance whatsoever. TNYCJR: So you’d already practiced quite a bit and you guys were just about music? TNYCJR: You’ve just completed several dates and you’ll have some more before traveling to the States. GB: Yeah. How has it been going?

TNYCJR: It sounds like you were kindred spirits. GB: Everything’s been going extremely well. All of them. GB: Yeah, he was my drum Dad. He told people I was the son he never had. TNYCJR: It’s great for the fans that you’re out on the

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

Evans, Jazz at Kitano Oct. 10th with Judi Silvano and Korzo Oct. 29th. See Calendar.

Recommended Listening: Bill • Chris Lightcap Quartet - Lay-Up (Fresh Sound-New Talent, 1999) • Ben Monder/Bill McHenry - Bloom (Sunnyside, 2000) • Bill McHenry Quartet - Featuring Paul Motian (Fresh Sound-New Talent, 2002) McHenry • John McNeil/Bill McHenry - Chill Morn He Climb Jenny (Sunnyside, 2009) • Rebecca Martin - When I Was Long Ago (Sunnyside, 2010) • Bill McHenry - La Peur Du Vide (Sunnyside, 2012)

Peter Gannushkin/DOWNTOWNMUSIC.NET by Sam Spokony

With two decades of living in New York now behind McHenry mentioned a tune called “Lina” that he wrote him, tenor saxophonist Bill McHenry continues each for his girlfriend, as an ode to her “really long Spanish day to cement his place as one of this jazz generation’s name.” He laughingly explained that he never intended grand marshals and as an artist whose soul remains it to become a real piece and that the idea was born deeply rooted within both traditional and keenly while he was living with her in Spain last December, progressive strains of the music. after he’d sat down at her piano one day and began “The past 20 years have, in many ways, been about playing a different note to go with each syllable. “And exposing myself to all kinds of different sounds and then one day I played it for the quartet, after a rehearsal, understanding how rich it can all be,” said McHenry, and the guys were like, ‘Man, we have to play that,’” 40, as he sipped coffee on the roof of his Fort Greene the saxophonist recalled. “We ended up starting off a apartment, his gaze fixed on the Manhattan skyline. set with it [at the Vanguard last April] and I actually “It’s not just about going against something, or trying thought it was the best thing we did that night.” to break free of something...it’s more about gaining a McHenry also said that the Vanguard audience greater understanding of how things resonate.” will hear his reworking of the standard “Spring Can That quest for knowledge has played a major role Really Hang You Up the Most”, which resulted from in the saxophonist’s latest work with his current his love of the tune’s chord changes and his dislike of JSnycjr1013 9/16/13 2:24 PM Page 1 quartet of pianist Orrin Evans, bassist Eric Revis and its unhappy lyrical tone. “I just didn’t want to hear drummer Andrew Cyrille. A year after the release of myself playing it, because I think spring is great - so I their first album, La Peur Du Vide, which consisted of wrote a new melody over the changes and I called it six tracks taken from live recordings during a stint at ‘Spring Is Great’,” he explained, with another smile. the Village Vanguard in March 2012, the quartet will When asked whether or not Sunnyside is planning now return to the Vanguard for another run this month. to record the upcoming Vanguard run for another McHenry explained that audiences will hear new tunes album, McHenry said that it hasn’t been discussed yet. “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH TUE-WED OCT 1-2HFESTIVAL OF NEW TRUMPET MUSIC that blur some of the most basic lines of harmonic He did state, however, that the quartet has discussed MARCUS BELGRAVE QUARTET structure. “For a long time, I’ve felt intuitively that the more likely possibility of heading into the studio FEATURING GERI ALLEN - MARION HAYDEN - KASSA OVERALL 12-tone music and diatonic music are the same thing,” sometime within the near future, in order to pursue THU-SUN OCT 3-6 said McHenry. “I don’t personally hear a difference in another of McHenry’s ambitious goals: recording free CELEBRATING BLAKEY BRIAN LYNCH - DONALD HARRISON - BILLY PIERCE - DONALD BROWN - REGGIE WORKMAN - RALPH PETERSON the significance of the pitches, regardless of what kind improvisations by layering individual tracks one at a TUE OCT 8 NEW DIMENSIONS IN LATIN JAZZ: of names people assign to them. I think they have an time, rather than through the typical ‘live’ approach to “A CUBAN DRUM SERIES”WITH EMILIO VALDÉS absolute value. That’s all. And it’s pretty simple theory, free playing, in which the group performs together. SPECIAL GUEST MARK WHITFIELD - JOHN ROGGIE - BYRON MOORE WED OCT 9 right?” To which this reporter could only nod. “For example, Andrew would go in and play MATT SAVAGE QUARTET “So then, more recently, to test out that theory, I something free while everyone else is sitting there DONNY MCCASLIN - HOO KIM - PETER RETZLAFF THU-SUN OCT 10-13H11:30PM SET ON SAT ONLY started writing 12-tone rows, but purposefully voicing watching and listening to him set that part in stone,” “AFTER BLUE” TIERNEY SUTTON THE JONI MITCHELL PROJECT them diatonically, with only conventional triads,” he explained, “and then each of us would go in and WITH SPECIAL GUEST PETER ERSKINE - MITCH FORMAN - JANEK GWIZDALA McHenry continued, rapt with it all. “Major, minor, stack something free on top of that, track by track.” TUE OCT 15 diminished, augmented. No seventh chords, no slash McHenry also recently collaborated as a sideman TRAVIS SULLIVAN’S BJÖRKESTRA chords. And I loved the results that came out of it.” in the quartet led by Revis (which also includes alto WED OCT 16 TIM BERNE’S SNAKEOIL The saxophonist further explained that his current saxophonist Darius Jones and drummer Chad Taylor), OSCAR NORIEGA - MATT MITCHELL - CHES SMITH group of sidemen - each of whom have strong calling the experience “an honor and a pleasure.” That THU-SUN OCT 17-20 experience as leaders in their own right - were quartet already spent two days in the studio recording CHARLES McPHERSON QUINTET BRIAN LYNCH - JEB PATTON - KIYOSHI KITAGAWA - JOHNATHAN BLAKE particularly adept at taking on the challenges of that an album, which will likely be released next February. TUE OCT 22 new music. “It’s been such a luxury, because I know After leaving the studio, the group played last month EMANUELE CISI NY3 they’re always going to search for beauty and they’re at Smalls [see review on pg. 5]. JOSEPH LEPORE - LUCA SANTANIELLO WED OCT 23 going to be very tough and very smart and they’re But even though he keeps busy with work as a BEN MONDER & THEO BLECKMANN DUO going to have an incredibly wide emotional range,” he sideman, McHenry said it’s his development as a THU-FRI OCT 24-25 said. “All I have to do is put the music on the paper, leader that has remained central to his personal DAFNIS PRIETO SI O SI QUARTET play my part and let them be...and I know they’re explorations into music. “I guess the biggest growth PETER APFELBAUM - MANUEL VALERA - JOHANNES WEIDENMUELLER SAT-SUN OCT 26-27 going to come up with great answers to each sound.” factor for me has been to give myself the same DAFNIS PRIETO SEXTET McHenry added that he’d previously learned the permission that I give to the other members of the MIKE RODRIGUEZ - FELIPE LAMOGLIA - PETER APFELBAUM - MANUEL VALERA - JOHANNES WEIDENMUELLER benefits of employing that laissez-faire approach while band [to interpret tunes freely],” said McHenry. “And I TUE-WED OCT 29-30 RUDRESH MAHANTHAPPA’S GAMAK leading his last quartet, with guitarist Ben Monder, kind of do that now. But there’s a difference between DAVE FIUCZYNSKI - FRANÇOIS MOUTIN - DAN WEISS bassist Reid Anderson and the late, great drummer kind of giving it to yourself and totally giving it to THU-SUN OCT 31-NOV 3 Paul Motian. That collaboration led to a particularly yourself. That’s a point I’m always trying to reach...to VIJAY IYER TRIO HARISH RAGHAVAN - MARCUS GILMORE fruitful recording session in 2006, which yielded two remember that it’s okay to just be naked, musically. HHHMINGUS MONDAYSHMINGUS MONDAYSHHH albums: Roses, released in 2007 and Ghosts of the Sun, Nothing bad will ever happen.” v MON OCT 7 MON OCT 14 MON OCT 21 & 28 MINGUS DYNASTY MINGUS BIG BAND MINGUS ORCHESTRA released on Nov. 22nd, 2011, the day Motian died. JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA BACK IN FULL SWING SUN OCT 20 AT 2PM - DIRECTED BY DAVID O’ROURKE (Both albums, as well as La Peur Du Vide, were put out For more information, visit billmchenry.com. McHenry’s by the Sunnyside label.) Aside from the more Quartet is at Village Vanguard Oct. 22nd-26th. He is also experimental aspects of his quartet’s new repertoire, at Smalls Oct. 7th with Joe Martin and Oct. 8th with Josh

THE NEW YORK CITY JAZZ RECORD | October 2013 7

ON THE COVER SUN RA Space In Time by Russ Musto Michael Wilderman/wildermanphoto.com

It’s not surprising that the music of a man who over to the club to see Gene Ammons and by the time I everybody would be on the floor around him. One proclaimed that he was from another planet is still got through with Sun Ra that night it was four o’clock time he was on the phone talking to the Canadian being heard all over the world nearly a century after in the morning. He said, ‘You got a flute?’ And I said customs and he was getting increasingly frustrated. He his ‘arrival’. Sun Ra was born (came to Earth, in his no.’ He said, ‘Go get a flute.’ So I got me a new horn finally said, ‘Those are the rules you have for earthlings. words) as Herman Blount in Birmingham, Alabama and a new flute, new saxophone. I’m ready now! What are your rules for omnipotent beings?’ Then he May 22nd, 1914. Sonny - as he was known from an “The band was full of saxophones, so I didn’t have said, ‘Of all the planets I’ve been to, this is the worst early age - was playing the family piano by the time he no seat, when I went to the first rehearsal. ...Everything one.’ And he slammed the phone down.” was 11, claiming to be able to read and write music I played was sentimental and sweet with a nice tone. Ra’s fame extended well beyond the jazz world almost from the start. At Industrial High School he He’d say, ‘That’s good, but that’s not what I want at and he enjoyed a cult-like following that reveled in the studied with celebrated music educator John T. “Fess” this time.’ ...Well, I’m playing all these licks and he spectacle of the band’s marathon performances, which Whatley, who gave the young Blount some of his first didn’t want to hear that. He said ‘No, that’s not it. You might include a fire eater, acrobats or a light show, in professional experience. After graduation the pianist got to play by the spirit.’ One day I got so mad and addition to the usual troupe of costumed musicians, went on to attend A&M University as a music education frustrated, so I just played anything, some squeaks and singers and dancers. Musically the ensemble was as major. squawks and everything and he said, ‘Yeah! Good!’” powerful as ever with the addition of trombonist Craig He traveled throughout the region as far north as Allen made his recording debut with the Arkestra Harris, trumpeter Ahmed Abdullah and French horn Chicago, where he would eventually settle. There he in 1959 on Jazz In Silhouette (released on Ra’s own El player Vincent Chancey to its increasingly powerful performed with well-known artists Wynonie Harris, Saturn label). He traveled with the band to Canada and brass section. Throughout the ‘70s-80s the group Lil Green, Stuff Smith, Joe Williams and, most on the way home Ra decided to stop off in New York. rehearsed exhaustively, traveled extensively and importantly, Fletcher Henderson, whose music would Allen remembers, “When we got to New York, a cab hit recorded regularly. be part of his repertoire for the rest of his life. His work our car. Now we’re stranded for a minute, so we stayed The septuagenarian Ra more than kept up with his with Henderson at the famed Club De Lisa was around New York and began to work there.” The band younger charges, setting the band’s grueling pace until followed by his own tenure in the room, working the was soon an important part of the burgeoning avant a series of strokes beginning in 1990 sapped him of his breakfast set where visiting musicians would sit in and garde scene, participating in the 1964 October cosmic energy and he handed the controls of the play until morning. In Chicago Herman Blount became Revolution In Jazz concert series, leading to a series of Arkestra over to John Gilmore. He eventually returned Le Sun Ra and the Sonny Blount Band came to be recordings for the ESP-Disk’ label. Later Impulse to Birmingham, giving up his earthly life May 30th, known as Le Sun-Ra and His Arkistra. Later Arkistra Records licensed several El Saturn masters. 1993. Allen took over leadership of the band after became Arkestra and then the Astro Infinity Arkestra, They eventually settled on E. Third Street, living Gilmore’s passing in 1995. Thompson notes, “Sun Ra’s Myth Science Arkestra or Solar Myth Science Arkestra. communally in a rented row house that was around the spirit rules over the band. We play Marshall’s music The group at various times included some of the corner from Slug’s, where the band landed a regular and we play Sun Ra songs and he knows the phrasing city’s finest musicians, including two - tenor saxophonist Monday night gig. The group’s ranks swelled, adding because he was there.” John Gilmore and baritone saxophonist Pat Patrick - vocalist dancer June Tyson, sound infinity drummer Sun Ra’s music is now an accepted component of who would become mainstays with the band. Others James Jacson and alto saxophonist Danny Davis (who the jazz repertory, played not only in clubs and concert would remain with the ensemble for shorter periods, would engage in mock battles with Allen), all halls, but even in academia. Abdullah has taught a such as trombonist Julian Priester and alto saxophonist/ contributing to the shows’ increasing theatrics, class at the New School since 2002 where students flutist James Spaulding. The latter remembers meeting influenced by exposure to the surrounding bohemian study the life of Sun Ra using John Szwed’s book Space Gilmore and Patrick at a jam session. “They invited me multiculturalism, including the performances of is the Place, as they learn and perform Ra’s music and to rehearse with their band and introduced me to the drummer Babatunde Olatunji, who often employed lyrics. leader, Sun Ra. We performed mostly in black venues Gilmore, Allen and Patrick. It was at Olatunji’s African This month the music of Sun Ra will be heard in where he had a small but curious fanbase. Sonny had a Culture Center that saxophonist Danny Thompson, a the august confines of jazz’ most auspicious institution, very unique approach to how his music should be future member of the Arkestra, first encountered Sun when the Arkestra performs at Jazz at Lincoln Center’s played. He sketched melodies and harmonies on Ra. “Coltrane had a concert as part of the show. So I Allen Room. Jason Olaine, Jazz at Lincoln Center manuscript paper and had the whole band play the went there and I saw these guys in the corner...I was Director of Programming, notes, “We wanted to shine entire theme together once. He would then point his scared to go over there. I don’t know why, but they had a light on the music and legacy of Sun Ra, as we finger and designate single soloists, instructing that a different vibe from everybody in the room. When I approach what would have been his 100th birthday. they try not to repeat the same ideas twice.” went over there it was altogether different. Sun Ra told When we called up Marshall Allen to propose the idea Soon to join the sax section was Marshall Allen. me to come down to Slug’s to see the show. I went he thought it would be perfect, saying. “Sun Ra always Allen played clarinet and alto saxophone in a military down and they were playing from 9 to 4. Nonstop.” said his music was for the 21st Century!” v band overseas, before returning to the US, settling in Thompson eventually replaced an increasingly Chicago. “I had a day job and around the corner there busy Patrick. “[Ra] was very down to earth, a very nice For more information, visit elrarecords.com. Sun Ra Turns was a record store. I went in one day and the guy there person. He’d have his books and music. He was 100 is at Allen Room Oct. 5th with Marshall Allen and the said, ‘Man, I got a nice record, with some good stuff.’ disciplined so there were certain things you couldn’t Sun Ra Arkestra. See Calendar. So he gave me the record with Sun Ra on it. I took it do in the house. It was just music. Music, music, music! home and listened to it and said, ‘Oh, that band sounds He was something else.” When the building on Third Recommended Listening: good!’ So I went back to the record store and said ‘Man, Street was sold Ra and company moved to Philadelphia, • Sun Ra - Jazz by Sun Ra (Sun Song) (Delmark, 1956) I like that Sun Ra band.’ He told me, ‘Oh, they live into a house owned by Marshall Allen’s father that • Sun Ra - Jazz in Silhouette (Images and Forecasts right up there by you, on the South Side. He’s always remains the Arkestra’s headquarters to this day. of Tomorrow) (Saturn-Evidence, 1959) looking for new musicians.’ In Philadelphia Ra continued to enlist some of the • Sun Ra - The Heliocentric Worlds of Sun Ra “So I went there and Sun Ra was sitting there area’s finest musicians including trumpeter Michael (Volumes One, Two, Three) (ESP-Disk’, 1965) writing music and the band was rehearsin’. That’s Ray and trombonists Tyrone Hill and Robin Eubanks. • Sun Ra - Space is the Place (Blue Thumb-Impulse, 1972) when I first met Sun Ra. I sat with him for the rest of Eubanks recalls meetings with Ra. “He would hold • Sun Ra - Live at Montreux (Saturn-Inner City, 1976) the evening, when they got through. Then we went court sometimes, in the chair in the living room and • Sun Ra - Blue Delight (A&M, 1988)

THE NEW YORK CITY JAZZ RECORD | October 2013 9 ENCORE

beautiful tone. Besides Clifford he was the second one vibrant. “A couple of years ago I woke up in the Marcus Belgrave that made me cry just listening to his phras[ing].” morning, looked in the mirror, [and said] ‘Damn! How’d When Belgrave plays one can hear his influences: I get to…75? How did I get to this point? I mean, I’ve by Terrell Holmes Louis Armstrong’s operatic high notes; the joyful been that busy... I couldn’t believe that I’m still here. staccato of Dizzy Gillespie and Clifford Brown’s warmth About 20 years ago I said [to Geri Allen] ‘Geri, I’ve got When Marcus Belgrave and sophistication. He has used their inspiration to to stop playin’.’ She said ‘Mr. Belgrave, you ain’t never announced that he was formulate his own approach to melody and harmony, gonna stop!’” v retiring a few years ago, playing with a sure-handed, frequently dazzling it was wonderfully technique, rich tonality and a heart-melting lyricism in For more information, visit marcusbelgrave.net. Belgrave is laughable. He has been his phrasing. at Jazz Standard Oct. 1st-2nd as part of Festival of New designated as Detroit’s Belgrave is an integral part of the cultural fabric of Trumpet Music (FONT). See Calendar. Jazz Master Laureate Detroit, particularly in his capacity of teacher and and this past Labor Day played at the Detroit Jazz mentor, passing his experience and wisdom on to young Recommended Listening: Festival. Among his current recording projects is a new musicians. “The main thing is, learn how to listen,” • David “Fathead” Newman - Fathead: Ray Charles album, Lottie the Body’s Mood, slated to be released on Belgrave said, “and how to phrase. Phrasing is a very Presents David Newman (Atlantic-Rhino, 1958) Blue Note later this year. important thing. And I think that’s what Ray Charles • Marcus Belgrave - Gemini II This month, Belgrave will receive the Award of liked about me. That was one of the things I learned (Tribe - Soul Jazz/Universal Sound, 1974) Recognition at the Festival of New Trumpet Music from being with my father, the relationship between the • Kirk Lightsey - Kirk ‘n’ Marcus (Criss Cross, 1986) (FONT), which he will celebrate with two nights at Jazz instruments. Those are some of my greatest attributes, • Geri Allen - The Nurturer (Blue Note, 1990) Standard. These activities, along with his teaching and learning how to phrase with other instruments.” He • Horace Tapscott - aiee! The Phantom mentoring, leave this timeless and energetic trumpeter also emphasizes to students development as composers, (Arabesque, 1995) no time to retire. “Well, you know, the thing about bandstand presence and conduct and knowledge of • Robert Hurst - BOB: A Palindrome (Bebob Music, 2001) music, especially jazz - you don’t retire,” Belgrave said history. “The thing that I thought they didn’t get is that during a recent phone interview from Detroit. “You the future comes from the past,” Belgrave explained, never stop. If you stop, you’re through.” “so you’ve got to be able to incorporate into your Belgrave, 77, a native of Chester, Pennsylvania, has learning what has gone down before you in order to been present at various creations during his almost maintain that quality of musicianship.” 60-year career. He is an original member of the Ray The long roster of jazz musicians Belgrave has Charles’ band and, as a staff trumpeter at Motown, he taught includes stars like alto saxophonist Kenny played a role in the formation of the “Motown Sound”, Garrett; violinist Regina Carter and her cousin, appearing on some of the label’s most memorable hits. saxophonist James Carter, and bassist Bob Hurst. For his But he’s known primarily as a jazz musician and has upcoming Jazz Standard gig his bandmates are bassist played on many jazz albums as a sideman with Ella Marion Hayden, drummer Kassa Overall and pianist Fitzgerald, Charles Mingus, Horace Tapscott, David Geri Allen, all former students. So his generosity of Murray and Tony Bennett, among others. His spirit has been a self-perpetuating gift. Belgrave has discography as a leader began in the early ‘70s with also passed on his knowledge and love of music to his Gemini II (a nonet session waxed for Tribe Records). 15-year-old son Kasan, a multi-instrumentalist who Belgrave’s father gave him a bugle when he was specializes on saxophone and clarinet. “Everybody’s three years old. Later while sitting in his father’s car talking about him already,” Belgrave said proudly. “I parked outside a club, Belgrave heard Tadd Dameron’s just gotta keep him focused because he’s also into sports. band, which featured Belgrave’s cousin Cecil Payne and I love working with him but he’ll take you around the trumpeters Johnny Coles, John Lynch and Clifford mulberry bush and back.” Brown. From there it was only a few half-steps to the Even in his eighth decade, Belgrave’s commitment trumpet. “Johnny Coles was a legend. [He] had such a to jazz ensures that the music will remain relevant and

LEST WE FORGET

World Symphony or most prominently as soloist or horn players: Vincent Chancey, who has worked in the Julius Watkins (1921-77) ensemble member on an impressive number of Sun Ra Arkestra and Lester Bowie’s Brass Fantasy; and outstanding small group and big band dates. These Tom Varner, who, after playing with everyone from by Ken Waxman include such classics as Thelonious Monk & Sonny Steve Lacy to John Zorn, now teaches at Seattle’s Rollins and Monk (Prestige); Miles Davis’ Porgy & Bess Cornish College of the Arts. A stylist whose innovative work in the ‘50s-60s and Miles Ahead (Columbia); Gil Evans’ New Bottle Old Although Watkins died in Short Hills, NJ on Apr. putting the French horn into a jazz context is analogous Wine (Pacific Jazz); John Coltrane’s Africa/Brass 4th, 1977, his influence lives on. From 1994-98, an to what Coleman Hawkins did for the tenor saxophone (Impulse); Charles Mingus’ Let My Children Hear Music annual Julius Watkins Jazz Horn Festival took place in and Louis Armstrong the trumpet 30 years earlier, (Columbia); Quincy Jones’ Birth of a Band (Mercury) New York and in September 2012 the seventh edition Julius Watkins almost single-handedly created a viable and even Pharoah Sanders’ Karma (Impulse). Watkins’ was organized at Richmond’s Virginia Commonwealth role for the horn during the bop and postbop eras. skill on the instrument, which encompassed the bright University where academics, plus classical and jazz Born in Detroit on Oct. 10th, 1921, Watkins began facility of a trumpet and the dark sonority of a French hornists gathered to perform and discuss playing the French horn at nine in his school band and trombone, is why he was in such demand. Watkins’ lasting legacy. v continued his studies at that city’s famous Cass From 1956-59 Watkins also co-led the Les Jazz Technical High School. Although he also played Modes quintet with tenor saxophonist Charlie Rouse. Recommended Listening: trumpet during a three-year stint in Ernie Fields’ An anomaly among hardbop bands, Les Jazz Modes’ • Oscar Pettiford - The New Oscar Pettiford Sextet territory band in the mid ‘40s, by the end of the decade sound was evocative and intricate with straightahead (Debut-OJC, 1953) he had already recorded on his chosen instrument for playing from Rouse, Watkins and the rhythm section, • Julius Watkins - Julius Watkins Sextet, Vols. 1-2 sides with drummer Kenny Clarke and vocalist Babs often mixed with wordless soprano vocals from Eileen (Blue Note, 1955) Gonzales and toured with pianist Milt Buckner’s band. Gilbert. Besides expected material, the band also • Charlie Rouse/Julius Watkins Les Jazz Modes - After studying at the Manhattan School of Music in recorded music from the Broadway show The Most The Rare Dawn Sessions: Jazzville ‘56/Les Jazz Modes/ 1952, he spent the next quarter-century in NYC. Within Happy Fella. Interestingly enough when the quintet Mood in Scarlet (Dawn-Biograph, 1956) a few years he had recorded a couple of 10-inch LPs for broke up, Rouse subsequently became a fixture in the • Jimmy Heath - The Quota (Riverside-OJC, 1961) Blue Note, featuring heavyweights such as tenor bands of Watkins’ old friend and employer Monk. • Charles Mingus - Music Written For Monterey, 1965: saxophonists Frank Foster or Hank Mobley, drummers Besides his skills as a studio player in many other Not Heard…at UCLA 1965 (Sue Mingus Music- Kenny Clarke or Art Blakey and bassist Oscar Pettiford. sessions involving everyone from Oliver Nelson and Sunnyside, 1965) From that point on Watkins was the “go-to” French Phil Woods to the Jazz Composers Orchestra, Watkins • Warren Smith Composers Workshop Ensemble - horn player on the East Coast, whether it was for was also a renowned teacher. Two of his students are Composers Workshop Ensemble Broadway pit orchestra work, with the classical New among the most accomplished of contemporary French (Strata East-Claves Jazz, 1968-69)

10 October 2013 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

coined by Talib Rasul Hakim (1940-88, né Steven A. seeking hard-to-find personalities. Some artists, Episodes Chambers). Talib was an accomplished composer and coming from out of town or overseas, were the older brother of Joe Chambers. I started the band accommodated “in residency” for brief periods of time, by Warren I. Smith and in the beginning, everyone brought in music. Soon sometimes as much as six months or a year. my compositions became the focus of our performances, Finally, I lost the lease to the space. We moved to Studio WIS, located at 151 West 21st Street, was the along with at least one concert of Talib’s work. The Tribeca, sharing a space called “Thoughtforms” with a second location of my rehearsal studio. The first atmosphere, however, was open to the ideas, group of young visual artists and musicians. This location was 509 West 59th Street. That building no suggestions and music of the other participants. situation lasted until early 2001 when they also lost longer exists. I procured the loft on 21st Street from There were times when I wrote technically less their lease. Finally, Studio WIS ceased to operate. This Peter Berry, a friend and fellow percussionist I met difficult music for what I presumed to be the players’ brings us to the place we are now, trying to re-establish through Patti Bown during the ‘60s. I took over his capabilities at the time. I’m also sure it caused me to the studio. The need for such a place is still evident. v lease in 1967 and began operation of the legendary expand my orchestration to include artists who could music loft that summer. Anton Reid, who came to me provide the sound and expression I heard in conjunction Smith’s Composers Workshop Orchestra is at NYC Baha’i through Mike Henderson, soon joined me. A former with the notated idea. So I added percussion, more Center Oct. 29th and a concert in his honor by the Me We & student at Sands Jr. H.S., Anton took over the operation reed voices, more brass until an octet grew into a Them Orchestra is at Roulette Oct. 26th. See Calendar. of the studio, which Mike had provided and soon we flexible undetermined ensemble that functioned were functioning full time. At first we rehearsed the organically to fit the situation. Warren Smith is an American jazz percussionist, composer Composers Workshop Ensemble weekly. Then other Alternative Music Fest at Studio WIS took place and bandleader, an original member of Max Roach’s M’Boom members of the ensemble, like Jack Jeffers and Howard Jun. 30th-Jul. 10th, 1972. There were hundreds of ensemble and leader of the Composers Workshop Ensemble. Johnson, began rehearsing their own musical projects. participating musicians, especially the usually ignored He graduated from the University of Illinois and took a Gradually others began to use the space and soon it - like those of us who played ‘avant garde’ free Master’s in percussion at the Manhattan School of Music. became quite popular among musicians. improvisation. The concerts were not limited to Some of his earliest recordings were with Miles Davis and During the early ‘70s, other musicians were presentation at Studio WIS. They took place uptown, John Cage. Some early commercial credits include Aretha operating music lofts in Greenwich Village and the downtown and all around the town. We drew a lot of Franklin, Nina Simone, Lloyd Price and Nat King Cole. His Lower East Side particularly. Anton started to produce the foreign tourist/jazz fans. By the second year loft, Studio WIS, acted as a performing and recording space musical presentations as did many of the others, like George Wein’s organization co-opted a few of us: the for many jazz musicians such as Wadada Leo Smith, James James Duboise at Studio We, Joe Lee Wilson at the Sam Rivers Big Band, Gil Evans’ orchestra and a few Jabbo Ware, Jimmy Owens and Oliver Lake. During several Ladies Fort, Sam Rivers at Studio Rivbea, Mark others. The third year was biz as usual: We were decades Smith played with Andrew White, Julius Hemphill, Morganelli at the Jazz Forum and George Braith, to ignored and never were able to capitalize on the Muhal Richard Abrams, Nancy Wilson, Quincy Jones, name a few. We soon began interacting and formed success of that first year. Count Basie, Sam Rivers, Tony Williams, Anthony Braxton, several alliances: By 1985, most of the jazz lofts were a thing of the Charles Mingus, Henry Threadgill, Joe Zawinul and Carmen Among the more successful of these were the past. Studio WIS, however, managed to maintain its McRae. Other credits include extensive work with rock and Producers Alliance of Strata East Records, led by operation until 1996, when we lost our lease to an pop musicians such as Van Morrison and Janis Joplin. He Stanley Cowell and Charles Tolliver. This effort gave aggressive landlord and the wave of gentrification that continued to work on Broadway into the ‘90s and has birth to a catalogue of 39 releases by independent swept through Chelsea and the rest of lower Manhattan. performed with a number of classical ensembles. artists. Also the Collective Black Artists began, started During that last ten years or so, Anton and I produced Smith taught in the New York City public school actually by Heiner Stadler, who later founded Tomato a remarkable number of concerts and mini-festivals system, at Third Street Settlement, at Adelphi University, Records. Heiner was quickly moved aside as the every year. The studio became a very popular rehearsal SUNY-Old Westbury and others. majority of African-American artists decided we place for many renowned artists to develop their While his recordings as a leader and/or main collaborator should control our own destiny. Continuing on the projects and showcase their talent. The studio became appear on various labels, of special note is his DVD release, 30-odd years, artists like Muhal Richard Abrams, a meeting place and reference center for employers, WIS on Monk - Warren Smith Solo Percussion (Freedom Coleridge Taylor Perkinson, Max Roach, to name a few, seeking hard-to-find individuals to fill out their rosters. Art Records, Miff Music Production). Here he performs on used Studio WIS to compose and rehearse. Record producers, Broadway contractors and his extensive percussion arsenal that was partly destroyed by Composers Workshop Ensemble. The name was bandleaders regularly rang the familiar phone number, Hurricane Sandy.

VOXNEWS

Mingus, Ornette Coleman and Eric Dolphy. Sliding Roulette (Oct. 13th). Kitamura will also appear at Non-conformist Spirit from low moans to witchy wails on impulse, La Rose’s Spectrum with Michael Lytle (Oct. 2nd) and in duo vocal range resembles Lederer’s contrasting tenor and with percussionist Andrew Drury, accompanying the by Katie Bull clarinet. Also at Shapeshifter Lab (Oct. 3rd), hear the storytelling process of the Mark Lamb Dance Company wonderful sonic wrestling of the entrained duo in their Saturday Salon Series at the Metro Baptist Groundbreaking saxophonist Albert Ayler’s Live on the Iconoclast: Julie Joslyn (alto, live electronics, violin and Church (Oct. 12th). Riviera (ESP-Disk’) has been remastered for a 50th vocals) and Leo Ciesa (percussion, keyboards and Nora McCarthy plunges bravely down the vocal Anniversary CD release, capturing his stunning 1970 vocals). Or, catch the John Tchicai Memorial Concert rabbit hole in more than one venue this month. performance at a French festival. Ayler’s raw and Tribute featuring former Poet Laureate Amiri Baraka McCarthy is a wholly evolved risk-taking artist. Hear entranced saxophone energy morphs into his gutsy and the post-Beat Generation spoken word poets Steve her strong, clear and warm voice at Bar Next Door (Oct. vocalizing in moments and merges with the beautiful Dalachinsky and Golda Solomon (Oct. 18th). For three 28th) and also at Cornelia Street Café (Oct. 26th) to intensity of his life partner, singer Mary Maria Parks. nights, you could also go on a quest at Shapeshifter celebrate her A Small Dream in Red’s In the Language of In an invocation, Parks’ spoken word is as relevant with the one and only Rhiannon, a deeply respected Dreams (Red Zen), a testimony to the unity she shares today as it was in the last century. Parks sing-talks with jazz vocalist and sage educator (Oct. 18th-20th). with her longtime collaborator and partner, alto an urgent call for us to connect with music and Rhiannon’s recently self-published book combines saxophone player Jorge Sylvester. McCarthy and therefore, life - to release from over-thinking and hate moving personal parables with practice structures, Sylvester’s other recently released collaboration is and to balance our minds and hearts. This month, let’s underpinning her approach to vocal improvisation. Spirit Driven (foUR), a cohesively driving CD featuring celebrate free-spirited vocalists who are breaking out of Titled Vocal River, the book may as well be a manifesto Sylvester’s ACE Collective. pre-existing forms - not for the sake of novelty, but to for the current movement of vocal nonconformists who Norwegian Karin Krog is one of Europe’s most service the spirit of authentic in-the-moment flow down the ‘river’ of the present. well respected singers. She unites with her accompanist communication. At Roulette, veteran vocal movers and shakers of 40 years, pianist Steve Kuhn, to perform a benefit for In the tradition of the Ayler-Parks connection, include Shelley Hirsch, a master inventor of her own (and at) the Norwegian Seamen’s Church (Oct. 29th). irreverent vocalist Mary La Rose and husband/ post-scat style. She is one of many guests celebrating Able to sing experimentally but also considered a saxophonist Jeff Lederer (who credits Ayler as a primary Billy Martin’s 50th Birthday (Oct. 25th). Kyoko consummate interpreter of jazz standards, Krog will influence) will celebrate their new CD, Reincarnation Kitamura vocalizes in nearly every register, scats in embody all her influences to offer a night that defies (Little i), at ShapeShifter Lab (Oct. 9th). La Rose’s multiple tongues (and invents new ones) and surprises labels. She will most certainly carry the spirit of music original lyrics and Lederer’s arrangements, as she wanders freely from one coloring to another. Her and life forward. As Mary Maria Parks once sang, incorporating the Brooklyn Rider String Quartet, are voice is featured on multi-reed player Mike McGinnis’ “Music brings about a state of wholeness and purifies. what La Rose calls “reinterpretations” of Ayler, Charles CD Ängsudden Song Cycle, celebrating its release at O, let it come in. O, let it come in.” v

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

on both vinyl and CD, as well as 20 titles through the artists total artistic freedom. There were, of course, Bethlehem Records Bethlehem Records iTunes store. The LPs recreate the certain necessary but quite liberal financial limits.” original packaging and the CD covers are facsimiles of Wildi claims it took him years to recover, by George Kanzler the originals. “We thought Burt Goldblatt’s original financially, from Bethlehem Records. Yet the label artwork was not just outstanding but unique and to a produced well over 200 LPs during its decade of Most LPs issued in the mid ‘50s featured a glossy certain extent groundbreaking,” says Michael Stack, existence, many of them invaluable recordings by paper cover pasted on a cardboard sleeve. My original Verse president. “You’ll be seeing more of it on artists who were not well-represented on other labels Ellington at Newport, a Columbia 12” LP from 1956 is merchandise in the next few months. We have a of the era, many of them West Coast musicians as well tattered and frayed, the cardboard falling apart. But merchandise deal in place to have those images on as East Coast postboppers. And his statement that Historically Speaking: The Duke, a Bethlehem 12” LP also T-shirts, tote-bags and other items.” “Bethlehem gave its artists total artistic freedom” is from 1956, is still shiny, clean and sturdy, the glossy The initial releases, all recorded during the period born out by comments from some of the artists paper laminated to the pressboard sleeve. The striking 1953-58, when Wildi owned the label, are: Modern themselves, as well as by the fact that the label cover art - a black and white high contrast close-up of Quintet, Oscar Pettiford; Sings Lullabys For Lovers, championed such iconoclasts as bassist-leaders Ellington from eyebrows down to lower lip - is Chris Connor (both 10” LPs) and (all 12” LPs) Daddy Mingus, Pettiford (who was also allowed to feature his dominated by two space-engulfing capital Ds creating Plays The Horn, Dexter Gordon; The Jazz Experiments, cello) and Vinnie Burke (whose quartet accompanies three colors over most of the photo, a dominant red Charles Mingus; Little Girl Blue, Nina Simone and The singer Connor). from overlapping magenta and orange. Book Cooks, Booker Ervin. More 2013 releases will Of her Little Girl Blue album, Nina Simone said: “I Gus Wildi, the founder of Bethlehem, in 2010 told feature 12” LP/CDs from Zoot Sims, who also appears went into the studio and recorded my songs exactly as Tyler Alpern, whose website (tyleralpern.com) features in Ervin’s sextet, and the quintet of Donald Byrd and I always played them, so when you listen to that album a history of the label: “We recognized from our first Pepper Adams, as well as a 10” LP/CD from singer you’re hearing the songs played as they were at the 10-inch album release on, that the importance of the Bobby Troup. Midtown Bar. The only difference is that you don’t get quality of the cover was underrated by other As those early rereleases suggest, Bethlehem was the improvisations that I wove around those numbers companies. I believe then that Bethlehem was the first an eclectic label during its heyday; Wildi sold a half in my live set.” company to create covers with some artistic merit as interest to King Records in 1958 and King let the label Mel Tormé, who recorded seven albums for opposed to use them akin to soap or soup lapse by 1963. Wildi, who had arrived from Switzerland Bethlehem, said that “Red Clyde signed me for the jazz advertisements. The covers were heavily laminated, in 1950, had begun the label with pop music in mind aspect of my singing”, thus launching Tormé’s career wrapped around and minimal type was used, giving but, after a handful of failed pop records, turned to as full-fledged jazz singer, working with arrangers like off a feeling of quality and substance.” jazz, enlisting Red Clyde as his West Coast A&R man Marty Paich, after his earlier pop career as the Velvet Responsible for those covers was one artist, and a young Creed Taylor as a producer in New York. Fog. “Unfortunately, after a couple of years, I didn’t graphic artist and photographer: Burt Goldblatt. In When asked if Bethlehem had a particular philosophy leave Bethlehem - they left me! They left the world, in late August, Bethlehem was relaunched by the Verse or style Wildi says candidly: “The plain truth is NO! I fact. The label just folded.” Music Group and Naxos, issuing six titles from the ‘50s saw myself mostly as facilitator. Bethlehem gave its (CONTINUED ON PAGE 40)

Modern Quintet Sings Lullabys For Lovers Daddy Plays The Horn Little Girl Blue The Jazz Experiments of Oscar Pettiford Chris Connor Dexter Gordon Nina Simone Charles Mingus

LISTEN UP!

Bassist PETER BRENDLER has been an active part of Dream Band: I actually dream about my band Teachers: Rob Rose, Bill Snodgrass, Steve Owen, Rich the NYC jazz scene for over a decade. He has worked sometimes. Perry. with a diverse array of artists including John Abercrombie, Rich Perry and Jon Irabagon. In addition Did you know? I’m obsessed with surfing. If anybody Influences: Joe Henderson, Cannonball Adderley, Rich to his work as a sideman, Brendler has also become an has a cushy hotel lounge gig in Hawaii, please call me. Perry, Bill Frisell, Ron Miles, Tim Berne, Wayne Shorter, accomplished bandleader. His quartet will record an Matt Wilson, Justin Morell, TV and movie theme songs. album for Posi-Tone Records at the end of this month. For more information, visit peterbrendler.com. Brendler’s The bassist’s most recent release, The Angle Below, is a quartet is at Douglass Street Music Collective Oct. 11th Current Projects: Hashem Assadullahi Sextet with Ron duo recording with guitarist John Abercrombie on and Somethin’ Jazz Club Oct. 25th. See Calendar. Miles; Safety Buffalo with Alan Ferber; V.A.T. Trio; SteepleChase Records. Organ Trio with Gary Versace, Mark Ferber; Douglas Detrick’s Anywhen Ensemble. Teachers: Whit Browne, Jay Anderson, Drew Gress. By Day: I teach and LOVE IT! Influences: Gary Peacock, Anders Jormin, Sam Jones, Wilbur Ware, Drew Gress, Pino Palladino, Bach, I knew I wanted to be a musician when... I was singing Brahms, Elliot Smith, David Foster Wallace... along with the radio from my carseat (Van Halen’s “Jump” was a favorite). But in the 9th grade, when I Current Projects: My quartet (with Rich Perry, tenor first heard Cannonball’s solo on “Fun” from Mercy, sax; Peter Evans, trumpet; Vinnie Sperrazza, drums) is Mercy, Mercy, my fate was sealed. really inspiring me right now. All those guys have so Peter Brendler Hashem Assadullahi much energy and are such distinctive voices on their Dream Band: Every chance to play is a dream come respective instruments. I also love playing duo with Since moving to NYC by way of Texas and Oregon in true but if I had a magic lamp, anything with Bill one of my all-time idols, John Abercrombie. 2010 saxophonist HASHEM ASSADULLAHI has led Frisell. groups featuring some the world’s greatest talents in By Day: Practice, write, read, exercise, tutor SATs. jazz, including Alan Ferber, Ben Monder, Mark Ferber, Did you know? I “won” a make-believe rodeo as an Matt Wilson and Rich Perry. In addition to his own imaginary bull-rider in kindergarten. The class celebrated I knew I wanted to be a musician when... I was dying acclaimed releases with his sextet featuring Ron Miles, by listening to Marty Robbins and eating popcorn. to play electric bass in 8th grade and my parents Strange Neighbor & Pieces, he has recorded with several wouldn’t get me a bass because my grades were really ensembles and is a charter member of Douglas Detrick’s For more information, visit hashemjazz.com. Assadullahi is bad. So, I spent a year building my first electric bass in Anywhen Ensemble. Assadullahi frequently serves as a at SingleCut Beersmiths Oct. 19th as part of the Queens Jazz shop class. After that, there was no turning back. clinician and adjudicator across the US and abroad. OverGround Festival and Tomi Jazz Oct. 29th. See Calendar.

12 October 2013 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT A L’ARME! Festival Detroit Jazz Festival Guelph Jazz Festival by Philip Smith by Andrey Henkin by Ken Waxman Peter Gannushkin/DOWNTOWNMUSIC.NET Lazarski Photo by Marek (c) Susan O’Connor - www.jazzword.com/ Louis Rastig/Peter Evans/Johannes Bauer/Paal Nilssen-Love Ahmad Jamal KAZE

As opening statements go, this was pretty explicit: Given all the negative press of late, one might be New combinations and new conceptions, sprinkled Belgian percussionist Els Vandeweyer smashed her excused for wondering if the headliner of the 2013 with touches of exotica, characterized the 20th way through the five pulsating minutes of “Rebonds Detroit Jazz Festival (DJF) might be Nero and his anniversary edition of the Guelph Jazz Festival (GJF, B” by Iannis Xenakis before returning to her drums to fiddle. Yes, the midwestern city is in serious trouble Sep. 4th-8th). The GJF, located in a small university hammer out a 30-second encore, screaming an but what it may lack in economic stability it makes up city, fewer than 100 kilometers west of Toronto, has, impulsive accompaniment for good measure. Welcome for in sincere pride; throughout the 34th edition (Aug. from its beginning, stretched the definition of “jazz” to A L’ARME! Festival, Berlin’s celebration of arresting 30th-Sep. 2nd), the rich musical history of the city and while avoiding populist pandering. The approach avant garde music and experimental jazz (Aug. enthusiasm of its citizenry was invoked both on and obviously works, with the GJF gradually expanding. 8th-10th). off all four of the festival’s stages. On Saturday, afternoon and evening free outdoor Now in its second year, the 2013 edition certainly The DJF is a traditional jazz festival, meaning it concerts now take place in front of city hall while the lived up to the name (capital letters and exclamation inhabits the realm between, say, the heady avant garde free dusk-to-dawn Nuit Blanche offers intimate mark included), with an international lineup of of the Vision Festival and the barely-jazz-programming performances in non-traditional downtown spaces. improvisers old and new bringing the sonically of the New Orleans Jazz and Heritage Fest. But within Confirming the festival’s international orientation shocking to the fore. Noise rock bassist Massimo the adjective “traditional” is remarkable breadth, no was the Canadian debut of Japanese pianist Satoko Pupillo certainly got the brief and his dark descending surprise given the astonishing number and variety of Fujii’s KAZE quartet of trumpeter Natsuki Tamura ostinati met with the unsettling sonics of FM Einheit in musicians that have come out of the Motor City over plus two French musicians: drummer Peter Orins and one of the most visually engaging performances of the the decades (no room to list all of them...just know that trumpeter Christian Pruvost. Presented in the soft- festival (the latter resembled a man in the midst of labels like Blue Note owe Cass Technical High seated Cooperators Hall of the River Run Centre DIY-rage as he smashed bricks with a hammer and School a great debt). So over Labor Day weekend - and (RRC), the performance was a marvel of timing and swirled the debris round an amplified metallic all for free, by the way, making DJF the largest and color, with pauses used as judiciously as kineticism. workbench). A different but equally exhilarating longest-running festival of its kind in the world - Fujii’s keyboard command led by example as she universe was created by Peter Brötzmann’s UK trio thousands of listeners made their way around Hart modulated from delicate Chopin-esque plinking to an with John Edwards (bass) and Steve Noble (drums), Plaza and up Woodward Avenue, past Joe Louis’ eventual climax blending a swing base with dynamic joined by guest vibraphonist Jason Adasiewicz from massive fist, to enjoy just how new and exciting chording. Despite playing the same instrument, the Chicago. The German saxophonist’s reed explorations “traditional” can be. trumpeters avoided repetition or competition. Instead drove a concert of relentless fire and melody, which Under the umbrella of classic jazz, there was the one lifted the program with flowing open-horn tones culminated in an achingly beautiful almost-cadence. Mack Avenue Super Band at the Carhartt Amphitheater while the other extended the rhythmic impetus by, in Fast forward to the closing act of the festival and Stage (CAS), an allstar agglomeration put together by Tamura’s case, cranking, rattling or blowing into noise Michiyo Yagi’s idiosyncratic approach to the koto (in Detroit’s premier jazz imprint. A set of blowing makers, or, in Pruvost’s attaching plastic tubing her hands transformed from delicate parlor instrument vehicles, the group was a showcase for the muscular, between the mouthpiece and horn’s body tube. to 12-stringed rhythmic powerhouse) was backed up sax-like playing of young vibraphone star Warren Smacking the bass drum for emphasis to intensify by the urgency of her Japanese cohorts, saxophonist Wolf. Trombonist Delfeayo Marsalis led an octet at the excitement during the set’s final minutes, Orins Akira Sakata and Tamaya Honda on drums, who Mack Avenue Waterfront Stage (MAWS), playing the animated the performance throughout. moved from folksong tranquility to abrasive sheets of not-often-heard Ellington suite Such Sweet Thunder, An equally inventive percussionist is Chicago’s sound. perfect for a warm afternoon sitting by the Detroit Hamid Drake. A long-time GJF visitor, as is bassist Housed within the three rooms of Radialsystem V, River and staring at Canada (the music was actually William Parker, the pair joined Québécoise pianist a former pumping station turned creative space in the written for a Shakespeare festival in Canada). David Marianne Trudel for a first-time meeting in the same city center, the festival’s serious musical intent was Berger’s Jazz Orchestra is a NYC staple; at CAS, its venue. Someone who usually navigates the shoals balanced by the relaxed interval atmosphere of deep swing was a lovely cushion for the precocious between notated and improvised music with refined musicians and audience sharing refreshments and singing of Cécile McLorin Salvant, a superstar in the resourcefulness, Trudel highlighted unanticipated thoughts in the bar and by the river. And the passing making. Also at CAS, local son Pepper Adams was muscularity in her improvisations. As the performance boats on the Spree provided the backdrop for the more celebrated by The Three Baris, a triumvirate of his rushed forward, eventually locking into a torrent of intimate music offered in the venue’s top floor studio varied musical heirs: Howard Johnson, Gary Smulyan rolling thunder, she maintained the pace with stabbing space. Here, Conlon Nancarrow’s unruly Studies for and Frank Basile (who even looks like a young Adams). runs, high-pitched key chiming plus sudden Player Piano were contrasted with improvised responses Pianist Ahmad Jamal might hail from another industrial unexpected romantic sequences. Accomplished rhythm from a variety of electro-acoustic ensembles. city (Pittsburgh) but he entranced the mobbed CAS, partners, Drake’s nearly effortless leaning into the beat UK-Austrian unit Barcode Quartet stood out, with remarkable in his ability to create an intimate club fused with Parker’s power plucks not so much to their subtle, patiently-evolving chamber textures environment with his sensitive touch; nothing like accompany as urge. Eventually the three parallel parts enlivened by percussionist Josef Klammer, who had hearing “Poinciana” by the guy who defined it. And merged into a jazzy lope. seemingly adopted a Nintendo Wii to trigger cartoonish another pair of octogenarians also plied their fine Another Québécois who produces inimitable samples with his body movements. And though wares: pianist/vocalist Freddy Cole in an afternoon set textures is guitarist Bernard Falaise. His solo program performing in a different room, something Nancarrow- at MAWS and, right after, alto saxophonist Lee Konitz of crunching runs, repetitive loops and banshee- ian seemed to inform the final evening’s solo set from at Absopure Pyramid Stage (APS) leading a younger screaming string distortions alienated or mesmerized a Belgian pianist Fred Van Hove, whose keyboard- quartet in a spontaneous set of standards. floor-seated audience at the Sukha Yoga Centre. (CONTINUED ON PAGE 50) (CONTINUED ON PAGE 50) (CONTINUED ON PAGE 50)

THE NEW YORK CITY JAZZ RECORD | October 2013 13 IN MEMORIAM

Words cannot adequately express what Marian McPartland meant to South Carolina ETV Radio, NPR and especially for me. Marian was, of course, the brilliant artist and beloved icon of Public Radio. You will hear that from many more illustrious people than me regarding this aspect of her. For me, she was a constant colleague of over 35 years, a mentor, a collaborator, but more, she was, is and always will be family. She allowed me the great privilege of working with someone I both admired as a legend and at the same time I could collaborate with as a friend. She provided me a direction I could have never imagined when I started in this business, not just in jazz and in radio, but in life. I was able to work closely with one of the strongest, most successful, vital, creative women of her time, someone who overcame every obstacle and who pushed through every glass ceiling. I am deeply saddened at her passing and at the same time profoundly joyful she let me into her life.

- SHARI HUTCHINSON, PRODUCER Photograph © Jack Vartoogian/FrontRowPhotos. Photograph © Jack Vartoogian/FrontRowPhotos. I knew Marian for most of her American career, which mostly matched mine chronologically. I remember going to hear her at the Hickory House. I don’t know when we first actually played together, but in 1974 she and I recorded a nice four-piano album in quadraphonic sound for RCA Victor along with Roland Hanna and Hank Jones. MARIAN When she began her Piano Jazz radio program, she invited me to be her guest early on and then again later and finally once more toward the end. She also appeared on the 92nd Street Y shows I used to present and for a couple of seasons we had a MCPARTLAND concert attraction, along with Ruth Laredo, the great classical pianist, called “Keyboard Cross-over”. I very much admired her playing and her stage presence and, in addition to being compatible 1918-2013 artistically, we were friends who might call each other up for advice. Toward the end, she mailed me her autobiography and it is a great regret for me that I hadn’t finished it and told her how much I appreciated it before she passed on.

- DICK HYMAN, PIANIST

Marian was a dear friend, who gave me my first steady job in New York in 1954 at the Hickory House on 52nd Street. Joe Morello was the drummer and Marian and Joe and I became old friends immediately. I spent several years at the Hickory House with Marian’s trio, learning and laughing and listening. After I left that job to join Gerry Mulligan, I stayed in touch with Marian and sometimes returned to play with her when she needed a bass player for a night. And in 1966, when she heard that my wife and I were buying a small house in Rockland County, she stopped by the place, introduced herself to the owner and examined the premises to make sure we were doing the right thing. We were surprised, but glad to have her approval. When Marian began her NPR radio program Piano Jazz, everyone was delighted. She had a sure touch with guest performers, making them comfortable, evoking their best playing, and in duets with them, matching them perfectly, no matter what their style. I was pleased when, in the ‘90s, Marian asked Joe Morello and me to rejoin her for a reprise of the Hickory House Trio. We did a Piano Jazz segment, a weekend at Birdland and a recording for Concord. The last time I saw Marian was at a screening of In Good Time, a film biography of Marian, that was shown in a library near her home on Long Island. She was in a wheelchair, but still bright and sassy and wonderful. I’m glad she had such a long, rich, rewarding life and I’ll miss her forever.

- BILL CROW, BASSIST

14 October 2013 | THE NEW YORK CITY JAZZ RECORD Marian McPartland has done more for jazz pianists Marian McPartland was one of a kind, a true original! With the passing of Marian McPartland the world of than anyone in the entire world. Being a guest on her She not only played great piano in solo, trio and music has lost an irreplaceable artist and human Piano Jazz program was a great thrill for me and she quartet (etc.) formats, but also played piano concertos being. Her legacy is beyond measure. She opened treated me with a kindness and love that I can never with orchestras! Her perfect pitch, harmonious doors for many musicians and expanded the scope of forget. I first met Marian in 1950 and she appeared at vibrations and command of so many concepts of jazz jazz on an international level. Marian was a true Storyville and my festivals many times over the enabled her to play musically and successfully with improviser. She might play a song in any key or years. She was always a delight to work with and any musician (which, of course, she did for such a tempo and was always willing to take chances. knowing her has added a lot to my life. long time in her famous NPR Piano Jazz series). She Marian McPartland’s Piano Jazz is an was also a composer of depth. Marian was always indelible contribution to the history of this music. - GEORGE WEIN, PRODUCER vitally interested in so many other musicians, the She was a perfect host, completely open to other way they played, composed, thought, felt and musicians’ conceptions and she approached her I first met Marian while I was living in Chicago, 36 expressed music and was constantly helping them guests with curiosity and humility. She was sharp years ago. A few months after that, she hired me to expand their careers. I was one of the recipients of all and witty and had the gift of creating an environment do some gigs in the Midwest. This experience helped these gifts she gave to so many! We played duet where people felt comfortable being themselves. to convince me to make the move to New York. concerts together, did three of the Piano Jazz shows We’re grateful to have known Marian and to have Marian got wind of my plans and on New Year’s Eve and also hung out listening to jazz in NYC. Her sense been a part of her world. We will miss her very much. 1978, she called me in Chicago and offered me the of humor was endless - we were always laughing. bass chair in her trio. Our first gig was three weeks at And I bet even now she remembers the time she - BILL CHARLAP & RENEE ROSNES, PIANISTS Michael’s Pub. I worked with Marian for about the insisted we wear huge, colorful, long flowing balloon next six years and my time with her was a rich period headbands as we played an outdoor duo piano I first met Marian around 1963-64 and she had heard of learning. Marian’s show on NPR had just started concert in Atlanta, Georgia! She is absolutely my name floating around New York as a young being aired when we worked at Michael’s Pub. I unforgettable! promising bassist. We seemed to hit it off pretty remember she asked me to attend the press event. As quickly and had really good chemistry. I was a young a young musician, it was thrilling to meet so many - JOANNE BRACKEEN, PIANIST guy looking to learn and she was on the scene and people in the jazz community. At the time, I don’t had all this experience. She was very generous, very think she had any idea how successful her show Marian McPartland was a grand lady. I have met few supportive, very kind - she was a wonderful lady would be. In retrospect, we all know now what a individuals with such a combination of charm, class plus being a terrific player. She had this steady club great showcase it was for Marian’s talents. and swing. Her wonderful spirit was a joy to behold thing going on at a place called Strollers Theatre Club I know my experience working with Marian and I count myself very lucky to have been her bass on E. 54th Street. It was a theater presentation of a had a profound effect on my career. She was one of a player and friend. Along with her husband Jimmy, British political satire called The Establishment, which kind. She always extended her hand to help others we had many wonderful times together. They both poked fun at the British. We played to this show and, and she was always smiling. She never settled lived life to its fullest and that made a lasting impact after it was over, part of the contract was to go into musically and she brought joy with her success. She on me. Her Piano Jazz NPR radio show will go down the pub and play some sets. It was a very lively scene: will be dearly missed. as one of the great achievements in jazz. I hope her actors, politicians, musicians and all kinds of people legacy will carry on in others who care for the music would come in - Dudley Moore, Pierre Salinger, Dizzy - STEVE LASPINA, BASSIST as much as Marian did. Gillespie, Jimmy McPartland her husband. The trio I miss her, but I have so many beautiful was with Dottie Dodgion, so I was the male in front of Marian McPartland is one of a dozen or so jazz memories that I cannot be sad, only grateful. this female vortex. Marian and I even played a little musicians whose name is familiar to a good swathe of bit after that and we still stayed in touch. Once I the American public. And if people don’t know her - BRIAN TORFF, BASSIST started working with Bill Evans two years later, we name, they most certainly know that voice, broadcast would talk over the phone and I fondly remember for 34 years over more than 200 stations, with its I met Marian when I first came to New York. She was doing her radio show Piano Jazz a couple of times too. diction-perfect English and genteel, inquisitive a marvelous musician and she contributed immensely In 1964 I was also playing with Giuseppi interviews. Called by none other than Dave Brubeck to the jazz scene through her radio show Piano Jazz. Logan. I don’t like playing any one kind of music; I himself “one of the top three pianists in jazz”, She was extraordinary in her way of interviewing think of it as acting - playing different roles and being McPartland has been honored with a Grammy Award people and playing double piano, which is very good in those different roles. I do what I do and for Lifetime Achievement and entertained two difficult to do. But she did it so gracefully and so Marian was like that, too and she never questioned presidents and nine justices of the Supreme Court. musically. I was always a great admirer of her talent. what my allegiances were. She was always very How a timid young girl learning classical piano in a She was generous and she had a wicked sense of gracious. I have a very fond memory of Marian. London suburb in the 1920s wound up being the humor, sometimes raunchy but I told her never to most important spokesperson for American jazz hold back because everything sounded so better in - EDDIE GOMEZ, BASSIST seemed like a story that ought to be told. her English accent. I will miss her so much as will all the members of the music world. Marian McPartland was always the quintessential - PAUL DE BARROS, AUTHOR listener. She turned millions of people into jazz - BARBARA CARROLL, PIANIST listeners - whether they knew that they were jazz Marian and I met in the ‘50s, in Chicago and our fans or not. With impeccable quality and patience, friendship continued to grow stronger through the I am so grateful to have been a witness and participant every week, Marian attracted an eager audience for years. I was a single mom and Jimmy (McPartland) in a collective standing ovation for Marian McPartland the music that she loved. Selling jazz to anyone other and Marian kind of adopted me and my young son as she entered the set being carefully photographed than the true believers can be a challenge, but Marian Alan Merrill. Jimmy cooked for all the holidays and by Judy Chaikin, to replicate the first iconic always rose to the occasion - welcoming every we had a family. photograph of A Great Day in Harlem. As you may opportunity to masterfully present new spontaneous I loved singing with Marian - keys were no recall, Marian McPartland and Mary Lou Williams orchestrations - filling every Piano Jazz program with problem for her at all and her sensitivity was one of stood together chatting in the original. joy and excellence. She taught me to respect every the many ways she revealed her warmth and love of Her iconic pianism, generous spirit, elegant artist’s uniqueness - and how to seek common people. Her nickname was Ma Perkins, after a radio wit and commitment to sharing improvised ideals ground and strength from fellow musicians. We’re character who always led a troubled life and the show fearlessly linked musicians from diverse creative all in this together and, throughout her long life, was dedicated to her constant fixing of other people’s perspectives into a community of collaboration. Marian tirelessly sought to lift every creative voice to problems. Marian always cared for her friends and I I am privileged to have played two pianos a new exalted place. From my very first conversation was honored to be amongst them. with her on a number of very special occasions and I with her at a Sweet Basil gig in 1985, I realized that In the last two weeks of her life, she asked her witnessed her playful audience challenge to attempt she would always be there for me - and she still is. assistant to ask me to come to her home. I always to call any song she did not know. They did not win Her words and letters are brimming with enthusiasm, agreed to go. Every two days her assistant would call the challenge of course. praise and encouragement - and I reread them often to say, “Can you make it in two more days, she is not I’d like to thank Ms. McPartland for her for inspiration. Hosting Piano Jazz, the brilliant too well today.” I will always wonder what it was she important body of work and for a lifetime of program that she created, is both humbling and wanted to say to me. I would have just liked to hold contributing inspiration to the community of jazz and exhilarating. I am honored to continue her beautiful her hand. ‘Til we meet again... its musicians. concept beyond her lifetime.

- HELEN MERRILL, VOCALIST - GERI ALLEN, PIANIST - JON WEBER, PIANIST/HOST, PIANO JAZZ

THE NEW YORK CITY JAZZ RECORD | October 2013 15 CD REVIEWS

emphasis is on straightahead modern jazz. flexibility. On it, Nabatov slides from lovingly caressing The album kicks off with Green’s “Percy’s the piano keys to vibrating blues-based tremolos with Delight”, an uptempo romp with a coasting theme and the same offhanded dexterity, as Wogram’s staccato ends with Jones’ “Elena”, a ballad with a folksy lullaby tongue flutters melt into mouthpiece bubbles without feel and some of Zenón’s most sweetly luxuriant alto ever breaking the narrative. Rainey backs each motion crooning. In between the program is well varied, to perfection with unvarnished rolls, ramps and ruffs. Perdomo seemingly judicious in his sequencing in order to emphasize the breadth of the tunes as well as For more information, visit leorecords.com. Rainey is at the musicians’ range. The rapport between Perdomo Cornelia Street Café Oct. 2nd with Sean Conly; Ibeam

New Yor-Uba: 30 Years - and Zenón (longtime colleagues in the latter’s band) Brooklyn Oct. 3rd with Jesse Stacken; Greenwich House A Musical Celebration of Cuba in America verges on uncanny, nowhere more so than on Perdomo’s Music School Oct. 4th; Cornelia Street Café Oct. 5th with Michele Rosewoman (Advance Dance Disques) “Crossmind Dreams”, a multi-faceted piece with fugal Jason Rigby; Ibeam Brooklyn Oct. 18th with Timucin Sahin by Suzanne Lorge and contrapuntal sections as well as rubato sections of and Cornelia Street Café Oct. 19th leading his trio and 26th sustained improvised dialogue - all leading into as part of LARK. See Calendar. For the last three decades, pianist Michele Rosewoman choruses of swinging resolution. has been working elements of Nigerian Yoruba music While the band does swing out with gusto and into her compositions. On this recent release, drive on the likes of Elvin Jones’ “Three Card Molly”, Rosewoman revisits her music from these years with a Shaw’s “Organ Grinder” and Perdomo’s crackling large ensemble: six horn players, a bassist and “The ‘A’ List”, there are also tracks that display drummer, four percussionists (three of whom delicacy and sinuous ease. “Profundo”, from the pen of contribute vocals), a vocalist and Rosewoman herself. Gerry Weil, one of Perdomo’s first piano teachers in What sets Rosewoman’s sound apart from that of Caracas, has a tom-tom laced, Ellingtonian tropical other Latin big bands is her use of the batás (African feel, with slithery alto sax. Roland Hanna’s “Enigma” talking drums) along with congas in a rhythm section is a sensuous ballad with hints of bossa, picked up on led by Pedrito Martinez, also Rosewoman’s lead singer. by Burno in his solo. And the bassist’s “Melisma” is a While the rhythms fall out along these African or swirling ballad over a bass ostinato with hypnotic Cuban lines, Rosewoman will improvise on piano in appeal. Throughout Perdomo demonstrates an modern jazz figures. The horn section might follow exuberant command of his instrument. suit, the players taking turns on bebop solos on one tune, falling into a Latin swing groove on another. In For more information, visit crisscrossjazz.com. Perdomo is contrast, the vocals mostly are folksy chants sung in at Smalls Oct. 2nd-3rd and Jazz at Kitano Oct. 18th. See AMANDA SEDGWICK QUINTET the simplest of harmonies, even when the band is Calendar. NEW CD: “SHADOW AND ACT” (PB7 RECORDS) toying with complicated dissonance. Throughout (for DWAYNE CLEMONS - TRUMPET / AMANDA SEDGWICK - ALTO SAX LEO LINDBERG - PIANO / KENJI RABSON - BASS example, on “Where Water Meets Sky”) Rosewoman MOUSSA FADERA - DRUMS places vocal simplicity on par with instrumental complexity without sacrificing either. We’re left with AVAILABLE ON ITUNES an intriguing idea: all musical traditions can be valued equally. Her work seems to suggest this interpretation, but only to the extent that we agree with another of her RECOMMENDED concepts - that music isn’t just the sounds we produce but the spaces left untouched in between them. NEW RELEASES In Rosewoman’s musical world, those spaces belong to the Orishas, the ancient Yoruban deities. In Nawora • Ralph Alessi - Baida (ECM) the liner notes she also honors her mentor Orlando Simon Nabatov/Nils Wogram/Tom Rainey (Leo) • Geri Allen - Grand River Crossings: “Puntilla” Ríos, the Cuban percussionist who brought by Ken Waxman Motown & Motor City Inspirations (Motéma) batá playing to New York in the early ‘80s. These two • Samuel Blaser Consort In Motion - traditions, however, are only the starting point for Recorded at the Loft performance space in Cologne, A Mirror to Machaut (Songlines) Rosewoman, whose fresh compositions send them Germany, Russian pianist Simon Nabatov’s adopted • Linda Oh - Sun Pictures (Greenleaf) hurtling into the future. With New Yor-Uba, Rosewoman home town, this CD’s sophisticated improvisations • Mario Pavone - Arc Trio (Playscape) moves AfroCuban music another step forward. easily stand on their own due to the congenial dealings • Leron Thomas - Whatever (s/r) among Nabatov, hot-shot German trombonist Nils David Adler, New York@Night Columnist For more information, visit michelerosewoman.com. This Wogram and sensitive American drummer Tom Rainey, project is at Dizzy’s Club Sep. 30th-Oct. 1st. See Calendar. Nabatov associates for either side of two decades. • Sophie Agnel/John Edwards/Steve Noble - With Rainey a specialist in suggesting rather than Meteo (Clean Feed)

forcing the beat, Wogram and Nabatov’s penchant for • Samuel Blaser Consort in Motion - stringing together brass smears and keyboard sprinkles A Mirror to Machaut (Songlines) until they reach a critical point can unroll in a leisurely • Peter Brötzmann/Steve Noble - fashion. But the seven tracks are anything but skeletal I Am Here Where Are You (Trost) tone-research. Most include a body of melody, color • The Claudia Quintet - September (Cuneiform) and enough exciting multiphonics to add pulsating • Ghost Train Orchestra - Book of Rhapsodies flesh and blood to the ecosystem. For instance, the (Accurate) final “Dust-Tongued Bell” may initially sound like a • Mario Pavone - Arc Trio (Playscape) test to see how many brass split tones can dissolve into Laurence Donohue-Greene piano innards as Nabatov plucks the exposed strings. Managing Editor, The New York City Jazz Record Links But the tune quickly toughens rhythmically, as the Luis Perdomo (Criss Cross) • FPR - All At Once (Relative Pitch) by George Kanzler pianist’s subsequent clipped notes are matched by Wogram’s growling pulsations. Rainey’s contribution? • Ghost Train Orchestra - Book of Rhapsodies Pianist Luis Perdomo’s last CD, The Infancia Project, A decisively final cymbal pop. (Accurate) was a heavily AfroLatin-tinged project drawing from While brooding interludes are part and parcel of • Dane TS Hawk & His Cop Jazz Festsemble - the Venezuelan musician’s geo-cultural heritage. Links the strategy here, wallowing in melancholy isn’t part Hear We Go (Barefoot) explores his jazz heritage, with contributions (one of the game plan. If anything, the hardened chord • S.O.S. - Looking For The Next One each) from his quartet mates - alto saxophonist Miguel clusters from Nabatov and the triple-tonguing plunger (Cuneiform) Zenón, bassist Dwayne Burno and drummer Rodney blasts from Wogram displayed so prominently on • Paul Stapleton/Simon Rose - Fauna Green - as well as pieces by three of his mentor/ percussive tunes such as “Nail” - encompassing (pfMENTUM) teachers. Also included are favorites by Woody Shaw uncharacteristic vibrating clanks from Rainey - are • Various Artists - The Road to Jajouka (Howe) and Elvin Jones, a pair of Perdomo originals and one most representative. Andrey Henkin from his wife Mimi Jones. Although the quartet “Nonchalant Hint” may finally provide the secret Editorial Director, The New York City Jazz Record includes a Venezuelan and a Puerto Rican (Zenón), the words to why Nawora is so pleasurable: unpretentious

16 October 2013 | THE NEW YORK CITY JAZZ RECORD

for Wayne Shorter), we hear a different, but perhaps equally effective voice on bass - that of Chris Tordini, UNEARTHED GEM who performs on 4 of the album’s 10 tunes. Tordini’s energy fills plenty of space in its own right, but he also fits well behind agile and engaging solos by Wierenga, Moran and Speed, who are strong throughout. Two later highlights are “29th 1936: Me Warn You”, which deftly incorporates a chopped and looped recording of a speech by Franklin D. Roosevelt

September decrying political partisanship, and “24th: Interval The Claudia Quintet (Cuneiform) Dig”, a head-nodding, postmodern swinger that leads by Sam Spokony off with Gress’ full, rich tone and includes a typically excellent solo by the bassist. Compatability Lost Tapes: Baden-Baden Drummer and composer John Hollenbeck, 45, likes to And then there is the culminating track, “12th: Zoot Sims (June 23, 1958) think and play along lines of metaphor and simulacrum. Coping Song”, which finally seeks to unify and express (Jump/Zim - Delmark) Zoot Sims (Jazzhaus) September faithfully follows and builds upon The Hollenbeck’s personal memories of and feelings by Ken Waxman Claudia Quintet’s past explorations into minimalism, associated with the September 11 attacks. It’s haunting, freethinking improvisation, challenging rhythms and moving and beautifully executed and, like most tunes Most overtly swinging of the post-War tenor deeply deliberate, intertextual musings. Hollenbeck on this album, reminds us why The Claudia Quintet is saxophonists influenced by Lester Young, Zoot Sims explains in the liner notes why he focused his still one of the most exciting groups on the scene today. (Oct. 29th, 1925-Mar. 23rd, 1985) kept one foot in big compositional gaze so squarely on that month. Like so band swing and the other in contemporary jazz, as many Americans across the societal spectrum, he’s still For more information, visit cuneiformrecords.com. This these dynamic CDs handily demonstrate. 1955’s very much influenced by memories of the terrorist group is at Le Poisson Rouge Oct. 3rd. See Calendar. Compatability [sic], originally issued under trumpeter attacks of September 11, 2001. Hollenbeck writes, “Last Hall Daniels name, is West Coast jazz with guts

September I came up with the idea to write music that while Lost Tapes, a German broadcast, unites Sims was somehow tied to other days in September in the with top European jazzmen of the day. hope of trying to rework and transform the traumatic Initially trumpeter Hall Daniels’ date, residue through composition.” Compatability was reissued in the ‘70s with additional The brief opener, “20th: Soterius Lakshmi”, is a tracks and arrives on CD expanded with even more fitting start, with its pulsing, static rhythm and droning new material. Now it features multiple versions of repetition, which introduces the new addition of Red the tunes, with none less than swinging. Daniels’ Wierenga (accordion), who replaces Ted Reichman, arranging skills are confirmed during the four and Claudia mainstays Chris Speed (clarinet and tenor variants of “Nash-ville”, each of which has subtly saxophone), Matt Moran (vibraphone) and Drew Gress different backing chords. Besides trombonist Dick The Sky Inside (bass). But on the next track, the alternately Drew Gress (Pirouet) Nash’s showcased tongue flutters, there’s room for introspective and funky “9th: Wayne Phases” (named by Sean Fitzell Sims’ drawling runs and vibrant Johnny Smith-like picking from guitarist Tony Rizzi. Baritone It’s been six years since bassist Drew Gress’ last CD as saxophonist Bob Gordon solos on the three variants a leader. Considering the staggering number of projects of the title track, each executed with gritty lightness. he and his quintet mates - trumpeter Ralph Alessi, This nimbleness is echoed in Daniels’ trumpet lines, saxophonist Tim Berne, drummer Tom Rainey and with Rolly Bundock’s four-square bass work here pianist Craig Taborn - have undertaken over that and elsewhere balancing the program. stretch, it’s impressive they were able to reconvene. With the crucial backing of dynamic, ex-pat And The Sky Inside is worth the wait. The music draws drummer Kenny Clarke - Paris-based after quitting on the group’s collective chemistry and continues to the Modern Jazz Quartet - plus visiting American obscure the boundaries between the notated and free. trombonist Willie Dennis, Lost Tapes demonstrates “No Saint” opens with a tense repeating piano the sophistication of some Teutonic jazzmen. The motif and spare drums, before the leader’s insistent stand-outs are Austrian Hans Koller, who plays alto line ushers in bright unison horns. The structure and tenor saxophone and clarinet here as does Sims; recedes for a knotty Berne improv amid Taborn’s gutsy German baritone saxophonist Helmut Brandt colorful comps and Rainey’s fractured beat, with Gress and Austrian pianist Hans Hammerschmid, later a eventually rebuilding the theme. The leader steps out respected film and TV composer, who also with a lyrical solo during the poignant “In Streamline”, contributes three high-quality originals. Alessi’s breathy muted delivery adding a hushed Part jam session, partly arranged, the CD gives texture. In contrast, the title track opens with a wailing healthy solo space for all concerned, which in horn duet that boasts atonality and resolves to a Koller’s case confirms his closeness to Sims but piercing unison note. But the lengthy piece travels highlights his sharper tone. Operating in a modified other directions: its lean rhythm-trio section highlights swing bag, the addition of two flutists (Adi Rainey’s barehanded approach and Taborn’s Feuerstein and Gerd Husemann) on alternating fluid and percussive keys, before a groove Hammerschmid’s “Open Door” makes the band develops for the horns’ intense return. resemble the Basie band of the day. Tellingly Clarke’s Rainey’s loose swing propels the jaunty “Kernel”, breaks, heavy on bass drum bombs and ratamacues, which the leader uses for rangy solos in the introduction relate more to swing than bop. So does the pianist’s and middle of the piece. His thrumming cuts through “Minor Meeting for Two Clarinets”; Sims and Koller the opening of the hazily subdued “Dreampop” and play decidedly straightahead while the composer provides a sturdy platform for Alessi’s lilting turn and intensifies the groove. Brandt is appropriately Taborn’s cascading lines. “Zaftig Redux” percolates slurpy and swift on “Open Door”, which could be a with taut rhythms, inspiring a series of crisp solos from recast “Jive at Five”; Dennis displays his big band Berne, Alessi and particularly Taborn, who rides them section smarts on “These Foolish Things” and the to the conclusion. Dissonant horn strains return for CD wraps up with “Trottin”, a 1951 Sims original “Long Story Short”, a loosely structured piece affording that’s a “Four Brothers” cousin. the quintet freedom to interpolate. Pristinely recorded, A standard of unpretentious excellence is the music flows with inspired performances, suggesting maintained on Lost Tapes. And both CDs confirm the hiatus rejuvenated the already potent lineup. Sims’ compatibility on any date.

For more information, visit pirouet.com. Gress is at Le For more information, visit delmark.com and Poisson Rouge Oct. 3rd with The Claudia Quintet and The jazzhaus-label.com Jazz Gallery Oct. 19th with Tony Malaby. See Calendar.

THE NEW YORK CITY JAZZ RECORD | October 2013 17 “G.W.”). This is exploratory, varied music, alive with GLOBE UNITY: GREECE passion and dialogue. It’s also exuberant, whether Sinton shouting through his baritone or Peck crafting an unaccompanied introduction. While Wooley is as ‘at home’ with free improvisation as any musician, the forms here emphasize the expressiveness of his lines: on the mournful “My Story, My Story” he combines variations of pitch and inflection to achieve an

emotional depth equal to that of Miles Davis or Don

Cherry, rare terrain for any trumpeter.

From the Discrete to the Particular For more information, visit relativepitchrecords.com and Joe Morris/Agustí Fernández/Nate Wooley cleanfeed-records.com. Wooley is at Issue Project Room Oct. (Relative Pitch) 4th. See Calendar. Protoleia Mahlis-Panos Project (Greeksea) Trumpets and Drums (Live in Ljubljana) Para-Ligo Nate Wooley/Peter Evans/Jim Black/Paul Lytton Elena Kakaliagou/Ingrid Schmoliner/Thomas (Clean Feed) Stemkowski (Creative Sources) (Sit In) The Throne of Friendship Songs for Kommeno Gunter “Baby” Sommer (Intakt) Nate Wooley Sextet (Clean Feed) by Kurt Gottschalk by Stuart Broomer Of all the folk forms adapted to the jazz language, Nate Wooley is among a group of distinguished traditional Anatolian musics are among the least younger trumpeters redefining the sonic possibilities common. Yannis Kyriakides has done some of the instrument. More than that though, he combines remarkable work putting Greek and Turkish forms both rare invention and rare taste across a stylistic into contemporary frames and a few recent releases range that stretches from free improvisation to his own COIN COIN Chapter Two: Mississippi Moonchile show he isn’t alone. version of postbop. Matana Roberts (Constellation) The Mahlis-Panos Project is the most overtly The trio of Wooley, guitarist Joe Morris and pianist by Donald Elfman Grecian of the titles under review here. Fronted by Agustí Fernández that appears on From the Discrete to Dimitris Mahlis’ oud and nylon string guitar with the Particular has its antecedents in Morris’ prior duos Perhaps the most stunning feature of saxophonist Anastasios Panos’ light percussion, Protoleia sings with Wooley and Fernández. It’s free improvisation of Matana Roberts’ new work, the second installment of a with old rembetika melodies, but the grounding of the first rank, with each of the seven pieces a developed work-in-progress, is that the music seems constantly Dan Lutz’ acoustic and electric basses lend it a musical dialogue defining its own timbres and shape, reborn. Improvisation, composed sections, currency. The trio play with an easy freedom, allowing whether it’s the pointillist sputters of the opening instrumental riffs and much more burst forth from an themselves plenty of space to improvise while “Automatos”, the flurries of discrete sounds that first uninterrupted panorama and describe a journey that adhering closely to the song formats. After a half mark “As Expected” or the oblique harmonic language evokes a history rich with all matters of experience and dozen of their own compositions, they take on Wayne of “Bilocation” that flowers into an evanescent lyricism emotion. Though written for sextet, the sensation is of Shorter’s “Masqualero”, pushing a bit harder with created by all three musicians. “Membrane” suggests something larger and the scope suggests a multitude of distant drums driving a firmly plucked guitar. They an early John Cage prepared piano sonata extended to performers playing, singing, chanting and declaiming. close the album with a sweetly melancholic take on a collective. The longest pieces, “Hieratic” and “Chums Roberts has written a seamless, 18-part composition the traditional tune “Thalassa” with the gentle ebb of Chance”, are works of transformation, whether that gives eloquent shape to, among other things, the and flow of the sea spirit for which it’s named. Morris sounding like the interior of a piano on the notions that music is a positive way to express the The trio of Elena Kakaliagou, Ingrid Schmoliner former and a bowed cello on the latter; Fernández vicissitudes of history. The sections are all short but the and Thomas Stempkowski is only one-third Greek mounting a virtuosic keyboard assault or creating a way they evolve suggests a vast oratorio of sorts. And (in the part of French horn player Kakaliagou) with resonant soundscape or Wooley drawing out pained the use of classic jazz riffs, poetry, opera and the the pianist and bassist coming from Austria, but multiphonics or assembling wild scratching sounds. vernacular find unity in the intimate and the historic. they maintain a low-key, Mediterranean perhaps, Trumpets and Drums (Live in Ljubljana) is a dialogue There are a number of striking and potent energy nonetheless, especially with Kakaliagou’s between the two fundamental sonic components of the examples where the past, present and future collide spoken parts for several tracks on Para-Ligo. They title. If there’s a martial tradition to trumpet and drum and it is those kinds of moments that help give this play in a minimal improvisation vein although the music there’s also a mystical one, as with Joshua and work its beautiful life. The work opens with colors sparse sounds they produce are unusually loud and the battle of Jericho, but stronger still in the Tibetan emerging from a swirling mist of prayer or praise. The bold for the form, almost as if magnified. There is a Buddhist ritual music that combines long bass trumpets instruments talk amongst themselves, freely, but sort of contrast between Kakaliagou the formalist with metal and skin percussion. The quartet is built on stunningly directed. Suddenly, there’s a rich tenor (more often found in composed than improvised several developed affinities: Wooley has long-running voice in the middle - it’s Jeremiah Abiah - and he’s settings) and her playing partners, yet that contrast duos with both fellow trumpeter Peter Evans and singing text written by Joseph D. Howard (1873-1952). doesn’t result in a tension across the seven abstract drummer Paul Lytton; Evans has played with Lytton as After the assembled elements soar together seeking tracks but rather an engaging sense of discovery a guest with the Parker-Guy-Lytton trio and Jim Black order out of ‘chaos’, up pops a riff from the horns, a and resolution. has played drums in Evans’ quartet. The performance waltz that suggests some classic Blue Note tune. The most powerful of these three releases isn’t is divided into two long segments, entitled “Beginning” Meetings like that abound and provide the shape by a Greek artist at all but an esteemed German and “End” and within those parameters there are and color of this magnum opus. The players are all drummer. Günter Baby Sommer was in Kommeno moments of near silence, whispered trumpet tones and well versed in the vocabulary of jazz in its current in 2008 to play a percussion festival when he learned air through horns, gentle percussive rattlings, eerie manifestations as well as in its colorful past. On of the village’s World War II devastation. He set scrapes and rustlings that demand rapt attention. “Responsory”, after more operatic text and some free- about writing a suite for the devastated community Quavering electronics might arise from Wooley’s form exploration by the horns, we get a kind of ‘amen’ and returned a year later to perform it with a quartet amplifier or from Black’s expanded kit. Elsewhere there chorus from everyone, leading into a call-and-response of Greek musicians including wonderful vocalist are moments of incendiary power, elemental music between the scatting of the leader and the very funky Savina Yannatou and esteemed saxophonist Floros focused on mysteries of intensity and pitch. trumpet of Jason Palmer. And “River Ruby Dues” is Floridis (Evgenios Voulgaris on yayli, tanbur and The Nate Wooley Sextet is a variation on the Roberts’ modern arrangement of the African American oud and bassist Spilios Kastanis fill out the group). Quintet that recorded 2010’s (Put Your) Hands Together. spiritual “Deep River”. Palmer, again, sputters and The resulting music is at times joyful and heart- A forum for Wooley’s compositions, (Sit In) The Throne plays with abandon and Roberts wails freely while wrenching, giving nods to both Sommer’s jazz of Friendship retains bass clarinetist/baritone Shoko Nagai percussively and lyrically showcases her background and the styles local at Kommeno. saxophonist Josh Sinton, vibraphonist Matt Moran and piano talents and bassist Thomson Kneeland and Presented in a small box with a 150-page book drummer Harris Eisenstadt while bassist Eivind drummer Tomas Fujiwara drive the uplift. All of this concerning the history behind the music, it’s a Opsvik either alternates with newly arrived tuba work, which Roberts dubs, “panoramic sound stunning and deeply felt package. player Dan Peck or they appear together. The style quilting”, makes for a listening experience that is suggests the Blue Note ‘free’ school and the thought-provoking and compelling. For more information, visit mahlispanosproject.com, simultaneous presence of vibraphone and bass clarinet creativesourcesrec.com and intaktrec.ch emphasizes the Eric Dolphy influence (“Make Your For more information, visit cstrecords.com. This project is Friend Feel Loved” seems to reference Dolphy’s at The Jazz Gallery Oct. 5th. See Calendar.

18 October 2013 | THE NEW YORK CITY JAZZ RECORD

The core group consists of Venezuelan bassist standard “Triste”. Claudio Roditi plays both flugelhorn Alvaro Benavides, Peruvian percussionist Jhair Sala, and muted trumpet on “Só por Amor” and his Cuban keyboardist Araicne Trujillo and the leader, contribution is so appealing one wishes he appeared who plays primarily congas; a variety of instruments on more than one track. “Triste” starts out on an including cowbell, bongo, guiro, chekere, cajon and AfroCuban-influenced note, perhaps a nod to Barron’s timbales put percussion at the forefront of the group. tenure with Gillespie, before quickly switching over to The piano is low in the mix and when exposed, the a Bossa Nova beat. energy drops considerably. But an enjoyable dramatic Clearly, Brazilian rhythms are something that effect is achieved when the rest of the band punches Barron has quite a passion for and his swinging but

Eponymous back in with precise timing. Instrumental solos are lyrical pianism is right at home alongside the Brazilian Nashaz (Ziryab) generally pithy while the real improvisation stretches musicians who join him on this fine album. by Elliott Simon out during the spirited and colorful “coro-pregon” sections (in traditional AfroCuban music, it is common For more information, visit sunnysiderecords.com. Barron Near Eastern-flavored jazz projects have a long for the singer to improvise against a repeated chorus is at Dizzy’s Club Oct. 9th-13th. See Calendar. history and it can be tricky to give both parts of the from the band, a version of call-and-response). equation their due. Too much jazz and it can become The album breaks character with the Latin-rock campy; not enough and, well, then it isn’t jazz. The “Traveling Riverside Blues” and cover of The Jackson oud though is a bit more of a jazz latecomer and its 5’s “I’ll Be There”. These are great for live performances, first appearance as a central jazz instrument is thought but not very exciting on record. The album picks right to be Ahmed Abdul-Malik’s seminal Jazz Sahara back up on the beautiful “Musica” with a playfully (Riverside, 1958). Brian Prunka was a jazz guitarist simple melody, a suave breakdown with a Latin-meets- before he played oud and although his first instrument Boogie-Woogie piano pattern and more metric-bending is nowhere to be found here, Prunka makes good use of percussion breaks for the rhythmically hungry. What’s both skills on this eponymous debut from his band most exciting is the band’s ability to ‘swing’, a term not Nashaz. used when describing music that is primarily set in Prunka has put together a quintet well-versed in straight eighth notes. In the context of Latin music, this musical hybridization. Most notable is trumpet player is done by conveying a considerable amount of feeling Kenny Warren (Slavic Soul Party, Sway Machinery), and energy while working together to maintain a whose beautiful tone and mastery of the Middle- unified sound. Eastern minor-keyed feel and microtonalities inherent Martinez’ group navigates easily through to this music blends impeccably with Prunka’s oud syncopated four-part vocal harmonies, maze-like runs. Warren is so good at flowing through and piano montunos and energetic breakdowns accented infusing his music with Balkan, Middle Eastern, by jaw-dropping percussion hits, all the while Spanish and probably other influences that these tunes, maintaining that important sense of swing. whose rhythms are hypnotic, take on singular character. Likewise, Nathan Herrera, who at various For more information, visit motema.com. This group is at times plays alto saxophone, alto flute and bass clarinet, City Winery Oct. 8th. See Calendar. adds welcomed diversity to the soundscape. His jazzy Y’All of New York, Inc. tongue-slapping bass clarinet solos are stellar. In addition to Prunka’s oud and the melodies, it is Proudly Presents the rhythm section that gives this music its exciting THE TENTH ANNUAL FRIEND OF exotica. Both bassist Apostolos Sideris and THE FAMILY AWARDS CONCERT percussionist George Mel are veterans of the NYC HONORING WARREN SMITH: world jazz scene and, along with riq player (Arabic THE MAN AND HIS MUSIC tambourine) Vin Scialla, they are up in the mix for a trance-like surrounding. All these tunes were written Saturday, October 26, 8:30 PM by Prunka and the comfort the band shows with them Roulette is a testament to his grasp of both musics. His oud Kenny Barron & The Brazilian Knights 509 Atlantic Avenue improvisations are front and center, true to the melodic Kenny Barron (Sunnyside) Brooklyn, NY 11217 structure but infused with bluesy jazz. The best world by Alex Henderson jazz sessions marry existing world music with jazz to TICKETS: $25, $15 for seniors and student create something new; Nashaz does that and more. Veteran pianist Kenny Barron has played Brazilian with ID; free for children under 12 songs in the past, both on his own albums and with For reservations, call (917) 267 – 0363 For more information, visit nashaz.bandcamp.com. This Trio da Paz and Dizzy Gillespie. But Kenny Barron & http://yallofny.org/events band is at Downtown Music Gallery Oct. 6th. See Calendar. The Brazilian Knights is a rarity: a Barron album recorded in Rio de Janeiro with Brazilian musicians, an Me We & Them features: idea of producer Jacques Muyal. James Jabbo Ware composer/conductor; Eddie Allen, Cecil Bridgewater, Hector Colon The core of this June 2012 session is an acoustic (trumpets); Clifton Anderson, Richard Harper, piano trio of Barron, bassist Sergio Barrozo and Bill Lowe (trombones); Beavin Lawrence, drummer Rafael Barata (who work together regularly Paavo Carey, Patience Higgins, JD Parran (saxes); David Bryant (piano), Bryce Sebastien (bass) and as a rhythm section). Some guests are featured Warren Smith (drums and percussion) extensively, including alto saxophonist Idriss Boudrioua, acoustic guitarist Lula Galvão and harmonica player Mauricio Einhorn. The latter is a warm, expressive player with a strong Toots Thielemans influence and appears on four pieces he composed (“Já Eponymous Era”, “Curta Metragem”, “Tristeza de Nós Dois” and Pedrito Martinez Group (Motéma Music) by Adam Everett “São Conrado”) as well as Alberto Chimelli’s “Chorinho Carioca” (based on the chord changes of the Cuban-born singer/multi-instrumentalist Pedrito Victor Schertzinger-Johnny Mercer standard Martinez presents a stunning debut for his eponymous “Tangerine”). Latin jazz quartet, which is based in NYC and performs The late pianist Johnny Alf, whose ‘50s recordings regularly at Guantanamera Restaurant in Hell’s are widely regarded as a precursor to the Bossa Nova Kitchen. Produced by drum legend Steve Gadd, the movement, is also featured, via three of his classics album features guest turns by trumpeter Wynton (“Rapaz de Bem”, “Ilusão á Toa” and “Nós”). Filling Marsalis and guitarist John Scofield, as well as Gadd out the program is the aforementioned “Chorinho himself. All three lend a supporting hand in lifting up Carioca”, Barron’s mellifluous “Sonia Braga”, Baden the music. Powell’s “Só por Amor” and the Antonio Carlos Jobim

THE NEW YORK CITY JAZZ RECORD | October 2013 19

notion. Portend the End is their debut recording; it features ten pieces evoking a tense balance between lyric and noise, poem and declaration, unbridled freedom and painstaking composition. The opening “Effort” is a reflection of sparseness but stamps itself out with an undeniably tough quality, Moffett’s gently curled cadences supporting Slipp’s brash lilt until they interweave and ping off one another in a short improvised section. “Multiple”

Where Do You Start follows, Slipp’s nuanced delivery lush, husky, Brad Mehldau Trio (Nonesuch) shrieking and flatly folksy in exacting reflection of the by Robert Milburn control and delicate power exhibited by Moffett’s trumpet. There are lyrics, but their import quickly falls Pianist Brad Mehldau has released two albums in the away as the piece concentrates on the two musicians’ last year. After recent forays into larger format chamber framed inflection. “Bill and Nancy” curiously features music, the recordings offer a refreshing return to the Moffett reciting his poetry (Moffett, in addition to trio format and Mehldau’s sweet spot. Ode featured being a trumpeter, lectures on contemporary poetry), original tributes to both real and fictional people. bookended by loose, parlor filigree and aggressively Where Do You Start, conversely, is cover tunes warped melodies. Solemn caresses pepper the elegiac reinterpreted through Mehldau’s longstanding trio of “I Will (Not Set an Emily Dickinson Poem to Music)”, bassist Larry Grenadier and drummer Jeff Ballard. where Slipp recites two of Dickinson’s poems The album opens with three tracks that serve as a unaccompanied and amid dusky duo refrains. perfect introduction to the trio’s telepathic interplay The penultimate piece, “Being That in America”, and wide-ranging evocations. On the first, “Got Me is a hackle-raising study of melodic nuggets and Wrong”, Grenadier struts his muscular bass amid AACM-like vastness, with Slipp’s voice recalling Mehldau’s resonating denseness. The group settles forebears like Irène Aebi, Brigitte Fontaine and even into a deep groove, wherein Mehldau rips loose chunky Fontella Bass. There might be a tendency to focus one’s injunctions while Ballard ratchets up the intensity, the listening on extended techniques and it’s true that enormity of their sonic interplay melting into poised Slipp is a masterful vocalist who vaults and bends her coolness. Next, Mehldau starts the solemn “Holland” voice in ways that are both protracted and logical. unaccompanied. Grenadier layers highly-pitched She’s well matched with Moffett’s subtle and conically poignancy over the serious melody while Ballard direct brass and Twins of El Dorado thus present a provides a spare march. Clifford Brown’s “Brownie tough and expansive approach to word and song. Speaks” seems wry by comparison, humorously spare after the former’s heaviness. Mehldau showcases a For more information, visit promnightrecords.com. This unique and dexterous approach, the melody played duo is at Spectrum Oct. 11th. See Calendar. point and counterpoint between left and right hand. Sonny Rollins’ “Airegin” begins dark and foreboding, deeply toned bass feels devilish over a lightly percolating ride. The song eventually erupts Just Not Cricket! into the blistering melody and boils when Mehldau’s abstract, spidery lines fuel a flurry of toms and Three Days of British Improvised Music in Berlin splashing cymbals. The Jimi Hendrix tune “Hey Joe”, meanwhile, feels loose and elastic yet maintains the original’s inherent bluesy qualities. A lively rendition of Toninho Horta’s “Aquelas Coisas Todas” bursts in all its fizzy vivacity. Here Ballard is at his best, providing a more than sufficient Latin bounce that coasts in smoothness. Perhaps the most elegant track, though, is the refined treatment of “Where Do You Start”. Though it never strays far from the deeply brooding melody, the group’s delicate understatement is beautifully done and is the perfect finish to an album so varied in scope.

For more information, visit nonesuch.com. Mehldau is at Stern Auditorium Oct. 9th with Orpheus Chamber Orchestra. See Calendar. Tom Arthurs, Steve Beresford, Tony Bevan, Matthew Bourne, Gail Brand, Lol Coxhill, Rhodri Davies, John Edwards, Shabaka Hutchings, Dominic Lash, Phil Minton, Eddie Prévost, Orphy Robinson, Mark Sanders, Alex Ward, Trevor Watts

Recorded at .HBC in Berlin from 6 to 8 October 2011

Portend the End Twins of El Dorado (Prom Night) 4xLP Box by Clifford Allen limited to 1,000 copies on 180 gram virgin vinyl The duo can be a tough concept to present, for it is extensive 20-page booklet with exclusive liner notes naturally a window into a conversation or dialogue. At and interviews + original festival booklet first blush, Twins of El Dorado, the duo of vocalist download code for mp3, FLAC, ... Kristin Slipp and trumpeter Joe Moffett, might seem like it is absent something - say, a rhythm section - but order online at www.ni-vu-ni-connu.net the fullness of their concept quickly erases any such

20 October 2013 | THE NEW YORK CITY JAZZ RECORD

danceable track portrays the scene in Cuba during the ‘80s when people danced “without giving much thought to musical labels and categories.” The following “Bibisa” has African elements combined with the rhythmic pattern of the clave, a chantlike vocal by Diawara and a conversation between piano and Sissoko and Kouyate’s African strings. Later we encounter “Asi Es La Vida”, almost bluesy in character, with a thoughtful performance by Fonseca and the rhythm section. Also

Yo notable is “Rachel”, a funky item mixing a driving Roberto Fonseca (Concord) Hammond B3 organ solo with both Fender Rhodes and by Marcia Hillman Moog synthesizer. This offering - a rich tapestry of acoustic and Pianist Roberto Fonseca has chosen to explore his roots electronic music and musical statements, full of raw and, to quote him, “show the diversity of my musical energy and excitement - will require more than one universe.” He has brought together a group of musicians listen to traverse its many layers. that span two hemispheres and a blend of traditional acoustic instruments with some electronic sounds. For more information, visit concordmusicgroup.com. Fonseca Percussionist Baba Sissoko, bassist Etienne M’Bappe, is at Rose Hall Oct. 11th-12th with Orquesta Buena Vista guitarist Munir Hossni and Sekou Kouyate on kora Social Club. See Calendar. make up the African contingent while the Cuban collaborators are percussionist Joel Hierrezuelo, drummer Ramses Rodriguez and double bassist Felipe Cabrera. In addition, there are vocal contributions from Faudel, Fatoumata Diawara, Assane Mboup and spoken-word artist Mike Ladd. The material is all original by Fonseca except for one (“Rachel”) by Rodriguez. Fonseca has mastered many piano styles - from jazz to funk to hiphop on all of the keyboard instruments he plays - and displays them all on this session. He also has Sackbut Stomp toured all over the world and been exposed to Joe Fiedler Big Sackbut (Multiphonics) multicultural influences he endeavors to combine with by John Sharpe his Cuban roots. The opening “80s” is strictly party time in Cuba and explodes with high-energy percussion Originally inspired by the World Saxophone Quartet work. According to notes, this infectious and eminently (WSQ), trombonist Joe Fiedler finally realized his ambition to found a brass doppelganger a quarter- century later. Tuba player Marcus Rojas holds down the bottom end, filling the anchor role split between Hamiet Drummers: Just Out! Bluiett’s baritone saxophone or David Murray’s bass clarinet while three trombones entwine in the space above. Unlike their reed cousins, they don’t cover the whole of the available spectrum, which Fiedler turns New Books on into an opportunity to involve slide trumpeter Steven Bernstein as a guest on three selections. Now on their sophomore effort, his Big Sackbut Syncopation! foursome (named after a baroque precursor of the 121/4, 2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 8/4 modern trombone) shimmer through Fiedler’s tight but tuneful arrangements in a program that includes a trio 9/4, 10/4, 11/4, and 12/4 time. of covers among the nine cuts. As with the WSQ, the latticework of interlocking riffs makes a rhythm section dispensable. That initial influence pushes to front of the All-original studies. listener’s mind on the jaunty title track, presaging a collective dialogue underpinned by Rojas’ contrapuntal Helps your reading ballast. But perhaps more unexpected is the lush tenderness on display, most notably on the lovely and musical skills! “Pittsburgh Morning”, featuring the leader’s smoothly oblique delivery. Helpfully, the sleeve details who solos when, $20 each book, or buy all 12 though there’s no mistaking Bernstein’s role on Roger books for $120 (S&H included). Miller’s “King of the Road”, where he hews close to the vocal line in a performance playing up the comedy A 50% discount inherent in a supposedly unwieldy brass agglomeration. Each of the trombonists gets a chance to shine on saxophonist Bennie Wallace’s earthy “Eight Page Bible”, To order, send a check or with Ryan Keberle boisterously spirited while both Fiedler and Luis Bonilla get especially down and dirty. money order to: A gently hip swaying “Tin Tin Deo” again finds Bonilla garrulously fluent while Bernstein’s zigzagging Sam Ulano calisthenics are kept aloft by buoyant tuba. 127 W. 43rd St., Apt. 1026 Only on the unaccompanied introduction to “The Attic” does Fiedler unveil his multiphonic chops in a set New York, NY 10036 that otherwise determinedly harnesses proficiency to the aims of the music, whether to have a good time or 212-977-5209 something more cerebral.

The Only Books of Their Kind! For more information, visit joefiedler.com. This project is at Not Sold in Stores! The Jazz Gallery Oct. 12th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | October 2013 21

and an exquisite collection of music. For all the diverse directions his music takes, Friedlander assembled two longtime associates to Porter remains very much a jazzman, with a keen realize this music: pianist Sylvie Courvoisier and Ikue knowledge of the tradition and his place in it. He’s Mori on laptop. There is a fluent dialogue between joined by the same core group of first-rate jazz abstraction and lyricism in this music, which is musicians that was featured on his previous discs something that has been a hallmark of Friedlander’s (pianist Chip Crawford, drummer Emanuel Harold, compositions and bands for years. bassist Aaron James and saxophonists Yosuke Sato and The recording opens with the two-part “Frail As A Tivon Pennicott) and they work together splendidly. Breeze”, which is disorienting, evocative, austere and Liquid Spirit is another superb effort from an artist

I Go Humble heroic. “Dreams of your leaving” is a feverish storm of who, if he’s not a major star yet, will surely be one Travis Sullivan’s Björkestra (ZOHO) abstract expressionism giving way to the ruminative soon. by Fred Bouchard “Dancer”, which alternates between cadenza-like pizzicato virtuosity and a repetitive bassline over For more information, visit bluenote.com. Porter is at Le Poisson Who is Björk and why does she have a jazz big band which floats a ghost-like melody. On “Reaching Back” Rouge Oct. 24th and Littlefield Oct. 26th. See Calendar. named after her and working her book? For Björkestra Courvoisier plays both harpsichord and piano and the leader Travis Sullivan, is she an ice goddess, visionary mix with Friedlander’s plucked melodies and Mori’s diva or a “queen of provocation”? The saxophonist’s spectral processing is sublime. “Swim With Me” starts second quest into the Björk saga finds him chipping with an exposition that focuses on shimmering piano away at icy hooks and snappy grooves, piping up the trills, before alighting and forming a synergy with the glacial ichor of her arctic mystery. His 15-piece band, bowed cello melody. “Insomnia” follows, with restless its lone non-trad instrument being Ian Cook’s laptop, movements that always seem about to settle into a lays down skeletal charts with rip-roaring climaxes resting point, only to stumble back into agitated and riffing behind soloists. gesture. “Cheek to Cheek” closes the album, featuring These eight tracks, averaging eight minutes, another of Friedlander’s cinematic pizzicato melodies. caught at a lively Jazz Standard show, capture some of Friedlander’s music has a special ability to mix the originals’ aura of twinkling vespers in a frozen vivid imagery with an openness that enables the mind cathedral or indignant roars in the hall of a mountain to generate its own sense of time and place. His queen. Vocalist Becca Stevens captures much of Björk’s compositions, here in particular, are both a breathtaking quivering, hymnic intensity with smoky wisps rather display of craft and a powerful statement of devotion. than the composer’s icicle-shattering shrill, whether One hardly needs to have experienced deep loss to feel yawning into the abyss on “Hyperballad”, crying the power in this music, but those who have will find down the weak-willed in “Army of Me” or craving something quite profound with which to identify. forgiveness on the title track; all have sturdily marching ensembles and strong sax solos by Sullivan and Sean For more information, visit skipstonerecords.com. This Nowell. Björk’s quirky riveting lyrics stand out as group is at The Stone Oct. 16th. See Calendar. funny on “Venus As A Boy”, played as straight big band swing with Alan Ferber’s zesty trombone. “Hunter” opens innocuously with Yoshi Waki’s bass solo, but slinky laptop and sneaky backbeat lead to roughcut bone-and-reed flamenco stutters, which conjure Gerald Wilson’s “Viva Tirado” with acidic trumpet by arranger Kelly Pratt. Similar triadic singsong lines make the title track sound like “Hunter” with ascending two-bar licks and a badass band-unison shout chorus. “Isobel” breaks the narrative as a quintet instrumental, its echoey call-and-response tune Liquid Spirit transformed by Art Hirahara’s haunting piano, solo Gregory Porter (Blue Note) and with ensemble. Two ballads, pensive Stevens to by Joel Roberts the fore, serve as holistic encores. Sullivan draws material here from Björk’s mid ‘90s; since this griot’s Gregory Porter’s Blue Note debut follows on the heels grip grows glacially, one wonders whether Sullivan’s of two highly acclaimed albums that saw him hailed as next gambit might be her intimate whisperings on one of the most exciting and creative new jazz singers Selmasongs or cosmic bellowings on Biophilia? to come along in years. That’s a lot to live up to, but Liquid Spirit doesn’t disappoint. It’s a logical extension For more information, visit zohomusic.com. This project is of the sound of his first two releases, similar musically at Jazz Standard Oct. 15th. See Calendar. and thematically, but still fresh and unpredictable. Porter once again delights with his expressive

baritone voice and genre-bending style, which infuses straightahead, hard-swinging jazz with touches of ‘70s- era soul, blues, gospel and progressive R&B. But what really sets the 42-year-old Californian-turned- Brooklynite apart from the crowd is his songwriting. Arguably no jazz singer since Abbey Lincoln has shown such promise as a composer and lyricist. (Fittingly, he pays homage to Lincoln here with an exhilarating rendition of her classic tune, “Lonesome Lover”.) The 11 Porter originals include poignant, Claws & Wings Erik Friedlander/Ikue Mori/Sylvie Courvoisier emotionally raw piano-based tunes (“Hey Laura”, (SkipStone) “Brown Grass”, “Water Under Bridges”), which recall by Wilbur MacKenzie expert pop craftsmen like Bill Withers or Carole King in their simplicity and precision; socially conscious Cellist Erik Friedlander’s new release documents his songs (“Musical Genocide”, “Free”) in the spirit of Gil emergence from a complex ordeal involving both a Scott-Heron or Curtis Mayfield and high-spirited hand injury and the passing of his wife of over two groove numbers, like the irrepressible, hand-clapping, decades. After six months of rehabilitation and going-to-church title track. Porter also performs reflection, Friedlander was ready to return to his winning covers of Ramsey Lewis’ pop-jazz hit “The practice. The music here is evocative of many stages of ‘In’ Crowd” and the ballad standard “I Fall in Love Too human experience and is both a beautiful work of art Easily”.

22 October 2013 | THE NEW YORK CITY JAZZ RECORD

it’s clear that the tradition is not averse to rich chord substitutions and embellishments that bring reinterpretation, which it receives to great lengths on out the beauty of Strayhorn’s masterpiece; Ionata’s the The Road to Jajouka, a benefit album featuring a New spacious, emotional playing is the perfect complement. York-heavy roster of heavy interpreters. Most of the A lush saxophone tone and thoughtful chords make nine tracks use the ethereal source music as a backdrop, “Day Dream” comparable to the duo work of Stan Getz often putting heavy beats over it, so the album and Kenny Barron. Ionata shifts to soprano sax for generally feels more like remixes than collaborations, Ellington’s infrequently interpreted “Heaven”, but many of the mixes are alive and exciting. Moroni’s arrangement more breezy than reflective. The One of the most exciting is “Boujeloudia Magick”, majestic treatment of “Come Sunday” captures the

Afro Blue Impressions a drum, flute and electric guitar wash by Lee Ranaldo essence of Ellington’s spiritual side. This brilliant John Coltrane (Pablo-Concord) with waves of distortion running underneath the source salute will stand the test of time. by Terrell Holmes material. Ornette Coleman - who played with the musicians on his 1977 album Dancing in Your Head - For more information, visit jandomusic.com. Moroni is at In 1977, ten years after Coltrane’s death, Pablo released matches bandleader Bachir Attar’s ghaita with his own Jazz at Kitano Oct. 26th. See Calendar. the double live album Afro Blue Impressions, which pinched and piercing alto. Bill Laswell does an captured the saxophonist’s quartet during a 1963 unsurprisingly great job integrating Billy Martin and European tour. A CD version was released in 1993 and Aïyb Dieng’s drumming with a funk underpinning and now Concord has issued a two-CD set to mark the 50th Marc Ribot and Shahzad Ismaily find R&B and Led LESLIE PINTCHIK TRIO anniversary, with new liner notes and bonus tracks. Zeppelin grooves within the music while John Zorn, Thursday, October 24th 8:00 PM & 10:00 PM The ongoing debate over Coltrane’s music Red Hot Chili Peppers bassist Flea and Billy Martin lay sometimes has been as strident as any note he ever hit. down a high-energy jam with vocalist Falu. This Jazz at Kitano What’s undeniable, however, is that he could play the journey of a record ends with Howard Shore leading 66 Park Ave @ 38th St. NYC (212) 885-7119 for reservations blues and his gifts were on full display during this tour. the London Philharmonic Orchestra in a cinematic mix To hear his majestic phrasing and tonality on the theme that brings to mind the ties he made between Morocco, “...enormous gifts as a composer, arranger and pianist.” All Music Guide of “Lonnie’s Lament” and the brilliant, soaring Burroughs and Ornette Coleman for the soundtrack to “Spiritual” gives one chills. This blues pedigree also the 1991 movie version of Naked Lunch. informs ballads like the lyrical “I Want to Talk About The Road to Jajouka is a fun ride. It’s unlikely that Leslie Pintchik - piano Scott Hardy - bass You” and “Naima”, where Coltrane solos brilliantly. any listener will love all of it and equally unlikely that Clarence Penn - drums While the exuberant dance of “Afro Blue” was usually no one would find their own groove within it. Proceeds on the live program, the quartet plays a swinging from the album, which was produced by Billy Martin, Latest CD version of “Cousin Mary”, which wasn’t. Moreover, go to benefit the Jajouka Foundation. WE’RE HERE TO LISTEN Coltrane’s impassioned but compressed six-minute available now at Amazon and iTunes version of “Chasin’ the Trane” has an obligatory feeling For more information, visit howerecords.com. Billy Martin‘s to it, unlike the Joyce-ian stream of consciousness he 50th Birthday is at Roulette Oct. 25th. See Calendar. had unleashed at the Village Vanguard two years earlier. www.lesliepintchik.com

There are no constraints on “My Favorite Things”, a 21-minute epic waltz filled with some of Coltrane’s most blistering soprano. Pianist McCoy Tyner stretches out brilliantly on “Impressions” instead of merely comping and later he and bassist Jimmy Garrison lay out, leaving Coltrane and Elvin Jones to engage in a ferocious tenor/drums duet. There are alternate versions of “Naima”, “I Want to Talk About You” and “My Favorite Things” included from the tour, which were likely excluded to avoid Two For Duke redundancy. The tracks are great to hear but really don’t Max Ionata/Dado Moroni (Jando Music) provide any new perspectives on the original release. by Ken Dryden The true allure comes from hearing more music by one of the greatest jazz groups ever at its creative peak. Tenor saxophonist Max Ionata and pianist Dado Moroni are two outstanding Italian musicians. The For more information, visit concordmusicgroup.com. A former has widely recorded in Europe as a leader and Coltrane tribute is at Shrine Oct. 24th. See Calendar. sideman while his musical partner is better known worldwide for his extensive recordings as a leader and

in the bands of Clark Terry, Lee Konitz, Tom Harrell, George Robert and Bobby Watson, among others. This recording chooses a variety of music from Duke Ellington’s vast repertoire. Fortunately, even the most familiar songs have fresh approaches, though Moroni enjoys playfully inserting an occasional Ellington- flavored run into his solos. Billy Strayhorn’s “All Day Long” is a romping opener with inventive solos and terrific interplay. The

duo weaves its way into Juan Tizol’s “Perdido” with a The Road to Jajouka Various Artists (Howe) roundabout improvisation, then settles on a brisk by Kurt Gottschalk reading while avoiding playing the theme outright until near its conclusion. Their jaunty setting of The Master Musicians of Jajouka have a long and Strayhorn’s “The Intimacy of the Blues” gradually storied history. William S. Burroughs once referred to builds intensity to a stimulating finale. There’s a bit of them as a “1,000 year old rock band” and while the a surprise added to Ellington’s “In My Solitude” as claim might be dubious both historically and Moroni overdubs a bassline and adds a friendly, categorically, it hints at their roots and their fanbase. relaxed vocal while he substitutes bass for piano in The musical heritage stretched back centuries before it their swinging take of “Just Squeeze Me”, playing a was discovered by musicians Brian Jones and Bill hip walking line for Ionata’s robust tenor. Their Laswell and writers Paul Bowles, Brion Gysin and energetic performance of Strayhorn’s “What Am I Here Robert Palmer. The ensemble’s ritual trance music has For?” would bring any audience to its feet. proven as inspiring to Western minds as the North The pair have a special gift interpreting ballads. African culture from which they hail. Moroni opens “Lotus Blossom” with a somewhat With such diverse artists championing their work, ominous introduction before revealing its theme, with

THE NEW YORK CITY JAZZ RECORD | October 2013 23 visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG

THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS

Giant Steps Unison Tommy Flanagan George Mraz/Zoe (Enja) Rahman (Cube-Metier) Harlem Speaks by Andy Vélez A SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps became John Coltrane’s first genuinely iconic album. Pianist Tommy Flanagan was among the players on the recording, which was 10/31 David Amram notable stylistically for a movement away from chordal Multi-instrumentalist/ composer/ author jazz. This reissue of Flanagan’s 1982 Giant Steps is an homage to Coltrane, repeating several of the tracks while adding “Central Park West”. During the ‘80s, Photo copyright Richard Conde. The NaTioNal Jazz MuseuM iN harleM 104 easT 126Th sTreeT, suiTe 2C DoNaTioN suggesTeD 6:30 - 8:30pM For More iNForMaTioN: 212-348-8300 Flanagan favored trios and frequently played with Czech-born bassist George Mraz. Theirs was a felicitous coming together as evident here and recalled fondly by denizens of Bradley’s, a long-gone-but-not-forgotten Village jazz spot where they appeared frequently. Flanagan is notably more confident with what had been a new idiom the first time around. That sureness of technical facility is evident from the first note to the last and the same is true for Mraz. By this time the latter had become one of the most dependable of October 4: FFEAR rhythm men. Together they are as close as pages in a $18 ADVANCE $20 AT DOOR book on a funky “Cousin Mary”. The opener is “Mr. P.C.”, an opportunity for the TICKETS: www.rmanyc.org/harleminthehimalayas trio to cook the bluesy tune. Heating matters up even further is Al Foster hitting those drums. On “Naima”, a beautiful ballad and one of Coltrane’s best-loved themes, Flanagan’s playing is gentle, a shimmering cascade of mellifluous notes supported by tender shadowing from Mraz. And with the added pleasure of Foster’s perfect time, especially notable on the title Parallax Conversation Series tune, these are masters all in peak form saluting a giant of jazz. 7:00 PM – 8:30 PM Mraz has worked with an imposingly starry list of jazz greats including Bill Evans, Dizzy Gillespie, Jones 10/10: Snehasish Mozumder brothers Hank, Thad and Elvin and Ella Fitzgerald, and Sylvain Leroux among many others. No less eminent a cohort, Oscar Peterson said of him, “his balance and innate sensitivity The National Jazz Museum in Harlem 104 E. 126th St., #2C make him one of the finest jazz bassists around today.” Suggested Donation For more information: 212-348-8300 Unison brings together Mraz with a rising star, British pianist Zoe Rahman. A May 2012 live recording, he and Jazz for Curious Listeners Rahman had never met until the afternoon of the Free classes celebrating Harlem and its legacy THE SAVORY CONCERTS concert. But their playing is as easy and relaxed as that of longtime friends. It’s a set that puts Mraz more Tuesdays 7:00 - 8:30 p.m. 7:00 – 8:30pm directly in the spotlight than usual. The National Jazz Museum in Harlem, October 16: Unusual Instruments “Three Silver Hairs”, one of several Mraz tunes on 104 E. 126th Street, #2C in the Savory Collection this disc, comfortably blends a whiff of Middle Eastern flavors with hints of Debussy. Both he and Rahman The Evolution of the mandolin in Jazz Ft. Scott Robinson play dynamically here, each moving in and out of center-stage seamlessly. Another Mraz gem is “Blues with Tim Porter The National Jazz Museum in Harlem 104 E 126th St. #2C $20 suggested donation | For more information: 212-348-8300 for Sarka”, a lovely melody with extended passages, in 10/1: Once Upon a Time which Mraz demonstrates just how eloquent and 10/8: The Mandolins are coming! varied his playing expression can be. SPECIAL EVENT “April Sun” is a Rahman original. It goes from a The roaring 20s to the Big War gossamer bit of piano magic to as suddenly thunderous 10/15: “Two Step” Ragtime and Choro 7:00 – 8:30pm as a summer storm. Mraz occasionally emerges to 10/22: “Triad and Trifecta” Swing, More provide some thunder of his own. October 9: ImproviNation: Mraz also adapted two Moravian tunes, “Grey Blues and Bluegrass An Evening with OneBeat Falcon” and “Little Apple”, but the best-known piece 10/29: “Fast Forward to Today’s Foremost” on Freestyling Across the Globe and in the set is Ennio Morricone’s “Cinema Paradiso”. Blues, Bebop and Beyond Around the Block Mraz and Rahman wend a way through it as expressive The National Jazz Museum in Harlem 104 E 126th St. #2C as it is delicately emotional. On a set mostly composed Donation Suggested | For more information: 212-348-8300 of lesser-known melodies, their duets are expressions of shared exploration.

For more information, visit enjarecords.com and Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council cube-metier.com. Mraz is at Jazz at Kitano Oct. 26th with Dado Moroni. See Calendar.

24 October 2013 | THE NEW YORK CITY JAZZ RECORD

their virtuosity or commitment. Both are necessary: most of Baum’s compositions are high-energy tunes like “Nusrat”, with layers of riffs and rangy melodies. The disc does contain a contemplative ballad or two, balancing out the driving pace of most of the album and showing off the players’ sensitivity. On “The Meeting”, for instance, bassist Zachary Lober stretches out in a soft, focused solo before falling into unison with Baum; later, on the title track, trumpeter Taylor

In This Life Haskins’ sustained, gentle solo eases Baum and Shepik Jamie Baum Septet (Sunnyside) into a similarly subdued musical conversation. by Suzanne Lorge The rest of the group - Douglas Yates (alto sax and clarinet), John Escreet (piano), Jeff Hirshfield (drums), october– Flutist Jamie Baum spins complex musical ideas like Samuel Torres (congas) and Dan Weiss (tabla) - move cotton candy. On In This Life, the latest release by her up and back in the sonic mix as the mood demands. november septet of 14 years, she mixes shifting key signatures These are responsive, precise players in service to with odd times, a traditional jazz horn section with Baum’s far-reaching ideas; lesser players probably oct 3–4 • 7pm congas or tabla, craggy harmonies with florid flute couldn’t handle the force of Baum’s inspired writing. lines. It’s hard to grasp all of this musical activity in Their hard work makes it easy for the listener - the GEORGE WEIN: one listen: if you’re paying attention to the deep, music melts in the ear like cotton candy on the tongue. watery tones of the bayan (lowest-tuned tabla) you THE LIFE OF A LEGEND might just miss the skittering notes of the trumpet or For more information, visit sunnysiderecords.com. Baum is George Wein and his Newport All- the soft ring of cymbals. Wherever you turn your ear, at Eats Restaurant Oct. 6th and Bar Next Door Oct. 17th. Stars featuring Lew Tabackin, Randy though, something remarkable is happening. See Calendar. Brecker, Anat Cohen, Howard Alden, Baum takes her inspiration from late Pakistani singer/instrumentalist Nusrat Fateh Ali Khan. The Peter Washington, and Lewis Nash compositions, though, derive from a variety of sources: bebop, Latin, concert music and classical Indian music. oct 5 • 7pm, 9:30pm Baum is schooled in all of these traditions, but the synthesis seems highly personal and not academic at sun ra turns 100: all. She breathes them in, she breathes them out. The band, too, connects viscerally to Baum’s sun ra arkestra compositions. The disc opens with “Nusrat”, on which Alto saxophonist-woodwindist the leader, trumpeter Amir ElSaffar, French horn player Marshall Allen and the Sun Chris Komer and guitarist Brad Shepik break out with Ra Arkestra Oscar Pettiford Modern Quintet emotional, rapid-fire solos, leaving little doubt about Oscar Pettiford (Bethlehem - Verse/Naxos) by George Kanzler oct 24–26 • 8pm In keeping with the format of the newly relaunched ABYSSINIAN: A Bethlehem Records, this CD reproduces, in a digital SANDY SASSO remastering of the original mix, the music from a single GOSPEL CELEBRATION LP, in this case a 10-inch one with just 15 minutes and Jazz at Lincoln Center Orchestra 31 seconds of music on six tracks, all less than three with Wynton Marsalis, Chorale Le minutes long. In that early era (c. 1955) of 33 1/3 rpm Chateau, and Reverend Dr. Calvin recordings, tracks were often as short as when they had to fit on a 78 rpm single. O. Butts, III There’s much to savor from this adventurously groundbreaking quintet, which not only featured a nov 8–9 • 7pm, 9:30pm bassist/cellist as leader, but also boasted a unique pairing of Julius Watkins’ French horn and Charlie LADIES SING Rouse’s tenor sax. Rounding out the lineup are pianist Duke Jordan and drummer Ron Jefferson. A notable THE BLUES feature of the repertoire is one of the earliest recordings Catherine Russell, Brianna of Pettiford’s “Tricotism”, when he was still calling it Thomas, and Charenee Wade “Trictatism”. Unlike some of his later larger ensemble recordings of the piece, here Pettiford himself plays the melody, on bass not cello, with horn backgrounds. The family concert blend of French horn and tenor sax, with cello nov 9 • 1pm, 3pm “Sasso has garnered a widespread sometimes added as an ensemble third, is also notably JAZZ MEETS GOSPEL reputation as a first rate vocalist.” unique, as on Pettiford’s swinger, “Rides Again”, one of the tracks where the leader overdubbed cello parts Jazz for Young People Series with —NJ JAZZ SOCIETY and solos so that he could continue playing bass in the Damien Sneed and friends “Her greatest gift is the manner in rhythm section. Both overdubbed cello and echo which she delivers a lyric. Smooth and chamber French horn are employed on the rhythmically exotic “Edge of Love”, a bit of a novelty that morphs seductive. You’re not talking about into straightahead swing during Pettiford’s (amplified) your average singer.” cello solo, played in his trademark pizzicato style, jalc.org —JAZZ INSIDE which references Charlie Christian’s guitar playing. Gerry Mulligan’s “Sextette” is a sophisticated modern jazz at lincoln center “Sasso is a masterful chanteuse, with swinger reminiscent of the composer’s own sextet Venue Frederick P. Rose Hall an unerring sense of swing. sound while Quincy Jones’ “Golden Touch” sets the Box Office Broadway at 60th, Ground Fl. solo cello against the two horns. Pettiford’s other “Hands On” highlights her sultry CenterCharge 212-721-6500 voice and relaxed groove.” original, “Cable Car”, finds his bass sharing the uptempo melody with the horns, Rouse, Watkins and —HOT HOUSE mastercard, priceless and the mastercard Jordan all contributing concise solos. Preferred Card of brand mark are registered trademarks of Jazz at Lincoln Center mastercard international incorporated. ©2013 mastercard. SANDYSASSO.COM For more information, visit bethlehemrecords.com. A Pettiford tribute is at The Stone Oct. 17th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | October 2013 25

Austrian Marxist composer Hanns Eisler (“Song of the United Front” and “And the Times are Dark and Fearful”) as well as two different takes on the socialist anthem “L’Internationale”. Pietaro’s agility and expressiveness fit nicely alongside the frequently interwoven saxophones of Ras Moshe (tenor and soprano and flute) and Rocco John Iacovone (alto and soprano). On bass, Nicolas Letman-Burtinovic serves at times as the only person playing in the pocket and

Blessed others as a superstorm of percussive, shrieking bowing. Scott Neumann/NEU3 Trio (Origin) It all combines to form a pretty well-executed - if by Ken Waxman not always focused - effort to test the boundaries of spontaneous, acoustic improvisation, especially over Drummer Scott Neumann has come up with an album the more basic harmonic foundations of the modified of unexpected excellence. He is one of the many Eisler tunes. That out playing also reaches a particularly unjustly almost-unknown players who, with little fruitful peak in an entirely free improvisation entitled fanfare, create first-rate CDs, easily as good as anything “One for Robeson”, in honor of Paul Robeson. released by poll winners and media darlings. The political elements of the record surface not Neumann has been a pro since he was 13, in a only in the aforementioned repertoire, but also two career gigging with big bands, small groups and interesting pieces that feature spoken word. First, singers and in Broadway pit bands. NEU3 is filled out Moshe gives a stirring reading of the Langston Hughes by soprano/tenor saxophonist Michael Blake, who has poem “God to the Hungry Child” - invoking images of known Neumann since 1987 when they met at the capitalist greed and its resulting societal ills - over Banff Centre, and bassist Mark Helias, a bandmate of soberingly sparse instrumental accompaniment. Then, the drummer since 2009. in “The Proof Is Overwhelming”, Pietaro performs an Helias’ power thumps set the pace for the disc as equally impassioned recitation of a defiant protest early as the first track. Exhilaratingly underscored by speech given by John Howard Lawson, an American cymbal snaps and well-modulated rolls, “Blessed” also writer and communist, to the infamous House showcases Blake’s blending of Stan Getz-ian Un-American Activities Committee in 1947. melodiousness and John Coltrane-esque intensity into In addition, vocalist Nora McCarthy makes a a wholly original package. Besides sometimes playing spirited appearance on the album’s second version of both saxes simultaneously, Blake also tootles a mean “L’Internationale”, fitting in effortlessly with jumping, melodica, as on “Garbanzo”. A pseudo-tango, the jarring phrases and flights of improvisation. arrangement displays Helias’ guitar-like facility with tremolo strums while Neumann’s syncopation is For more information, visit cdbaby.com/cd/theredmicrophone. terpsichorean without ever becoming clichéd. This group is at The Firehouse Space Oct. 19th. See Calendar. Facility with the blues is a yardstick for high- quality jazz and NEU3 easily measures up. On “Blues for RQ”, a pleasant romp named for Neumann’s young son, Helias’ slap bass strategy exhibits his technical command, even as he maintains the thick beat, while Blake’s solo is both lilting and intense. Elsewhere, the saxophonist‘s kazoo-like strains and honks add pressurized excitement to the jaunty, bluesy “Keep Your Heart Right”. Appropriately, the Helias-composed “Brothers” confirms the trio’s fraternal sophistication. Distinguished by Blake’s ney-like buzzing, the tremolo piece is feisty without ever losing its cheerful lyricism.

For more information, visit originarts.com. This project is at Smalls Oct. 5th. See Calendar.

Speaks! The Red Microphone (s/r) by Sam Spokony Anyone interested in buying this album should understand that it seems to have been created, at least in part, for the purpose of inspiring listeners to engage in subversive activism in the name of some forthcoming socialist revolution. Not that there’s anything wrong with that. The Red Microphone’s Speaks! is a structurally adventurous, socially conscious and quite serious debut album from a piano-less quartet that owes much to the urgent, fiery spirit of ‘60s-70s-era free jazz. The group is led by the excellent vibraphonist John Pietaro, who sets an intense, politically infused scene for the record, with arrangements of two pieces by the

26 October 2013 | THE NEW YORK CITY JAZZ RECORD

juxtaposition. On “Blues in C Flat minor” the horns above all, a unique approach to composition that is blow in classic tones over a splintered odd-time beat complex yet eminently listenable. He has transposed and trashy cymbal accents. “Argento” bounds with a these qualities and his own personal sensibility for an jaunty swinging feel, a springboard for a fluid tenor original tribute to Frisell. Schlegelmilch has revealed run, later joined by bass clarinet in tight unison. A nod the glorious sense of joy in the guitarist’s melodies and to late drummer Paul Motian, “Nice Try” opens with a given them new and different life. Dunn spotlight, then develops a lilting dual-horn The title track is sensitive and lovely, opening out melody reminiscent of those favored by the dedicatee, to a romantic vista that speaks of deep longing and Black vigorously free-styling underneath. Subdued rich passion. Schlegelmilch has a classical artist’s sense

Work Your Magic brushes on “LA#5” join the spare-in-number, but full- of shape and proportion and Frisell’s tune smartly Endangered Blood (Skirl) in-tone bass notes to buoy the romantic lolling theme, lends itself to invention springing from those by Sean Fitzell setting up a swaggering tenor solo. qualities. And speaking of classics, “Rag” sounds like a Casual neighborhood band or creative improvisation For more information, visit skirlrecords.com. Chris Speed is cross between Mozart and Scott Joplin, again calling allstars? Endangered Blood qualifies as both, a duality at Le Poisson Rouge Oct. 3rd with The Claudia Quintet and for a player who can attend to the technical needs to that propels their coolly confident interplay. Of course it The Stone Oct. 18th with Chimera. Oscar Noriega is at Jazz make the music sound organic and not gimmicky. It helps that its members - clarinetist/tenor saxophonist Standard Oct. 16th with Tim Berne. Trevor Dunn is at The works here and is quite lovely. It’s rooted somewhere Chris Speed, bass clarinetist/alto saxophonist Oscar Stone Oct. 17th and 19th with Erik Friedlander and Roulette in the past but certainly looks to somewhere else. “This Noriega, bassist Trevor Dunn and drummer Jim Black Oct. 25th with Billy Martin. See Calendar. Land” suggests a deep passion for something of the - have played together extensively in various earth but moves forward with a new sense of harmony combinations throughout the years. Their empathy and color, gently yet urgently drawing in the careful permeates the group’s second CD, recorded after two listener. It’s insistent and relaxed, heavy and light. nights of concerts. There’s a hint of atonality too in “Hangdog”, a Opening with a dirge-like blast, “Kaffibarinn” brooding bit of mischief in which the pianist digs into develops a repeating counterpoint between the reeds, the notes and his instrument and finds a different kind an ongoing interest of Speed’s, as Dunn elegantly of logic. That’s the kind of freedom towards which works the bow for a tender solo. But on “Ah-Le-Pa” his Frisell always directs listeners. “Jimmy Carter (pt. 2)” arco and bowed cymbal create a haunting atmosphere is a throbbing wave of motion with an organic sense of to cushion the swirling unison clarinets. Bass breaks development and “Deep Dead Blue” is a quietly into a gallop matched by whirls around the drumkit mournful ballad, the notes of which, in Schlegelmilch’s Throughout (The Music of Bill Frisell) before they settle into an off-kilter patter behind the JP Schlegelmilch (SteepleChase Lookout) reading, make their way to mature resolution. It’s a clarinets’ slightly phased line and exchanged quips. by Donald Elfman gorgeous performance and, like the other “Manzanita” percolates with Black’s skittering groove interpretations here, intelligent and deeply satisfying. as tenor and bass clarinet play complementary single- The music of guitarist Bill Frisell has special note lines, forming a pleasingly dense lattice. significance to Brooklyn-based pianist JP Schlegelmilch, For more information, visit steeplechase.dk. Schlegelmilch The tunes often reference tradition for an intriguing as it means freedom, energy, group interplay and, is at Turtle Bay Music School Oct. 4th. See Calendar.

COBI NARITA PRESENTS NEW FROM EVERY FRIDAY 6:30 to 9:30 PM OPEN MIC/JAM SESSION Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists, Poets - hosted by Frank Owens, one of the most gifted pianists you will ever hear! Our Open Mic is one of the best of the Open Mics happening in New York & elsewhere, with the incomparable Frank Owens playing for you. An unmatchable moment in your life! As a participant, or as an audience member, you will always have an amazing time, one you will never forget! Don’t miss! Admission: $10. ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd flOOR walk-up cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010

BROWNSTONEJAZZ SATURDAY NIGHTS Up Close and Personal Living Room Concerts In Collaboration with Cobi Narita, Jazz Center of New York presents OCTOBER 12, 2013 @ 8PM $30 VOCALIST TULIVU-DONNA CUMBERBATCH WITH ERIC LEMON’S BsJ ENSEMBLE In The Brooklyn Bedford Stuyvesant 19th Century Sankofa Aban Bed and Breakfast 107 Macon Street (between Marcy and Nostrand Avenues) RSVP: 917-70409237 Directions: A,C Train Nostrand Avevnue; 2,3,4,5, to Franklin Avenue; S Train to Fulton and Franklin Avenue

THE NEW YORK CITY JAZZ RECORD | October 2013 27

Dominic Lash and saxophonist/clarinetist Shabaka people together and it’s inevitable. A quartet of Bevan Hutchings, the latter born 52 years after Coxhill). and Hutchings with the rhythm section of Edwards Despite that, there’s nothing here that necessarily and Sanders (yes, rhythm section - Britain’s fiercest dates anyone. A duet by regular partners - the late and most practiced) is a free jazz band of the first rank: Coxhill and Ward - is the work of contemporaries no the plaintive opening references New Orleans jazz and matter what their ages. blues. If jazz is spontaneous, expressive, rhythmically The groupings heard here range from duo to vital music, this is just about as much jazz as you might quintet and each of the 15 pieces is by a unique want. ensemble. The emphasis is on the fresh encounter, The set is as witty as it is monumental. The cover

Just Not Cricket!: often matching musicians across generations. Also, art and the original concert program designed by Ben Three Days of British Improvised Music in Berlin Watts, Prévost and Minton, as examples, aren’t working Weaver are visually brilliant with an ideal metaphor for Various Artists (NI-VU-NI-CONNU) in the regular partnerships that define much of their the music. Each musician’s biographical note is coded by Stuart Broomer work. The pieces, resisting even the after-thought of to a tool or construction material that resembles their titling, are named only by the size of the group. instrument. Combinations of these things then illustrate If 2013 is shaping up to be the year of the ultimate The British branch of free improvisation has a the various sub-groups. There are also essays by Brian boxed set of European improvisation - with a 52-CD certain reputation for seriousness, but this music is as Morton and Wolfgang Seidel and wide-ranging set of the Instant Composers Pool and a 50-CD set of varied as it is spontaneous. There’s work of great discussions between the musicians and comedian saxophonist Paul Dunmall - some special spot belongs abstraction and subtlety, like a trio of Arthurs, Bourne Stewart Lee, who once appeared on the British quiz to Just Not Cricket! It’s not voluminous, but it might be and Beresford mingling piano strings, electronics and show Celebrity Mastermind with Derek Bailey as his area the most current and the most memorably designed. eerie trumpet long tones, but there’s also Coxhill’s of special knowledge. Both Morton and Lee explore Its four 180-gram LPs document three hours of a innate lyricism or the titanic roar of Bevan’s bass parallels and connections between the music and the three-day festival of British improvisers held in Berlin saxophone matched with the two string bassists. vaudeville traditions of the English music hall. in 2011. The festival was organized by filmmaker While no two pieces here resemble one another Everything contributes to a celebration of the Antoine Prum and saxophonist Tony Bevan, who met closely, they have key things in common. There is close quality, breadth and spirit of current British while Prum was making Sunny’s Time Now, a listening of the most intense sort, a sensitivity to the improvisation, but there’s something very special documentary about drummer Sunny Murray. Filmed nuance of one another’s sound production at the same about the musicians’ conversations with Lee. The for Prum’s account of British improvisation (due at the time that everyone is involved in fabricating the work, dialogue takes on the free-wheeling associative quality end of 2013), the festival gathered 15 musicians whose a coherent yet unpredictable compositional form. A of the music itself, whether it’s Coxhill and Beresford’s births span the ‘30s (saxophonists Lol Coxhill and quartet of Arthurs, Brand, Lash and Ward is composed overlapping construction of a critical moment, Prévost Trevor Watts); ’40s (singer Phil Minton and drummer whether it’s written or not, but it also explodes with recalling the formative stages of the music or Eddie Prévost); ’50s (Bevan and Steve Beresford, piano life. In another quartet, one-time trumpeter Minton’s Hutchings’ remarkable comparison of absorbing and electronics); ’60s (drummer Mark Sanders, bassist voice mingles with Arthurs’ trumpet. musical influences to property acquisition and John Edwards and vibraphonist Orphy Robinson); ’70s There is also a certain double movement with hoarding. At times it’s as stimulating as the music (harpist Rhodri Davies, trombonist Gail Brand, regard to the relationship between free improvisation itself and likely to influence the way one listens. clarinetist/guitarist Alex Ward and pianist Matthew and free jazz. While many don’t directly reference jazz, Bourne) and ’80s (trumpeter Tom Arthurs, bassist others do. Among the elders, it’s Watts, but put certain For more information, visit ni-vu-ni-connu.net

KAISEI PAUL VAN KEMENADE | AKI TAKASE | HAN BENNINK | cd: (a.o. artists) Kaisei Nari

FUGARA MARKUS STOCKHAUSEN | MARKKU OUNASKARI | STEVKO BUSCH | PAUL VAN KEMENADE cd: Fugara

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

STEVKO BUSCH | PAUL VAN KEMENADE cd: Contemplation

THREE HORNS AND A BASS MAHIEU | BOUDESTEIjN | VERPLOEGEN | VAN KEMENADE cd: (a.o. artists) Close enough featuring Brad Mehldau

photo: Stef Mennens and Geert Maciejewski photo: October 9, 2013 at 8PM | Tickets from $29 BOOKINGS BOOKINGS Stern Auditorium | Perelman Stage at Carnegie Hall www.paulvankemenade.com www.galleryoftones.com 212.247.7800 | www.orpheusnyc.org

28 October 2013 | THE NEW YORK CITY JAZZ RECORD

Road*Trip Ängsudden Song Cycle Touching Mike McGinnis + 9 Mike McGinnis Eric Alexander (HighNote) (RKM Music) (482 Music) by Alex Henderson by Elliott Simon Tenor saxophonist Eric Alexander has recorded plenty This reviewer met clarinetist Mike McGinnis over a of ballads over the years, but as part of albums that decade ago and was immediately impressed. Here was also had their share of uptempo offerings. But High a young player with an appreciation of jazz’ multiple Note Records President Joe Fields suggested that guises, a wide-eyed enthusiasm for everything, Alexander record an album solely of ballads and the compositional acumen and great clarinet chops. His result is Touching. This session reunites Alexander with first session as a leader, Tangents (RKM, 2003), many of the people who joined him on 2009’s Revival of showcased an abundance of traditional and worldly the Fittest and 2010’s Don’t Follow the Crowd, including musical influences. During that time, McGinnis told pianist Harold Mabern (Alexander’s mentor for many me that he likes to think of his music “...as going on a years), drummer Joe Farnsworth and veteran engineer trip with different people taking a turn at the steering Rudy Van Gelder (who was close to his 88th birthday wheel.” With these two new releases, Road*Trip and the when Touching was recorded). The bassist, however, is Ängsudden Song Cycle, McGinnis has himself taken the John Webber rather than Nat Reeves. steering wheel as leader, arranger, producer and Ballad-oriented jazz albums, in many cases, play it composer. much too safe when it comes to choosing material, but For Road*Trip McGinnis has assembled an Alexander makes a point of finding worthwhile songs additional nine musicians to give the Third Stream not yet beaten to death. He does offer a warm, soulful nugget “Concerto for Clarinet and Combo” its due. A performance of Jimmy Dorsey’s very familiar “I’m full brass section of alto, tenor and baritone saxophones, Glad There Is You”, but most of his other choices aren’t trumpet, trombone and French horn gives him a nearly as obvious: Michel Legrand’s “The Way She fantastic sonic palette. Pianist Jacob Sacks, bassist Dan Makes Me Feel” (from the movie Yentl); Sammy Cahn- Fabricatore and drummer Vinnie Sperrazza combine Jimmy Van Heusen’s “The September of My Years” and for a solid rhythmic underpinning. James Carr’s “Dinner for One, Please, James” (a song In order to understand the concerto better, Nat King Cole recorded in the mid ‘50s). McGinnis spent time with its octogenarian composer, Alexander has always been a major R&B fan and Bill Smith, learning its nuances. Beyond the music, he tackles two songs that have a strong R&B connection McGinnis uses Smith’s concerto to place the clarinet - “Gone Too Soon” (recorded by Michael Jackson and artfully back at the epicenter of a large jazz ensemble, before that, Dionne Warwick) and the Chi-Lites’ 1972 a rare occurrence in today’s jazz. The swinging 1st and hit “Oh, Girl” - recalling gritty tenor players like Gene 3rd movements and bluesy 2nd movement have Ammons and Stanley Turrentine. Another one of McGinnis keying the band while using the clarinet’s Alexander’s main influences is John Coltrane, warmth to accentuate the brass voicings. His own acknowledged with a take of “Central Park West”. But “Road*Trip for Clarinet & 9 Players”, written while Coltrane played the soprano on his famous 1960 specifically for this band, clearly borrows in form from recording of that gem, Alexander pleasantly surprises Smith’s concerto. It swings but has a more cerebral the listener by sticking to tenor on his version. postmodern feel that is less constraining. Still very Touching, for all its novelty, still works well as a melodic, it allows the band to explore more creative turn-down-the-lights mood album. Fields’ suggestion improvisational environs. to Alexander was a prescient one and listeners can now Ängsudden Song Cycle is a poetically driven artistic reap the rewards. statement. McGinnis uses poetry and paintings from artist MuKha to inspire a clarinet-centered, string- For more information, visit jazzdepot.com. Alexander is at based song cycle, portraying nature through achingly Smoke Oct. 1st, 15th, 22nd and 29th with Mike LeDonne. beautiful arrangements. See Regular Engagements. Guitarist Sean Moran, violist Jason Kao Hwang and Khabu Doug Young on cavaquino are a rich blend of strings that intermingle with McGinnis’ gorgeous timbre. Fabricatore’s bass combines with Sara Schoenbeck’s bassoon for an equally rich bottom. The music and poetry meld into a cohesive structure as vocalist Kyoko Kitamura’s phrasing, diction and timbre could not be more perfectly suited to the opulent surroundings. Harris Eisenstadt adds color with percussion and vibraphone to these otherwise umber tones, which range from the catchy jazz/pop of “You are Morning” to the Spanish-infused tenderness of “We ate the Wood” and mysticism of “You were with me Inside the Wind”. McGinnis is confidently behind the steering wheel for these two very different releases, maturely navigating through disparate climes on his way to turning his music into art.

For more information, visit facebook.com/RKMMusic and 482music.com. Road*Trip is at Barbès Oct. 24th. Ängsudden Song Cycle is at Roulette Oct. 13th. See Calendar.

30 October 2013 | THE NEW YORK CITY JAZZ RECORD

this theme. The darkly-tinged “Socket” moves between compositions by members of the ensemble and a subdued smoothness and unabashed pounding. Oscar version of Fewell’s “Venus”. The lengthiest pieces are Noriega is at his best and typifies the stratification, his two duets for vibes and tenor (there are three total) bass clarinet exceedingly tender before erupting into a recorded live at Berlin’s Jazzwerkstatt Café, in which slew of shrill screeches. “Static” is a fleeting patchwork the fragility of Tchicai’s approach is perfectly matched of interweaving lines; Berne rips with abandon, soaring with Dell’s spiky, damped carpet and they interweave into notes of stratospheric proportion while Mitchell in ways that seem beyond the specificity of melody or establishes a haunting creep, which builds powerfully rhythm. The poles of delicacy and robustness are to a devilish march. Paul Motian’s “Psalm”, meanwhile, evident throughout, with the push of Lillinger’s taut

Shadow Man sticks out as both the album’s only cover and a percussion and Westergaard’s meaty lines giving the Tim Berne (ECM) necessary sonic reprieve in all the chaos. Berne hints at quartet pieces an urgency that is in contrast to the by Robert Milburn the sweet melody with resounding and velvety burnished, nearly halting patience of the Dell/Tchicai smoothness while Mitchell sprinkles notes sparely. duets. These improvisations are worth the price of Tim Berne’s ECM debut, Snakeoil, made many a critic’s Both are so beautifully unassuming it’s hard not to admission alone and the quartet’s muscular bounce is Best of 2012 list and its likely Shadow Man also makes become enchanted by their delicacy. icing on the cake. the grade this year. Although the alto saxophonist’s Shadow Man unfolds organically, its main themes Other Violets is chronologically the last of the three lengthy, composition-heavy pieces can feel slippery, to cropping up and blurring the lines between discs reviewed here to have been recorded and was the point of being overwhelming and abrasive in their improvisation and composition. There’s something for waxed at Chicago’s Hungry Brain in May 2011. The serrated roughness, amid all the elusiveness visceral everyone. Longtime Berne fans will delight in the Engines are a burly Windy City quartet consisting of qualities manifest to break the tension. Like Snakeoil, group’s unrepentant fits and starts while Snakeoil alto/tenor saxophonist Dave Rempis, trombonist Jeb the moments of free-form improvisation give converts will relish the thoughtful compositions. Bishop, bassist Nate McBride and drummer Tim Daisy; movement to the cryptic riffing, the songs evolving in they released two discs as a quartet before the present their malleable, at times explosive, rawness. For more information, visit ecmrecords.com. This project is outing with Tchicai as a guest. It’s interesting to The longest track, “OC/DC”, clocking in at 20-plus at Jazz Standard Oct. 16th. See Calendar. contrast the saxophonists - Rempis’ alto is a frantic but minutes, elucidates Berne’s unique, chamber-like measured harrier reminiscent of forebears like Charles composition style. It begins with a splattering of Tyler and Mike Osborne on “Strafe” while the pathos sound, as the knotty repeating lines intertwine. and haunting strength of Tchicai on “Gloxinia” draws Drummer Ches Smith is heard splashing around his kit from Ayler’s ghosts in a startlingly personal fashion. seamlessly, from crashing cymbals to rapping earnestly Just over a year before his untimely passing, John on wood blocks. Pianist Matt Mitchell massages the Tchicai was still among the most vital improvisers tune into foreboding intensity, densely splaying active and these recent recordings are a powerful between hammering bass keys and erupting in highly- testament to that fact. toned shimmers. The tune really heats up during Berne’s blaring alto, which rifles through the fiendish For more information, visit nobusinessrecords.com, deluge. jazzwerkstatt.eu and nottwo.com. A Tchicai tribute is at

The remaining songs on the album continue on ShapeShifter Lab Oct. 18th. See Calendar. Tribal Ghost John Tchicai/Charlie Kohlhase/Garrison Fewell/ Cecil McBee/Billy Hart (NoBusiness) Featuring John Tchicai Christopher Dell/Jonas Westergaard/Christian Lillinger (Jazzwerkstatt) Other Violets (w/ John Tchicai) The Engines (Not Two) by Clifford Allen When Danish-born saxophonist John Tchicai died Oct. 8th, 2012 at 76, the improvising world lost one of its most unique artists. Though what was often noted was his ‘coolness’ in comparison to some of his New York energy-music peers, Tchicai’s laconically inquisitive phrasing and curdled tone were imbued with as much of the ‘search’ as someone like Coltrane, who hired him for 1965’s orchestral work Ascension (Impulse!). After 1966, Tchicai was mostly active in Europe, though from the ‘90s he taught and performed in the States with more regularity - including frequent collaborations with players like bassist Adam Lane, guitarist Garrison Fewell and saxophonist Charlie Kohlhase. Fewell and Kohlhase are Tchicai’s frontline partners for Tribal Ghost, recorded live in 2007 at New York’s Birdland (of all places) with the rhythmic support of bassist Cecil McBee and drummer Billy Hart. NoBusiness has released this archival session as a vinyl-only document; three of the four tunes are Fewell’s, with Tchicai’s gorgeous arrangement of the traditional “Llanto del Indio” closing the set. Noted for his work on alto through the ‘80s, Tchicai then switched to tenor and bass clarinet, lending a gruff and steely quality to his mysteries and phrasal queries. Here he’s offset by Kohlhase’s straighter arrows, though both players owe a certain amount to the saxophonists in Lennie Tristano’s orbit, heard especially to advantage on the sinewy cadences of “Llanto”. Vibraphonist Christopher Dell, bassist Jonas Westergaard and drummer Christian Lillinger got together with Tchicai in early 2010 and the results can be heard on this eponymous disc, which features 11

THE NEW YORK CITY JAZZ RECORD | October 2013 31

(eg, the title track and “Sun Song”). What strikes this rate alongside such illustrious pairings as pianist listener mostly about this album is the tightness of the Satoko Fujii and trumpeter Natsuki Tamura and bassist group and their constant interaction with each other; Barry Guy and violinist Maya Homburger. carrying on conversations and punctuating each They share another trait with the above-mentioned other’s musical ideas. This is markedly displayed on couples, in that by now their music too is almost the first track “Here With You” where Anning’s solo entirely sui generis; it sounds like no one else in its easily blends into Sivan’s, Jayaweera injecting his own challenging and thrilling blend of classical and drum commentary behind them. improvised tropes. Drawn from three nights of This CD provides a good introduction to the performance, the program comprises two lengthy

Enchanted Sun talents of Sivan and his trio, whose joy in making compositions from Feldman’s pen, one from Rotem Sivan (SteepleChase Lookout) music with each other is quite clear. Courvoisier and four joint efforts. Such is the range of by Marcia Hillman textures and dynamic shifts brought to bear that it is For more information, visit steeplechase.dk. Sivan is at Bar hard to credit that they are created by just two Enchanted Sun is the debut recording for Israeli-born Next Door Oct. 22nd. See Calendar. participants who don’t even switch instruments. Of guitarist Rotem Sivan, recorded with a studio audience course, part of the reason for the tonal variety rests to capture the energy of a live performance. The album with Courvoisier’s proficiency under the bonnet of her is a collection of originals by Sivan with two selections piano as much as at the keys. Her manipulations and from the Great American Songbook, played by a trio preparations conjure a ghostly underpinning for with bassist Sam Anning and drummer Rajiv Feldman’s austere lyricism on “Five Senses of Keen”. Jayaweera. Feldman allies a vibrant tone with wonderful Sivan has a delicate touch on his instrument, technique, as evidenced when he bows two or more preferring to play more single notes, which show off simultaneous voices during the edge-of-seat drama of his dexterity, than full-bodied chords. Most of his “For Alice”. It is impossible to know whether the compositions are melodic and in the tradition, such as multi-sectioned “Orpheus and Eurydice” intends to be his 12-bar “Rodent Blues”, but the title track has a programmatic, but Feldman’s violin weaves a tangled Live at Théâtre Vidy-Lausanne Middle Eastern flavor and rhythm changes building narrative arc as it sings, sighs, soars and weeps in a Sylvie Courvoisier/Mark Feldman (Intakt) up to a very fast tempo and then a quiet ending. The by John Sharpe dazzling rendition. Of the presumed improvisations, two standards fare well, with a tasty rendition of the “Pindar” creates a bracing timbral exchange of creaks Rodgers-Hart classic “Isn’t It Romantic?” and the You would never guess that Live at Théâtre Vidy- and crashes while “Calliope” provides a bravura finale Gershwins’ “How Long Has This Been Going On?”, Lausanne wasn’t a studio recording. It’s not only the to the album, as the highest violin filigree pitch against which features changing tempos and a fine Anning lack of audience noise or the superb sound, but the plucked piano wires, leading into a headlong sprint. solo. (Note: Odd that both these selections are intense focus and incisive interplay that suggests the Enter their universe and be beguiled. questions.) wherewithal to ensure that everything was just so. Of Another feature of Sivan’s writing is his ability to course husband and wife teams have a head start in the For more information, visit intaktrec.ch. Courvoisier is The build dynamism into his compositions - arriving at a preternatural communication stakes and in that regard Stone Oct. 16th. Feldman is at Zürcher Studio Oct. 16th. peak in the solos and then settling into quiet endings violinist Mark Feldman and pianist Sylvie Courvoisier See Calendar. “FREDDIE’S GROOVE” Live Trombonist PHIL RANELIN Celebrates

FREDDIE HUBBARD’S at Flushing Town Hall 75th Memorial Birthday A continuation of Ranelin’s Jason Kao Hwang’s year-long celebration of Burning Bridge Hubbard’s actual SUN, OCT 6, 4 PM April 7, 1938 birthday NEA Jazz Masters OCTOBER 10, 2013 JAZZ CASSEROLE with Jimmy Heath, Barry Harris, FEATURING THE Jimmy Owens, Tootie Heath, PHIL RANELIN Russell Malone & Christian McBride JAZZ ENSEMBLE FRI, OCT 11, 8 PM Brian Woodruff’s OKB Trio FRI, OCT 25, 8 PM 20% OFF! Photo by Craig Johnson MONTHLY JAZZ JAM WITH SPECIAL GUEST (mention the JASON KAO HWANG Oct 2 at 7 PM code JR20) SHOWTIME 8:30 PM $20 COVER CATALINA BAR & GRILL TICKETS AND INFO: www.flushingtownhall.org 718.463.7700 x222 6725 W. SUNSET BLVD., HOLLYWOOD CA 90028

These programs are supported by New York State Council on the Arts, a State Agency; New York City Department of Cultural Affairs; Louis Armstrong (323)466-2210 Educational Foundation; Chamber Music America; Farrell Fritz, P.C.; WAC Lighting Company, Co-founder Tai Wang; and FCCA Board Member Heather P. Harrison. JASON KAO HWANG & BURNING BRIDGE is supported by Presenting Jazz, a program of Chamber Music America funded through the generosity www.catalinajazzclub.com www.elementsofjazz.com of the Doris Duke Charitable Foundation. Promotional support in partnership with New York University’s Asian/Pacific/American Institute.

32 October 2013 | THE NEW YORK CITY JAZZ RECORD

Motéma label. Babatunde Lea’s percussion and Oran The last three songs are Heath’s arrangements of Etkin’s fluttering clarinet complement Angela’s soulful jazz classics. He adds a funky backbeat to Billy reading of Emily Dickinson’s “Hope”, moving the Strayhorn’s “A Flower is a Lovesome Thing” while poem from Amherst to the Nuyorican Poets Café. Label Dizzy Gillespie’s “Fiesta Mojo” proves infectious, founder Jana Herzen adds dreamy vocalizing to the highlighted by the performances of Michael Mossman light-fingered “Swing Raga”, as does Tessa Souter on on muted trumpet, Jeff Nelson’s fluid bass trombone “Natural Heritage”. On the latter, as well as the cool as and Frank Basile’s hard-blowing baritone sax. Heath ice “Blues Walk Groove”, Moffett’s overdubbing on throws a curve by adding a deliberate, lush introduction electric, acoustic and piccolo basses adds a riot of color. to his rousing, extended treatment of Charlie Parker’s

Wild Beauty The family feeling was underscored during a CD “Yardbird Suite”, leaving both the Blue Note audience Brussels Jazz Orchestra (featuring Joe Lovano) release show at Jazz Standard in late August. Angela and buyers of this enjoyable CD wanting more. (Half Note) intoned, “If music be the sound, play on.” Charnett, by Joel Roberts dressed sharply in a white bandana and black sequined For more information, visit jazzlegacyproductions.com. vest, launched into the title track, tapping out a This project is at Blue Note Oct. 28th-31st. See Calendar. Joe Lovano’s newly released collaboration with the rhythmic Morse code on the acoustic bass with his Brussels Jazz Orchestra is a career summation of sorts trademark blend of pizzicato, arco and spiccato. for the celebrated 61-year-old tenor saxophonist. The Charnett was partly named for Ornette Coleman, album was envisioned as a suite comprised of so his inclusion of the classic “Lonely Woman” was expanded versions of eight previously recorded fitting. He led the group through a fierce uptempo Lovano compositions, arranged for the 17-piece big reading, with Angela and Max scampering on drums band by veteran pianist/accordionist and longtime and tamboura and Charnett enhancing his dazzling Lovano associate Gil Goldstein. Lovano is featured as electric bass with psychedelic wah-wah and scratching the date’s primary soloist. effects. A blistering version of “Overpass” featured The tunes covered are drawn from Lovano albums Etkin doubling on clarinet and tenor; “For Those Who from the past 20 years or so and reflect the rich and Know” followed, which featured dynamite interplay diverse musical road the endlessly prolific Cleveland- between Charnett and pianist Marc Cary, stellar even born-and-bred artist has been traveling. There are when they clashed somewhat in the name of finding songs inspired by his Italian heritage (“Streets of common ground. The set concluded with the solo Naples”, “Miss Etna”, “Viva Caruso”) and nods to his acoustic bass tour de force “Bassland”. Moffett played jazz heroes (“Big Ben”, a dedication to Ben Webster; as if his life depended on every note, inserting flamenco “Our Daily Bread”, based on a spiritual tune by John styling, raga imprints and a few bars of “Frère Jacques” Coltrane). A few showcase his strong bebop roots, like for good measure. The sophistication and humor in the rollicking “Powerhouse”, while others highlight this profound musicianship encapsulates his spirit. his more modernist, avant garde side, like the moody, meditative title track. For more information, visit motema.com None of the compositions covered here have been recorded in a big band setting before and Goldstein does a fine job opening them up and blending his intricate orchestrations with Lovano’s soaring solos. The band has a bright, bold sound and handles the sometimes complex, darting arrangements with finesse. The album is a genuinely cooperative effort, drawing equally on the talents of the composer, arranger and the various members of the ensemble. While Lovano has made a number of albums with large Togetherness: Live at the Blue Note groups before (all of them worthwhile), they’ve seldom Jimmy Heath (Jazz Legacy Productions) matched the passion and exuberance of this truly by Ken Dryden exceptional project. Saxophonist Jimmy Heath is one of the elder statesmen For more information, visit halfnote.net. Lovano is at of jazz, still going strong well into his 80s. This live Village Vanguard Oct. 29th-Nov. 3rd. See Calendar. recording was made during the week of his 85th birthday celebration at the Blue Note in 2011, featuring

big band interpretations of his arrangements and originals. Opening the set is “A Sound For Sore Ears”, a peppy bop vehicle full of rich harmonies and its share of twists. Featured soloists include alto saxophonist Antonio Hart, Heath on tenor saxophone, trumpeter Roy Hargrove and trombonist Steve Davis. The boisterous, engaging title track is another breezy bop feature, with trumpeter Greg Gisbert, alto saxophonist

Mark Gross, tenor saxophonist Charles Davis and Spirit of Sound Charnett Moffett (Motéma Music) drummer Lewis Nash all soloing with gusto. “A Time by Terrell Holmes and A Place” is a hip, funky work with a Latin undercurrent dating back several decades to when Nestled at the heart of bassist Charnett Moffett’s Heath was working with Art Farmer. Roy Hargrove’s Spirit of Sound, a vibrant amalgam of jazz, world music expressive solo captures its mood perfectly, followed and voice, is the concept of family, an organizing by the leader’s soulful tenor. principle that drives the pulse of the album. “Lover Man” is one of the standards recorded so The Moffett factor appears when the leader’s wife frequently it would seem overexposed, yet Heath’s and son, Angela and Max, join him on “Seeker of creative scoring makes it fair game for further Truth”. As Charnett sprints on electric bass like Usain exploration; Heath and Jeb Patton, long-time pianist in Bolt, Max lays down a fiery drum groove and Angela the Heath Brothers Band, are the featured soloists. The recites the e.e. cummings poem over her soulful original “A Sassy Samba” is dedicated to Sarah tamboura. This element expands with daughter Vaughan and it is easy to imagine what she might have Amareia’s vocals on “Opera”. Another kind of familial done with it, especially if backed by Heath’s swinging link involves performances by other musicians on the big band.

THE NEW YORK CITY JAZZ RECORD | October 2013 33 Duke at the Roadhouse With Eddie Daniels In The Language Of Dreams Spirit Driven Eddie Daniels/ Steve Williams & A Small Dream in Red Jorge Sylvester ACE Roger Kellaway (IPO) Jazz Nation (OA2) (Red Zen) Collective (foUR) by George Kanzler by Sam Spokony Clarinetist/tenor saxophonist Eddie Daniels is The musical relationship between alto saxophonist represented at both ends of the ensemble spectrum on Jorge Sylvester and vocalist Nora McCarthy dates back these CDs: in duo with pianist Roger Kellaway on Duke 12 years to their first performance as the duo A Small at the Roadhouse and as a guest with the big band Jazz Dream in Red (which takes its name from the 1925 Nation led by Steve Williams, a role recalling Daniels’ masterpiece by Russian abstract painter Wassily Judi Silvano tenure in the Thad Jones-Mel Lewis Jazz Orchestra. Kandinsky). Each is a complete and freethinking Duke at the Roadhouse is an adventurous chamber performer in their own right, but it’s hard to deny that leads three ensembles jazz recital recorded at the Lensic Theater in Santa Fe. together they have developed a particularly powerful Eight pieces of Ellingtonia are expanded by one sense of interplay. This year, Sylvester and McCarthy celebrating the music original from each principal. The Ellingtonia may all are back as A Small Dream in Red, with a new record of the late, great be very familiar, but the interpretations are invariably called In The Language Of Dreams, which they dedicate fresh and sometimes very idiosyncratic, none more so to both Kandinsky and Ornette Coleman, as “leaders THELONIOUS MONK than the closing track: “It Don’t Mean A Thing (If It of the avant garde movement”. The 12-track, 70-minute in his birthday month Ain’t Got That Swing)”, clarinet and piano approaching album covers plenty of ground, including several it in a faux classical manner in a prolonged prelude diverse duo originals, two of Coleman’s tunes (with before Daniels launches into the refrain at a fast swing poetry by McCarthy) and a decidedly trippy take on clip, leading to racing solos. Throughout the recital “April in Paris”. Thursday, October 10, 2013 Daniels maintains a burnished woody glow in his The album opener, an original called “Dizzy Bird”, Jazz at Kitano clarinet tone, whether piping in the higher registers or is a perfectly paced starting point, as Sylvester bounces plumbing the crimson chalumeau tones of the nimbly through bop-tinged riffs and McCarthy pays in the Kitano Hotel instrument. He slowly announces the melody on the lyrical homage to Coleman and the historical context 66 Park Avenue opener, “I’m Beginning to See the Light”, before of his innovations. Both performers are really in their Kellaway joins him, tempo picking up for a series of element on Coleman’s “The Blessing” and “The (at 38th Street) rollicking solo and duo improvisations. Cellist James Sphynx”, stretching out into abstract territory and featuring: Holland joins the pair on four tracks - plus just part of channeling their spiritual perception of the alto Frank Kimbrough, piano the riffy melody of Kellaway’s “Duke in Ojai” - saxophonist’s forward-thinking messages while also contributing solos written out by Kellaway as well as maintaining their own confidently probing voices. Bill McHenry, sax ensemble parts. He adds a low counterpoint to Another original worth highlighting is the Ratzo B. Harris, bass “Perdido” and tonal weight to a short, atmospheric unsurprisingly loosely structured “Composition VII”, Steve Williams, drums “Mood Indigo”. “In a Mellow Tone” recalls the original an especially minimalist free improvisation in which Ellington recordings (1939-40) right down to a cello the pair beautifully explore longer held notes and more Reservations: 212-885-7119 solo referencing Lawrence Brown’s solo choruses and deliberately jarring choices in tonality. Sets 8 PM & 10 PM Daniels echoing original tenor soloist Ben Webster. McCarthy returns as a compositional collaborator Clarinet and cello take the lead on a tango-infused “In and performing member of Sylvester’s AfroCaribbean A Sentimental Mood” while Daniels’ other foray on Experimental (ACE) Collective, for that group’s hefty Plus 2 dates in the Mid-Hudson Valley tenor is a duo rendition of “Sophisticated Lady”, two-disc, nine-track, 87-minute album Spirit Driven. at 2 great venues! sandwiched by Sonny Rollins-like cadenzas. The sextet - with includes trumpeter Waldron The Jazz Nation album features a muscular, hard- Mahdi Ricks, pianist Pablo Vergara, electric bassist Thursday, October 17 driving big band firmly in the mid-20th Century Donald Nicks and drummer Kenny Grohowski - skips THE FALCON, tradition of Count Basie, Woody Herman and the ably across the spectrum between ethereal free improv 1348 Route 9W, Marlboro, NY various incarnations of the Vanguard Orchestra. and tight, funky beats while often sticking with the 8 PM concert featuring: Leader-arranger and reed section lead alto Steve typically dense harmonies of Sylvester and McCarthy’s Judi Silvano & Teri Roiger, voices Williams creates charts that build up, often from writing, as well as pursuing unexpected paths within James Weidman, piano Claire Daly, Bari Sax rhythm section or trombones, with admirable narrative the rhythmic terrain of AfroCaribbean traditions. Nicks John Menegon, bass momentum and accruing dynamics, and has a real gift and Grohowski form a particularly strong backbone on Steve Williams, Drums - shades of Jones (both Thad and Quincy) - for “Construction No. 2” and “Construction No. 1”, which spotlighting solo instruments and then reinforcing open the first and second discs, respectively. Both tunes And them with ensemble backgrounds. Daniels appears as are refreshingly accessible from an improvisational Sunday, October 20 a soloist on two of the three compositions he standpoint, beginning with relatively straightahead THE BEARSVILLE THEATER, contributed, the third the ballad “Thad’s Lament”. grooves that gradually morph and reach farther outside 291 Tinker Street, Woodstock, NY “Inner Lines” is a swinger in a samba groove with the changes, with spontaneous yet swinging solos and 5 – 8 PM featuring: Daniels and Luis Hernandez locked in a classic big McCarthy’s strong vocal presence. Sylvester’s somber Judi Silvano & Teri Roiger, voices band tenor sax duel. Trombones open “Hook or Crook”, tune “Paulina’s Prayer” is a great addition, featuring Joe Vincent Tranchina, piano featuring Daniels with a forceful big band clarinet sensitive ensemble playing and a moving solo by the John Menegon, bass sound, soloing over cheerleading from ensemble leader, as well as some good mute work from Ricks. Tani Tabbal, Drums sections. The balance of the big band tracks are all And the creative duo of Sylvester and McCarthy come For reservations call 845-679-4406 or go to www.bearsvilletheater.com engrossing, from the ambitious, waltz-inflected swing to the forefront once more on “Remember Haiti”, a $15 or $5 students of “Entre’ Nous” and funky “Where’s Marty?” to an jointly written and extremely inspired tune, which expansive tenor ballad for Hernandez and the closer, begins with chaos and coalesces into a unique verbal “Cathel Brugha Blues”, a midtempo flagwaver. and aural documentation of the societal troubles faced by that nation. For more information, visit iporecords.com and judisilvano.com originarts.com. Daniels is at Saint Peter’s Oct. 28th as part For more information, visit unseen-rain.com. Sylvester and of the Sir Richard Rodney Bennett Memorial. See Calendar. McCarthy are at Cornelia Street Café Oct. 26th. See Calendar.

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paramount throughout the CD, with the cohesive pulses saxophone improvisation. The delightful “Blue Over and harmonic unity synchronized via slack fingering or Gold” featured an enlightening solo section in which chunky rhythm strums by Halvorson; skipping triplet Stephens let out bursts of sonorous joy, Stevens provided patterns or swallowed, then brayed, brassy tones from crisp bop potency, Royston was the powerhouse and Oh Knuffke; plus raunchy backbeats or ambulating time- supplied the bluesy supplements. keeping from Wilson. The subbing musicians seemed insatiably ferocious Knuffke’s “Proper Motion” is another stand-out next to the album’s crew. Either the obvious contextual and one of the boppier tracks. Echoing Monk’s “Played difference of live versus recorded provides sufficient Twice”, the head does just that. Most of the piece then explanation or it was Royston’s imposing fieriness. The

Eponymous becomes a Wilson showcase, using hammers on cymbals contrast was stark but regardless merely a matter of Sifter (Relative Pitch) and positioned bass drum rhythms to twist the beat taste, not substance. In both regards, the playing and by Ken Waxman while maintaining the narrative, guitarist and cornet compositions were extremely first-rate. player return to recap the head and take the tune out. Good-humored and spirited, Sifter (the band) is a Significantly, while Halvorson only composed two For more information, visit greenleafmusic.com stripped-down ensemble consisting of three of NYC’s tunes compared to Knuffke’s six and Wilson’s five, hers busiest musicians - guitarist Mary Halvorson, cornet are the most contemplative. “Absent Across Skies” is a player Kirk Knuffke and drummer Matt Wilson - while mellow swinger whose tessitura follows the shape of IN PRINT Sifter (the CD) sifts out 13 highly entertaining her near-microtonal slurred fingering. “Forever Runs compositions by the members into a well-paced Slow in Cold Water”, a ballad, gives Knuffke a chance to program. inject open-horn excitement into its center, succinctly Besides leading his own band(s), Wilson is the balancing the guitarist’s folksy, finger-style playing. go-to percussionist for both mainstream and avant Exultant music with intellectual content, Sifter garde ensembles. Halvorson sometimes seems to be should impress many. working every day, if not with her own groups, then with bands led by Anthony Braxton, among many For more information, visit relativepitchrecords.com others. Meanwhile Knuffke plays in both the other members’ groups and has recorded well-received duet discs with pianist Jesse Stacken. If Sifter has a defining track it’s the Wilson-penned Vocal River: The Skill and Spirit of Improvisation Rhiannon (s/r) “Don Knotts”. Unlike its namesake, the fearful, by Tom Greenland bumbling actor, this intrepid performance adroitly unties musical knots and rocks as well as swings, Vocalist/teacher Rhiannon’s Vocal River: The Skill propelled by Wilson’s shuffles and clacks. Meanwhile and Spirit of Improvisation is part personal memoir, the theme is defined by Knuffke’s pirouetting smears part Aquarian testimonial and part how-to manual and slurs and Halvorson’s chiming fills, slightly espousing philosophical and practical approaches to distorted with knob-twisting. This good-timey feeling is spontaneous music-making. The first section traces Sun Pictures Linda Oh (Greenleaf Music) the author’s path from a Great Plains farm through by Robert Milburn her immersion in jazz, theater, performance art, pianist / composer a cappella, contact improvisation, dance and other Linda Oh is a bassist on the rise. Her sideman work self-expressive disciplines; her collaborations with alone with Dave Douglas’ quintet and the trumpeter’s the various groups and her work teaching privately michel reis Wayne Shorter tribute, Sound Prints, co-led by and leading workshops. saxophonist Joe Lovano, yields a resumé worth touting. The second section outlines her holistic Yet, by no means should you overlook her consummate approach to “connect[ing] the craft to the core”. It HIDDEN MEANING releases as a leader. discusses cultivating a Zen-like “beginner’s mind”, Sun Pictures is the most recent. The bassist is joined developing intuition, channeling, flow states, circle live at Shapeshifter Lab by fellow Australian James Muller (guitar), Ben Wendel singing, deep listening, accepting “the perfection of (tenor saxophone) and Ted Poor (drums). The album the imperfection of the moment”, healing, Brooklyn, NY features a vast soundscape of emotion, ranging from spirituality and other means to create music that is delicate balladry to fiery explosiveness. This, of course, an organic extension of one’s physical and emotional showcases Oh’s deft hand at composition, all while cycles. “Surrender is at the core of good improvising,” being remarkably judicious in the allocation of she notes; “Surrender to spirit…to the ensemble…to improvisational input from her nimble bandmates. the deep self [and] to the energy of the room.” Songs like “Yoda” and “Terminal 3” are perfect The final section is a ‘cookbook’ of 33 exercises expositions. The former is a slippery and rhythmically for developing improvisational skills, most designed cunning construction that is adventurous and hinting of for a group of singers but easily adapted to other trepidation. Wendel and Muller drive the tune, trading contexts. Rather than specifying rhythms, scales or wildly free-wheeling lines while Oh agilely vibes to harmonies, these skeleton sketches are open-ended, Poor’s frantic elusiveness. The latter tune has a meant to organize participation, foster spontaneity descending melancholy that feigns hope. There is and encourage interaction. “You don’t want to something exciting about the trick though. Bass bypass someone’s intuition by telling too much of maintains a commanding presence amid silvery guitar, your own version,” the author cautions. Beginning Eddy Khaimovich - bass Peter Traunmueller - drums adding to the song’s culminating beauty. “Footfall”, with movement, breathing and use of physical Aaron Kruziki - reeds Michel Reis - piano, comp. meanwhile, is somewhere in between, with Oh space, the exercises soon get more detailed and providing the cool, bubbly foundation and Wendel’s expansive. “Spirollution” is a type of musical ‘hot Thurs, Oct 24, 2013 HIDDEN MEANING breathy saxophone balanced, effervescent yet poised. potato’, passing ideas around in a circle; “Home” 9pm The album release was held in late August at Jazz challenges participants to keep “centering” the $10 Standard. The group was sans Muller, Wendel and Poor music after they’ve taken it ‘out’; “Orchestra” 18 Whitwell Place and filling in was saxophonist Dayna Stephens and assigns participatory roles of motor, interlocking, Brooklyn, NY 11215 drummer Rudy Royston, both from the group on Oh’s counterpoint and solo; “Shapeshifter” creates a (Betw 1st & Carroll St) Initial Here (Greenleaf Music, 2012), plus young guitarist group of “witnesses” to the musical changes. Some R Train to Union Matt Stevens. In the audience, was trumpeter Douglas, of the most interesting ideas involve “personal also Greenleaf’s co-founder, his head bobbing language”, storytelling and the incorporation of www.michelreis.com approvingly. movement and performance art. On the conceptually varied “10 Minutes Till Closing”, Royston was delicate until a jagged subsection For more information, visit rhiannonmusic.com/vocalriver. DoubleMoonRecords/Challenge loosed him into aggressive agitation. Oh’s soulfulness Rhiannon is at ShapeShifter Lab Oct. 18th-20th. was the harbinger of a well-paced and velvety

36 October 2013 | THE NEW YORK CITY JAZZ RECORD

special qualities to adding and subtracting personnel, muted trumpet and pianist Christopher Ziemba’s because the quartet is a single, stand-alone group with engaging solo. “Light” has a playful air with Nash’s its own modus operandi. In terms of a group language, bop-filled alto sax, Horne’s sizzling trumpet and Paul it hinges on the very simple (but not often accurately- Bendzela’s baritone sax. applied) tools of space and fullness. For example, the The suite’s final movement is “Cosmos”, which ‘absence’ during Alessi’s unaccompanied kisses on initially has a choppy, free-spirited vibe focusing on a “Nobody’s Human” are a textural shock, made ever dialogue between Nash and trombonist Mark more so when placed next to a pummeling charge from Patterson, before settling into a subdued, rich ballad toms, mallets and piano. On the lengthy “Nit- setting, then segueing into a rambunctious avant garde

Eponymous Splitting”, Davis’ ping-ponging minimal jabs are a mood with darting solos and backing lines, as well as a LARK (Skirl) focal point, expanding their shape to become a rolling sudden, unexpected conclusion. by Clifford Allen morass underneath the horns’ condensed skitters and hoarse entreaties. For more information, visit tednash.com. This project is at In free music, one of the ways in which composition “DDP 9963 (for Mat Maneri)” is a fine place to Dizzy’s Club Oct. 31st-Nov. 3rd. See Calendar. occurs is through the choice of players - each hear Laubrock’s soprano at work, sculpting gobs and individual’s approach to their instrument will narrow swoops in conversation with Alessi’s dappled necessarily focus and shape the collective voice. But it gleam. Gradually the horn players’ phrases become ON DVD is also true that groupings of similar players can representational shapes, as Rainey and Davis build a produce extraordinarily different results. delicately accented and breathy motion. The form may For example, three of the four principals that look outwardly like a ballad, but in true homage to the comprise LARK - tenor/soprano saxophonist Ingrid Maneris, it’s a panoply of contrasting, suspended Laubrock, drummer Tom Rainey and pianist Kris Davis objects something like an Alexander Calder mobile. - work together as part of Laubrock’s quintet Anti- While each participant in LARK may be a known House. However, with the addition of trumpeter Ralph quantity, it is the togetherness on this particular disc Alessi, the music takes on a wildly different shape. that should make one take notice - indeed, the modus Alessi, a resourceful and in-demand player known for operandi is presence. As a disc, LARK is also brilliantly his work with saxophonist Ravi Coltrane and pianists recorded, allowing one to get a very spatial view of the Uri Caine and Fred Hersch, doesn’t often appear in music, as the quartet’s improvisations are robust and ‘free’ groups but his darting incision and witty muscular while being incredibly supple and that can Erroll Garner: No One Can Hear You Read Atticus Brady (First Run Films) intelligence provide welcome levity and risk to what is be felt as well as heard. by George Kanzler often a weighty sonic proposition. At times he plays the reserved ‘straight man’ to Laubrock’s muted growls For more information, visit skirlrecords.com. This project is One of the best-selling jazz albums of the LP era and Davis’ string scrapes and left-handed roiling (one at Cornelia Street Café Oct. 26th. See Calendar. was pianist Erroll Garner’s Concert by the Sea might compare Alessi to Kenny Wheeler in drummer (Columbia), often cited in lists of the best jazz

Tony Oxley’s ensembles). albums of all time. During that decade and for most But it would be too simple to ascribe all of LARK’s of the ‘60s, Garner (1928-77) remained one of the top concert attractions in jazz, playing worldwide and booked into Carnegie Hall by classical music impresario Sol Hurok. According to testimony in this film biography, Garner was also - along with Louis Armstrong - one of the two most frequently seen jazz personalities on television in the ‘50s-60s. Yet for a major jazz figure of the mid 20th Century, Garner is poorly remembered and rarely heard Chakra Ted Nash Big Band (Plastic Sax) today. by Ken Dryden “My hope with this film,” says Atticus Brady, “is to bring Erroll Garner’s music back to the world’s A modern composer who finds new avenues while attention.” remaining accessible, saxophonist Ted Nash was Garner’s music suffuses this hour-long film, commissioned to compose the suite Chakra by a but often in tantalizing bits and pieces, heard behind October 1st seriously ill record producer who opted for a Chinese or stringing together a kaleidoscope of talking head Dave Chamberlain’s Band of Bones chakra healer after traditional Western medicine failed and performance images, the latter culled mostly him. Regardless of the listener’s familiarity with from TV and concert film footage worldwide. October 8th chakra - elements in the human body that are the Hearing Concert by the Sea before or after viewing Santi Debriano Group centers of life force, according to Hindu philosophy - this DVD greatly enhances its impact. Nash’s long form piece, written for his big band, Garner’s early life growing up in Pittsburgh October 22nd proves to be a compelling work. and prodigal gifts are nicely documented, courtesy Annual Dizzy Gillespie Birthday concert Nash’s exotic, wide-ranging pieces cast a variety largely of his sister Ruth Garner Moore and with Mike Longo’s 18-piece NY State of the Art Jazz Ensemble with of moods, though each movement stands on its own. biographer James Doran. The film’s title refers to the Ira Hawkins and special guests “Earth” serves as the introduction, beginning as a fact that Garner did not read music, but could play Jimmy Owens and Annie Ross. majestic promenade and evolving into a free-spirited and improvise on a melody after only hearing it 1 show at 8:00 PM followed by FREE film Nash alto flute solo draped with colorful background once. Steve Allen, one of the most perceptive talking showing of Gillespie in concert. voicings. There’s a dramatic shift with “Water”, which heads, says that the history of jazz piano is mostly a opens with a tense air then gives way to a turbulent “logical progression, but Garner was not part of it.” October 29th solo by alto saxophonist Charles Pillow, followed by So, paradoxically, “he was the greatest, but not Warren Smith and the Tim Hagans’ fiery trumpet. “Fire” is introduced with a influential.” His style is best described by Allen and Composer’s Workshop Orchestra dissonant riff suggestive of Stravinsky’s early 20th pianist Dick Hyman, the former describing Garner’s century writing, though its rhythmic personality left hand as guitar-like, the latter calling his right quickly takes over, with potent solos by trombonist hand “a miniature orchestra”. Garner bassist Ernest New York Baha’i Center Alan Ferber, clarinetist Anat Cohen, bassist Martin McCarty tells about how every night with Garner 53 E. 11th Street Wind and drummer Ulysses Owens representing the was an adventure, for he never seemed to play a (between University Place and Broadway) four dancers of this movement. “Air” opens with a piece the same way and often even changed its key. strong rhythmic pulse designed to simulate a heartbeat Garner’s harmonic inventiveness, playfulness and Shows: 8:00 & 9:30 PM as conveyed by the trombones and bass, then Hagans’ sense of humor are also frequently attested. Garner Gen Adm: $15 Students $10 abstract solo floats over the rhythm section, with the himself sums up his playing in one word: Happiness. 212-222-5159 brass and reeds inserting sporadic background color. bahainyc.org/nyc-bahai-center/jazz-night “Ether” is a bit more straightahead, a robust, brisk For more information, visit firstrunfeatures.com postbop cooker featuring Alphonso Horne’s gritty

THE NEW YORK CITY JAZZ RECORD | October 2013 37 unique as the first, still holds its own. The new decade was ushered in by a new quintet BOXED SET By 1977, things had changed. Motian was of younger players on 1982’s Psalm. The guitar is back working on a new group project, a trio with in the fold, this time in the unique personage of Bill saxophonist Charles Brackeen and another Ornette Frisell. A double sax lineup (Billy Drewes and Joe Coleman bass alumnus, David Izenzon. Dance was Lovano) and Ed Schuller (bass) rounded out the the first result. Motian’s distinctive compositions group. The compositions were also changing, with an were to the fore and he had fun with the titles: emphasis on conciseness. The band played with a “Kalypso” sounds like a march and “Asia” doesn’t more raucous energy; they actually rock out on sound particularly Eastern. Izenzon’s function is “White Magic”. But a little something is lost here as providing a sturdy bottom (beautifully recorded in well. Some of the individuality that Motian had in his ECM fashion) though one could wish for more of his earlier groups is missing. Psalm isn’t bad by any unique arco work. Motian’s drums and percussion means, more of a transitional album presaging the Paul Motian (Boxed Set) direct the music with both drive and discretion. style Motian would perfect the rest of the decade. Paul Motian (ECM) Brackeen is in many ways the focus of this disc but There was better to come. It Should’ve Happened by Robert Iannapollo there’s one disappointment: he’s featured on soprano A Long Time Ago was it. This 1984 release deleted on five of the six tracks. He has an attractive reedy Drewes and Schuller for an album of succinct trio After establishing himself during the ‘60s as sound but tenor is his more commanding instrument. interplay. Motian-Frisell-Lovano seemed to have a drummer for three of the most important pianists of The one tenor feature “Prelude” is the high point of psychic link that made this trio a perfect aggregation. modern jazz (Bill Evans, Paul Bley, Keith Jarrett), the disc. It’s a rousing track and seems to place all Admittedly, the use of Frisell’s guitar synthesizer on Paul Motian had yet to make his own statement. In three players in a maelstrom of free improvisation “Fiasco” gives the music a dated quality but what’s steps ECM head Manfred Eicher, offering to produce and serves notice that they could tear it up, if they good here is as good as anything Motian had done. a session. In 1973, Conception Vessel was issued, wanted. And it points in the direction Motian would head in heralding Motian as composer and group leader. That soprano problem is rectified on 1979’s Le the subsequent two decades. Perhaps surprisingly, Motian de-emphasized the Voyage, where Brackeen is featured on tenor on three Surprisingly, considering ECM’s artistic piano (although Jarrett was in there), focusing instead tracks. This has the tendency to push the music a standards, the packaging is underwhelming (the on a trio with guitarist Sam Brown and bassist Charlie little more compared to the introverted character of cover reproduces the cover art of Conception Vessel). Haden. The tunes, all by Motian, had strong brooding Dance. Bassist Jean Francois Jenny-Clark replaces However, the individual albums themselves are in melodies and they gave his cohorts plenty with which Izenzon (who died later in 1979) and he fits right into white cardboard sleeves with black lettering of just to work. Adding the violin of Leroy Jenkins on the the group, his big sound and impressive facility the title. One would wish that the original artwork final track, “Inspiration From A Vietnamese Lullaby”, upfront on “Abacus”, a track that also features a could have been attached to each album. But was a masterstroke. The followup, 1974’s Tribute, was lengthy unaccompanied tenor solo. Le Voyage is a musically, this boxed set excellently sums up where similar in tone with even more focus on Brown (plus consolidation of the approach that started on Dance Motian was in his first dozen years of leadership. the addition of a second guitarist Paul Metzke). Alto and shows a more developed group. A third album saxophonist Carlos Ward adds his distinctive tone to by this trio could have been a breakthrough but that For more information, visit ecmrecords.com. A Motian two of Motian’s themes. The album, not quite as was not to be. tribute is at Le Poisson Rouge Oct. 27th. See Calendar.

OCT 1 coca-cola generations in jazz festival OCT 15–16 michele rosewoman’s deep blue organ trio new yor-uba OCT 17 OCT 2 coca-cola generations in jazz festival juilliard jazz ensemble freddie redd: shades of redd OCT 18–20 OCT 3 coca-cola generations in jazz festival wilson, rosnes, washington trio her. (in honor of) OCT 21 OCT 4–6 coca-cola generations in jazz festival conversation with orrin evans and the christian mcbride captain black big band OCT 22–27 OCT 7 coca-cola generations in jazz festival christian mcbride trio the whitfield family band OCT 28 OCT 8 coca-cola generations in jazz festival judy carmichael quartet: trumpet summit I love being here with you

OCT 9–13 OCT 29–30 kenny barron platinum band antonio sanchez & migration

OCT 14 OCT 31–NOV 3 antonio ciacca sextet ted nash big band: chakra suite

swing by tonight set times pm jalc.org / dizzys

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

38 October 2013 | THE NEW YORK CITY JAZZ RECORD warren wolf wolfgang

“Vibraphonist Warren Wolf has both feet planted on a bedrock of midcentury modern jazz, meaning its postwar peak of popular refinement. However you feel about young musicians reaching for an older sound, it’s heartening to know that an album like Wolfgang can still be made with such stalwart conviction. Hard-swinging and articulate, it spotlights Mr. Wolf’s firecracker assurance…” – Nate Chinen, New York Times

“Vibraphonist Warren Wolf displays the combination of virtuosity and collaborative openness that fueled his rise to prominence as a member of Christian McBride’s ensemble Inside Straight.” – Bobby Reed, DownBeat

A founding member of Christian McBride’s Inside Straight band, frequent collaborator of pianist Aaron Diehl and one of the most in-demand multi-instrumentalists (vibes, drums, bass, organ) on the scene, Warren’s newest is not to be missed. If you care about jazz music and where it’s headed, this is a young man to watch and hear!

mackavenue.com • warrenwolfmusic.com available wherever you like to buy music (INTERVIEW CONTINUED FROM PAGE 6) TNYCJR: 42 years.

TNYCJR: Is making another great record, or maybe GB: Yeah. So I have to have a special waiver, if ever I go even your best yet, a driving force? to the States. So when I arrive, they press all the buttons and I usually get carted off for an interview before GB: No. I haven’t been asked to do a record with this they’ll let me in. That’s the way it is, I’m afraid. v band but someone should record it live because it’s fantastic. For more information, visit gingerbaker.com. Baker is at Iridium Oct. 9th-13th. See Calendar. TNYCJR: You’ve got an engagement at Iridium coming up. Will that be your first time at that club? Recommended Listening: • Graham Bond Organization - Wade in the Water: GB: No. I was there in 1997 with my Denver jazz group. Classics, Origins & Oddities (Repertoire, 1963-66) It was very successful and led to our making the record • Cream - Those Were The Days Coward of the County. It was a very good gig. (Polydor-Polygram, 1966-68) Wed Oct 2 SEAN CONLY: TRUE NORTH 8:30PM Kris Davis, Tom Rainey • Fela Kuti - Live! (with Ginger Baker & Africa ‘70) TNYCJR: So, this time around your group includes Pee (Signpost-Atlantic, 1971) Thu, Oct 3 MATT MUNISTERI 8:30PM Wee Ellis, Alec Dankworth and, pardon me, I’m not • Ginger Baker/Sonny Sharrock/Nicky Skopelitis/ Matt Ray, Danton Boller sure how to pronounce Abass Dodoo. Peter Brötzmann/Jan Kazda - No Material Fri, Oct 4 RIBS & BRISKET REVUE 9PM & 10:30PM (Ginger Baker Live Munich, Germany 1987) Cilla Owens, Glenn Turner, Paul Shapiro, GB: “Ah-bass Dough-doo”. Abass and I have been (ITM/Voiceprint, 1987) Jerry Korman, Booker King, Tony Lewis working together for over five years now. We just get • Ginger Baker Trio - Going Back Home (Atlantic, 1994) Sat, Oct 5 JASON RIGBY QUARTET 9PM & 10:30PM on, you know? We just play off each other all the time. • Ginger Baker and the DJQ20 (with James Carter) - Russ Lossing, Cameron Brown, Tom Rainey I did the same thing with Abass’ uncle, JC Commodore. Coward of the County (Atlantic, 1998) Sun, Oct 6 TYSHAWN SOREY QUARTET 8:30PM I worked with him in the ‘80s, another Ghana master Angelica Sanchez, Jeremy Viner, Ben Gerstein; Dan Weiss, host drummer. I get on with all those guys really well.

Thu, Oct 10 DANA LYN: CD RELEASE: AQUALUDE 8:30PM Mike McGinnis, Clara Kennedy, TNYCJR: So you’ve known Abass since he was a young (LABEL CONTINUED FROM PAGE 12) Jonathan Goldberger, Vinnie Sperrazza man? Fri, Oct 11 AMANDA BAISINGER 9PM & 10:30PM One of the at-the-time critically and commercially Ben Monder, Pete Rende, Adam Chilenski, Dan Rieser GB: No, I never knew him until I met him. It was on unsuccessful projects of the label and perhaps the only

Sat Oct. 12 REZ ABBASI QUARTET 9PM & 10:30PM the Zildjian Awards gig and then he tells me his uncle one where producers ruled over artists, was a multi- Mark Shim, Brad Jones, Gene Lake was JC Commodore and I was very impressed. And he disc recording of George Gershwin’s Porgy and Bess, plays like JC. There’s a whole family in Ghana, the featuring Tormé and Frances Faye in the titular roles Mon, Oct 14 HERMENEUTIC STOMP: CD RELEASE PARTY 8:30PM Jake Marmer, Frank London, Greg Wall, Uri Sharlin Tettey Addy family, they’re all drummers and they’re and an allstar musical cast including Duke Ellington’s all amazing drummers. Orchestra. It is slated to be reissued early next year by Wed, Oct 16 JULIAN WATERFALL POLLACK TRIO +1 8:30PM Alec is a really incredible bass player too and he Verse. Faye, along with Simone and Connor (who both Nir Felder, Noah Garabedian, Evan Hughes works with us naturally. It all clicks together really debuted as leaders on the label), were among a number Fri, Oct 18 BEN ALLISON BAND 9PM & 10:30PM well. Pee Wee’s got an incredible sense of humor, of important singers featured on Bethlehem, including Steve Cardenas, Brandon Seabrook, Allison Miller musically, and we all do, in fact! We’re always making Johnny Hartman, Troup, Bobby Scott, Bob Dorough, Sat, Oct 19 TOM RAINEY TRIO 9PM & 10:30PM each other laugh by what we play. Peggy Connelly and the now obscure but well-worth- Mary Halvorson, Ingrid Laubrock We’ve been getting an incredible reception, remembering Helen Carr. Sun, Oct 20 NEW BRAZILIAN PERSPECTIVES: everywhere, which is very rewarding. It makes it Dan Morgenstern, the now retired long-time THE NOVOSEL-BOUKAS DUO 8:30PM worthwhile, it’s really nice. director of the Institute of Jazz Studies at Rutgers, Filip Novosel, Richard Boukas fondly remembered some of the other albums from NEW BRAZILIAN PERSPECTIVES: GABRIEL GROSSI QUARTET 10PM TNYCJR: I know you’re doing tunes by Monk and Bethlehem, including “[alto saxophonist] Pete Brown’s Vitor Goncalves, Eduardo Belo Wayne Shorter. How much of the music is original? last good one, with lovely [trumpeter] Joe Wilder Tue, Oct 22 10TH ANNIVERSARY JAZZ DRAMA partnering him; a couple of Oscar Pettiford’s, one also PROGRAM BENEFIT CONCERT 6PM GB: Most of it. Most of the stuff is written by me, Pee with Joe, [trumpeter] Clark Terry and [clarinetist/ Bob Stewart, John Kamitsuka, Sara Caswell, Wee. We do some of the Ron Miles stuff, but mostly saxophonist] Jimmy Hamilton, the other with Tom Dempsey, Eli Yamin, Shantaysha Peprah, hosted by WQXR’s Terrance McKnight originals. But we don’t play “Footprints” like anybody, [trumpeter] Donald Byrd and [alto saxophonist] Gigi ELI YAMIN BLUES BAND 8:30PM or “St. Thomas”. It’s our own thing. The lineup is Gryce. There was one of my favorite [trumpeter] Jonah Charenee Wade, Bob Stewart, LaFrae Sci unusual. It’s all a lot of fun. Jones; that unique Mingus with Bill Evans: East Wed, Oct 23 ANGELICA SANCHEZ 8:30PM Coasting and [pianist] Herbie Nichols’ Love, Gloom, TNYCJR: Freedom is the best place to be when you’re Cash, Love.” Thu, Oct 24 BOBBY AVEY QUARTET 8:30PM Dan Weiss, Thomson Kneeland, Special Guest Horn performing. A schedule of rereleases is posted already through July of next year, including 16 albums from such Sat, Oct 26 PETROS KLAMPANIS’ CONTEXTUAL 9PM & 10:30PM GB: Obviously. We never play the same thing the same diverse artists as Mal Waldron, Booker Little, Roland Gilad Hekselman, Jean-Michel Pilc, John Hadfield way. Everything changes every night. It’s different Kirk, John Coltrane, an Art Blakey Big Band as well as Sat, Oct 26 LARK 9PM & 10:30PM every night. Even the arrangements come out different that forgotten Helen Carr gem, Down in the Depths of Kris Davis, Ralph Alessi, Ingrid Laubrock, Tom Rainey every night. Let’s just hope the United States the 90th Floor, and the aforementioned Porgy and Bess. Mon, Oct 28 ORAN ETKIN QUARTET 8:30PM government will let me come. According to Stark, the plan is to release the Lionel Loueke, Chris Lightcap, Tyshawn Sorey albums as they originally appeared, remastered but Tue, Oct 29 VOXIFY: SOFIA RIBEIRO 8:30PM TNYCJR: I understand you’ve met with the Embassy not remixed, without extra tracks or the combining of Juan Andrés Ospina, Petros Klampanis, to secure a visa for your scheduled trip to the States. Is LPs on one CD: “We like the idea of releasing them Marcelo Woloski, Magda Giannikou everything squared away? exactly how they were originally. There are over 200 in VOXIFY: MAGOS HERRERA 10PM Mike Moreno, Hans Glawishnig, Alex Kautz the catalogue and some of the original tapes are Nicky Schrire, host GB: Well, I still don’t know. It looks promising at the unfortunately not in good condition. I would moment, but you never know. optimistically say that 75 percent of them will see the Wed, Oct 30 MUSETTE EXPLOSION 8:30PM Will Holshouser, Matt Munisteri, Marcus Rojas light of day though.” TNYCJR: Is it the same reason you had trouble when So fans of ‘50s jazz, as well as those who remember you left Colorado? those sturdy, laminated Bethlehem LPs with the vivid cover art, have a lot to look forward to in the next GB: I always have problems with the Immigration couple of years. v Department because I got busted in 1970 and 1971 [for drugs] and it doesn’t go away in the States. I have no For more information, visit bethlehemrecords.com. Artists record in the UK at all because it was so long ago. I performing this month include George Wein at Allen Room mean, we’re talking about how long ago? Oct. 3rd-4th.

40 October 2013 | THE NEW YORK CITY JAZZ RECORD

JAZZ LEGENDS PERFORM NIGHTLY 8 – 11 PM

October 1-5, 7-11, 28-31 October 6-12 October 20 & 27 October 22-26 ANTONIO CIACCA SIMONA PREMAZZI JOHN DI MARTINO LUCIO FERRARA Antonio Ciacca continues his Italian pianist, composer and John di Martino is a Grammy One of the best jazz guitarists of exciting residency with Measure bandleader Simona Premazzi nominated composer, and the Belpaese will delight the Lounge at Langham Place, Fifth has developed an impressive pianist is based in New York audience with his swinging Avenue. We have body of work as a composer and City. John Di Martino is the soulful playing. a tremendous line-up of artists manager, leading her own favorite amongst of some of the

booked every night. groups, and supporting world’s finest singers, musicians

alternative musical projects. and producers . ITALIAN JAZZ DAYS October 12, RICHIE VITALE-RALPH LALAMA QUINTET FEATURING GIOVANNI SCOTTA October 13, SIMONA PREMAZZI October 14, GIOVANNI SCOTTA TRIO October 15-16, JEREMY MANASIA TRIO October 17-18, EHUD ASHERIE TRIO October 19, RICHIE VITALE FRANK BASILE QUINTET October 20, JOHN DI MARTINO October 21, JOHN DI MARTINO TRIO

400 Fifth Avenue, New York, NY 10018 - 212.695.4005

Years ago, they pioneered the art of jazz /

But many signed unfair contracts and got taken

for everything they were worth / They are our

elderly jazz musicians / Today, many of them live

in shelters or are homeless because they can’t afford

to pay rent / We help these talented people find

affordable housing, and work to help pay for it /

But we need you to help us do it / After all they’ve

given us, it’s time to give them something back:

their dignity / To learn more or to make a donation,

call 1-800-JFA-JAMS or visit www.jazzfoundation.org Photography donated by Brian Wilder. Musician photos: © photography by Bradley Smith. Photography donated by Brian Wilder.

Job # & CC: JAZZ2282

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Tuesday, October 1 Thursday, October 3 • Cinema Varitek: Matthew Silberman, JP Schlegelmilch, Danny Fox, Eivind Opsvik, Bill Campbell Turtle Bay Music School 7 pm êFestival of New Trumpet Music (FONT): Marcus Belgrave Quartet with Geri Allen, êGeorge Wein - The Life of a Legend with Howard Alden, Randy Brecker, Anat Cohen, • Janusz Prusinowski Trio Drom 7:15 pm $20 Marion Hayden, Kassa Overall Jazz Standard 7:30, 9:30 pm $20 Lewis Nash, Lew Tabackin, Peter Washington • Ronny Whyte Knickerbocker Bar and Grill 9:45 pm $5 êMichele Rosewoman New Yor-Uba 30th Anniversary with Antonio Hart, Billy Harper, Allen Room 7 pm $65 • Perry Beekman with Peter Tomlinson, Lou Pappas Freddie Hendrix, Vincent Gardner, Howard Johnson, Gregg August, Adam Cruz, êCelebrating Blakey: Brian Lynch, Donald Harrison, Billy Pierce, Donald Brown, Metropolitan Room 9:30 pm $20 Abi Holliday, Roman Diaz, Abraham Rodriguez Reggie Workman, Ralph Peterson Jazz Standard 7:30, 9:30 pm $30 • Bob Arthurs; Terry Vakirtzoglou Trio with Glafkos Kontemeniotis, George Kostopoulos; Dizzy’s Club 7:30, 9:30 pm $35 êThe Claudia Quintet: John Hollenbeck, Chris Speed, Matt Moran, Red Wierenga, Martin Terens Group with Leo Sherman, Goh Izawa êOliver Lake String Ensemble with guest Vijay Iyer Drew Gress; Slavic Soul Party Le Poisson Rouge 7 pm $15 Somethin’ Jazz Club 7, 9, 11 pm $12 Roulette 8 pm $20 • Theo Bleckmann with Rob Schwimmer, JACK Quartet • Nagi Okamoto Trio Tomi Jazz 9 pm $10 êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka Neue Galerie 9 pm $110 • Masami Ishikawa Trio Cleopatra’s Needle 7 pm Blue Note 8, 10:30 pm $30 êAdam Rudolph’s Go: Organic Orchestra with Sylvain Leroux, Michel Gentile, • Guy Mintus Trio; Jason Prover Sneak Thievery Orchestra êPeter Bernstein Trio with Doug Weiss, Bill Stewart Zé Luis Oliveira, Kaoru Watanabe, Batya Sobel, Sara Schoenbeck, Ned Rothenberg, The Garage 6:15, 10:45 pm Iridium 8, 10 pm $25 Avram Fefer, Ivan Barenboim, Sean Sonderegger, Stephen Haynes, Graham Haynes, êGeorge Wein - The Life of a Legend with Howard Alden, Randy Brecker, Anat Cohen, • Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake Peter Zummo, Jason Kao Hwang, Elektra Kurtis, Midori Yamamoto, Sana Nagano, Lewis Nash, Lew Tabackin, Peter Washington Village Vanguard 8:30, 10:30 pm $25 Julianne Carney, Rosemarie Hertlein, Curtis Stewart, Skye Steele, Mark Chung, Allen Room 7 pm $65 • Regina Carter’s Reverse Thread Birdland 8:30, 11 pm $35-45 Gwen Laster, Alva Anderson, Marika Hughes, Emma Albaster, Brahim Fribgane, êCelebrating Blakey: Brian Lynch, Donald Harrison, Billy Pierce, Donald Brown, • Henry Grimes/Andrew Cyrille Zürcher Studio 7 pm $15 James Hurt, Matt Kilmer, Tim Kieper, Keita Ogawa, Joe Hertenstein, Alex Marcelo, Reggie Workman, Ralph Peterson Jazz Standard 7:30, 9:30, 11:30 pm $30 • Mare Undarum: Elliott Sharp and Sirius Quartet: Fung Chern Hwei, Gregor Huebner, Kenny Wessel, Marco Cappelli, Jerome Harris, Damon Banks • Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake Ron Lawrence, Jeremy Harman; Elliott Sharp solo Roulette 8 pm $20 Village Vanguard 8:30, 10:30 pm $25 The Stone 8, 10 pm $20 • HER (In Honor Of): Kim Thompson, Mimi Jones, Sarah Elizabeth Charles, • Regina Carter’s Reverse Thread Birdland 8:30, 11 pm $35-45 • Celebrating Cedar Walton: David Williams, Willie Jones III, Javon Jackson and guests Brandee Younger, Courtney Bryan Dizzy’s Club 7:30, 9:30 pm $30 • Antonio Ciacca Measure 8 pm 54 Below 7 Pm $25-35 êIssue Project Room 10th Anniversary: Oren Ambarchi; Okkyung Lee/Michelle Boulé • Jack Jeffers and the New York Classics Issue Project Room 8 pm $20 Zinc Bar 8, 10 pm êMichaël Attias The Firehouse Space 8 pm $10 • David Chamberlain’s Band of Bones with guest Hendrik Meurkens • Mike Rood Trio with Rick Rosato, Rogério Boccato AN OCTOBER JAZZ NYC Baha’i Center 8, 9:30 pm $15 Bar Next Door 8:30, 10:30 pm $12 • Loren Stillman Trio with Gary Versace, Jared Schonig • David Schnitter Quartet; Saul Rubin Zebtet Bar Next Door 8:30, 10:30 pm $12 Fat Cat 7, 10 pm REVOLUTION: • Noah Preminger with Ben Monder, Ed Howard, Rob Garcia • Bootstrappers: Melvin Gibbs, Anton Fier, Elliott Sharp; All-Guitar SyndaKit: La Villette 8 pm Angela Babin, Cristian Amigo, Debra Devi, James Ilgenfritz, Zach Layton, Ben Tyree, 

  
  


• Spike Wilner Trio with Paul Gill, Yotam Silberstein; Smalls Legacy Band: Frank Lacy, Marco Cappelli, Zachary Pruitt, David Grubbs, On Ka’a Davis, Marc Sloan Stacy Dillard, Josh Evans, Theo Hill, Rashaan Carter, Kush Abadey; The Stone 8, 10 pm $20  
 


 

Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20 êJesse Stacken Quartet with Tony Malaby, Sean Conly, Tom Rainey; • Steve Ash Trio; CocoMama Salsa Y Son; Greg Glassman Jam 40Twenty: Vinnie Sperrazza, Jacob Sacks, Jacob Garchik, Dave Ambrosio Fat Cat 7, 9 pm 12:30 am Ibeam Brooklyn 8:30, 10 pm $10 • Scot Albertson Quartet with Billy Test, Sean Conly, Vince Cherico; • Matt Munisteri with Matt Ray, Danton Boller John Pietaro / Ras Moshe / Scot Albertson Quintet with Billy Test, Vince Cherico, Ron Jackson, Mayu Saeiki Cornelia Street Café 8:30 pm $10 Rocco John Iacovone / Symphony Space Leonard Nimoy Thalia 8 pm $23 • Bobby Avey with Ben Monder, Thomson Kneeland, Jordan Perlson • ELEW SubCulture 7:30 pm $20-25 The Jazz Gallery 9, 10:30 pm $15 Nicolas Letman Burtinovic

• Leni Stern with Mamadou Ba, Yacouba Sissoko, Makan Kouyate êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Francisco Mela Barbès 7 pm $10 Jazz at Kitano 8 pm $10 • The Zodiac Ensemble: Aaron Kruziki, Mike Bjella, Glenn Zaleski, Karl Mccomas-Reichl, • Gregorio Uribe Big Band; Roman Diaz Ensemble Colin Stranahan Korzo 9 pm Zinc Bar 9:30, 11 pm 12 am Jorge Sylvester / Nora McCarthy • Steven Weintraub with the Jake Shulman-Ment Band • Gingerbread: Carol Morgan, Brad Linde, Corin Stiggall Stephen Wise Free Synagogue 7:30 pm $15 Ibeam Brooklyn 8:30 pm $10 • Benjamin Scheuer; Alan Schmuckler • Jean Chardavoine Sextet Brooklyn Public Library Central Branch 7 pm SATURDAY OCTOBER 26, 6PM Cornelia Street Café 8:30, 10 pm $10 • Alex Weiss Fighter Planes and Praying Mantis with Rick Parker, Eyal Maoz, • Antonio Ciacca Measure 8 pm Dmitry Ishenko, Yoni Halevy; ICONOCLAST: Julie Joslyn/Leo Ciesa; CORNELIA STREET CAFÉ • Haruka Yabuno solo Jazz at Kitano 8 pm William Hooker Ensemble with Larry Roland, Bruce Eisenbiel, Andrew Lamb; • Yoo Sun Nam Group with Jeff Dingler, Mareike Wiening, Keisuke Matuno; Daniel Koren solo ShapeShifter Lab 7, 8:15, 9:30, 10:30 pm $10     
Jocelyn Shannon Band with Mark Cohn, Greg Zwiebel, Freddie Macarone • Amy Cervini and Jazz Country with Jesse Lewis, Matt Aronoff Somethin’ Jazz Club 7, 9 pm $12 55Bar 7 pm • Jake Kenowitz Tomi Jazz 8 pm • Sean Clapis Band with Nick Roseboro, Tim Norton, Jay Sawyer; Satsuki Iida and • Yvonnick Prene Quartet; Dmitri Baevsky Trio Takana Miyamoto Trio with Marco Panascia, Alvin Atkinson The Garage 6, 10:30 pm Somethin’ Jazz Club 7, 9 pm $10-15 • Audubon Experimental Lab Jazz; Alex Hoffman Group • Bonchi Asamu Band Tomi Jazz 9 pm $10 Silvana 6, 8 pm • Kuni Mikami Trio Cleopatra’s Needle 7 pm KARIN • Steve Coleman Workshop SEEDS 1 pm • Champian Fulton Quartet; Nobuki Takamen Trio The Garage 6, 10:30 pm • Patricia Wichmann Quartet Shrine 7 pm Wednesday, October 2 êLuis Perdomo Quartet with Mark Shim, Boris Kozlov, Ignacio Berroa Smalls 9:30 pm $20 êA Tribute to Mulgrew Miller: Donald Brown, Steve Nelson, Steve Wilson and the êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka Juilliard Jazz Artist Diploma Ensemble Blue Note 8, 10:30 pm $30 Paul Hall 8 pm • Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake • Freddie Redd Shades of Redd with Brad Linde, Stacy Dillard, Alex Claffy, Uri Zelig Village Vanguard 8:30, 10:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 • Regina Carter’s Reverse Thread Birdland 8:30, 11 pm $35-45 • Jenny Lin plays Elliott Sharp; Nels Cline/Elliott Sharp • Antonio Ciacca Measure 8 pm The Stone 8, 10 pm $20 êSean Conly’s True North with Kris Davis, Tom Rainey Cornelia Street Café 8:30 pm $10 Friday, October 4 êLuis Perdomo Group with Mark Shim, Boris Kozlov, Ignacio Berroa; Wayne Tucker Group with Cyrille Aimee, Roy Assaf, Tamir Shmerling, Kenneth Salters êMcCoy Tyner Quintet with Gary Bartz, John Blake Jr., Gerald Cannon, Francisco Mela Smalls 9:30 pm 12 am $20 Blue Note 8, 10:30 pm $30-45 KROG êLauren Sevian Quartet with Helen Sung, Marcos Varela, Cory Cox êZorn@60: John Zorn/Ryuichi Sakamoto Smoke 7, 9, 10:30 pm Japan Society 7:30, 9:30 pm $36 • Michael Lytle, Denman Maroney, Robert Dick, Kyoko Kitamura êIssue Project Room 10th Anniversary: Ken Vandermark/Nate Wooley; Spectrum 8, 9:30 pm Jacques Demierre/Vincent Barras Issue Project Room 8 pm $15 • Ben van Gelder Quartet with Ambrose Akinmusire, Joe Sanders, Craig Weinrib • Ceramic Dog: Marc Ribot, Shahzad Ismaily, Ches Smith ShapeShifter Lab 7, 8:15 pm Union Pool 9 pm $12 • Vivian Saunders Quartet with Oscar Perez, Michael Blanco, Billy Kilson êOrrin Evans and the Captain Black Big Band with Josh Lawrence, Thomas Marriott, Jazz at Kitano 8 pm $10 Tanya Darby, Stafford Hunter, David Gibson, Brent Hunter, Todd Bashore, Tim Green, • Queens Jazz OverGround Jazz Jam with guests Jason Kao Hwang, Ken Filiano, Troy Roberts, Marcus Strickland, Mark Allen, Luques Curtis, Nasheet Waits Andrew Drury Flushing Town Hall 7 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 • Cynthia Soriano Quartet with Johnny O’Neal, Gerald Cannon, Charles Goold êJimmy Greene Quartet with Renee Rosnes, John Patitucci, Jeff “Tain” Watts An Beal Bocht Café 8, 9:30 pm $15 Smoke 7, 9, 10:30 pm $38 • Jacque Demierre/Andrea Parkins; Dan Blake, Mary Halvorson, Sam Pluta êTony Malaby, Angelica Sanchez, Tom Rainey SEEDS 8:30, 10 pm Greenwich House Music School 8 pm $15 KARIN KROG KARIN KROG • The Hot Sardines Joe’s Pub 9:30 pm $15 êGiacomo Gates and Trio with John di Martino, Ed Howard, Tommy Campbell & STEVE KUHN • Groover Trio; Ned Goold Jam Fat Cat 9 pm 12:30 am Jazz at Kitano 8 pm $25 MORTEN STEVE SWALLOW • Perpendicular Parallel: Nicolas Letman-Burtinovic, Jeremy Viner, Alex Ritz, • Lonnie Youngblood Quartet Jazz 966 8:15, 10:15 pm $20 GUNNAR LARSEN JON CHRISTENSEN Travis Reuter Bar Chord 9 pm • Mike Moreno The Jazz Gallery 9, 10:30 pm $20 • Robert Silverman with Doc Halliday, Andy Bassford, Scott Hamilton • NYJazz 9: John Eckert, David Smith, Jeff Brillinger, Yasushi Nakamura, Bobby Porcelli, Sugar Bar 8 pm Joe McDonough, Terry Goss, Tim Harrison, Noah Bless; Behn Gillece Quartet with IN A RAG BAG WE COULD BE FLYING • Lisa DeSpain Quartet with Tom Dempsey, Mary Ann McSweeny, Scott Neumann; David Hazeltine, Gerald Cannon, Willie Jones III (MEANTIME Tim Lancaster Group Somethin’ Jazz Club 7, 9 pm $12 Smalls 7:30, 10:30 pm $20 (MEANTIME • Shu Odamura Tomi Jazz 8 pm êFFEAR: Ole Mathisen, Chris Washburne, Michael Bates, Tony Moreno RECORDS) RECORDS) • Marc Devine Trio; Jason Ennis TrioThe Garage 6, 10:30 pm Rubin Museum 7 pm $20 • Antonello Parisi Group Silvana 8 pm • Adam Larson Quintet with Nils Weinhold, Fabian Almazan, Desmond White, “A great partnership between Krog is on sparkling form êFestival of New Trumpet Music (FONT): Marcus Belgrave Quartet with Geri Allen, Mark Whitfield, Jr.; Colin Stranahan, Glenn Zaleski, Rick Rosato; Rob Garcia 4 with singer and pianist… Karin’s throughout this classic Marion Hayden, Kassa Overall Jazz Standard 7:30, 9:30 pm $20 Noah Preminger, Dan Tepfer, Joe Martin singing embraces almost every production and is accompanied here êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka ShapeShifter Lab 7, 8:15, 9:30 pm $10 style of jazz and popular song from by an energetic and creative rhythm Blue Note 8, 10:30 pm $30 • Manuel Valera New Cuban Express with Tom Guarna, John Benitez, Will Vinson, the days of Irving Berlin to section which sounds as contempo- • Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake Ludwig Afonso, Mauricio Herrera Flushing Town Hall 7:30 pm today’s avant garde” rary today as it did Village Vanguard 8:30, 10:30 pm $25 • JACK QUARTET plays Elliott Sharp; Aggregat Trio: Brad Jones, Don McKenzie, (from liner notes) in the mid-’70s. • Regina Carter’s Reverse Thread Birdland 8:30, 11 pm $35-45 Elliott Sharp The Stone 8, 10 pm $20 • Antonio Ciacca Measure 8 pm • Richard Boukas Trio with Gustavo Amarante, Mauricio Zottarelli • Sunfree Shrine 6 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 AVAILABLE ON ITUNES, SPOTIFY, AMAZON.COM, • Charles Cochran/Saadi Zain Saint Peter’s 1 pm $10 • Dida Pelled Quartet; Jared Gold/Dave Gibson Fat Cat 6, 10:30 pm MUSIKKOPERATORENE.NO • Jeff Newell Quartet with Randy Ingram, Peter Brendler, Brian Woodruff St. Mary’s Church 8:30 pm $25 KARINKROG.NO

42 October 2013 | THE NEW YORK CITY JAZZ RECORD Saturday, October 5 êHill Greene solo; Pascal Niggenkemper/Tatsuya Nakatani; Shayna Dulberger, • Noah Jackson and Full Circle with Jason Marshall, Robert Stringer, Josh Evans, Ras Moshe, Bill Cole 6BC Garden 2 pm Willerm Delisfort, Kyle Poole Smoke 7, 9, 10:30 pm êSun Ra Turns 100: Sun Ra Arkestra led by Marshall Allen with Knoel Scott, • Marilyn Kleinberg Quartet with Pasquale Grasso, George Delancey • Gibran Andrade with Jonathan Moritz, Kris Davis, Ben Gerstein James Stuart, Danny Ray Thompson, Fred Adams, Cecil Brooks, Dave Davis, North Square Lounge 12:30, 2 pm Barbès 8 pm $10 Farid Barron, Dave Hotep, Tyler Mitchell, Craig Haynes, Elson Nascimento, • Dave Kain Group; David Coss Quartet; Afro Mantra • Perpendicular Triangle: Nicolas Letman-Burtinovic, Travis Reuter, Danny Sher Tara Middleton Allen Room 7, 9:30 pm $45-75 The Garage 11:30 am 6:30, 11 pm Bar Chord 9 pm • Orchestra Carbon: Danny Tunick, Jenny Lin, Kevin Ray, Reuben Radding, • Scot Albertson/Daryl Kojak Klavierhaus 8 pm Judith Insell, Rachel Golub, Darius Jones, Jessica Pavone, Curtis Fowlkes, • The Stachel Quintet: Karen Stachel, Norbert Stachel, Bob Quaranta, Terry Greene The Stone 8, 10 pm $20 Monday, October 7 Francesco Beccaro, Daniel Gonzalez; IN: Tim Armacost, Harvie S, Christian Finger êMatana Roberts COIN COIN Chapter 2 with Shoko Nagai, Jason Palmer, Somethin’ Jazz Club 7, 9 pm $10-15 Thomson Kneeland, Jeremiah Abiah and guest Mike Pride • Hugh McCracken Memorial Saint Peter’s 7:30 pm • Pier Luigi Salami Tomi Jazz 8 pm The Jazz Gallery 9, 10:30 pm $20 • The Whitfield Family Band: Mark Whitfield Sr., Mark Whitfield Jr., Davis Whitfield, • Stafford Hunter Quartet; Mayu Saeki Trio êValerie Capers Trio with John Robinson, Doug Richardson James Genus Dizzy’s Club 7:30, 9:30 pm $30 The Garage 6, 10:30 pm Jazz at Kitano 8 pm $25 êMingus Dynasty Jazz Standard 7:30, 9:30 pm $25 • Victor Baker Band Silvana 9 pm • Willie Williams Sistas’ Place 9, 10:30 pm $20 êPeter Bernstein solo; Joe Martin Quartet with Bill McHenry, Kevin Hays, Nasheet Waits; êTom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, êJason Rigby Quartet with Russ Lossing, Cameron Brown, Tom Rainey Spencer Murphy Smalls 7:30, 9:30 pm 12 am $20 Justin Brown Village Vanguard 8:30, 10:30 pm $25 Cornelia Street Café 9, 10:30 pm $15 • Marti Mabin Quintet; Billy Kaye Jam • Stanley Clarke and the Harlem Quartet with Ilmar Gavilán, Melissa White, • Herb Robertson, Ben Gerstein, Gibran Andrade Fat Cat 9 pm 12:30 am Juan-Miguel Hernandez Blue Note 8, 10:30 pm $30-45 Ibeam Brooklyn 8:30 pm $10 • Kavita Shah’s Visions with Yacouba Sissoko, Stephen Cellucci, Guy Mintus, • Karrin Allyson Birdland 8:30, 11 pm $35-45 êFrank Carlberg Quintet with John O’Gallagher, Christine Correa, John Hébert, Michael Valeanu, Sam Anning, Guilhem Flouzat; Oded Tzur Quartet with Shai Maestro, • Simona Premazzi; Antonio Ciacca Measure 8 pm Michael Sarin Greenwich House Music School 8 pm $15 Petros Klampanis, Ziv Ravitz ShapeShifter Lab 8:15, 9:30 pm $10-12 • Kuni Mikami and Hamp’s Boogie Band with Michael Hashim, Clarence Banks, • Ben Wolfe Quartet with Josh Evans, Stacy Dillard, Donald Edwards • Brian Questa Trio with Tony Malaby, Mary Halvorson Christian Fabian, David F. Gibson Saint Peter’s 1 pm $10 Metropolitan Room 11:30 pm $20 Spectrum 9 pm • Steve Blum Trio; Raphael D’lugoff Quintet • Marianne Solivan Trio with Steve Wilson, Gene Bertoncini Fat Cat 7, 10 pm Bar Next Door 8:30, 10:30 pm $12 • Sean Smith Trio with Nate Radley, Russell Meissner • Tuija Komi; Jay Rodriguez/Victor Jones In The Spirit of Gil Bar Next Door 7:30, 9:30, 11:30 pm $12 Zinc Bar 7, 9, 11 pm Billy Lester • Swingadelic Swing 46 8:30 pm • Tom Dempsey Eats Restaurant 7 pm • Fima Chupakhin Trio with Spencer Brown, Theo Lebeaux; John Allen Watts Trio with • Simona Premazzi; Antonio Ciacca Measure 8 pm is accepting new jazz piano students, Eduardo Belo, Luiz Ebert; Hiroko Kanna Quartet with Nori Ochiai, David Williams; • Nate Hook’s Mobiustrip with Travis Reuter, Billy Test, Carlo De Rosa, Paolo Cantarella; offering an original approach to jazz Brett Sandler Trio with Peter Longofono, Adam Pin Composers and Free Improvisation Jam Workshop with AmmoCake: Dorian Wallace, Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 Carl Limbacher, Max Maple Somethin’ Jazz Club 7, 9 pm $5-10 creativity, technique, theory and ear • Allegra Levy Tomi Jazz 8 pm $10 • CialtronTrio Le Cirque Café 8 pm • Marco Di Gennaro Trio Cleopatra’s Needle 8 pm • Kristen Lee Sergeant Tomi Jazz 8 pm training to students of all levels. êMcCoy Tyner Quintet with Gary Bartz, John Blake Jr., Gerald Cannon, Francisco Mela • Howard Williams Jazz Orchestra; Michika Fukumori Trio Blue Note 8, 10:30 pm $30-45 The Garage 7, 10:30 pm Re: Storytime - Billy’s solo piano CD: êOrrin Evans and the Captain Black Big Band with Josh Lawrence, Thomas Marriott, • Johnny Butler Duo Shrine 9 pm Tanya Darby, Stafford Hunter, David Gibson, Brent Hunter, Todd Bashore, Tim Green, • Daniel Bagutti Band; Walter Harris Quintet “Connoisseur jazz...at an ever higher level Troy Roberts, Marcus Strickland, Mark Allen, Luques Curtis, Nasheet Waits Silvana 6, 10 pm Dizzy’s Club 7:30, 9:30 pm $40 of daring and mastery.” êJimmy Greene Quartet with Renee Rosnes, John Patitucci, Jeff “Tain” Watts Smoke 7, 9, 10:30 pm $38 Tuesday, October 8 -Howard Mandel, President, êScott Neumann Trio with Michael Blake, Mark Helias; Behn Gillece Quartet with Jazz Journalists Association David Hazeltine, Gerald Cannon, Willie Jones III êTom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Smalls 7:30, 10:30 pm $20 Justin Brown Village Vanguard 8:30, 10:30 pm $25 • Ronny Whyte Knickerbocker Bar and Grill 9:45 pm $5 êBen Allison/Steve Cardenas Duo Baruch Performing Arts Center 7 pm $12-25 “You won’t get any better than this.” êCelebrating Blakey: Brian Lynch, Donald Harrison, Billy Pierce, Donald Brown, • Pedrito Martinez Group and guests -Rotcod Zzaj, rotcodzzaj.com Reggie Workman, Ralph Peterson Jazz Standard 7:30, 9:30, 11:30 pm $30 City Winery 8 pm $18-22 • Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake • Refugee Songs: William Parker, Roy Campbell, Kris Davis; Village Vanguard 8:30, 10:30 pm $25 Painters Autumn: William Parker, Daniel Carter, Cooper-Moore, Hamid Drake “Solo jazz piano at its best” • Regina Carter’s Reverse Thread Birdland 8:30, 11 pm $35-45 The Stone 8, 10 pm $15 - Scott Albin, Jazz Times • Antonio Ciacca Measure 8 pm • Stanley Clarke and the Harlem Quartet with Ilmar Gavilán, Melissa White, • Yougmun Lee Shrine 6 pm Juan-Miguel Hernandez Blue Note 8, 10:30 pm $30-45 www.billylester.com • Chris Washburne and the SYOTOS Band with Yeissonn Villamar, Ole Mathisen, • Karrin Allyson Birdland 8:30, 11 pm $35-45 Cristian Rivera, Vince Cherico, Leo Traversa, John Walsh, Chris Washburne, • Trumpet Summit: Greg Gisbert, Brandon Lee, Bruce Harris, Michael Weiss, Russell Hall, studio in Yonkers, NY Herman Olivera Brooklyn Museum of Art 5 pm Peter Van Nostrand Dizzy’s Club 7:30, 9:30 pm $30 • Pueblo Harlem: Arturo O’Farrill and the Afro Latin Jazz Orchestra • New Dimensions in Latin Jazz: Emilio Valdes with John Roggie, Byron Moore and Harlem School of the Arts 12 pm guest Mark Whitfield Jazz Standard 7:30, 9:30 pm $20 • Daniela Schaechter Trio; JC Styles; Peter Valera Jump Blues Band • Santi Debriano Group NYC Baha’i Center 8, 9:30 pm $15 The Garage 12, 6:15, 10:45 pm • Sharel Cassity with Cyrus Chestnut, Dezron Douglas, Freddie Hendrix, EJ Strickland 54 Below 7 pm $25-35 êRobin Verheyen Trio with Todd Neufeld, Flin Van Hemmen; Ches Smith Trio with Jonathan Finlayson, Stephan Crump Sunday, October 6 Korzo 9, 10:30 pm êElliott Sharp solo The Stone 8, 10 pm $20 • Chris Corsano; Michael Foster, Kid Millions, Steve Swell êTyshawn Sorey Quartet with Angelica Sanchez, Jeremy Viner, Ben Gerstein JACK 8 pm $10 Cornelia Street Café 8:30 pm $10 • Noah Preminger with Nir Felder, Joe Martin, Rob Garcia • Abigail Riccards/Michael Kanan The Drawing Room 7 pm $20 La Villette 8 pm • The Norville Trio Music of Red Norvo: Tom Beckham, John Merrill, Sean Cronin; • Stan Killian Quartet with Chris Dingman, Bryan Copeland, Colin Stranahan Vanessa Perea/Emmet Cohen; Johnny O’Neal; Ned Goold Trio 55Bar 7 pm Smalls 4:30, 7:30, 10 pm 12 am $20 • Jacam Manricks Trio with Gianluca Rienzi, Ross Pederson • Ehud Asherie; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Bar Next Door 8:30, 10:30 pm $12 Fat Cat 6, 8:30 pm 12:30 am • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Josh Evans Big Band with • Tim Miller Trio with Joshua Davis, Marko Djordjevic; Joshua Davis Love Salad with Lauren Sevian, Frank Lacy, David Gibson, Max Seigel, Stafford Hunter, Theo Hill, Thana Alexa, Nicole Zuraitis, Tammy Scheffer Ronen Itzik; Eric Wheeler, Carlos Abadie, Seneca Black, Duane Eubanks, Vitaly Golovnev, The Coastal Suite: Alan Blackman, Donny McCaslin, Rogério Boccato, Max Murray, Yunie Mojica, Bruce Williams, Bill McHenry, Stacy Dillard; Kyle Poole and Friends Frank Russo ShapeShifter Lab 7, 8:15, 9:30 pm $10 Smalls 7:30, 10 pm 12:30 am $20 êJamie Baum/Sheryl Bailey Eats Restaurant 7 pm • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam • Eleonor Sadresky/Kevin Norton Spectrum 7 pm Fat Cat 7, 9 pm 12:30 am êPeter Leitch/Harvie S Walker’s 8 pm • Juilliard Jazz Orchestra plays Thad Jones • Stanley Zappa/Steven Leffue JACK 8 pm $10 Juilliard School Peter Jay Sharp Theater 8 pm • Cheryl Pyle/Claire de Brunner; Dan Lehner’s Memory Field with Nathan Hook, • Matt Garrison ShapeShifter Lab 7 pm $10 Sammy Weissberg, Dan Kurfirst ABC No-Rio 7 pm $5 • Jason Vieaux/Julien Labro SubCulture 7:30 pm $30-35 • Broc Hempel, Sam Trapchak, Christian Coleman with guest Dave Scott • Ezekiel’s Wheels Stephen Wise Free Synagogue 7:30 pm $15 Dominie’s Astoria 9 pm • Haruka Yabuno solo Jazz at Kitano 8 pm • Simona Premazzi Measure 8 pm • Liz Wagener; MCL Quartet: Christian Moran, Andrew Halchak, Yoshiki Yamada • Swingadelic Swing 46 8:30 pm Somethin’ Jazz Club 7, 9 pm $12 • Lyric Fury with Cynthia Hilts, Jack Walrath, Lily White, Lisa Parrott, Deborah Weisz, • Julio Botti Tomi Jazz 8 pm Ratzo Harris, Scott Neumann; Yongseok Lee Group with Myungwon Kim, Inyoung Kim, • Rob Edwards Quartet; Adam Larson Trio SeongKu Lee Somethin’ Jazz Club 7, 9 pm $10-12 The Garage 6, 10:30 pm • Shrine Big Band Shrine 8 pm • Wayne Tucker Quartet Silvana 8 pm êMcCoy Tyner Quintet with Gary Bartz, John Blake Jr., Gerald Cannon, Francisco Mela • Simona Premazzi; Antonio Ciacca Measure 8 pm Blue Note 8, 10:30 pm $30-45 êOrrin Evans and the Captain Black Big Band with Josh Lawrence, Thomas Marriott, Tanya Darby, Stafford Hunter, David Gibson, Brent Hunter, Todd Bashore, Tim Green, Wednesday, October 9 Troy Roberts, Marcus Strickland, Mark Allen, Luques Curtis, Nasheet Waits Dizzy’s Club 7:30, 9:30 pm $40 êGinger Baker’s Jazz Confusion with Pee Wee Ellis, Alec Dankworth, Abass Dodoo êCelebrating Blakey: Brian Lynch, Donald Harrison, Billy Pierce, Donald Brown, Iridium 8, 10 pm $50-60 Reggie Workman, Ralph Peterson Jazz Standard 7:30, 9:30 pm $30 êKenny Barron Platinum Band with Marcus Strickland, Miles Okazaki, Kiyoshi Kitagawa, • Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake Lee Pearson Dizzy’s Club 7:30, 9:30 pm $35 Village Vanguard 8:30, 10:30 pm $25 • Orpheus Chamber Orchestra with guest Brad Mehldau • Brian Prunka’s Nashaz with Kenny Warren, Nathan Herrara, Vin Scalia; Stern Auditorium 8 pm $29-110 Trismegistus: Joe Moffett, Ben Gerstein, Sean Ali, Devin Gray êEthan Iverson, Oliver Lake, Sam Newsome, Andrew Cyrille; Ed Cherry Trio with Downtown Music Gallery 6, 7 pm Corcoran Holt, Chris Beck Smalls 9:30 pm 12 am $20 • C. Spencer Yeh solo 61 Local 6 pm $10 • Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam • Elise Wood/Larry Corban Silvana 6 pm Fat Cat 7, 9 pm 12:30 am • Ike Sturm and Evergreen Saint Peter’s 5 pm êTheatre of Lanterns: Rob Brown, Greg Ward, Lewis Barnes, Steve Swell, • Ben Monder solo Barbès 5 pm $10 Cooper-Moore, William Parker, Hamid Drake; William Parker solo • Brandon Sanders Quintet with Jeremy Pelt The Stone 8, 10 pm $15 Abyssinian Baptist Church 4 pm $20 êValery Ponomarev Our Father Who Art Blakey Big Band êJason Hwang and Burning Bridge Ensemble with Andrew Drury, Ken Filiano, Zinc Bar 8 pm Stephen Haynes, Wang Guowei, Sun Li, Steve Swell, Joe Daley • Matt Savage Quartet with Donny McCaslin, Hoo Kim, Peter Retzlaff Flushing Town Hall 4 pm $20 Jazz Standard 7:30, 9:30 pm $20 • David Krakauer’s Acoustic Klezmer Quartet with Will Holshouser, Nicki Parrott, • Mary LaRose Reincarnation with Jeff Lederer, Chris Lightcap, Matt Wilson; Michael Sarin John Jay College 3 pm Swing n’ Dix: Jeff Lederer, Bob Stewart, Curtis Hasselbring, Matt Wilson; • Allen Toussaint Joe’s Pub 12 pm $30 Jamie Reynolds Trio + 2 with Billy Drewes, Shane Endsley, Gary Wang, Mark Ferber • Combo Nuvo: David Schroeder, Rich Shemaria, Lenny Pickett, Brad Shepik, ShapeShifter Lab 7, 8:15, 9:30 pm $10 Mike Richmond, John Hafield Blue Note 12:30, 2:30 pm $29.50 • Gesine Heinrich/Cameron Brown Jazz at Kitano 8 pm $10

THE NEW YORK CITY JAZZ RECORD | October 2013 43 Thursday, October 10 êJoe Fiedler’s Big Sackbut with Ryan Keberle, Luis Bonilla, Marcus Rojas The Jazz Gallery 9, 10:30 pm $20 êIn Order to Survive: Rob Brown, Lewis Barnes, Cooper-Moore, William Parker, • William Parker Quartet with Rob Brown, Lewis Barnes, Hamid Drake and guest Hamid Drake; Raining on the Moon: William Parker, Leena Conquest, Rob Brown, David Budbill; In Remembrance of Kathleen Wilkins: William Parker, Patricia Nicholson, Lewis Barnes, Eri Yamamoto, Hamid Drake Hamid Drake The Stone 8, 10 pm $15 The Stone 8, 10 pm $15 êMark Helias/Mike Formanek Greenwich House Music School 8 pm $15 êJudi Silvano Quintet Tribute to Thelonious Monk with Bill McHenry, Frank Kimbrough, êRez Abbasi Quartet with Mark Shim, Brad Jones, Gene Lake Ratzo Harris, Steve Williams Jazz at Kitano 8 pm $10 Cornelia Street Café 9, 10:30 pm $15 • Tierney Sutton’s The Joni Mitchell Project with Mitch Forman, Kevin Ax, Peter Erskine • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Jazz Standard 7:30, 9:30 pm $25 Miller Theater 8 pm $25-35 • Jason Lindner Quartet; Greg Glassman Quintet • Italian Jazz Days: Richie Vitale-Ralph Lalama Quintet with Giovanni Scotta; Fat Cat 7, 10 pm Simona Premazzi Measure 8 pm êIssue Project Room 10th Anniversary: Yasunao Tone; Talibam!: Matt Mottel/Kevin Shea • Organ Monk with guest Rome Neal Issue Project Room 8 pm $15 Sistas’ Place 9, 10:30 pm $20 • Karl Berger Improvisers Orchestra; Uri Gurvich and BabEl with Leo Genovese, • Tulivu-Donna Cumberbatch with Eric Lemon BSJ Ensemble Queens Jazz Peter Slavov, Ronen Itzik; Tammy Scheffer Sextet with John O’Gallagher, Dan Pratt, Sankofa Aban Bed & Breakfast 8 pm $30 Chris Ziemba, Daniel Foose, Ronen Itzik • Vanderlei Pereira’s Blindfold Test; Duane Eubanks Quintet ShapeShifter Lab 8, 9, 10 pm $10 Fat Cat 7, 10 pm Overground • Pedro Giraudo Jazz Orchestra The Jazz Gallery 9, 10:30 pm $20 • Peter and Will Anderson Quintet with Ehud Asherie, Dave Barron, Luc Decker • Dana Lyn’s Aqualude with Mike McGinnis, Clara Kennedy, Jonathan Goldberger, Jazz at Kitano 8 pm $25 Vinnie Sperrazza Cornelia Street Café 8:30 pm $10 • Kenny Wessel/Andrea Veneziani Silvana 8 pm & • Sharel Cassity Trio with Russell Hall, EJ Strickland • Carlo Costa Quartet with Jonathan Moritz, Steve Swell, Sean Ali Bar Next Door 8:30, 10:30 pm $12 Ibeam Brooklyn 8:30 pm $10 • Orion Lion Chile Jazz Quartet with Alekos Vuskovic, Orlando Araya, • Yosi Levy Trio with Itai Kriss, Gilad Dobrecky SingleCut Beersmiths Guillermo Nojechowicz Somethin’ Jazz Club 9 pm $12 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Senri Oe Tomi Jazz 9 pm $10 • Samantha Carlson Metropolitan Room 9:30 pm $20 • Steve Elmer Trio Cleopatra’s Needle 7 pm • Jake Fryer/Rodney Mendoza; Hiromi Kasuga Quartet; Fall Jazz Festival • Joe Pino Quartet; Adam Rongo Trio Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor; The Garage 6, 10:30 pm Orion Lion/Andre Valenzuela Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15 • Sunfree; The Red Sahara Collective • Kathryn Allen Tomi Jazz 7 pm $10 Shrine 6, 8 pm • Darrell Smith Trio Cleopatra’s Needle 8 pm êGinger Baker’s Jazz Confusion with Pee Wee Ellis, Alec Dankworth, Abass Dodoo êThe Sweet Science Suite - A Scientific Soul Music Honoring of Muhammad Ali: Friday, October 18th Iridium 8, 10 pm $50-60 Fred Ho Green Monster Big Band BAM Harvey Theater 7:30 pm $20 êKenny Barron Platinum Band with Marcus Strickland, Miles Okazaki, Kiyoshi Kitagawa, • Orquesta Buena Vista Social Club: Omara Portuondo, Manuel “Guajiro” Mirabal, Lee Pearson Dizzy’s Club 7:30, 9:30 pm $40 Barbarito Torres, Jesus “Aguaje” Ramos, Carlos Calunga, Rolando Luna; 7PM Amanda Monaco’s Kiss the Leslie êEthan Iverson, Oliver Lake, Sam Newsome, Andrew Cyrille Roberto Fonseca Rose Hall 8 pm $30-120 êThelonious Monk Birthday Celebration: Orrin Evans Quintet with Eddie Henderson, Amanda Monaco, guitar Smalls 9:30 pm $20 êTom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Tim Warfield, Ben Wolfe, Donald Edwards Brian Charette, Organ Justin Brown Village Vanguard 8:30, 10:30 pm $25 Smoke 7, 9, 10:30 pm $38 • Stanley Clarke and the Harlem Quartet with Ilmar Gavilán, Melissa White, • Zaid Nasser with Chris Byars, Ari Roland, Keith Balla; Mark Gross Quintet with George Schuller, drums Juan-Miguel Hernandez Blue Note 8, 10:30 pm $30-45 Ravi Best, Benito Gonzalez, John Lee, Tommy Campbell • Karrin Allyson Birdland 8:30, 11 pm $35-45 Smalls 7:30, 10:30 pm $20 8:30PM The OKB Trio • Simona Premazzi; Antonio Ciacca Measure 8 pm • Michael Wolff Trio Knickerbocker Bar and Grill 9:45 pm $5 êMonk at 96: Mala Waldron; Helen Sung; Benito Gonzalez • Tierney Sutton’s The Joni Mitchell Project with Mitch Forman, Kevin Ax, Peter Erskine Oscar Perez, piano Winter Garden 12 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 êGinger Baker’s Jazz Confusion with Pee Wee Ellis, Alec Dankworth, Abass Dodoo Kuriko Tsugawa, bass Iridium 8, 10 pm $50-60 Brian Woodruff, drums Friday, October 11 êKenny Barron Platinum Band with Marcus Strickland, Miles Okazaki, Kiyoshi Kitagawa, Lee Pearson Dizzy’s Club 7:30, 9:30 pm $45 êNEA Jazz Masters Jazz Casserole: Jimmy Heath, Barry Harris, Jimmy Owens, êTom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, 10PM Mostly Other People Do the Killing Christian McBride, Russell Malone, Albert “Tootie” Heath Justin Brown Village Vanguard 8:30, 10:30 pm $25 Ron Stabinsky, piano Flushing Town Hall 8 pm $40 • Stanley Clarke and the Harlem Quartet with Ilmar Gavilán, Melissa White, êThe Sweet Science Suite - A Scientific Soul Music Honoring of Muhammad Ali: Juan-Miguel Hernandez Blue Note 8, 10:30 pm $30-45 Moppa Elliott, bass Fred Ho Green Monster Big Band BAM Harvey Theater 7:30 pm $20 • Robert Mwamba Blue Note 12:30 am $10 • Karrin Allyson Birdland 8:30, 11 pm $35-45 Kevin Shea, drums • Orquesta Buena Vista Social Club: Omara Portuondo, Manuel “Guajiro” Mirabal, Barbarito Torres, Jesus “Aguaje” Ramos, Carlos Calunga, Rolando Luna; • ZenBeatz: Jane Grenier B/Albey Balgochian; Ellen Christi/William Parker; Roberto Fonseca Rose Hall 8 pm $30-120 Fay Victor’s Poetry & Strings with Anders Nilsson, Marika Hughes, Michael Bisio êThelonious Monk Birthday Celebration: Orrin Evans Quintet with Eddie Henderson, 6BC Garden 2 pm Tim Warfield, Ben Wolfe, Donald Edwards • Larry Newcomb Quartet; Brooks Hartell Trio Smoke 7, 9, 10:30 pm $38 The Garage 12, 6:15 pm Saturday, October 19th êO’Neal’s Porch Quartet: William Parker, Rob Brown, Lewis Barnes, Hamid Drake The Stone 8, 10 pm $15 3:30PM Mark Wade Trio • Steve Ash Trio with Chris Haney, Peter Van Nostrand; Mark Gross Quintet with Sunday, October 13 Freddie Hendrix, Benito Gonzalez, John Lee, Tommy Campbell Tim Harrison, piano Smalls 7:30, 10:30 pm $20 êAll Nite Soul Honoring Barry Harris and Sheila Jordan: Gene Bertoncini, Mark Wade, bass, • Katie Cosco Quartet; Cecil Brooks III Alan Broadbent, Alex Brown, Cameron Brown, Valerie Capers, Connie Crothers, Fat Cat 6, 10:30 pm Charles Davis, Billy Drummond, Ray Drummond, Peter Eldridge, John Ellis, Scott Neumann, drums • JC Sanford 4 with Mike Baggetta, Kermit Driscoll, George Schuller; Carol Fredette, Ray Gallon, Barry Harris and his Jazz Ensemble Choir, Sonar: Stephan Thelen, Bernhard Wagner, Christian Kuntner, Manuel Pasquinelli; Howard Johnson, Sheila Jordan, Paul Knopf, Lee Konitz, Sarah McLawler, Jeff Newell, Zevious: Mike Eber, Johnny Deblase, Jeff Eber Ben Riley, Harvie S, Kendra Shank Saint Peter’s 7 pm $25 5PM Dom’s Trio ShapeShifter Lab 7, 8:15, 9:30 pm $8-10 • Gene Lake Project with David Gilmore, Nick Rolfe, Steve Jenkins; The Outlaw Collective Broc Hempel, piano • Michael Wolff Trio Knickerbocker Bar and Grill 9:45 pm $5 ShapeShifter Lab 8:15, 9:30 pm $8-15 • Amanda Baisinger with Ben Monder, Pete Rende, Adam Chilenski, Dan Rieser • Andrea Parkins, Chris Cochrane, Brian Chase Sam Trapchak, bass Cornelia Street Café 9, 10:30 pm $10 The Firehouse Space 8 pm $10 Christian Coleman, drums • ANOMONOUS: Josh Sinton, Denman Maroney, Ben Miller • Peter and Will Anderson Octet with Joe Magnarelli, Joe McDonough, Frank Basile, The Firehouse Space 8 pm $10 Jeb Patton, Clovis Nicolas, Phil Stewart; Dennis Jeter and the Italian-American All Star • Peter Brendler/Jorge Roeder Duo; Peter Brendler Quartet with Rich Perry, Dave Smith, Band with Antonio Ciacca, Luca Santaniello; Johnny O’Neal; Rick Germanson Trio with 6:30PM Josh Deutsch Quintet Vinnie Sperrazza Douglass Street Music Collective 8 pm $10 Gerald Cannon, Lawrence Leathers êJonah Parzen-Johnson solo; Twins of El Dorado: Kristin Slipp/Joe Moffett; Smalls 4:30, 7:30, 10 pm 12 am $20 Josh Deutsch, trumpet Girls and God Spectrum 7 pm • Ehud Asherie; Jon Davis Trio; Brandon Lewis/Renee Cruz Jam Dylan Heaney, tenor saxophone • Joyce Breach Quartet with Mike Renzi, Warren Vaché, Neal Miner Fat Cat 6, 8:30 pm 12:30 am Jazz at Kitano 8 pm $25 êPeter Leitch/Charles Davis Walker’s 8 pm Danny Fox, piano • Steve Cromity Quartet; Vinnie Knight and Quartet • Richard Bonnet, Jake Henry, Gibran Andrade; Flandrew Fleisenberg, Joo Won Park, Peter Brendler, bass Jazz 966 8:15, 10:15 pm $20 Bonnie Kane ABC No-Rio 7 pm $5 • Tom Dempsey’s Saucy with Ron Oswanski, Alvin Atkinson • Italian Jazz Days: Simona Premazzi Shawn Baltazor, drums Bar Next Door 7:30, 9:30, 11:30 pm $12 Measure 8 pm • Emi Maka Band with Victor Goncalves, Wallace Stelzer, Diego Maldonado • Jason Yeager Eats Restaurant 7 pm Ibeam Brooklyn 8:30 pm $10 • Jeff Shurdut/Nicolas Letman-Burtinovic 8PM Hashem Assadullahi’s Safety Buffalo • Gisle Torvik Trio; Somethin’ Vocal with Matt Baker Trio Ze Couch 7 pm Hashem Assadullahi, alto sax Somethin’ Jazz Club 7, 9 pm $12 • Suzanne Pittson; Human Equivalent: Leah Gough-Cooper, Andrew Baird, • Yukari Watanabe Duo Tomi Jazz 9 pm $10 Sean McCluskey, Bryan Percivall, Bob Edinger; Yongmun Lee Quintet with Daan Kleijin, Alan Ferber, trombone • Jun Miyake Quartet Cleopatra’s Needle 7 pm Josh Bailey Somethin’ Jazz Club 5, 7, 9 pm $10-12 Leonard Thompson, piano • Doug McDonald Trio; Hot House The Garage 6:15, 10:45 pm • Nagi Okamoto Silvana 8 pm • Reza Khan and Painted Diaries Shrine 8 pm • Tierney Sutton’s The Joni Mitchell Project with Mitch Forman, Kevin Ax, Peter Erskine Justin Morell, guitar • Tierney Sutton’s The Joni Mitchell Project with Mitch Forman, Kevin Ax, Peter Erskine Jazz Standard 7:30, 9:30 pm $25 êGinger Baker’s Jazz Confusion with Pee Wee Ellis, Alec Dankworth, Abass Dodoo Peter Brendler, bass Jazz Standard 7:30, 9:30 pm $30 • Pedro Giraudo Jazz Orchestra The Jazz Gallery 9, 10:30 pm $20 Iridium 8, 10 pm $50-60 Caleb Dolister, drums êGinger Baker’s Jazz Confusion with Pee Wee Ellis, Alec Dankworth, Abass Dodoo êKenny Barron Platinum Band with Marcus Strickland, Miles Okazaki, Kiyoshi Kitagawa, Iridium 8, 10 pm $50-60 Lee Pearson Dizzy’s Club 7:30, 9:30 pm $35 êKenny Barron Platinum Band with Marcus Strickland, Miles Okazaki, Kiyoshi Kitagawa, êTom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Lee Pearson Dizzy’s Club 7:30, 9:30 pm $40 Justin Brown Village Vanguard 8:30, 10:30 pm $25 SingleCut Beersmiths êTom Harrell Quintet with Wayne Escoffery, Danny Grissett, Ugonna Okegwo, • Stanley Clarke and the Harlem Quartet with Ilmar Gavilán, Melissa White, Justin Brown Village Vanguard 8:30, 10:30 pm $25 Juan-Miguel Hernandez Blue Note 8, 10:30 pm $30-45 19-33 37th St, Astoria, NY 11105 • Stanley Clarke and the Harlem Quartet with Ilmar Gavilán, Melissa White, êMike McGinnis’ Two Views of the Ängsudden Song Cycle with Kyoko Kitamura, Juan-Miguel Hernandez Blue Note 8, 10:30 pm $30-45 Sara Schoenbeck, Jason Kao Hwang, Khabu Doug Young, Sean Moran, Phone: (718) 606-0788 • Camila Meza Blue Note 12:30 am $10 Dan Fabricatore, Harris Eisenstadt Roulette 6 pm $20 • Karrin Allyson Birdland 8:30, 11 pm $35-45 • Dissipated Face Downtown Music Gallery 6 pm • Simona Premazzi; Antonio Ciacca Measure 8 pm • Sarah McLawler and Les Jazz Femmes Saint Peter’s 5 pm • Ben Monder solo Barbès 5 pm $10 queensjazz.org Saturday, October 12 • Yotam Silberstein Blue Note 12:30, 2:30 pm $29.50 • Veronica Nunn Trio with Travis Shook, Sean Conly êHamiet Bluiett Ginny’s Supper Club 7:30 pm $15 North Square Lounge 12:30, 2 pm singlecutbeer.com • Jon Batiste and Stay Human with Eddie Barbash, Ibanda Ruhumbika, Joe Saylor, • Mayu Saeki Trio; Guy Mintus Trio; Kyoko Oyobe Trio Barry Stephenson, Jamison Ross Zankel Hall 9 pm $43-50 The Garage 11:30 am 6:30, 11 pm

44 October 2013 | THE NEW YORK CITY JAZZ RECORD Monday, October 14 • Aural Dystopia: Andrew Hock/Jeremiah Cymerman; Chuck Bettis; Sarah Bernstein; êAACM Presents: Henry Threadgill’s Zooid with Jose Davila, Liberty Ellman, Elliot Kavee, Mick Barr, Stuart Popejoy, Kid Millions Christopher Hoffman Community Church of New York 8 pm $25 êSidney Bechet Society: Evan Christopher’s Clarinet Road with Eli Yamin, JACK 8 pm $10 êQueens Jazz OverGround Festival: Amanda Monaco’s Kiss the Leslie with Marty Napoleon and guests Symphony Space Peter Jay Sharp Theatre 7:15 pm $35 • Italian Jazz Days: Jeremy Manasia Trio Brian Charette, George Schuller; OKB Trio: Oscar Perez, Kuriko Tsugawa, êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Measure 8 pm Brian Woodruff; Mostly Other People Do the Killing: Ron Stabinsky, Moppa Elliott, • Italian Jazz Days: Antonio Ciacca Sextet with Jerry Weldon, Joe Magnarelli, • Tom Talitsch Trio with Art Hirahara, Mark Ferber Kevin Shea SingleCut Beersmiths 7 pm $5 Joe McDonough, Paul Gill, Peter Van Nostrand Bar Next Door 8:30, 10:30 pm $12 • Steve Wilson, Renee Rosnes, Peter Washington Dizzy’s Club 7:30, 9:30 pm $30 • Spike Wilner Trio with Paul Gill, Yotam Silberstein; Smalls Legacy Band: Frank Lacy, Dizzy’s Club 7:30, 9:30 pm $40 • Vanessa Perea; Eddie Allen Aggregation Big Band Stacy Dillard, Josh Evans, Theo Hill, Rashaan Carter, Kush Abadey; êChimera: Erik Friedlander, Chris Speed, Andrew D’Angelo and guest; Zinc Bar 7, 9 pm Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20 Topaz: Andy Laster, Erik Friedlander, Satoshi Takeishi, Stomu Takeishi • Mark Rapp/Derek Lee Bronston’s The Song Project with James Genus • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am The Stone 8, 10 pm $15 Blue Note 8, 10:30 pm $10-15 • Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza • Pucho and His Latin Soul BrothersJazz 966 8:15, 10:15 pm $20 • Hermeneutic Stomp: Jake Marmer, Frank London, Greg Wall, Uri Sharlin Barbès 7 pm $10 êBen Allison Band with Steve Cardenas, Brandon Seabrook, Allison Miller Cornelia Street Café 8:30 pm $10 • Superette: Chris Lightcap, Jonathan Goldberger, Curtis Hasselbring, Dan Rieser; Cornelia Street Café 9, 10:30 pm $15 • Italian Jazz Days: Giovanni Scotta Trio Aidan Carroll Quartet with John Ellis, Sullivan Fortner, Joe Dyson • Aaron Parks solo The Jazz Gallery 9, 10:30 pm $20 Measure 8 pm Korzo 9, 10:30 pm êLuis Perdomo Quartet with Mark Shim, Carlo De Rosa, Eric McPherson and guests • Glenn and Mark Zaleski; Adam Birnbaum Quartet with Dayna Stephens, David Wong, • Matthew Garrison ShapeShifter Lab 7 pm $10 Jazz at Kitano 8 pm $25 Billy Drummond; Spencer Murphy Smalls 7:30, 9:30 pm 12 am $20 • Mike Cohen Band Stephen Wise Free Synagogue 7:30 pm $15 • Alon Nechushtan Quartet The Firehouse Space 8 pm $10 • Ned Goold Quartet; Billy Kaye Jam • Barry Levitt Metropolitan Room 7 pm $20 • Bob DeVos Quartet with Ralph Bowen, Dan Kostelnik, Steve Johns; Fat Cat 9 pm 12:30 am • Haruka Yabuno solo Jazz at Kitano 8 pm Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Kevin Kanner • Joy on Fire: Anna Meadors, John Paul Carillo, Christopher Olsen; • Mr Gone: Neil Alexander, Peter Furlan, Kermit Driscoll, Terry Silverlight; Smalls 7:30, 10:30 pm $20 Audiograph: Luiz Ebert/Fidel Cuéllar and guests; Jon Lundbom and Big Five Chord Dorian Wallace Big Band Somethin’ Jazz Club 7, 9 pm $10-12 • Johnathan Blake/Lionel Loueke Michiko Studios 7 pm $15 with Jon Irabagon, Bryan Murray, Moppa Elliott, Dan Monaghan, Matt Kanelos • Sorien Trio Tomi Jazz 8 pm • Claudia Acuña BAMCafé 9 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Bossa Brasil: Maurício de Souza, Ben Winkelman, Joonsam Lee and guest • Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, • Scott Reeves Orchestra Tea Lounge 9, 10:30 pm $5 Sharel Cassity; Paul Francis Trio The Garage 6, 10:30 pm Mark Whitfield, Jr. Smoke 7, 9, 10:30 pm $38 • Mika Harry Trio with Camila Meza, Jorge Roeder • Audubon Experimental Lab Silvana 6 pm • Manhattan School of Music Jazz Philharmonic Orchestra with guest Tim Hagans Bar Next Door 8:30, 10:30 pm $12 Borden Auditorium 7:30 pm $12 • Greg Diamond Eats Restaurant 7 pm • Michael Wolff Trio Knickerbocker Bar and Grill 9:45 pm $5 • Drew Williams Trio with Jeff McLaughlin, Steve Picataggio; Paul Carlon Latin Strayhorn Wednesday, October 16 • Sacha Boutros/John di Martino Metropolitan Room 7 pm $20 Tribute Somethin’ Jazz Club 7, 9 pm $10 • Dan Wilson Trio with Jared Gold, Silvia Cuenca • Chris Norton Le Cirque Café 8 pm êClaws & Wings: Sylvie Courvoisier, Ikue Mori, Erik Friedlander; Bar Next Door 7:30, 9:30, 11:30 pm $12 • Eyal Vilner Big Band; Sammy Miller Trio Mass Cello: Erik Friedlander, Jeffrey Ziegler, Greg Heffernen and guests • The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew The Garage 7, 10:30 pm The Stone 8, 10 pm $15 Lucille’s at BB King’s Blues Bar 8 pm $25 • Daniel Bagutti Band Silvana 6 pm êTim Berne’s Snakeoil with Oscar Noriega, Matt Mitchell, Ches Smith • Timucin Sahin with Kris Davis, Tom Rainey Jazz Standard 7:30, 9:30 pm $20 Ibeam Brooklyn 8:30 pm $10 êMark Feldman/Ned Rothenberg Zürcher Studio 7 pm $15 • Sara Serpa/Emilie Weibel Greenwich House Music School 8 pm $15 Tuesday, October 15 êRuss Lossing’s Three Part Invention with Ralph Alessi, Mark Helias • Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig; Kevin Hildebrandt Trio with Ibeam Brooklyn 8 pm $10 Radam Schwartz, G. Earl Grice; Jowee Omicil Quartet with Mawuena Kodjovi, êBlock Ice & Propane: Erik Friedlander solo; Volac: Erik Friedlander solo êDanny Grissett Trio with Ben Williams; Adam Larson with Gabe Medd, Can Olgun, James Quinlan, Steve Belvius Somethin’ Jazz Club 7, 9, 11 pm $10-12 The Stone 8, 10 pm $15 Desmond White Smalls 9:30 pm 12 am $20 • Marc Devine Duo Tomi Jazz 9 pm $10 êPhil Woods Blue Note 8, 10:30 pm $20-35 • Raphael D’lugoff; Don Hahn; Ned Goold Jam • Ken Simon Trio Cleopatra’s Needle 7 pm êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Fat Cat 7, 9 pm 12:30 am • Whitney Marchelle and The Sugar Hill Quartet with Frank Lacy, Patience Higgins Village Vanguard 8:30, 10:30 pm $25 • Fleurine Smoke 7, 9, 10:30 pm Shell’s Bistro 8 pm $10 êBenny Green Trio with David Wong, Kenny Washington • Suzi Stern Trio with Peggy Stern, Havie S • Fukushi Tainaka Trio; Kevin Dorn and the BIG 72 Birdland 8:30, 11 pm $35-45 Jazz at Kitano 8 pm $10 The Garage 6:15, 10:45 pm êJoy Of Sax: Houston Person/Ken Peplowski Quintet with Ehud Asherie, Joel Forbes, • Julian Waterfall Pollack Trio +1 with Nir Felder, Noah Garabedian, Evan Hughes êAndy Biskin’s Goldberg’s Variations with Mike McGinnis, Dave Ballou, Brian Drye, Willie Jones III 54 Below 7 pm $25-35 Cornelia Street Café 8:30 pm $10 Dave Phillips, John Hollenbeck BAM Fisher Theater 7:30 pm $20 • Bobby Sanabria Multiverse Big Band • Ted Reichman Trio with Fausto Sierakowski, Jun Young Song êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, Americas Society 7 pm Barbès 8 pm $10 Johnathan Blake Jazz Standard 7:30, 9:30, 11:30 pm $30 • Jaap Blonk solo Roulette 8 pm $20 • Scot Albertson/Dan Furman Klavierhaus 8 pm • Kenny G Blue Note 8, 10:30 pm $45-75 • Deep Blue Organ Trio: Chris Foreman, Greg Rockingham, Bobby Broom • Melissa Stylianou Quartet with Jamie Reynolds, Gary Wang, Mark Ferber • Matt Geraghty Blue Note 12:30 am $10 Dizzy’s Club 7:30, 9:30 pm $30 55Bar 7, 8:15 pm • Italian Jazz Days: Ehud Asherie Trio • Travis Sullivan’s Björkestra with Becca Stevens, Kevin Bryan, Eli Asher, Sean Nowell, • Kuni Mikami Tomi Jazz 8 pm Measure 8 pm Lauren Sevian, Alan Ferber, Ryan Keberle, Ian Cook, Art Hirahara, Yoshi Waki, êPhil Woods Blue Note 8, 10:30 pm $20-35 êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Joe Abbatantuono Jazz Standard 7:30, 9:30 pm $20 êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Village Vanguard 8:30, 10:30 pm $25 • Noah Preminger with Steve Cardenas, Sean Conly, Colin Stranahan Village Vanguard 8:30, 10:30 pm $25 êBenny Green Trio with David Wong, Kenny Washington La Villette 8 pm êBenny Green Trio with David Wong, Kenny Washington Birdland 8:30, 11 pm $35-45 Birdland 8:30, 11 pm $35-45 • Deep Blue Organ Trio: Chris Foreman, Greg Rockingham, Bobby Broom Dizzy’s Club 7:30, 9:30 pm $30 • Italian Jazz Days: Jeremy Manasia Trio Measure 8 pm • Julio Botti Tango Nostalgias Project with Eduardo Withrinton, Jason Ennis, Michael O’brien, Franco Pinna; Pier Luigi Salami Trio with Martin D Fowler, Academy Records Alex Raderman Somethin’ Jazz Club 7, 9 pm $10 • The Anderson Brothers; Adam Moezinia Trio The Garage 6, 10:30 pm • Yoo Sun Nam Shrine 6 pm & CDs • Joe Alterman, James Cammack, Peter Traunmueller Saint Peter’s 1 pm $10

Thursday, October 17 êAndy Biskin’s Goldberg’s Variations with Mike McGinnis, Dave Ballou, Brian Drye, Cash for new and used Dave Phillips, John Hollenbeck BAM Fisher Theater 7:30 pm $20 êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, Johnathan Blake Jazz Standard 7:30, 9:30 pm $25 compact discs,vinyl êBroken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander; Oscar Pettiford Project: Erik Friedlander, Michael Sarin, Trevor Dunn, Michael Blake The Stone 8, 10 pm $15 records, blu-rays and • Interpretations: Gene Coleman’s Ensemble N_JP with Naoko Kikuchi, Ko Ishikawa Yoko Reikano Kimura, Naomi Sato, Gene Coleman, Nick Millevoi, Teddy Rankin-Parker, Alex Waterman, Adam Vidiksis, Toshimaru Nakamura and guest Thomas Buckner; dvds. Momenta Quartet Roulette 8 pm $15 • Kenny G Blue Note 8, 10:30 pm $45-75 • Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $30 • Italian Jazz Days: Ehud Asherie Trio Measure 8 pm We buy and sell all • Disfunctional Dorchesters; Marko Djordjevic and Sveti; The Kung Fu Masters ShapeShifter Lab 7, 8:15, 9:30 pm $12 • Yuka Mito Quartet with Allen Farnham, Dean Johnson, Tim Horner genres of music. Jazz at Kitano 8 pm $10 • Jamie Baum Trio with Sheryl Bailey, Gary Wang Bar Next Door 8:30, 10:30 pm $12 All sizes of collections • Point of Departure Fat Cat 10 pm êGato Loco De Bajo: Stefan Zeniuk, Ari Folman-Cohen, Joe Exley, Clifton Hyde, Greg Stare Barbès 10 pm $10 welcome. • Marta Sanchez Quintet with Roman Filiu, Jerome Sabbagh, Desmond White, Devin Gray The Jazz Gallery 9, 10:30 pm $15 • Livio Almeida Quartet with Vitor Goncalves, Eduardo Belo, Adriano Santos; Antonio Quintino Group with Gianni Gagliardi, Andre Matos, Rodney Green Somethin’ Jazz Club 7, 9 pm $10-15 • Akihiro Yamamoto Tomi Jazz 9 pm $10 For large collections, • Rudi Mwongozi Trio Cleopatra’s Needle 7 pm • Rick Stone Trio; Chris Beck Trio The Garage 6, 10:30 pm • Christian Harmon Silvana 8 pm please call to set up an • Danny Grissett Quartet with Jaleel Shaw, Ben Williams Smalls 9:30 pm $20 appointment. êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Village Vanguard 8:30, 10:30 pm $25 êBenny Green Trio with David Wong, Kenny Washington Birdland 8:30, 11 pm $35-45 Open 7 days a week 11-7 Friday, October 18 êCelestial Ascension Unending...Celebrating John Tchicai: Amiri Baraka, Alexander Weiss, Ben Young, Dmitry Ishenko, Garrison Fewell, Lou Grassi, Ches Smith, 12 W. 18th Street NY, NY 10011 Alan Roth, John Ehlis, Charlie Kohlhase, Adam Lane, Peter Apfelbaum, Steve Swell, Warren Smith, Steve Dalachinsky, Diane Moser Charles Gayle, Charlie Hunter, Adam Rudolph, Reggie Nicholson, Golda Solomon Michael TA Thompson, 212-242-3000 Will Connell, Larry Roland, Phylisha Villanueva E.J. Antonio, Rosi Hertlein ShapeShifter Lab 7 pm $10

THE NEW YORK CITY JAZZ RECORD | October 2013 45 Saturday, October 19 New Jersey Performing Arts Center êBonebridge: Erik Friedlander, Doug Wamble, Trevor Dunn, Michael Sarin The Stone 8, 10 pm $15 êYumiko Tanaka with Ned Rothenberg, Min Xiao-Fen, Satoshi Takeishi, Shoko Nagai Roulette 8 pm $15 êTony Malaby Reading Band with Ralph Alessi, Drew Gress, Billy Drummond The Jazz Gallery 9, 10:30 pm $20 êRhiannon with Allison Miller Band; Brad Shepik solo; Gordon Grdina, Mark Helias, Kenton Loewen; Michael Blake Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Greg Ritchie ShapeShifter Lab 7, 8:15, 9:30 pm $10 êTom Rainey Trio with Ingrid Laubrock, Mary Halvorson Cornelia Street Café 9, 10:30 pm $15 • David Lopato Trio with Ratzo Harris, Harvey Sorgen Jazz at Kitano 8 pm $25 • Italian Jazz Days: Richie Vitale/Frank Basile Quintet Measure 8 pm • Ursel Schlicht Project with Catherine Sikora, Jen Baker, Josh Sinton, Andrew Drury Douglass Street Music Collective 8 pm $10 • Harmonic Monk: Matt Lavelle/John Pietaro; The Red Microphone: John Pietaro, Ras Moshe, Rocco John Iacovone, Nicolas Letman-Burtinovic The Firehouse Space 8, 9 pm $10 • Vanessa Rubin and Trio Sistas’ Place 9, 10:30 pm $20 • Shirley Crabbe Group with Donald Vega, Jon Burr, David Glasser; Tony Rosales Metropolitan Room 9:30, 11:30 pm $20 • Joe Giglio Trio with Ratzo Harris, Eric Peters Bar Next Door 7:30, 9:30, 11:30 pm $12 • Loop 2.4.3/TommyTom’s Time Machine; Alex Vittum; Sub-verse Ibeam Brooklyn 8:30 pm $10 • Steve Wilson, Renee Rosnes, Peter Washington Christian McBride, Jazz Advisor November 4-10 Dizzy’s Club 7:30, 9:30 pm $45 êDavid Schnitter Quartet with Spike Wilner, Ugonna Okegwo, Anthony Pinciotti; Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Kevin Kanner Smalls 7:30, 10:30 pm $20 • Todd Herbert Quartet; Sylvia Cuenca Fat Cat 7, 10 pm Jazz Meets Samba • Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Mark Whitfield, Jr. Smoke 7, 9, 10:30 pm $38 Sérgio Mendes, Eliane Elias, • Michael Wolff Trio Knickerbocker Bar and Grill 9:45 pm $5 • David Aaron’s Short Memory with Marty Bound, Spencer Katzman, Jon Frederick, Lee Ritenour, Marivaldo Dos Santos Dan Kurfirst; Bob Bennett Quartet with Erica Seguine, Jesse Breheney, Gusten Rudolph; Thelonious4: Iman Spaargaren, Guillermo Celano, Andreas Metzler and special guest Joe Lovano and guest Tony Miceli; Jowee Omicil Quartet with Mawuena Kodjovi, James Quinlan, Steve Belvius Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 Friday, November 8 at 8pm • Chieko Honda Tomi Jazz 8 pm $10 • Ray Blue Quartet Cleopatra’s Needle 8 pm êAndy Biskin’s Goldberg’s Variations with Mike McGinnis, Dave Ballou, Brian Drye, Sérgio Mendes Al Jarreau Dave Phillips, John Hollenbeck BAM Fisher Theater 7:30 pm $20 Sing, Swing, Sing! êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, Johnathan Blake Jazz Standard 7:30, 9:30, 11:30 pm $30 with Dianne Reeves, Al Jarreau, • Kenny G Blue Note 8, 10:30 pm $45-75 Jeffrey Osborne, Gerald Albright, • Howard Britz with John Ellis, Bill Moring, Eric Halvorson Blue Note 12:30 am $10 Christian McBride Big Band êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Village Vanguard 8:30, 10:30 pm $25 featuring Melissa Walker, êBenny Green Trio with David Wong, Kenny Washington Birdland 8:30, 11 pm $35-45 and 2012 Sarah Vaughan êQueens Jazz OverGround Festival: Mark Wade Trio with Tim Harrison, Scott Neumann; Dom’s Trio: Broc Hempel, Sam Trapchak, Christian Coleman; Josh Deutsch Quintet International Jazz Vocal Competition with Dylan Heaney, Danny Fox, Peter Brendler, Shawn Baltazor; Hashem Assadullahi’s Safety Buffalo with Alan Ferber, Leonard Thompson, Justin Morell, Peter Brendler, winner Cyrille Aimée Caleb Dolister SingleCut Beersmiths 3:30 pm $5 Dianne Reeves Christian McBride • Eugene Marlow’s Heritage Ensemble Saturday, November 9 at 8pm Brooklyn Public Library Brooklyn Heights Branch 2 pm • Alex Layne Trio; Mark Marino Trio; Peter Valera Jump Blues Band The Garage 12, 6:15, 10:45 pm An Evening with the Jimmy Heath Quartet Portrait of Duke at Bethany Baptist Church featuring Vince Giordano and the Nighthawks Sunday, October 20 • Chico Hamilton’s Euphoria with Nick Demopoulos, Paul Ramsey, Evan Schwam, Monday, November 4 at 7pm • FREE Saturday, November 9 at 2pm Mayu Saeki, Jeremy Carlstedt Drom 7:15 pm $15 êNothing On Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander; No Compass: Scott Solter/Erik Friedlander A Celebration of Amiri Baraka’s Dorthaan’s Place: The Stone 8, 10 pm $15 • New Brazilian Perspectives: Filip Novosel/Richard Boukas; Gabriel Grossi Quartet with “Blues People” at 50 The Paquito D’Rivera Quartet Vitor Goncalves, Eduardo Belo Cornelia Street Café 8:30, 10 pm $10 êMax Johnson’s Silver Trio with Kris Davis, Mike Pride at Newark Museum Sunday, November 10 at 11am & 1pm Barbès 7 pm $10 Tuesday, November 5 at 7pm • FREE êJohn di Martino solo Measure 8 pm • The Norville Trio Music of Red Norvo: Tom Beckham, John Merrill, Sean Cronin; Bucky Pizzarelli/Ed Laub; Johnny O’Neal; Bruce Harris Quintet Sarah Vaughan Smalls 4, 7:30, 10 pm 12 am $20 The David Stryker Organ Trio International Jazz Vocal Competition • Gamelan Dharma Swara; Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Fat Cat 7, 9:30 pm 12:30 am at Gateway Center The Sassy Award • Frederika Krier and Molecular Vibrations with Yayoi Ikawa, Jim Cammack, Malik Washington; John Daversa Big Band; Zeke Martin and The Oracle Wednesday, November 6 at 12pm • FREE with special guest judges ShapeShifter Lab 7, 8:15, 9:30 pm $8-15 • Broc Hempel, Sam Trapchak, Christian Coleman with guest Sam Sadigursky Al Jarreau, Janis Siegel, Larry Rosen Dominie’s Astoria 9 pm A Good Place: and WBGO’s Gary Walker • Sam Pluta; Radical 2: Levy Lorenzo/Dennis Sullivan; Patrick Amelung The Firehouse Space 8, 9, 10 pm $10 Celebrating Lorraine Gordon Sunday, November 10 at 3pm • Roni Ben-Hur Eats Restaurant 7 pm • Laila and Smitty: Kenny Warren, Jeremiah Lockwood, Myk Freedman, and The Village Vanguard Noah Garabedian, Carlo Costa Rockwood Music Hall 11 pm featuring The Vanguard Jazz Orchestra, • Mem Nahadr ABC No-Rio 7 pm $5 • Matt Malanowski Trio with Jonathan Toscano, David Jimenez; Barry Harris, Rhoda Scott and Christian McBride, Acoustic Quartet: Costas Baltazanis, Manu Koch, Panayiotis Andreou, Engin Kaan Gunaydin Somethin’ Jazz Club 7, 9 pm $10-12 plus the Anat Cohen Quartet • Steve Wilson, Renee Rosnes, Peter Washington Thursday, November 7 at 7:30pm Dizzy’s Club 7:30, 9:30 pm $35 êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, Johnathan Blake Jazz Standard 7:30, 9:30 pm $25 Sponsored by Presenting Sponsor Co-presented by Innovation Sponsor Presented in association with • Kenny G Blue Note 8, 10:30 pm $45-75 êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Village Vanguard 8:30, 10:30 pm $25 êDaniel Levin solo; Jesse Dulman, Ras Moshe, Will Connell Downtown Music Gallery 6, 7 pm • Dario Boente Trio Saint Peter’s 5 pm • Juilliard Jazz Brunch - West Coast Sound: Jordan Pettay, Riley Mulherkar, Joseph Doubleday, Adam Moezinia, Luke Sellick, Sammy Miller For tickets and full 2013 Blue Note 12:30, 2:30 pm $29.50 • Roz Corral Trio with Gene Bertoncini, Paul Gill TD James Moody Democracy of Jazz Festival North Square Lounge 12:30, 2 pm • Lou Caputo Quartet; David Coss Quartet; Abe Ovadia Trio schedule visit njpac.org or call 1-888-GO-NJPAC One Center Street, Newark, NJ The Garage 11:30 am 6:30, 11 pm • Elise Wood/Larry Corban Silvana 6 pm

NYC Jazz Record_6.25x12_oct_moodynjpac.indd 1 9/16/13 11:43 AM 46 October 2013 | THE NEW YORK CITY JAZZ RECORD Monday, October 21 • Kat Gang, Matthew Fries, Phil Palombi, Tim Bulkley, Nate Mayland • Negroni’s Trio; Bruce Williams Fat Cat 7, 10 pm Saint Peter’s 1 pm $10 • The Westerlies ShapeShifter Lab 8:15, 9:30 pm $10 • Dizzy Gillespie 96th Birthday Celebration with Guests • Adriano Santos Trio with Eduardo Belo, Richard Padron Blue Note 8, 10:30 pm $20-35 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Christian McBride and guests Dizzy’s Club 7:30, 9:30 pm $35 Thursday, October 24 • Arnan Raz Band with Daniel Meron, Nadav Lachish, Dani Danor and guest Eyal Hai • Stanley Jordan Iridium 8, 10 pm $35 Ibeam Brooklyn 8:30 pm $10 êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 • Abyssinian - A Gospel Celebration: Jazz at Lincoln Center Orchestra with • Charanams: Sam Shivraj, Marcus Cummins, Jason Goldstein, Nivedita ShivRaj, êJaleel Shaw/Ben Williams Michiko Studios 7 pm $15 Chorale Le Chateau Rose Hall 8 pm $30-120 Narendra Bhudhkar; Dawn Oberg; Cristian Mendoza Quartet with Edward Perez, • Sean Jones Quartet The Schomburg Center 7 pm êGregory Porter Le Poisson Rouge 7:30 pm $30 Francisco Lelo De Larrea, Alex Kautz; Piotr Pawlak UStet with Jure Pukl, Michael King, • Sean Wayland Trio with Matt Clohesy, Jochen Rueckert; Ari Hoenig Trio with êDafnis Prieto Si o Si Quartet with Peter Apfelbaum, Manuel Valera, Jimmy O’Connell, Tamir Shmerling Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 Gilad Hekselman, Orlando Le Fleming; Spencer Murphy Johannes Weidenmueller Jazz Standard 7:30, 9:30 pm $25 • Daniel Bennett Tomi Jazz 8 pm $10 Smalls 7:30, 9:30 pm 12 am $20 • Kurt Elling Birdland 8:30, 11 pm $35-45 • Alan Rosenthal Trio Cleopatra’s Needle 8 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am êMillennial Territory Orchestra: Charlie Burnham, Curtis Fowlkes, Doug Wieselman, • Sarpay Ozcagatay Silvana 8 pm • Dayna Stephens Quartet with Aaron Parks, Ben Street, Kendrick Scott Michael Blake, Erik Lawrence, Will Bernard, Ben Allison, Ben Perowsky êHonoring and Remembering “El Commandante” Mario Rivera: Arturo O’Farrill and the ShapeShifter Lab 8:15 pm $12 and guest Eric Mingus The Stone 8, 10 pm $15 Afro Latin Jazz Orchestra Symphony Space Peter Jay Sharp Theatre 8 pm $20 • Italian Jazz Days: John di Martino Trio êMichael McGinnis Road*Trip Barbès 8 pm $10 êThe Music of Eddie Harris: Seamus Blake Quartet with Brian Charette, Gerald Cannon, Measure 8 pm êLeslie Pintchik Trio with Scott Hardy, Clarence Penn Joe Farnsworth Smoke 7, 9, 10:30 pm $38 • Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber Jazz at Kitano 8 pm $10 • Joel Press Group with Michael Kanan, Sean Smith, Steve Little; Tim Green Quintet Bar Next Door 8:30, 10:30 pm $12 • Jason Kao Hwang/Ayman Fanous The Firehouse Space 8 pm $10 Tribute to Wayne Shorter with Marcus Strickland, Alex Brown, Matt Clohesy, • Emily Braden Zinc Bar 7 pm • Bobby Avey Quartet with Dan Weiss, Thomson Kneeland and guest EJ Strickland Smalls 7:30, 10:30 pm $20 • Tom Dempsey Eats Restaurant 7 pm Cornelia Street Café 8:30 pm $10 • Michael Wolff Trio Knickerbocker Bar and Grill 9:45 pm $5 • Michael Eaton Quartet with Enrique Haneine, Scott Colberg, Shareef Taher; • Albert Marques, Walter Stinson, Zack O’Farrill • Abyssinian - A Gospel Celebration: Jazz at Lincoln Center Orchestra with Ben Eunson Group Somethin’ Jazz Club 7, 9 pm $10-12 The Jazz Gallery 9, 10:30 pm $15 Chorale Le Chateau Rose Hall 8 pm $30-120 • Benjamin Servenay Tomi Jazz 8 pm • Gato Loco; Michel Reis with Eddy Khaimovich, Aaron Kruzicki, Peter Traunmueller; • Kurt Elling Birdland 8:30, 11 pm $35-45 • Danny Bacher Le Cirque Café 8 pm Jason Yeager ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Matt Pavolka Horn Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Mark Ferber • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Nat Janoff Trio with Teymur Phell, Andrew Atkinson SEEDS 9 pm The Garage 7, 10:30 pm Bar Next Door 8:30, 10:30 pm $12 êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille • Daniel Bagutti Band Silvana 6 pm • Fabio Morgera’s NY Cats Fat Cat 10 pm Village Vanguard 8:30, 10:30 pm $25 • Eugene Marlow Heritage Ensemble Nuyorican Poets Café 9 pm $15 • Dizzy Gillespie Alumni All-Stars Blue Note 8, 10:30 pm $20-35 • Kate Bass Metropolitan Room 7 pm $20 • Reggie Washington and Rainbow Shadow Tribute to Jef Lee Johnson Tuesday, October 22 • Deborah Latz; Negroni’s Trio Somethin’ Jazz Club 7, 9 pm $12 Blue Note 12:30 am $10 • Scot Albertson/Dan Furman Tomi Jazz 9 pm $10 êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille • Mamiko Watanabe Trio Cleopatra’s Needle 7 pm Dizzy’s Club 7:30, 9:30 pm $45 Village Vanguard 8:30, 10:30 pm $25 • George Weldon; Ryan Meagher The Garage 6, 10:30 pm • Lucio Ferrara Measure 8 pm êDiaspora Special Edition: Steven Bernstein, Peter Apfelbaum, Arturo O’Farrill, • Wallace Roney Quintet with Ben Solomon, Victor Gould, Russell Hall, Kush Abadey • Sandy Sasso Quartet 55Bar 6 pm Brad Jones, Billy Martin The Stone 8, 10 pm $15 Smalls 9:30 pm 12 am $20 • Moth To Flame Shrine 6 pm • Dizzy Gillespie Alumni All-Stars Blue Note 8, 10:30 pm $20-35 • Matt Pavolka Horn Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Mark Ferber • An October Jazz Revolution: Ras Moshe, Rocco John Iacovone, êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. SEEDS 9 pm Nicolas Letman-Burtinovic, Nora McCarthy, Jorge Sylvester Dizzy’s Club 7:30, 9:30 pm $35 êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille Cornelia Street Café 6 pm • Jane Monheit/Peter Eldridge Birdland 8:30, 11 pm $35-45 Village Vanguard 8:30, 10:30 pm $25 ê39th Annual Duke Ellington 52nd Street Jazz Festival: Joe Daley’s Ebony Brass Quintet; • Italian Jazz Days: Emanuele Cisi NY3 with Joseph Lepore, Luca Santaniello • Dizzy Gillespie Alumni All-Stars Blue Note 8, 10:30 pm $20-35 Ben Stapp and the Zozimos; Velvet Brown Trio; David Grego and Tubaczar; Jazz Standard 7:30, 9:30 pm $20 êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. Bob Stewart New First Line Band Duke Ellington Boulevard 12 pm • Dizzy Gillespie Birthday Concert with Mike Longo’s NY State of the Art Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $35 • Marsha Heydt and the Project of Love; Champian Fulton Quartet; Akiko Tsuruga Trio with guests Ira Hawkins, Jimmy Owens, Annie Ross • Lucio Ferrara Measure 8 pm The Garage 12, 6:15, 10:45 pm NYC Baha’i Center 8 pm $15 • Tribute to John Coltrane Shrine 6 pm • Ian Shaw and Friends 54 Below 7 pm $25-35 • Rotem Sivan Trio with Haggai Cohen Milo, Colin Stranahan Sunday, October 27 Bar Next Door 8:30, 10:30 pm $12 Friday, October 25 • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Lucas Pino No Net Nonet with • Armenian Jazz Dedicated to Paul Motian: Arto Tunçboyaciyan and Friends with Matthew Jodrell, Alex LoRe, Nick Finzer, Andrew Gutauskas, Rafael Sarnecki, êBilly Martin Birthday Celebration with Samm Bennett, Anthony Coleman, Trevor Dunn, Noah Garabedian, Michael Sarian, Tatev and Lucy Yeghiazaryan Glenn Zaleski, Desmond White, Colin Stranahan; Kyle Poole and Friends Falu, Fang Percussion, Shelley Hirsch, Daniel Jodocy, John Medeski, Min Xiao-Fen, Le Poisson Rouge 7 pm $25 Smalls 7:30, 10 pm 12:30 am $20 Marcus Rojas, Ned Rothenberg, Sirius Quartet, Doug Wieselman êCantorial Brass: Steven Bernstein, Frank London, Jamie Saft, Kenny Wollesen • Saul Rubin; Veronica Nunes Brazilian Sextet; Greg Glassman Jam Roulette 8 pm $20 The Stone 8, 10 pm $15 Fat Cat 7, 9 pm 12:30 am êHonoring and Remembering “El Commandante” Mario Rivera: Arturo O’Farrill and the êMyra Melford solo Greenwich House Music School 8 pm $15 • Jean Rohe with Liam Robinson, Ilusha Tsinadze, Christopher Tordini, Skye Steele, Afro Latin Jazz Orchestra Symphony Space Peter Jay Sharp Theatre 8 pm $20 • Dave Stryker/Steve Slagle Eats Restaurant 7 pm Richie Barshay, Rogério Boccato, James Shipp êMillennial Territory Orchestra: Charlie Burnham, Curtis Fowlkes, Doug Wieselman, • Evan Gallagher Ensemble; Julianne Carney solo Joe’s Pub 9:30 pm $15 Michael Blake, Erik Lawrence, Will Bernard, Ben Allison, Ben Perowsky ABC No-Rio 7 pm $5 • The Jazz Drama Program 10th Anniversary Benefit Honoring Bob Stewart with The Stone 8, 10 pm $15 êJohn di Martino Measure 8 pm John Kamitsuka, Sara Caswell, Tom Dempsey, Eli Yamin, Shantaysha Peprah êThe Music of Eddie Harris: Seamus Blake Quartet with Brian Charette, Gerald Cannon, • Chris Flory/Joe Cohn; Johnny O’Neal; Ehud Asherie Trio Cornelia Street Café 6 pm $125 Joe Farnsworth Smoke 7, 9, 10:30 pm $38 Smalls 7:30, 10 pm 12 am $20 • Eli Yamin Blues Band with Charenee Wade, Bob Stewart, LaFrae Sci • Joel Harrison 19 with Ole Mathisen, Rob Scheps, Lisa Parrot, Ben Kono, • Terry Waldo’s Gotham City; Luca Santaniello Trio; Brandon Lewis/Renee Cruz Jam Cornelia Street Café 8:30 pm $10 Ned Rothenberg, Michel Gentile, Jacob Garchik, Matt McDonald, Brian Drye, Ben Staap, Fat Cat 6, 9 pm 12:30 am êScott Robinson with Lage Lund, Matt Clohesy, Rob Garcia Sam Hoyt, Taylor Haskins, Dave Smith, Justin Mullens, Mick Rossi, James Shipp, • Collectif Koa: Alfred Vilayleck, Jérôme Dufour, Samuel Mastorakis, Ari Hoenig La Villette 8 pm Kermit Driscoll, Jordan Perlson; Lucio Ferrera with Joe Magnarelli, Reuben Rogers, Ibeam Brooklyn 8:30 pm $10 • Roger Davidson/Frank London Stephen Wise Free Synagogue 7:30 pm $15 Greg Hutchinson ShapeShifter Lab 8:15, 9:30 pm $10-15 • Kristin Slipp, Joanna Mattrey, Lucia Stavros • Barry Levitt Metropolitan Room 7 pm $20 • Ben van Gelder The Jazz Gallery 9, 10:30 pm $20 Spectrum 8, 9:30 pm • On The Way Out: Will Mason/David Bird; Mike Pride solo • Petros Klampanis’ Contextual with Gilad Hekselman, Jean-Michel Pilc, John Hadfield • Swingadelic Swing 46 8:30 pm The Backroom 8:30, 10 pm $10 Cornelia Street Café 9, 10:30 pm $15 • Dances of the World Chamber Orchestra: Barry Seroff, Adam Matthes, Dara Hankins, • Ryan Meagher with Noah Preminger, Sam Minaie, Mark Ferber; • Jerome Sabbagh Trio with Doug Weiss, Billy Drummond Bert Hill, Spencer Hale, Diana Wayburn, Andy O’Neill; Leland Baker Quartet with Vinnie Sperrazza Quartet with Joel Frahm, Ben Monder, Peter Brendler Bar Next Door 7:30, 9:30, 11:30 pm $12 Sam Parker, Alex Tremblay, Anthony Fung; Anthony Fung Trio with Dave Drake, Korzo 9, 10:30 pm • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Tim Green Quintet Tribute to Myles Slonike Somethin’ Jazz Club 5, 7, 9 pm $10 • Matt Garrison ShapeShifter Lab 8:15 pm $10 Wayne Shorter with Marcus Strickland, Alex Brown, Matt Clohesy, EJ Strickland êDafnis Prieto Sextet with Mike Rodriguez, Felipe Lamoglia, Peter Apfelbaum, • Lucio Ferrara Measure 8 pm Smalls 7:30, 10:30 pm $20 Manuel Valera, Johannes Weidenmueller • Haruka Yabuno solo Jazz at Kitano 8 pm • George Burton Quintet Fat Cat 10:30 pm Jazz Standard 7:30, 9:30 pm $25 • Robbyn Tongue Band; Craig Hartley Trio with Elio Coppola • Cyrille Aimée Quartet with Michael Valeanu, Shawn Conley, Jochen Rueckert êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille Somethin’ Jazz Club 7, 9 pm $12 Jazz at Kitano 8 pm $25 Village Vanguard 8:30, 10:30 pm $25 • Hiroko Kanna Tomi Jazz 8 pm • Harlem Speakeasy Orchestra Lucille’s at BB King’s Blues Bar 8, 10:30 pm $15 • Dizzy Gillespie Alumni All-Stars Blue Note 8, 10:30 pm $20-35 • Randy Johnston Trio; Carol Sudhalter Quartet • Brian Woodruff’s OKB Trio with Oscar Perez, Kuriko Tsugawa êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. The Garage 6, 10:30 pm Flushing Town Hall 8 pm $15 Dizzy’s Club 7:30, 9:30 pm $35 • Joao Martins Quartet Silvana 8 pm • Michael Wolff Trio Knickerbocker Bar and Grill 9:45 pm $5 • Eli Zeszler solo 61 Local 6 pm $10 • Sa Ron Crenshaw Quartet Jazz 966 8:15, 10:15 pm $15 • Eris 136199: Nick Didkovsky, Han-Earl Park, Catherine Sikora; Samm Bennett • Tamm E Hunt and Trio with Hilliard Greene, Sharp Radway, Dwayne “Cook” Broadnax; Downtown Music Gallery 6, 7 pm Wednesday, October 23 Doug White Quintet with Pat Casey, Chris Casey, Steve Porter, Tido Holtkamp; • Elise Wood Duo Silvana 6 pm Peter Brendler Quartet with Peter Evans, Rich Perry, Vinnie Sperrazza • Pete McCann Quartet Saint Peter’s 5 pm êSexmob plays Sexotica and Nino Rota: Steven Bernstein, Briggan Krauss, Tony Scherr, Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Ben Monder solo Barbès 5 pm $10 Kenny Wollesen The Stone 8, 10 pm $15 • Takeshi Asai Duo Tomi Jazz 9 pm $10 êJimmy Greene Quartet with Anthony Wonsey, Dezron Douglas, Otis Brown III • Wallace Roney Quintet with Ben Solomon, Victor Gould, Russell Hall, Kush Abadey; • Ruslan Khain Trio Cleopatra’s Needle 7 pm Emmanuel Baptist Church 3 pm John Raymond Group with Gilad Hekselman, Aidan Carroll, Austin Walker • John David Simon Trio; Kevin Dorn and the BIG 72 • Jazz Kids! with Amy Cervini 55Bar 2 pm $5 Smalls 9:30 pm 12 am $20 The Garage 6:15, 10:45 pm • Tsuyoshi Niwa Blue Note 12:30, 2:30 pm $29.50 • Angelica Sanchez Cornelia Street Café 8:30, 10 pm $10 • Sinan Bakir Trio Silvana 8 pm • Roz Corral Trio with Dave Stryker, Chris Berger • Raphael D’lugoff; Greg Murphy Quintet; Ned Goold Jam • Abyssinian - A Gospel Celebration: Jazz at Lincoln Center Orchestra with North Square Lounge 12:30, 2 pm Fat Cat 7, 9 pm 12:30 am Chorale Le Chateau Rose Hall 8 pm $30-120 • Iris Ornig Quartet; David Coss Quartet; Tsutomu Naki Trio • The Baylor Project with Jean and Marcus Baylor êDafnis Prieto Si o Si Quartet with Peter Apfelbaum, Manuel Valera, The Garage 11:30 am 6:30, 11 pm Smoke 7, 9, 10:30 pm Johannes Weidenmueller Jazz Standard 7:30, 9:30, 11:30 pm $30 • MiND GAMeS: Denman Maroney, James Ilgenfritz, Angelika Niescier, Andrew Drury • Kurt Elling Birdland 8:30, 11 pm $35-45 Roulette 8 pm $15 • Matt Pavolka Horn Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Mark Ferber Monday, October 28 • Matt Pavolka Horn Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Mark Ferber SEEDS 9 pm SEEDS 9 pm êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille êJimmy Heath Big Band Blue Note 8, 10:30 pm $20-35 • Ben Monder/Theo Bleckmann Jazz Standard 7:30, 9:30 pm $20 Village Vanguard 8:30, 10:30 pm $25 • Sir Richard Rodney Bennett Memorial • Melissa Hamilton Quartet with Michael Kanan, Neal Miner, Peter Runnells • Dizzy Gillespie Alumni All-Stars Blue Note 8, 10:30 pm $20-35 Saint Peter’s 7:30 pm Jazz at Kitano 8 pm $10 • Simona Premazzi with Greg Osby, Melissa Aldana, Desmond White, Francisco Mela • Judy Carmichael and Quartet with Harry Allen, Mike Renzi, Jay Leonhart, Chris Flory • Manhattan School of Music Afro-Cuban Jazz Orchestra conducted by Bobby Sanabria Blue Note 12:30 am $10 Dizzy’s Club 7:30, 9:30 pm $30 Borden Auditorium 7:30 pm êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 • York College Big Band with guest Bernard “Pretty” Purdie Dizzy’s Club 7:30, 9:30 pm $40 • The Inventions Trio: Alisa Horn, Bill Mays, Marvin Stamm The Local 802 7 pm • Lucio Ferrara Measure 8 pm SubCulture 7:30 pm $12-17 • Uri Sharlin’s Dogcat Ensemble with Kyle Sanna, Jordan Scannella, Rich Stein and êVCDC: Frode Gjerstad, Fred Lonberg-Holm, Ståle Liavik Solberg, Stine Janvin Motland; guest Avi Avital Barbès 10 pm $10 Michaël Attias, Pascal Niggenkemper, Mike Pride, Fred Lonberg-Holm • Little King: Andrew Halchak, Michael Sachs, Tomas Cruz, Richard Saunders, Saturday, October 26 Muchmore’s 8:30- pm $10 Tim Norton; Rafal Sarnecki Sextet with Lucas Pino, Bogna Kicinska, Glenn Zaleski, • Oran Etkin Quartet with Lionel Loueke, Chris Lightcap, Tyshawn Sorey Rick Rosato, Colin Stranahan; Tomoko Omura Roots Quintet with Jeff Miles, êHonoring Warren Smith: James Jabbo Ware and the Me We & Them Orchestra Cornelia Street Café 8:30 pm $10 Glenn Zaleski, Noah Garabedian, Ross Pederson Roulette 8:30 pm $25 • Marco Panascia Trio with Dado Maroni, Bill Goodwin; Ari Hoenig Trio with ShapeShifter Lab 7, 8:15, 9:30 pm $10 êSexmob plays Ellington: Steven Bernstein, Briggan Krauss, Tony Scherr, Gilad Hekselman, Orlando Le Fleming; Spencer Murphy • Alex Weiss Fighter Planes and Praying Mantis with Rick Parker, Eyal Maoz, Kenny Wollesen The Stone 8, 10 pm $15 Smalls 7:30, 9:30 pm 12 am $20 Dmitry Ishenko, Yoni Halevy The Paper Box 8 pm $10 êDado Moroni Trio with George Mraz, Matt Wilson • Peter Mazza/Jacam Manricks Eats Restaurant 7 pm • Lucca Fadd Barbès 8 pm $10 Jazz at Kitano 8 pm $25 • Yuhan Su Group with Matt Holman, Kenji Herbert, Petros Klampanis • Barbara Levy Daniels Metropolitan Room 9:30 pm $20 êGregory Porter Littlefield 8 pm $22-25 ShapeShifter Lab 9:30 pm $10 • Jimmy O’Connell 5tet with Tim Basom, Christian Nourijanian, Leon Boykins, êBrian Carpenter’s Ghost Train Orchestra • Nora McCarthy Heart Strings Trio with Andrew Green, Donald Nicks Dustin Kaufman; Mingus Tribute Band: Adam O’Farrill, Gianni Gagliardi, Dave Juarez, SubCulture 8:30 pm $20-23 Bar Next Door 8:30, 10:30 pm $12 Zack O’Farrill; Rafael Rosa Group with Joel Mateo, Dan Martinez, Carlos Homs, êDafnis Prieto Sextet with Mike Rodriguez, Felipe Lamoglia, Peter Apfelbaum, • Maya Nova; David Chamberlain’s Band of Bones Milton Barreto Somethin’ Jazz Club 7, 9, 11 pm $10 Manuel Valera, Johannes Weidenmueller Zinc Bar 7, 9 pm • Akemi Yamada Tomi Jazz 8 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Antonio Ciacca Measure 8 pm • Nick Moran Trio; Austin Walker Trio The Garage 6, 10:30 pm êLARK: Ingrid Laubrock, Ralph Alessi, Tom Rainey, Kris Davis • Isaiah Barr Quintet with Leo Hardman, Zen Groom, Jack Guleilmetti, Austin Williamson; êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille Cornelia Street Café 9, 10:30 pm $15 Torque: Koeniverse Schalkwijk, Thomas Pol, Mark Painters Village Vanguard 8:30, 10:30 pm $25 • Kenyatta Beasley Group Sistas’ Place 9, 10:30 pm $20 Somethin’ Jazz Club 7, 9 pm $10-12 • Esteban Castro Blue Note 6:30 pm • Persiflage: Matt Steckler, Curtis Hasselbring, Todd Neufeld, Dave Ambrosio, • Takenori Nishiuchi Tomi Jazz 8 pm • Dizzy Gillespie Alumni All-Stars Blue Note 8, 10:30 pm $20-35 Satoshi Takeishi; Senhor Vargas: Dan Blake, Greg Ward, Brian Settles, Josh Sinton; • Matt Baker Le Cirque Café 8 pm êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr. Josh Berman, Jason Roebke, Matt Schneider, Carlo Costa • Kyle Athayde Big Band; Adam Larson Trio Dizzy’s Club 7:30, 9:30 pm $35 Douglass Street Music Collective 8 pm $10 The Garage 7, 10:30 pm • Jane Monheit/Peter Eldridge Birdland 8:30, 11 pm $35-45 • Ferenc Nemeth Group with Javier Vercher • Daniel Bagutti Band Silvana 6 pm • Lucio Ferrara Measure 8 pm The Jazz Gallery 9, 10:30 pm $20

THE NEW YORK CITY JAZZ RECORD | October 2013 47 Tuesday, October 29 REGULAR ENGAGEMENTS MONDAYS êKarin Krog/Steve Kuhn Norwegian Seaman’s Church 7 pm $20 • Ray Abrams Big Band Swing 46 8:30 pm êThe Cookers: Billy Harper, Gary Bartz, Terell Stafford, David Weiss, George Cables, • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am at KITANO Cecil McBee, Billy Hart 54 Below 7 pm $25-35 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 JAZZ êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm Music • Restaurant • Bar Village Vanguard 8:30, 10:30 pm $25 • Michael Brecker Tribute with Dan Barman The Counting Room 8 pm “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD • Ron Carter Nonet Birdland 8:30, 11 pm $35-45 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm êRudresh Mahanthappa’s Gamak with Dave Fiuczynski, Francois Moutin, Dan Weiss • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm LIVE JAZZ EVERY Jazz Standard 7:30, 9:30 pm $20 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) WEDNESDAY - SATURDAY • Antonio Sanchez and Migration with David Binney, John Escreet, Matt Brewer • Joel Forrester solo Brandy Library 8 pm Dizzy’s Club 7:30, 9:30 pm $35 • George Gee Swing Orchestra Gospel Uptown 8 pm $10 WED./THUR + $15 Minimum/Set. êWarren Smith and the Composer’s Workshop Orchestra with Craig Rivers, • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) $25 FRI./SAT. + $15 Minimum/Set Douglas Yates, James Stewart, Patience Higgins, Howard Johnson, Jon Carlson, • Grove Street Stompers Arthur’s Tavern 7 pm 2 SETS 8:00 PM & 10:00 PM Stanton Davis, Vincent Chancey, Joe Daley, Jack Jeffers, Ratzo Harris, • JFA Jazz Jam Local 802 7 pm Yoham Chiqui Ortiz, Lloyd Haber, Malik Washington • Jam Session with Jim Pryor Cleopatra’s Needle 8 pm JAZZ BRUNCH EVERY SUNDAY NYC Baha’i Center 8, 9:30 pm $15 • Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm TONY MIDDLETON TRIO • Eugene Chadbourne solo The Stone 8, 10 pm $15 • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-150 • Diego Voglino Jam Session The Village Lantern 9:30 pm 11 AM - 2 PM • GREAT BUFFET - $35 êBria Skonberg Iridium 8, 10 pm $25 • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) êJames Carney, Mark Helias, Chad Taylor; Andrew D’Angelo, Bill McHenry, OPEN JAM SESSION MONDAY NIGHTS TUESDAYS Josh Roseman Korzo 9, 10:30 pm • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG • Noah Preminger with Matt Clohesy, Rob Garcia • Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI) SOLO PIANO EVERY TUESDAY IN JULY • 8:00 PM - 11:00 PM La Villette 8 pm • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm OCTOBER 1, 8, 15, 22 & 29 - HARUKA YABUNO

• Ed MacEachen Trio with Mike McGuirk, Eliot Zigmund • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) $15 MINIMUM Bar Next Door 8:30, 10:30 pm $12 • George Gee Swing Orchestra Swing 46 8:30 pm $12 • Spike Wilner Trio with Paul Gill, Yotam Silberstein; Smalls Legacy Band: Frank Lacy, • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) WED. OCTOBER 2 Stacy Dillard, Josh Evans, Theo Hill, Rashaan Carter, Kush Abadey; • Art Hirahara Trio Arturo’s 8 pm VIVIAN SAUNDERS QUARTET Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm VIVIAN SAUNDERS, OSCAR PEREZ • Saul Rubin; Itai Kriss Salsa All-Stars; Greg Glassman Jam • Sandy Jordan and Larry Luger Trio Notaro 8 pm MICHAEL BLANCO, BILLY KILSON Fat Cat 7, 9 pm 12:30 am • Mike LeDonne Quartet; Milton Suggs Quartet Smoke 7, 9, 10:30, 11:30 pm $10 COVER + $15 MINIMUM • Rabbi Greg Wall’s Birthday Bash with Jordan Hirsch, Zev Zions, Brian Glassman, • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm THURS. OCTOBER 3 Aaron Alexander Stephen Wise Free Synagogue 7:30 pm $15 • Mona’s Hot Four Jam Session Mona’s 11 pm • VOXIFY: Sofia Ribeiro with Juan Andrés Ospina, Petros Klampanis, Marcelo Woloski, • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm MELISSA ALDANA QUARTET Magda Giannikou; Magos Herrera with Mike Moreno, Hans Glawischnig, Alex Kautz • PJ Rasmussen Sextet with guests The Four Seasons Restaurant 7 pm MELISSA ALDANA, GLENN ZALESKI Cornelia Street Café 8:30, 10 pm $10 • Annie Ross The Metropolitan Room 9:30 pm $25 PABLO MENARES, FRANCISCO MELA • Matthew Garrison ShapeShifter Lab 8:15 pm $10 • Slavic Soul Party Barbès 9 pm $10 $10 COVER + $15 MINIMUM • Haruka Yabuno solo Jazz at Kitano 8 pm • Diego Voglino Jam Session The Fifth Estate 10 pm FRI. OCTOBER 4 • Mladen and Ana Delin NY Project; Verve Jazz Ensemble: Jon Blanck, Tatum Greenblatt, WEDNESDAYS GIACOMO GATES & TRIO Matt Oestreicher, Chris DeAngelis, Josh Feldstein • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm GIACOMO GATES, JOHN DI MARTINO Somethin’ Jazz Club 7, 9 pm $12 • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm ED HOWARD, TOMMY CAMPBELL • Hashem Assadullahi Organ Trio with Gary Versace, Mark Ferber • Walter Fischbacher Trio Water Street Restaurant 8 pm $25 COVER + $15 MINIMUM Tomi Jazz 8 pm $10 • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • Ray Blue Trio; Tomas Janzon Trio The Garage 6, 10:30 pm • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm SAT. OCTOBER 5 • Audubon Experimental Lab; Patricia Wichman Duo • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 VALERIE CAPERS TRIO Silvana 6, 8 pm • Guillaume Laurent Trio Bar Tabac 7 pm VALERIE CAPERS, JOHN ROBINSON, DOUG RICHARDSON • Jake K. Leckie Trio Kif Bistro 8 pm êJimmy Heath Big Band Blue Note 8, 10:30 pm $20-35 $25 COVER + $15 MINIMUM • Antonio Ciacca Measure 8 pm • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm WED. OCTOBER 9 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) GESINE HEINRICH Wednesday, October 30 • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) & CAMERON BROWN êPat Martino Organ Trio with Pat Bianchi, Carmen Intorre, Jr. • Alex Obert’s Hollow Bones Via Della Pace 10 pm $10 COVER + $15 MINIMUM Iridium 8, 10 pm $32.50 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 THURS. OCTOBER 10 • Music of Merle Haggard: Eugene Chadbourne, Bryan Haggard, Aaron Irwin, • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Stan Rubin Orchestra Swing 46 8:30 pm JUDI SILVANO QUINTET Jon Lundborn, Moppa Elliot, Jason Tiemann • Alex Terrier Trio Antibes Bistro 7:30 pm TRIBUTE TO THELONIOUS MONK The Stone 8, 10 pm $15 • Brianna Thomas Quartet Smoke 11:30 pm JUDI SILVANO, BILL MCHENRY êAnthony Coleman Barbès 8 pm $10 • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm FRANK KIMBROUGH, RATZO HARRIS, STEVE WILLIAMS Yuichiro Oda The Cutting Room 8 pm $25 • THURSDAYS $10 COVER + $15 MINIMUM • Manhattan School of Music Jazz Philharmonic Orchestra with guest Dave Liebman FRI. OCTOBER 11 Borden Auditorium 7:30 pm $12 • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm • Kevin Hays New Day Trio with Rob Jost, Greg Joseph; Ryan Berg Quartet with • Jason Campbell Trio Perk’s 8 pm JOYCE BREACH QUARTET Stacy Dillard, Craig Magnano, Jeremy “Bean” Clemons • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) JOYCE BREACH, MIKE RENZI, WARREN VACHÉ, NEAL MINER • Eric DiVito The Flatiron Room 8 pm $25 COVER + $15 MINIMUM Smalls 9:30 pm 12 am $20 • Gregory Generet Smoke 7, 9, 10:30 pm • Musette Explosion: Will Holshouser, Matt Munisteri, Marcus Rojas • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 SAT. OCTOBER 12 Cornelia Street Café 8:30 pm $10 • Jazz Jam Session American Legion Post 7:30 pm PETER & WILL ANDERSON QUINTET • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm Jussi Reijonen: un with Utar Artun, Bruno Råberg, Tareq Rantisi; PETER ANDERSON, WILL ANDERSON • • Curtis Lundy Jam Session Shell’s Bistro 9 pm EHUD ASHERIE, DAVE BARRON, LUC DECKER Collectif Koa: Alfred Vilayleck, Jérôme Dufour, Samuel Mastorakis, Ari Hoenig; • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 $25 COVER + $15 MINIMUM Kills to Kisses: Lisa Maree Dowling with guest Equiano ‘Mekka Dangerfield’ Mosieri • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) ShapeShifter Lab 7, 8:15, 9:30 pm $10 FRIDAYS WED. OCTOBER 16 • Charles Turner Quartet with Takeshi Ohbayashi, Russell Hall, Cory Cox • Scot Albertson Parnell’s 8 pm (ALSO SAT) SUZI STERN TRIO Jazz at Kitano 8 pm $10 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm SUZI STERN, PEGGY STERN, HARVIE S • Alexis Cuadrado BCN X-Press with Gianni Gagliardi, Dave Juárez, Albert Marquès, • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) $10 COVER + $15 MINIMUM Zack O’Farrill, Alexis Cuadrado; Carlo Costa 4tet with Jonathan Moritz, Steve Swell, • Lisa DeSpain solo Machiavelli’s 8 pm THURS. OCTOBER 17 Sean Ali SEEDS 8:30, 10 pm • Charles Downs’ Centipede The Complete Music Studio 7 pm YUKA MITO QUARTET • Hui Cox/Nioka Workman Project with John Bollinger; Aleman Sisters: Robin Aleman, • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm YUKA MITO, ALLEN FARNHAM Allyson Kabak, Laurel Carpenter, Darren Deicide • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 DEAN JOHNSON, TIM HORNER Somethin’ Jazz Club 6, 9 pm $12 • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm $10 COVER + $15 MINIMUM • Dre Barnes Project; Al Marino Quintet • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 FRI. OCTOBER 18 The Garage 6, 10:30 pm • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Kengo Nakamura Trio Club A Steakhouse 11 pm LUIS PERDOMO/CARLO DEROSA QUARTET Village Vanguard 8:30, 10:30 pm $25 • Brian Newman Quartet Duane Park 10:30 pm PLUS SPECIAL GUESTS Ron Carter Nonet Birdland 8:30, 11 pm $35-45 • Frank Owens Open Mic Zeb’s 6:30 pm $10 LUIS PERDOMO, MARK SHIM • CARLO DEROSA, ERIC MCPHERSON êRudresh Mahanthappa’s Gamak with Dave Fiuczynski, Francois Moutin, Dan Weiss • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) Jazz Standard 7:30, 9:30 pm $20 • Richard Russo Quartet Capital Grille 6:30 pm $25 COVER + $15 MINIMUM • Antonio Sanchez and Migration with David Binney, John Escreet, Matt Brewer • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) SAT. OCTOBER 19 Dizzy’s Club 7:30, 9:30 pm $35 • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) DAVID LOPATO TRIO • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-150 • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) DAVID LOPATO, RATZO HARRIS, HARVEY SORGEN êJimmy Heath Big Band Blue Note 8, 10:30 pm $20-35 • Rakiem Walker Project Shrine 6 pm $25 COVER + $15 MINIMUM • Antonio Ciacca Measure 8 pm SATURDAYS WED. OCTOBER 23 • Tom Blatt Project Shrine 6 pm • Avalon Jazz Quartet Matisse 8 pm • Bill Mays Saint Peter’s 1 pm $10 • Candy Shop Boys Duane Park 8, 10:30 pm MELISSA HAMILTON QUARTET • Barbara Carroll/Jay Leonhart Birdland 6 pm $35 MELISSA HAMILTON, MICHAEL KANAN • Jesse Elder/Greg RuggieroRothmann’s 6 pm NEAL MINER, PETER RUNNELLS • Guillaume Laurent/Luke Franco Casaville 1 pm $10 COVER + $15 MINIMUM Thursday, October 31 • Curtis Lundy Trio with guests Shell’s Bistro 9 pm THURS. OCTOBER 24 êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, • Johnny O’Neal Smoke 11:45 pm LESLIE PINTCHIK TRIO Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber, • Skye Jazz Trio Jack 8:30 pm LESLIE PINTCHIK, SCOTT HARDY, CLARENCE PENN Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, • Michelle Walker/Nick Russo Anyway Café 9 pm $10 COVER + $15 MINIMUM Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $35 • Bill Wurtzel Duo Henry’s 12 pm FRI. OCTOBER 25 êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore SUNDAYS Jazz Standard 7:30, 9:30 pm $25 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 CYRILLE AIMÉE QUARTET êTommy Campbell and Vocal-Eyes Smoke 7, 9, 10:30 pm • Avalon Jazz Quartet The Lambs Club 11 am CYRILLE AIMÉE, MICHAEL VALEANU • Phil Palombi Quartet with Don Friedman, Tim Armacost, Shinnosuke Takahashi • Birdland Jazz Party with Cyrille Aimée Birdland 6 pm $25 SHAWN CONLEY, JOCHEN RUECKERT Jazz at Kitano 8 pm $10 • Marc Devine Trio TGIFriday’s 6 pm $25 COVER + $15 MINIMUM • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm SAT. OCTOBER 26 • The Doc Chad All Dead Jazz and Pop All Stars: Eugene Chadbourne, Evan Gallagher, • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm Thomas Heberer, Tatsuya Nakatani, Louie Pearlman, Barry Mitterhof and guests • Sean Fitzpatrick and Friends Ra Café 1 pm DADO MORONI TRIO The Stone 8, 10 pm $15 DADO MORONI, GEORGE MRAZ, MATT WILSON • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm $25 COVER + $15 MINIMUM • Point of Departure Fat Cat 10 pm • Joel Forrester solo Grace Gospel Church 11 am • Glenn Zaleski Halloween Trio with Ari Hoenig • Nancy Goudinaki’s Trio Kellari Taverna 12 pm WED. OCTOBER 30 The Jazz Gallery 9, 10:30 pm $15 • Enrico Granafei solo Sora Lella 7 pm CHARLES TURNER QUARTET • Ken Slavin Metropolitan Room 7 pm $20 • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm CHARLES TURNER, TAKESHI OHBAYASHI • Hyuna Park; Florencia Gonzalez Duo; Joao Martins Quartet with Yongmun Lee, • Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm RUSSELL HALL, CORY COX Ekah Kim Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm $10 COVER + $15 MINIMUM • Clifford Barbaro Trio Cleopatra’s Needle 7 pm • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 êPat Martino Organ Trio with Pat Bianchi, Carmen Intorre, Jr. • Peter Leitch Duo Walker’s 8 pm THURS. OCTOBER 31 Iridium 8, 10 pm $32.50 • Alexander McCabe Trio CJ Cullens Tavern 5 pm PHIL PALOMBI QUARTET êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela • Peter Mazza Trio Bar Next Door 8, 10 pm $12 “CELEBRATES HALLOWEEN” Village Vanguard 8:30, 10:30 pm $25 • Lu Reid Jam Session Shrine 4 pm PHIL PALOMBI, DON FRIEDMAN • Ron Carter Nonet Birdland 8:30, 11 pm $35-45 • Sara Serpa/André Matos Pão Restaurant 2 pm TIM ARMACOST, SHINNOSUKE TAKAHASHI John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-150 • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm $10 COVER + $15 MINIMUM • RESERVATIONS - 212-885-7119 êJimmy Heath Big Band Blue Note 8, 10:30 pm $20-35 • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork • Antonio Ciacca Measure 8 pm • Brian Woodruff Jam Blackbird’s 9 pm www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St. • Harlem Speaks: David Amram Jazz Museum in Harlem 6:30 pm

48 October 2013 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 54 Below 254 West 54th Street • Duke Ellington Boulevard W. 106th Street between Columbus Avenue and • North Square Lounge 103 Waverly Place (212-254-1200) (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue Central Park West Subway: B to 103rd Street Subway: A, B, C, E, F to West 4th Street www.northsquareny.com www.54below.com • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Norwegian Seaman’s Church 317 East 52nd Street (between First and • 55Bar 55 Christopher Street (212-929-9883) Subway: C, E to Spring Street www.earinn.com Second Avenues) (212-319-0370) Subway: 4, 5, 6 to 51st Street Subway: 1 to Christopher Street www.55bar.com • Eats Restaurant 1055 Lexington Avenue • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) • 6BC Garden 6th Street and Avenue B (212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com Subway: 6 to 33rd Street Subway: F to Second Avenue www.6bgarden.org • Emmanuel Baptist Church 279 Lafayette Avenue • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • 61 Local 61 Bergen Street (718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org (347-763-6624) Subway: F, G to Bergen Street www.61local.com • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Pão Restaurant 322 Spring Street • ABC Chinese Restaurant 34 Pell Street Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com (212-346-9890) Subway: J to Chambers Street • The Fifth Estate 506 5th Avenue, Brooklyn • The Paper Box 17 Meadow Street • ABC No-Rio 156 Rivington Street (212-254-3697) (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com (718-383-3815) Subway: L to Grand Street www.paperboxnyc.com Subway: J,M,Z to Delancey Street www.abcnorio.org • The Firehouse Space 246 Frost Street • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street Subway: L to Graham Avenue www.thefirehousespace.org 160th Streets (212-781-6595) Subway: C to 155th Street (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org • The Flatiron Room 37 West 26th Street www.parlorentertainment.com • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Flushing Town Hall 137-35 Northern Boulevard, Flushing Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • American Folk Art Museum 45 W 53rd Street (212-265-1040) (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Paul Hall 155 W. 65th Street Subway: E to 53rd Street www.folkartmuseum.org • The Four Seasons Restaurant 99 East 52nd Street (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu • American Legion Post 248 West 132nd Street (212-754-9494) Subway: 6 to 51st Street; E, M to Lexington Avenue • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org www.fourseasonsrestaurant.com (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Americas Society 680 Park Avenue • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Prime and Beyond Restaurant 90 East 10th Street (212-628-3200) Subway: 6 to 68th Street www.as-coa.org (718-625-9339) Subway: G to Fulton Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • An Beal Bocht Café 445 W. 238th Street • The Garage 99 Seventh Avenue South (212-645-0600) • Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: 1 to 238th Street www.LindasJazzNights.com Subway: 1 to Christopher Street www.garagerest.com Subway: F, V to Second Avenue www.rockwoodmusichall.com • Antibes Bistro 112 Suffolk Street (212-533-6088) • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) Subway: J, Z to Essex Street www.antibesbistro.com (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Anyway Café 34 E. 2nd Street (212-533-3412) • Goodbye Blue Monday 1087 Broadway, Brooklyn • Roulette 509 Atlantic Avenue Subway: F to Second Avenue (718-453-6343) Subway: J, M train to Myrtle Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Arthur’s Tavern 57 Grove Street (212-675-6879) www.goodbye-blue-monday.com • Rubin Museum 150 W. 17th Street (212-620-5000) Subway: 1 to Christopher Street www.arthurstavernnyc.com • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard Subway: A, C, E to 14th Street www.rmanyc.org • Arturo’s 106 W. Houston Street (at Thompson Street) (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com • St. Mary’s Church Johnson Hall 230 Classon Avenue (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Grace Gospel Church 589 E. 164th Street Subway: G to Classon Avenue • Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue (718-328-0166) Subway: 2, 5 to Prospect Avenue • Saint Peter’s Church 619 Lexington Avenue at 54th Street • BAMCafé 30 Lafayette Ave at Ashland Place • Greenwich House Music School 46 Barrow Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (718-636-4139) Subway: M, N, R, W to Pacific Street; (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • San Martin Restaurant 143 E. 49 Street between Lexington and Park Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Harlem School of the Arts 645 St. Nicholas Avenue at 145th Street Avenues (212-832-0888) Subway: 6 to 51st Street • BAM Fisher Theater 321 Ashland Place (212-926-4100) Subway: D to 145th Street www.harlemschoolofthearts.org • Sankofa Aban Bed & Breakfast 107 Macon Street (718-636-4100) Subway: M, N, R, W to Pacific Street; • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street (917-704-9237) Subway: A, C to Nostrand Avenue www.sankofaaban.com Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • Sapphire NYC 333 E. 60th Street (212-421-3600) • BAM Harvey Theater 651 Fulton Street Subway: F to 4th Avenue www.ibeambrooklyn.com Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com (718-636-4100) Subway: 2, 3, 4, 5 to Nevins Street www.bam.org • Iguana 240 West 54th Street • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) • Baruch Performing Arts Center 17 Lexington Avenue at 23rd Street (212-765-5454) Subway: B, D, E, N, Q, R to Seventh Avenue Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html (646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu/bpac www.iguananyc.com • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Iridium 1650 Broadway at 51st Street (212-582-2121) www.seedsbrooklyn.org Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com Subway: 1,2 to 50th Street www.theiridium.com • ShapeShifter Lab 18 Whitwell Place • Bflat 277 Church Street (between Franklin and White Streets) • Issue Project Room 22 Boerum Place (718-330-0313) (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: 1, 2 to Franklin Streets Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Shell’s Bistro 2150 5th Avenue • The Backroom 627 5th Avenue (718-768-0131) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com Subway: D, N, R to Prospect Avenue www.freddysbar.com • JACK 505 Waverly Avenue • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Bar Chord 1008 Cortelyou Road (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Japan Society 333 East 47th Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bar Next Door 129 MacDougal Street (212-529-5945) (212-832-1155) Subway: 4, 5, 6 to 42nd Street www.japansociety.org Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Jazz 966 966 Fulton Street • Silvana 300 West 116th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (718-638-6910) Subway: C to Clinton Street www.jazz966.com (646-692-4935) Subway: B, C, to 116th Street Subway: F to 7th Avenue www.barbesbrooklyn.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • SingleCut Beersmiths 19-33 37th Street, Astoria (718-606-0788) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) Subway: 4, 5, 6 to Grand Central www.kitano.com Subway: N, Q to Astoria-Ditmars Boulevard www.singlecutbeer.com (212-281-0777) Subway: 2, 3 to 125th Street • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Birdland 315 W. 44th Street (212-581-3080) Subway: N, R to 28th Street www.jazzgallery.org (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue Subway: 6 to 125th Street www.jazzmuseuminharlem.org Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com www.facebook.com/bizarrebushwick • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Smithfield 215 West 28th Street • Blackbird’s 41-19 30th Avenue (718-943-6898) (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com Subway: R to Steinway Street www.blackbirdsbar.com • Joe G’s 244 W. 56th Street (212-765-3160) • Smoke 2751 Broadway between 105th and 106th Streets • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Joe’s Pub 425 Lafayette Street (212-539-8770) • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) • Borden Auditorium Broadway and 122nd Street Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu • John Jay College 899 10th Avenue www.somethinjazz.com/ny • Brandy Library 25 N. Moore Street (212-237-8000) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Sora Lella 300 Spring Street (212-366-4749) (212-226-5545) Subway: 1 to Franklin Street • Juilliard School Peter Jay Sharp Theater 155 W. 65th Street Subway: C, E to Spring Street www.soralellanyc.com • Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org • Kellari Taverna 19 W. 44th Street (212-221-0144) www.spectrumnyc.com • Brooklyn Public Library Brooklyn Heights Branch 280 Cadman Plaza Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us • Stephen Wise Free Synagogue 30 W. 68th Street West at Tillary Street (718-623-7000) Subway: N, R to Court Street; 2, 3 to • Klavierhaus 211 West 58th Street (212-245-4535) (212-877-4050) Subway: 1 to 66th Street www.swfs.org Clark Street www.brooklynpubliclibrary.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) • Brooklyn Public Library Central Branch • Knickerbocker Bar and Grill 33 University Place at 9th Street Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue (212-228-8490) Subway: N, R to 8th Street-NYU • The Stone Avenue C and 2nd Street • CJ Cullens Tavern 4340 White Plains Road, Bronx www.knickerbockerbarandgrill.com Subway: F to Second Avenue www.thestonenyc.com Subway: 2 to Nereid Avenue/238th Street • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • SubCulture 45 Bleecker Street (212-533-5470) • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: R to Prospect Avenue www.korzorestaurant.com Subway: 6 to Bleecker Street www.subculturenewyork.com Subway: 6 to 77th Street www.thecarlyle.com • La Villette 10 Downing Street • Sugar Bar 254 W. 72 Street between Broadway and West End Avenue • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-255-0300) Subway: 1 to Houston Street www.lavillettenyc.com (212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • The Lambs Club 132 W. 44th Street • Swing 46 349 W. 46th Street (646-322-4051) • Capital Grille 120 Broadway 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: A, C, E to 42nd Street www.swing46.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharp Theatre • Casaville 633 Second Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com & Bar Thalia 2537 Broadway at 95th Street (212-864-5400) (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com • Le Poisson Rouge 158 Bleecker Street Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street • Tagine 537 9th Ave. between 39th and 40th Streets (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com www.lepoissonrouge.com (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Charley O’s 1611 Broadway at 49th Street • Littlefield 622 Degraw Street • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) (212-246-1960) Subway: N, R, W to 49th Street (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com Subway: N, R to Union Street www.tealoungeNY.com • Chez Lola 387 Myrtle Avenue, Brooklyn • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Tomi Jazz 239 E. 53rd Street (718-858-1484) Subway: C to Clinton-Washington Avenues (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com www.bistrolola.com • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) • Turtle Bay Music School 244 East 52nd Street Subway: 6 to 51st Street • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) Subway: 1 to 145th Street www.londelsrestaurant.com • Union Pool 484 Union Avenue at Meeker Subway: C to Lafayette Avenue www.chezoskar.com • L’ybane 709 8th Avenue (212-582-2012) (718-609-0484) Subway: L to Lorimer Street • City Winery 155 Varick Street Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • University of the Streets 130 E. 7th Street (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • Cleopatra’s Needle 2485 Broadway (212-769-6969) (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Via Della Pace 48 E. 7th Street and Second Avenue Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Machiavelli’s 519 Columbus Avenue (212-253-5803) Subway: 6 to Astor Place • Club A Steakhouse 240 E. 58th Street (212-618-4190) (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com • The Village Lantern 167 Bleecker Street Subway: 4, 5, 6 to 59th Street www.clubasteak.com • Matisse 924 Second Avenue (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • The Village Trattoria 135 W. 3rd Street (212-598-0011) • Community Church of New York 40 E. 35th Street • Measure 400 Fifth Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com (212-594-7149) Subway: 6 to 33rd Street (212-695-4005) Subway: B, D, F, M to 34th Street • Village Vanguard 178 Seventh Avenue South at 11th Street • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn www.langhamplacehotels.com (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Cornelia Street Café 29 Cornelia Street Subway: N, R to 23rd Street www.metropolitanroom.com (718-721-3010) Subway: N to Ditmars Blvd-Astoria (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • Michiko Studios 149 West 46th Street, 3rd Floor • Walker’s 16 North Moore Street (212-941-0142) www.corneliastreetcafé.com (212-302-4011) Subway: B, D, F, M to 47-50 Streets Subway: A, C, E to Canal Street • The Counting Room 44 Berry Street (718-599-1860) www.michikostudios.com • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: L to Bedford Avenue www.thecountingroombk.com • Miller Theater 2960 Broadway and 116th Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • The Cutting Room 44 E. 32nd Street (212-854-7799) Subway: 1 to 116th Street-Columbia University • Water Street Restaurant 66 Water Street (718-625-9352) (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com www.millertheater.com Subway: F to York Street, A, C to High Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Minton’s Playhouse 206 West 118th Street (between St. Nicholas Avenue • Williamsburg Music Center 367 Bedford Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org and Adam Clayton Powell Jr. Blvd) (212-243-2222) (718-384-1654) Subway: L to Bedford Avenue • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: B, C to 116th Street www.mintonsharlem.com • Winter Garden Battery Park City Subway: E to World Trade Center • Douglass Street Music Collective 295 Douglass Street • MIST - My Image Studios 40 West 116th Street www.worldfinancialcenter.com Subway: R to Union Street www.295douglass.org Subway: 2, 3 to 116th Street • Zankel Hall 881 Seventh Avenue at 57th Street • Downtown Music Gallery 13 Monroe Street • Mona’s 224 Avenue B Subway: L to First Avenue (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org (212-473-0043) Subway: F to East Broadway • Muchmore’s 2 Havemeyer Street (718-576-3222) • Ze Couch 27 Arion Place #426 Subway: J, M to Myrtle Avenue www.downtownmusicgallery.com Subway: L to Bedford Avenue • Zeb’s 223 W. 28th Street • The Drawing Room 56 Willoughby Street #3 www.drawingroommusic.com • NYC Baha’i Center 53 E. 11th Street (212-222-5159) 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: N, R to Jay Street/Metrotech Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Zinc Bar 82 W. 3rd Street (212-477-8337) • Drom 85 Avenue A (212-777-1157) • Neue Galerie 1048 5th Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com Subway: F to Second Avenue www.dromnyc.com (212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org • Zürcher Studio 33 Bleecker Street • Duane Park 157 Duane Street (212-732-5555) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | October 2013 49 (A L’ARME CONTINUED FROM PAGE 13) Gary Bartz, David Weiss, Eddie Henderson, George bass flute lowing, exciting string-stropping from Cables, Cecil McBee and Billy Hart - on the same stage fiddler Josh Zubot, distorted rock-hero licks from spanning energy and love of rich clusters recalled the vied for the festival championship belt with a series of Falaise and a dollop of big band swing. compositions of the American visionary. stunning knockouts. And to close the Homecoming As carefully orchestrated, but with only four New York connections, past and present, were Series, all the participants, led by Geri Allen, gave a participants, was the Golden Quartet’s version of featured throughout. The Falling River Music of sampler-type performance at JPM, adding and trumpeter Wadada Leo Smith’s Ten Freedom Summers Anthony Braxton - who gave graphic scores and subtracting into different subgroups and demonstrating on the concert stage of the RRC. Smith, pianist Anthony conducted instructions to his quintet - brought the that Detroit jazz is a sundry genre unto itself; former Davis, bassist John Lindberg and drummer Anthony subtle conversation of trumpets, saxophones and Was Not Was saxophonist David McMurray was a Brown performed the kaleidoscopic composition with guitar face to face with the nightmarish and distorted squawking revelation. the backdrop a large screen on which were projected sounds of their own selves electronically reprocessed And those with perhaps a more progressive stage shots, choppy neo-abstract graphics and images (the familiar New York lineup of Taylor Ho Bynum, yearning didn’t leave disappointed. Saxophonist of Civil Rights figures like Thurgood Marshall. In no Mary Halvorson and Ingrid Laubrock was here David Murray led his excellent big band at JPM, way programmatic, the direction of the tonic, blues- augmented by US trumpeter Liz Allbee, now based in highlighted by baritone saxophonist Alex Harding. based suite depended on hand signals from Smith. The Berlin). ‘80s NYC post-punk pioneer Thurston Moore Pop vocalist Macy Gray joined the group for most of its most economical of soloists, the trumpeter allowed the teamed up with Mats Gustafsson (a visitor last year set and while fairly well integrated, the band on its program to flow organically, stepping forward as with The Thing) for an abrasive set that made the main own was better. Bassist Robert Hurst (another infrequently to conduct as he showcased commanding hall tremble at its climactic peaks: from gentle bowed- Homecomer) brought the funk on both upright and open horn interludes or succinct muted slurs. guitar drones and saxophone sparks they built to electric instruments for his set at JPM. Saxophonist Unhurried in his spots Brown confirmed with clanking shattering sub-bass electronics and feedback screams. Charles Lloyd followed - don’t miss a chance to see intensity his rhythmic command; Lindberg With a nod to his rock roots, Moore dutifully slammed this amazing performer, rich in tone, richer in concept. substantiated his familiarity with every bass trope his instrument to the floor to end proceedings. But guitarist Bill Frisell was merely a pleasant harmonic while cementing the thick pulse and Davis skillfully A L’ARME!’s shared affinities with the Vision addition to Lloyd’s deep trio. Drummer Francisco introduced ragtime, blues and swing suggestions to a Festival were strengthened by the presence of bassist Mora-Catlett, another Detroiter, led his percussion- modern style. William Parker who, though troubled by a muddy heavy AfroHorn at JPM, featuring the twin saxophone Sadly the other half of this bill, Pharoah Sanders sound mix (sadly something of an issue for several threat of Harding and soprano Sam Newsome (of note, and The Underground never achieved cohesion. In string players during the festival), nonetheless locked these two joined with tenor Wayne Escoffery at the theory, linking the venerable tenor saxophonist, who in beautifully with Hamid Drake’s restless drum flow late-night hotel jam session for a transcendent introduced Africanized motifs to free jazz in the late and the boppish lines of veteran free trombonist Conny “Cantaloupe Island”). Saxophonist Dave Liebman ‘60s, with the band of cornetist Rob Mazurek, who Bauer, playing his home town. One of the most joyous appeared with old friend/pianist Richie Beirach for an conceived similar mixtures with improvised music and improvised encounters came on the final evening, exploratory, questing duo set at APS and then the pair Brazilian rhythms, should have worked. However, as centered around the dialogue of trumpet virtuoso joined up with Ron McClure and Billy Hart for the Sanders shuffled from center stage to output barely Peter Evans - in playful rather than sound-pulverizing actual Quest, as intense a group now as they were heard trills then returned to his chair beside drummer form - and trombonist Johannes Bauer (brother to when starting out over 30 years ago. And closing the Chad Taylor’s kit, the saxophonist appeared out of his Conny and a stalwart of Berlin’s free jazz scene). Their festival was a strange and wonderful fusion blowout: element. Meanwhile electric bassist Matthew Lux plus swinging interplay, Ellingtonian growls and wild Miles Smiles with Wallace Roney, Larry Coryell, Rick members of the São Paulo Underground - Guilherme cadenzas combined with the energetic piano of festival- Margitza, Ralphe Armstrong, and Alphonse Mouzon. Granado on keyboards and samplers plus Mauricio founder Louis Rastig and drummer Paal Nilssen-Love The group only played “Footprints” from the titular Takara playing percussion and cavaquinho - propelled to provide truly exciting music that brought whoops album, spending the rest of the set with later periods of myriad polyrhythms and undulating textures. Sharp and cheers from the crowd gathered in the Saal. And in Miles Davis music. But to paraphrase Christopher and focused, Mazurek snapped out perfectly-in- the same room, the duo performance of drummer Chris Walken: “More Coryell”. While Roney and Margitza context brassy tones and Taylor’s rolls preserved jazz Corsano and bassist Clayton Thomas possessed a were functional, it was the veteran fusion trio of rhythms among the Brazilian blitz. By the final third of similarly irreverent approach; while the former proved Coryell, Armstrong (“bass pimp” his t-shirt declared) the concert, Sanders roused himself enough to launch himself adept at circular-breathing, blowing long, and Mouzon that really ran the voodoo down. some honking cries, reminiscent of his earlier style, but ghostly tones into his toms, the latter employed vehicle Who knows how, when and if Detroit will ever the moment had passed and he ended up looking like registration plates in the search for new bass timbres. regain its mid-20th century glory? Certainly selling of a guest at his own (musical) party. Clearly not lacking in adventurous intent or the collection at the Detroit Institute of Arts is not the Another musician whose playing was reminiscent generous funding, the festival was at times in danger answer. But for all the city’s woes, its music, inhabitants of ‘60s ecstatic jazz was guitarist Tisziji Muñoz, of cramming too much in and several acts might have and fine jazz festival are not among them. v featured one afternoon at the Macdonald Stewart Art reached higher places had their sets been longer. But Centre, backed up by a trio of first-call Toronto jazzers. on the strength of its alumni so far and the ambitious For more information, visit detroitjazzfest.com Ranging from the sacred to the syrupy, Muñoz’ pieces spirit of its organizers, it’d be well worth setting your included folksy echoes that upset the band’s intensity. alarms now for next year’s edition. v Also problematic was Montreal’s Bometa: clarinetist (GUELPH CONTINUED FROM PAGE 13) Guillaume Bourque, percussionist Patrick Graham and For more information, visit alarmefestival.de bassist Jean Félix Mailloux create short effervescent Astringent, oscillating and propelled by an e-bow, melodies that inhabit the space between Middle violin-bow, foot pedals and preparations, the results at Eastern airs and North American jazz. The pieces are (DETROIT CONTINUED FROM PAGE 13) points suggested a jam between Buck Owens and pleasant, but a whole program of them starts to sound Stockhausen and fittingly he replicated a rooster’s indistinguishable. Younger and older players alike represented a crowing near the end of this 2 am performance. Then there’s Dawn of Midi. Bassist Aakaash Israni, more ‘modern’ vein. DJF Artist-in-Residence pianist Falaise is also a member of Ensemble pianist Amino Belyamani and percussionist Qasim Danilo Pérez led an ensemble featuring violinist Alex SuperMusique, which played one afternoon in the Naqvi almost literally hypnotized the rapt audience in Hargreaves in a slightly uneven reading of his new light-filled Guelph Youth Music Centre. A dozen Cooperators Hall. Treating all instruments as Panama 500 suite at JP Morgan Chase Main Stage (JPM) stalwarts of Montreal’s improv scene - including percussion sources, the set-long composition and then joined Motor City daughter Geri Allen in a set inventive clarinetist Lori Freedman and sturdy bassist supposedly reflects the member’s collective Indian, of piano duets at CAS, which began tentatively but Nicolas Caloïa, who as a duo created a quick-witted set Pakistani and Moroccan roots. With Naqvi’s backbeat, opened up after the feeling-out stage. Another of chamber-improv at the yoga center - the ensemble Israni maintaining an ostinato throughout and Detroiter, saxophonist JD Allen (the DJF celebrates the interpreted unique compositions, including Belyamani stopping the strings and hammering on city’s history with a series of “Homecoming” concerts), saxophonist/vocalist Joane Hétu’s “Pour ne pas low-pitched keys to produce a juddering rhythm, the performed an incendiary trio set at APS, recalling in désespérer seul”, dedicated to the anti-globalization effect suggests Third World trance musics, which form and fortitude Sonny Rollins. Another homecoming movement. Paramountly group music, the parameters reveal novel textures as they evolve. Still the music is was trombonist George Bohanon, co-leading a quintet of that composition were wide enough to involve all 100% through-composed. Its inclusion at a jazz festival with West Coast flamethrowing saxophonist Azar the players in propelling the aggressive march tempo dedicated to improvisation raises a thorny question. Lawrence at MAWS; the gentle trombone/piano duet instrumentally and vocally. Saxophonist/flautist Jean Considering how well the GJF is adapting to its (Theo Saunders) of “But Beautiful” was a festival Derome’s “Plate-Forme” was similarly rousing, adulthood, it’s likely this and other questions of focus highlight. Organist Tony Monaco almost launched underlined by crashing metallic friction sourced from and content will be resolved as it continues to evolve. v himself skyward during his remarkable, down-and- David Lafrance’s turntables and interpolating snatches dirty trio set at APS while The Cookers - Billy Harper, of so-called ethnic tunes. Solos included the composer’s For more information, visit guelphjazzfestival.com

50 October 2013 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin SATHIMA BEA BENJAMIN - The South African GARY LEFEBVRE - The West Coast saxophonist ALBERT MURRAY - The essayist was a major vocalist was the former spouse of pianist Abdullah worked with Terry Gibbs, the Lighthouse All Stars figure in the burgeoning Black Equality movement Ibrahim and a respected artist in her own right since and backed up numerous vocalists as part of the during the ‘40s and onwards. His prose style was the mid ‘60s as well as a committed political activist. house band at Coconut Grove in Los Angeles. influenced by jazz creativity and he was integral to Benjamin died Aug. 20th at 76. LeFebvre died Aug. 7th at 74. the founding of Jazz at Lincoln Center. Murray died Aug. 18th at 97. GEORGE DUKE - The keyboardist delved into MARIAN MCPARTLAND - The Grand Dame of traditional realms with his own early groups and the the piano, McPartland’s NPR program Piano Jazz, GEORGE VUKAN - The Hungarian pianist was Adderley Brothers, played jazz-rock with Jean-Luc first broadcast in 1978 (McPartland retired from the classically trained before moving into jazz and Ponty and Frank Zappa, embraced fusion alongside show in 2011), featured hundreds of pianists in working with figures like Philly Joe Jones, Clifford Billy Cobham and Stanley Clarke and released many conversation and performance with its host, who Jordan, Frank Foster, Clark Terry, Kenny Wheeler albums under his own name, including the recent was married to cornet player Jimmy McPartland, and his own Creative Art Trio. Vukan died Aug. 12th DreamWeaver (Heads Up). Duke died Aug. 5th at 67. led the resident trio at New York’s Hickory House in at 71. the ‘50s, was one of the last survivors of the “A Great JANE HARVEY - The singer worked with the big Day in Harlem” photo shoot and released 20+ CEDAR WALTON - The pianist, and composer of band of Benny Goodman in 1944, recorded with albums as a leader since 1951. McPartland died Aug. the jazz standard “Bolivia”, worked with many Duke Ellington, was married to producer Bob Thiele 20th at 95. luminaries of jazz starting in the late ‘50s, including and restarted her career in earnest recently after a Lucky Thompson, Kenny Dorham, Wayne Shorter, long layoff. Harvey died Aug. 15th at 88. JACK MAHEU - The committed Dixieland player Donald Byrd, Houston Person, Clifford Jordan, Art co-founded the Salt City Five in the ‘50s, played Blakey’s Jazz Messengers (stints in 1961-64, 1973 LARRY KARUSH - The pianist/composer worked with the Dukes of Dixieland in the late ‘50s, worked and 1982) and many others, and regularly released with John Abercrombie, Jane Ira Bloom, Jay Clayton, with Muggsy Spanier, Jimmy McPartland, Pee Wee albums as a leader since 1969 on labels like Prestige, Bennie Wallace and Oregon and co-led the Russell, Vic Dickenson, Bud Freeman and others Timeless, RED, Criss Cross, Evidence and, in the improvisational trio Mokave with Glens Moore and and was part of the house band at Condon’s in New new century, HighNote/Savant. Walton died Aug. Velez. Karush died Aug. 27th at 66. York in the ‘80s. Maheu died Aug. 27th at 83. 19th at 79. BIRTHDAYS October 1 October 6 October 11 October 17 October 22 October 28 Andre Paquinet b.1926 Norman Simmons b.1929 †Curtis Amy 1919-2002 †Cozy Cole 1906-81 Giorgio Gaslini b.1929 †Chico O’Farrill 1921-2001 Dave Holland b.1946 Steve Elmer b.1941 †Art Blakey 1919-90 †Barney Kessel 1923-2004 †Tyrone Hill 1948-2007 Cleo Laine b.1927 Mark Helias b.1950 Masahiko Satoh b.1941 †Billy Higgins 1936-2001 †Sathima Bea Benjamin Jane Bunnett b.1955 Andy Bey b.1939 Tony Dumas b.1955 Mark Whitfield b.1966 †Lester Bowie 1941-99 1936-2013 Hans Glawischnig b.1970 Jay Clayton b.1941 Fred Lonberg-Holm b.1962 †Fred Hopkins 1947-99 Joseph Bowie b.1953 Glen Moore b.1941 October 7 Federico Ughi b.1972 Howard Alden b.1958 October 23 †Elton Dean 1945-2006 October 2 †Papa Jo Jones 1911-85 Manuel Valera b.1980 †Sonny Criss 1927-77 Michel Pilz b.1945 †Wally Rose 1913-97 †Alvin Stoller 1925-92 October 12 †Fats Sadi 1927-2009 Richard Bona b.1967 †Phil Urso 1925-2008 †Larry Young 1940-78 †Mel Rhyne 1936-2013 October 18 †Gary McFarland 1933-71 Kurt Rosenwinkel b.1970 †Howard Roberts 1929-92 Aaron Parks b.1983 Ed Cherry b.1957 †Anita O’Day 1919-2006 Ernie Watts b.1945 †Ronnie Ross 1933-91 Michael Mossman b.1959 †Bent Jaedig 1935-2004 Tristan Honsinger b.1949 October 29 GLEN MOORE Peter A. Schmid b.1959 October 8 Harry Allen b.1966 †JC Moses 1936-77 Dianne Reeves b.1956 †Hadda Brooks 1916-2002 October 28th, 1941 Django Bates b.1960 †JC Heard 1917-88 Wynton Marsalis b.1961 †Neil Hefti 1922-2008 †Pepper Adams 1930-86 October 13 Bill Stewart b.1966 October 24 †Zoot Sims 1925-85 The bassist was born in October 3 John Betsch b.1945 †Art Tatum 1909-56 Myron Walden b.1972 †Louis Barbarin 1902-97 †Pim Jacobs 1934-96 Portland, Oregon and Moore †Edgar Battle 1907-77 Steven Bernstein b.1961 Terry Gibbs b.1924 Esperanza Spalding b.1984 †Jimmie Powell b.1914 Siggy Busch b.1943 would go on to honor his †Buddy Banks 1909-91 Ted Kooshian b.1961 †Ray Brown 1926-2002 Odean Pope b.1938 Emilio Solla b.1962 home state by naming, along †Von Freeman 1922-2012 Tommy Whittle b.1926 October 19 Jay Anderson b.1955 Mats Gustafsson b.1964 with guitarist Ralph Towner, George Wein b.1925 October 9 Lee Konitz b.1927 †Red Richards 1912-98 Rick Margitza b.1961 Josh Sinton b.1971 reedplayer Paul McCandless Rashid Bakr b.1943 †Elmer Snowden 1900-73 †Johnny Lytle 1932-95 Eddie Daniels b.1941 and percussionist Colin Mike Clark b.1946 †Bebo Valdes 1918-2013 Pharoah Sanders b.1940 Ronnie Burrage b.1959 October 25 October 30 Walcott, a band after it. Michael Bowie b.1961 Yusef Lateef b.1920 Joachim Badenhorst b.1981 Tim Garland b.1966 †Eddie Lang 1902-33 †Teo Macero 1925-2008 Oregon has been in Carsten Dahl b.1967 Abdullah Ibrahim b.1934 †Don Banks 1923-80 †Bobby Jones 1928-80 continuous operation since Chucho Valdes b.1941 October 14 October 20 Jimmy Heath b.1926 †Clifford Brown 1930-56 1970, releasing almost 30 October 4 Satoko Fujii b.1958 Dusko Goykovich b.1931 †Jelly Roll Morton 1890-41 Terumasa Hino b.1942 Trilok Gurtu b.1951 albums, but that commitment †Noel Chiboust 1909-94 Kenny Garrett b.1960 †Fritz Pauer 1943-2012 †Johnny Best 1913-2003 Robin Eubanks b.1955 has not stopped Moore from †Marvin Ash 1914-74 Jeff Albert b.1970 Garrison Fewell b.1953 †Ray Linn 1920-96 October 31 compelling work with †Walter Bishop 1927-98 Amy Cervini b.1977 Kazumi Watanabe b.1953 †Willie Jones 1929-1991 October 26 Toshiyuki Miyama b.1921 Annette Peacock, Nancy †Leon Thomas 1937-99 †Eddie Harris 1934-96 †Charlie Barnet 1913-91 †Illinois Jacquet 1922-2004 King, Rabih Abou-Khalil and Mark Levine b.1938 October 10 October 15 Dado Moroni b.1962 †Warne Marsh 1927-87 †Ted Nash 1922-2011 other bassists like David Steve Swallow b.1940 †Harry “Sweets” Edison Freddy Cole b.1931 Mark O’Leary b.1969 Eddie Henderson b.1940 †Bob Graettinger 1923-57 Friesen and Dave Holland as Eddie Gomez b.1944 1915-99 †Joe Roccisano 1939-97 †Ray Crane 1930-94 well a number of albums as a Robert Hurst b.1964 †Thelonious Monk 1917-82 Palle Danielsson b.1946 October 21 October 27 †Booker Ervin 1930-70 leader or co-leader, including Mat Maneri b.1969 †Monk Montgomery 1921-82 Bo Stief b.1946 †Don Byas 1912-72 †Sonny Dallas 1931-2007 Les Tomkins b.1930 a pair with percussionist †Julius Watkins 1921-77 Bill Charlap b.1966 †Dizzy Gillespie 1917-93 Barre Phillips b.1934 Johnny Williams b.1936 Glen Velez and just-deceased October 5 †Oscar Brown Jr. 1926-2005 Reid Anderson b.1970 †Don Elliott 1926-84 Philip Catherine b.1942 †John Guerin 1939-2004 pianist Larry Karush under †Jimmy Blanton 1918-42 Junior Mance b.1928 Bobby Few b.1935 Arild Andersen b.1945 Reimer Von Essen b.1940 the cooperative moniker †Bill Dixon 1925-2010 †Ed Blackwell 1929-92 October 16 Jerry Bergonzi b.1947 Nick Stephens b.1946 †Sherman Ferguson 1944-2006 Mokave. Worthy of his own †Donald Ayler 1942-2007 Cecil Bridgewater b.1942 Ray Anderson b.1952 Marc Johnson b.1953 Ken Filiano b.1952 David Parlato b.1945 TV show, Moore still resides Clifton Anderson b.1957 Scott Reeves b.1950 Tim Berne b.1954 Fred Hersch b.1955 David Hazeltine b.1958 Bob Belden b.1956 in the The City of Roses. -AH Tord Gustavsen b.1970 Pam Fleming b.1957 Roy Hargrove b.1969 David Weiss b.1964 Amanda Monaco b.1973 Vincent Gardner b.1972 ON THIS DAY by Andrey Henkin

Most Likely... Bossa Nova Plus Girl from Martinique Live at The Berlin Jazz Days 1980 9 By 3 Dick Johnson (Riverside) Willis Jackson (Prestige) Robin Kenyatta (ECM) Lee Konitz & Martial Solal (MPS) Joshua Breakstone (Contemporary) October 30th, 1957 October 30th, 1962 October 30th, 1970 October 30th, 1980 October 30th, 1990 The clarinetist/alto saxophonist led After a decade doing session work for The alto saxophonist may not have Alto saxophonist Lee Konitz (1927 - Guitarist Joshua Breakstone debuted Artie Shaw’s reformed band from R&B albums, tenor saxophonist Willis been as well known as some of his Chicago, IL) and pianist Martial Solal on record in 1979 and led his first 1983-2010. But decades earlier, after a “Gator” Jackson stepped to the front compatriots to ascend during the ‘60s (1927 - Algiers, Algeria) first recorded session as a leader four years later. By two-year stint with Charlie Spivak’s of the studio in 1959. He released New Thing but did have a nice together in 1968, again in 1974 and 1986, Breakstone was a Contemporary big band, Johnson started recording almost 30 albums during the ‘60s, discography, including sessions with then 1977, always in a quartet, before Records artist and 9 by 3 is the final of as a leader with a trio of albums for with a couple of different bands, Bill Dixon, Roswell Rudd and Alan waxing their first duo session in 1977. four discs done for that imprint and EmArcy, Riverside and Verve. This is usually quartets or quintets but this Silva, in addition to several albums as That Horo album was done in the also his first trio session. Joining the the middle child, a quartet date with session features an octet: Jackson plus a leader, including one a year before studio but this disc was recorded live leader are bassist Dennis Irwin and Dave McKenna (piano), Wilbur Ware the rhythm section of Tommy his 2004 death. This is his highest- at the 1980 Berlin Jazz Days. The drummer Kenny Washington, (bass, in between sessions for his first Flanagan, Kenny Burrell, Eddie profile disc, among the first 10 releases standards “Invitation”, “Star Eyes” recorded at Rudy Van Gelder’s leader date) and Philly Joe Jones Calhoun and Roy Haynes plus Latin on the then-new ECM label, a quartet and “Noblesse Oblige” appear, as legendary Englewood Cliffs studio. (drums). The tunes include several percussionists Juan Amalbert, outing with keyboardist Wolfgang does former Konitz mentor Lennie Breakstone composed two of the Johnson originals but also standard Montego Joe and Jose Paulo. The Dauner, bassist Arild Andersen and Tristano’s “317 East 32nd Street”, plus songs, the rest standard material, material from Cole Porter, Edward album has the alternate title Shuckin’, drummer Fred Braceful, playing four a pair of duo improvisations and including a medley of Monk: “Monk’s Redding and Young-Washington. the only Jackson original appearing. Kenyatta originals. Konitz’ “Subconscious-Lee”. Mood/Pannonica”.

THE NEW YORK CITY JAZZ RECORD | October 2013 51