sign in sign up
<<
Home , Albert Stinson, Alec Dankworth, Alex Hope (songwriter), Basie Jazz, Big Nick Nicholas, Billy Bang

AUGUST 2019—ISSUE 208 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

ravicoltrane next trane comin’

bobby kirk GUILLERMO horace watson knuffke GREGORIO silver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : 6 by ken dryden [email protected] Andrey Henkin: Artist Feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: On The Cover : 8 by russ musto [email protected] Advertising: Encore : GUILLERMO GREGORIO 10 by steven loewy [email protected] Calendar: Lest We Forget : 10 by [email protected] VOXNews: LAbel Spotlight : alegre records 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festival report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, CD Reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, Event Calendar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz. It takes instrumental ability, foundation and classic Steven Loewy, Francesco Martinelli, rigor, identity of the individual and strength of the group and binds all these aspects together Franz Matzner, Annie Murnighan into something that described as, once played, having gone into the air, is never Contributing Photographers to be heard again yet existing for time immemorial in our collective memory. Richard Conde, Enid Farber, Scott Friedlander, Peter Gannushkin, All the musicians featured in this sweltering August issue found themselves as players in Wojciech Lyko, John Rogers, improvisation and continue that process with every note they play. Saxophonist Ravi Coltrane Sherry Rubel, Mike Shur, Nada Zgank (On The Cover) is a scion of one of the greatest improvising families but is far from just “And Son”. This month he is at SummerStage’s Jazz Festival and The Stone at . Saxophonist Bobby Watson (Interview) realized at a young age his predilection for Fact-checker Nate Dorward improvising would lead to a jazz career. He is part of a celebration for Charlie Parker this month at Smoke. Cornet player Kirk Knuffke (Artist Feature) continues the tradition, and pushes it forward. Hear him this month at The Stone at The New School and InterContinental New York Barclay. And clarinetist Guillermo Gregorio (Encore) and pianist Horace Silver (Lest We nycjazzrecord.com Forget) offer the myriad possibilities of where composition and improvisation intersect. On The Cover: Ravi Coltrane (© 2019 Enid Farber Fotography) Corrections: In last month’s NY@Night, Swaminathan Selvaganesh is the son of V. Selvaganesh who was in Remember Shakti and Brooklyn Raga Massive is a leaderless collective. In the Vision Festival review, Unruly Manifesto is solely James Brandon Lewis’ . In the CD Reviews, the name of the band is 2000, the album title Plant.

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

2 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD TRIO BEN WILLIAMS WITH SHAI MAESTRO & & FRIENDS NICHOLAS

MARK GUILIANA 'GENTLY DISTURBED' SUMMER RESIDENCY PAYTON AUGUST 1 - 4 AUGUST 5,12,19 AUGUST 6 - 11

DIZZY GILLESPIE

ALL-STAR CIMAFUNK AUGUST 13 - 18 AUGUST 20 - 25 AUGUST 26-27

SPECIAL SUNDAY JAZZ BRUNCH $39.50 INCLUDES BRUNCH, MUSIC & COCKTAIL

@bluenotenyc l3l WEST 3RD STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM WWW.BLUENOTEJAZZ.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY NEW YORK @ NIGHT

The inaugural Downtown Jazz Festival, organized by The mahogany-lined walls of recent Bushwick the Jamaica Center for Arts and Learning (JCAL), addition The Sultan Room invited guests into its highly certainly didn’t lack for ambition. The event, which aestheticized ‘70s-lounge setting to witness the NOH honored local hero Milford Graves, brought a star- Band: alto saxophonist , guitarist David filled lineup to the Queens neighborhood just north of Torn and drummer Dave King (Jul. 2nd). Clearly JFK Airport. In addition to the honoree, Don Byron, well-suited to one another, the musicians’ individual Pheeroan akLaff, Camille Thurman and others talents fell naturally into place within the sonic world performed during the three-day event. They all had a they created. King was robust, jittery and assured, hard act to follow with the opening salvo of pianist helping ground the trio through sudden and dramatic Jason Moran and drummer Tyshawn Sorey (Jul. 12th). dynamic shifts while Torn acted as an alchemist, The pair are known separately as two of today’s most creating swirling vortices of sound with looping, cerebral players and composers so it was with great feedback and sustain, the perfect palette over which anticipation that the audience settled into JCAL’s black Berne traced rich, curious melodies. During the quieter box theater for their first official performance (after moments, the nuances of each player’s technique came a 2016 reception appearance for a John Rogers into focus—crisp, precise fluttering rhythms; photography exhibition at The Jazz Gallery). To use the multifaceted horn tone; curious, alien looped guitar. word transcendent would give the wrong impression; The textural interplay between the full tones of guitar that term implies something greater than the physical and (at times breathy, other times wailing) entity and experience. The 50-minute was particularly intriguing, the pair blending into a beheld actually made one keenly aware of the intensely kind of whirling drone. Torn’s electronic work was physical act of music-making, as the boundary between engaging as he occasionally slipped in vaguely bluesy AVISHAI COHEN pianist and drummer and and drums blurred, lines amid the bleeping, glittering and whirring of his ARVOLES particularly during a segment where Moran set up a hefty rig. King was similarly exploratory yet tonally SSC 4619 - IN STORES AND STREAMING NOW Minimalist foray of repeated two-finger rolls from the calculated, alternating among different sticks, brushes lowest part of the instrument’s register. A strong and mallets—even his bare hands—to acclimate to the improvised set will have a couple of “how did we get music’s shifting air and curious wanderings of Berne’s here?” moments; Moran and Sorey somehow managed heady melodic work. The hour-long to keep this sense of wonder as a constant state, going demonstrated collaborative spirit in a unique setting. by in a flash yet also feeling infinite. —Andrey Henkin —Annie Murnighan J o h n R g e r s / j y c . m © ️ © S C O T F R I E D L A N Jason Moran/Tyshawn Sorey @ Jamaica Center for Arts and Learning NOH Band @ The Sultan Room

While jazz is usually associated with the elegant and Jamie Saft kicked off his new monthly series “Spheres” classy, often the environs where it can be found are at Nublu 151 (Jul. 8th), the first installment featuring anything but. So The 75 Club in the basement of the his keyboards, plus guitarist Chuck Hammer, bassist historic Bogardus Mansion, with its tasty cocktails and and drummer . Each possesses warm brick, is a welcome, relatively new addition to a distinct style, which resulted in a freewheeling the city’s venue pool, especially in lower , soundscape, though occasionally lacking in cohesion. where jazz clubs are to be found few and far between. While the introduction was lush and pristine, the But charm will only get you a first date, as it were; sound soon mutated into something looser and more you need personality too. That comes in the form of the chaotic. Previte’s rhythms were marked by a consistent

e r l a k club’s bookings, such as a solo residency on focus on rapid cymbal strikes, accented with blunt T Thursdays and, last month, the Festival snare hits and thunderous fills. Saft’s technique was (Jul. 5th-6th). The name says it all: a three-trombone both dramatic and abstract; if at times his fingers A n d r e a s

b y frontline anchored by a fine rhythm section of Noriko fluttered across the keys in a glissando, his solos were Kamo (piano), Tyler Mitchell (bass) and jagged and playful. Hammer’s blues and rock p h o t (drums). And what a frontline: , Frank influences remained clear as he employed a whammy Lacy and , a trio of the finest players and pedal and crunchy overdrive to contrast Saft’s conceptualists the instrument and jazz as a whole has glimmering tone on keys and organ. Jones held down Appearing at the BLUE NOTE to offer. Griffin was ostensibly the leader as it was his tight grooves, providing an anchoring presence. About August 1, 2, 3 & 4 (shows at 8 PM & 10:30 PM) compositions featured during the opening set of the halfway through the set, the group orchestrated a full weekend alongside jazz standards. If at first the group descent into chaos, during which it was nearly Avishai Cohen Trio was a tad ragged and Lewis a bit too bombastic for the impossible to distinguish between heavy guitar riffs with Shai Maestro & room, overwhelming the vox humana quality of the and stuttering keyboard strikes. Such moments of “Gently Disturbed” , by the middle of the set, all lengthy dramatic dynamic escalation at times betrayed a sense renditions, Griffin’s “Time Will Tell” and ’ of disjointedness among the players. As they emerged “All Blues” displayed the full potential of the group: from the noise, the group slid into another crisp groove www.avishaicohen.com delicious polyphony; moments of reflection; fanfaric held together by a steady, infectious bassline and a Avishai Cohen @ Facebook » Avishai Cohen @ Twitter » energy; circular-breathed multiphonics from Griffin; tight beat. When they finally allowed enough Avishai Cohen @ Instagram » and moody exploration of melody—a trombone festival room to breathe, the group proved a potent Avishai Cohen @ Youtube » within the trombone festival. (AH) collaboration of distinct voices. (AM)

4 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD The expanding sound of contemporary jazz continues “I like to use literary references in my work whenever to find inspiration from sources outside of the musical possible,” explained saxophonist Louie Belogenis world. Such was the case of the about the Twice Told Tales quartet’s Nathaniel WHAT’S NEWS set by trumpeter at Hawthorne-based moniker. “We probably shouldn’t (Jul. 12th) with tunes from his latest album, The Artist use the name tonight as Daniel Carter is with us as Recipients of the 2019 Doris Duke Artists (Savant), inspired by the sculptures of Auguste Rodin opposed to [co-founder] Tony Malaby. The ‘twice-told’ and the visual arts. Leading a versatile septet that concept comes in when Tony or I play a melodic line Awards, totalling over $1.5 million, have augmented the rhythm section of pianist Victor Gould, reflected by the other, though every note is improvised. been announced. Among the winners are bassist Richie Goods and drummer Diego Ramirez It’s all about the listening.” Malaby or not, the quartet drummer , who holds with the guitar of Alex Wintz, of Chien espoused a rare kind of communication at Happylucky the Zildjian Chair in Performance at the Chien Lu and percussion of Ismel Wignall, Pelt opened No. 1 (Jul. 14th), one that began only with the hydra- Global Jazz the with his Rodin Suite, a multi-hued, texturally headed frontline of the leader’s tenor and curved nuanced five-movement work showcasing his growing soprano and Carter’s tenor, alto and soprano Institute, and trombonist George Lewis, who development as a composer. A slow piano-vibraphone , , and flute. Bassist Eivind is the Edwin H. Case Professor of American vamp introduced “Call to Arms” before the music took Opsvik and drummer Ryan Sawyer set the soundscape Music at Columbia University. For more off, each band member joining the rhythmic fray, Pelt’s with spacious flourishes and moody lines before going information, visit ddcf.org/globalassets/ open horn and Miles-ian lyricism setting off a lively double-time, pushing the horns’ long tones into interlude to end the piece. Vibraphone and piano were atonality and back. The telepathy coursed ways as arts/2019-announcement-banners/doris- out front on the impressionistic “Dignity and Despair” Belogenis and Carter forayed into often interwound duke-artist-awards-announcement-final.pdf. and percussion drove the ensemble on “Gates Of Hell”, solos atop Sawyer and Opsvik’s interchangeable roles. a polyrhythmic outing with Pelt blowing ominous Sawyer is uniquely talented, transfixing to watch, his Guitarist Andreas Lasos has been named trumpet lines. This was in contrast with his melancholic an impressionist vision with extraordinary technique the first recipient of the John Abercrombie sound on the pretty ballad “Camille Claudel”, and marked swing, inwardly orchestrating both beat preceding the suite’s final movement “Epilogue”, and tempo. He whispers where most drummers force a Jazz Fund, given to students at SUNY- featuring virtuoso bass. Another visual arts-inspired howl. Carter’s palette of colors and singularly poetic Purchase where the late guitarist and ECM song, “Water Colors”, preceded Pelt’s beautiful reading approach were a perfect match for Belogenis’ hushed, Records stalwart was a longtime instructor of the -Lorenz Hart standard “Little throaty tenor and brilliant bell-like soprano. At points until his death in 2017 at 72. Girl Blue” before the show ended spiritedly with his the cascading sounds recalled the creative soldiery of “Ceramic”. —Russ Musto ’s 1961 . —John Pietaro Scottish saxophonist and Artistic Director of the Scottish National Jazz Orchestra Tommy Smith received an Order of the British Empire from Her Majesty Queen Elizabeth II (who herself received a jazz honor in 1959 when composed the The Queen’s Suite for her).

New Amsterdam Records’ Composers Lab is now accepting applications through R u b e l y Sep. 1st. This year there will be an emphasis “given to applicants from traditionally under- S h e r represented groups within the classical o b y community and composers with non-

M i k e S h u r / m a g s . c o P h o t traditional training and stylistic influences.” Jeremy Pelt @ Marcus Garvey Park Twice Told Tales @ Happylucky no.1 For more information and to apply, visit newamrecords.com/education. Leading a multifaceted ensemble of vocalists Alicia As the members of Slavic Soul Party began warming Olatuja and Kate McGarry, saxophonist Steve Wilson, up at Barbès (Jul. 2nd), the crowd of Park Slope’s guitarist , bassist Hans Glawischnig and 20-somethings already began to overtake the room. At The will present “Apollo drummer Ulysses Owens, Jr., plus harpist Carol the of the first piece—a rollicking minor- Uptown Hall: ’s Culture – Past. Robbins and a string quartet, pianist theme cascade of brass in near-unison-- the audience Present. Future”, a moderated discussion revisited his 2014 Masterworks album Map To The had more than doubled, morphing into a gyrating Treasure: Reimagining Laura Nyro. Shining a spotlight thicket. The sounds put forth were a singular fusion on Aug. 15th at 7 pm, which will include on his estimable skills as an arranger, Childs utilized steeped in Bulgarian traditional music and performance members from Harlem arts organizations the varied voices of the soloists and strings to create a practice, right down to leader Matt Moran’s throbbing such as Apollo Theater, Dance Theatre of compelling soundtrack to an imagined movie conjured tapan, an instrument similar to a bass drum but with Harlem, National Black Theatre, The African- by the vivid imagery of Nyro’s words. Beginning the heads of differing weights, played with a right-hand at (Jul. 11th) with two songs beater and a wooden switch in the left. This created American Day Parade and HARLEM WEEK, exploring the “beautiful darkness” of Nyro’s world, a funky series of patterns laid against the danceable Inc. The event is free and open to the public. Childs’ orchestrations of “Gibsom Street” and “Been lines of player Kenny Bentley (whose R&B feel is For more information, visit apollotheater.org/ On A Train” crafted scenes of treachery and tragedy, reminiscent of Kirk Joseph of Dirty Dozen fame). The uptownhall. Olatuja powerfully singing “they hang the alley cats interplay among these two and snare drummer Jake on Gibsom Street” on the former and “saw a man take Shandling was infectious, but in a vastly different way a needle full of hard drug and die slow” on the latter. than music of a purely Western background. Use of Less than six months after being named Wilson’s anguished wails and swelling strings Eastern European odd-time signatures, unexpected Director of the House intensified the pieces’ ominous atmosphere. The mood stops and starts, additive rhythms and viscerally stated Museum, Kenyon Victor Adams has resigned brightened with McGarry’s sensitive rendering of two solos cast visions of a propelling, rapid-fire race down after conflicts arose among members of the songs of love: the first, “To A Child”, parental, the next, a mountain range (Carpathian, surely). Throughout “Upstairs By A Chinese Lamp”, romantic; Wilson (on the set, part of the band’s Tuesday night residency, museum’s board about the institution’s flute) and Robbins, respectively, buoying their peaceful soaring improvisations by trumpeters John Carlson direction amid its recent expansion. spirit. Olatuja returned to deliver “Map To The and Kenny Warren, trombonists Tim Vaughn and Treasure” in a soaring soprano accented with operatic Adam Dotson and alto saxophonist Peter Hess injected melisma, followed by Spanish-tinged guitar and new levels of urgency into a crowd already threatening Submit news to [email protected] vigorously building strings. McGarry then joined her to boil over. If this is what hipster party music has for a joyous romp on “Stone Soul Picnic”. (RM) become, there’s great hope for our creative future. (JP)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 5 INTERVIEW

performers and first-call musicians in Miami Beach.

TNYCJR: How did you come to work with ?

BW: left Miami and went to Boston and got hired by . Jaco went to New York and bobby made his first record. Everyone at the school was going to New York. [Bassist] and I saw all of them going, so we thought we should go. On Aug. 24th, 1976, I flew to New York and stayed with a friend. I got a Village Voice, circled the clubs and started going to the t i s Village and hanging outside the clubs like Boomer’s, a r the Bottom Line, the , the Vanguard. (CONTINUED ON PAGE 38)

o f t h e watson t e s y Rema Hasumi c o u r by ken dryden August 22nd Areté Gallery 7pm Art Blakey, through his Jazz Messengers, groomed many saw our interest in wanting to improvise. So he took us Abiding Dawn musicians to lead their own bands. Bobby Watson saw his star through all the eras of jazz up until the ‘70s, so I started Release Show rise during his tenure with Blakey and later developed into a buying Charlie Parker records. I used to watch The piano | analog synthesizer | voice prominent alto saxophonist and prolific composer. Since then Tonight Show band every night, with Doc Severinsen, 67 West Street, Brooklyn Watson has recorded over 30 as a leader or co-leader, , Snooky Young, Arnie Lawrence and Ed in addition to his long service as a jazz educator. Shaughnessy. So I backed into it. I started a band called ruweh.com the Soul Six. It was an instrumental band with three remahasumi.com The New York City Jazz Record: Did you grow up in a horns backing me up and I played lead. We played musical family? Gladys Knight, James Brown, The Temptations, Smokey Robinson. Looking back on it, you might call what we Bobby Watson: I did. My dad wasn’t a professional had smooth jazz. We did parties and improvised. I’d Like tales drifting out of a dream musician, but he played saxophone in our church and take solos. Then I met Solomon Hughes, a guitarist who land: untethered to time and my mother played piano there for a while. I played turned me onto Wes Montgomery. I was into Donny place, free-flowing and grace- piano in church for a little while myself. There was Hathaway, and Junior Walker. After I ful, strikingly pretty, sometimes always music in the house. My dad tuned , so graduated in 1971, we moved back to Kansas City. Then spooky, and starkly rendered... they were always around in different states of repair I met [guitarist] Pat Metheny. His family’s from Lee’s - Dan McClenaghan and renovation. He also repaired instruments while he Summit, Missouri. I became friends with him and he was working his way through ground school. His main had a gig at the Ramada Inn on I-70, with Paul Smith on profession was in aviation, he flew airplanes. piano and some other cats. I’d go out there to listen to them and they’d let me sit in. They’d always give me TNYCJR: What was your first instrument? the easy charts. They were playing standards and when I sat in, they’d play something with two chords. I told BW: I started on piano at around age ten, then when him that I wanted to play the other stuff, so I spent a I got into fifth grade, I started clarinet. The band couple of nights at his house and he played records for director and my dad teamed up on me and suggested me. I learned standards like “Autumn Leaves”, “On that I start on it, which was all right with me. They said Green Dolphin Street” and “Stella By Starlight”. it would help my sax playing. By the time I got to Through Pat I met this guitar player, Monte Muza. He junior high, I started . Around 11th started teaching me other standards. I bought more grade, they got some new altos in and I wanted to play records, getting hip to Jackie McLean and all the other a new horn. It attracted me visually and it was also players in the jazz story. I did a lot more listening. closer to the sound that I had on the clarinet. So at that I didn’t go out to jam sessions until much later. moment, I became an alto player. I thought if I could play that good, how cool that would be. Then I heard TNYCJR: What led to you to the University of Miami? Charlie Parker around 1970. BW: Pat Metheny. I did two years at Kansas City TNYCJR: Did that lead to your interest in jazz? Community College and I got more into jazz because the band director had more records and was pushing me BW: My dad loved . I bought a record that way. Pat was on an accelerated program so he player and he started buying Gene Ammons records. He graduated early from high school and he was going to loved that. He was a stickler for sound, he loved Jug’s the University of Miami. I’d call him when he got home sound. My dad had a beautiful sound as well. He always and he was telling me about it. I had my eyes on North improvised. He wasn’t classically trained, so Texas because they had the big band. Pat told me that improvisation was always in my head. I just didn’t I needed to come to Miami because they had Jerry Coker know that I was a jazz musician until I took a jazz and Dan Haerle, the Miami Beach scene, it was more history course in junior high and I said, “Wow, I’m a combo-oriented. They only had four big bands and a jazz musician.” When I was in concert band, I’d always bunch of small groups. , and add notes to the parts, whether it was a Sousa march or were playing down there and a classical piece. I’d hear the other notes and add them, I could listen to them. At the same time I met Dr. Clifford because I was first clarinet. And my band director, Mr. Williams, a well-known concert band composer, who Koppelman, would say, “Watson! Stop padding the also taught at Miami, and I had a strong interest in parts!” Then I discovered jazz and said that’s what I am. composition. So I had a double reason for wanting to go. There were also clubs and shows where I could play. So TNYCJR: What was the jazz scene like when you were I went to Miami. There were a lot of guys there doing growing up? graduate work who were from bands like Maynard Ferguson, , Woody Herman. They’d get off BW: I wasn’t in the jazz scene growing up. Around the road and come to school there to get their degrees. I 1964, my dad got a job with the FAA and the position was next to guys like Billy Ross. They had a bunch of was in Minneapolis, so he moved the family there. My ringers in the band. They were professionals but jazz history teacher was a jazz drummer at night, so he working on their degrees. All the teachers were

6 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit kirkknuffke.com. Knuffke is at The Stone at The New School Aug. 15th and InterContinental New York Barclay’s Penthouse Suite Aug. 20th. See Calendar.

Recommended Listening: • Kirk Knuffke—Big Wig (Clean Feed, 2007) kirk • Kirk Knuffke/Jesse Stacken—Mockingbird (The Music of & Duke Ellington)

O W N M U S I C . E T (SteepleChase, 2008) • Mary Halvorson/Kirk Knuffke/Matt Wilson— Sifter (Relative Pitch, 2011) • Ideal Bread—Beating the Teens (Cuneiform, 2013) • Kirk Knuffke—Arms & Hands (Royal Potato Family, 2014) knuffke • Kirk Knuffke—Cherryco (SteepleChase, 2016) house of improv presents P e t r G a n u s h k i / D O W N T by john sharpe august 16, 2019 Since moving to New York City in 2005, cornet player musicians that went straight from traditional music to thomas heBerer, terrenCe mcmanus, Kirk Knuffke has forged a reputation as one of the free music, like and . That’s a miChaeL Bates, Jeff Davis most melodic of free improvisers and daring of perfect trajectory. The steps between Sidney Bechet miChiKo rehearsaL stuDios interpreters of the tradition. It’s a combination that has and are very few, I feel like they are 149 W. 46th street suBWaY: B, D, f, m to 47-50 streets proven immensely popular. coming from the same place.” Knuffke has been Right from when he took up trumpet in high school, fortunate in finding a home for his more inside projects august 29, 2019 Knuffke was drawn to improvisation. “I didn’t really with the Danish SteepleChase label, with 11 leader ingriD LauBroCK, eLi WaLLaCe, DreW WesLeY know that I was improvising, I was just playing it for dates since 2009. “The relationship is very good, [label fun, even before I knew that was a thing I could boss] Nils [Winther] will ask me to do a date and I’ll august 30, 2019 continue to do in any organized way.” His band director tell him my idea. He is very open to what I come up Ken vanDermarK/mars WiLLiams introduced him to the music of Miles Davis, Ornette with.” Of his recent projects Witness has been steve marQuette soLo Coleman and others. He started professionally at 16, particularly unusual in blending opera and jazz in a 244 rehearsaL stuDios 244 W. 54th street, 10th fLoor eventually leaving Colorado at 25. He’s had some way in which the distance between the two art forms C, e to 50th street / n, Q, r , W to 57th street fascinating experiences on the way, not the least of almost disappears during the course of the record. aLL performanCes start at 8 pm | aDmission $20 which was developing a relationship with Ornette Knuffke became friends with operatic baritone Steven faCeBooK.Com/sLovenLYeriC instagram.Com/eriCshouseofimprov Coleman after meeting him at one of saxophonist Herring while working at the Juilliard Book Store. tWitter.Com/eriCshouseofim1 ’s final . “That was, as you can “I would make him do things like and all these tiCKets avaiLaBLe through eventBrite imagine, a huge part of my life and it’s still crazy to things that I love. And I just thought he would fit right think that it actually happened. At that concert I saw in somehow because he’s unshakable. He’s singing Ornette walking around and we ended up striking up a arias and we are just improvising around him, but he conversation and he invited me over to play at his won’t lose his place, no matter what happens. I’m apartment. We would play a lot of duo together. It was really proud of that record.” so wild to hear that sound, sitting right next to you, it Play Date, another SteepleChase album recorded would give me a shock every time.” One of the major with pianist , also mixes genres, this time lessons Knuffke learned was to pursue your own ideas. tunes by bop pianist Duke Jordan alternating with free “He was always obsessed with the concept of the idea. improvisations. “Harold and Nils came up with that idea.

You have to follow it to the end. Even if things change I was very excited about it. Harold had heard recordings around you, you have to keep doing your thing until of me in different situations but also playing free music you are done with your idea. You can really hear that in and he wanted to do that with me, which his music.” It’s something that has translated into I really appreciated too. I think that recording turned out Knuffke’s music too. “It also involves for me knowing nicely as well.” There’s a lot more to come. His next where I am in the music. So I’m not lost, but I can SteepleChase CD is a trio with tuba player Bob Stewart choose to diverge from the plan, take it a little bit left and drummer , titled Tight Like This after and then bring it back. It’s not pre-planned. It’s about a Louis Armstrong song. “The recording has a funky, free doing it honestly in the moment.” and blues quality, my idea was a three-man .” Over the years Knuffke has cultivated a distinctive Knuffke’s discography includes several duets with sound. It didn’t arise by chance. “I made a list of things drummers like Mike Pride and Whit Dickey. It’s a I thought were most important in music when I was format that goes all the way back to when he would much younger and I thought tone was very high on play duets with a school friend. “It was one of the first that list. I figured it out by pursuing all the variations ways I felt like I was successfully improvising. If it was of the things that I considered make up sound. And just me and the drums I could just play my melodies then just trying to get a very clear mental picture of and he could play his rhythms and it worked perfectly.” what I wanted my sound to be. I listened to everyone The merit of the enduring attraction is borne about by I could. I found that there were certain recordings that Drone Dream, another duet with Dickey, just out on made where I felt like, wow, that’s the NoBusiness. “There’s just such an expansive thing that trumpet sound. Then certain recordings that Lester he does. He’s so sympathetic to whatever’s happening Bowie made, that was it! Luckily I grew up around a musically at the moment. It’s always the perfect guy called Ron Miles in Colorado who became a big environment to play in.” influence on me and he has a marvelous sound.” Knuffke also appears on multiple discs with bassist There’s often an appealing wistful or melancholic edge Michael Bisio, most recently on Requiem For A New York to his lines. Where did that come from? “I think it’s just Slice on Iluso Records, a moving tribute to his friend a natural inclination. These things attracted me a lot, Mike Panico of Relative Pitch Records. Panico produced musicians that had that quality, that weren’t always a session for a trio with Bisio and cellist Fred Lonberg- over the top or overbearing but would sit back and just Holm, which is still to be issued. “I spoke to him just sigh or nod or some little gestures that really brings about a week before that session and then he passed you into the music.” away and it was really shocking for us.” As a consequence Although Knuffke is clear that free improvisation the trio reconvened to make another recording. “It’s our is his home base, he also dives deep into the tradition. tribute to him. So we improvised solely with that in “I just love this music in all its forms. I love the mind, of offering this recording to him. v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 7 ON THE COVER © 2 0 1 9 E n i d F ravi coltrane next trane comin’ a r b e F o t

by russ musto o g r a p h y

“When I first got to New York in 1991 I was fortunate Alessi with pianists and , bassist blend those instruments’ sounds. On all of my mother’s enough to have opportunities to play with some great and drummer playing recordings there might be moments where she musicians,” Ravi Coltrane says with characteristic original compositions by the two horn players along overdubbed the harp with piano or the synths with humility, speaking on his cell phone from a Manhattan with covers of classic pieces by Ornette Coleman, organ, but to have the harp and the organ and the street corner, having only just hours before returned Thelonious Monk and Shorter. piano going at once is like utilizing her three primary from Europe and a pair of concerts at the North Sea It was two more years before he released Mad 6 on voices in one band. And I always thought that that Jazz Festival with ’ Another Earth 50th which the increasingly confident saxophonist finally would be a fun thing to explore [even] outside of her Anniversary project (filling in for an injured Pharoah approached a pair of his father’s tunes, “26-2” and “Fifth compositions. Again, it’s one of those things that will Sanders). The scion of one the jazz world’s most House”, along with pieces by Monk, hopefully develop more over time.” illustrious families recalled, “There were a lot of people and as well as four increasingly distinctive The other unit that he’s hoping to record with who had their arms kind of wide open towards me original compositions. It was three and four years again is the trio with drummer Jack DeJohnette and when I got here and that was one of the great benefits between the release of his next two dates, In Flux and electric bass guitarist , a group that of not only being the son of John , but Alice as well.” (both for Savoy Jazz), and the delays were DeJohnette seems amenable to continue working with. The 54-year-old saxophonist fondly remembers his well worth the wait. Featuring what would be his regular He declares, “I’ve known Ravi for quite a long time first years in the jazz capital of the world. “I was working band for nearly a decade with pianist Luis and watched his growth…I have to say that in the last fortunate enough to play with [drummer] for Perdomo, bassist and drummer EJ Strickland, year or so Ravi has managed to come into his own and two years,” he says, “and at the same time I was hanging the music reveals a compositional and improvisational be recognized as having his own voice…He’s now with [last drummer] Rashied [Ali] and approach Coltrane could claim as his own. committing himself much stronger than he has before was able to work with him a lot.” He notes, “I was very Speaking of the quartet Coltrane says, “It was nine and it’s paying off. The spirit and the strength of the fortunate to have access to so many great, great players years with that group. And it’s a real privilege, man, music is getting stronger and getting clearer and the and to be a sideman in their groups. That was very a real privilege to have a working band. To really begin vibration of it is definitely going in a good direction. elevating for me. I worked with [pianist] to cultivate a sound over time, over many gigs, over So I would say and I think that others would agree, for many years during that early period; I met many tours over many years. Obviously there’s a that Ravi is now well on his way to developing as an [saxophonist] at that time and worked musical tie there, but there’s also a very brotherly kind important composer, bandleader and soloist. I’m really with him. That all was a great benefit, man, to be on the of tie as well that informs all of the music. I think that excited and delighted to be playing with him.” bandstand with those leaders! It was very elevating for history has already shown that that’s such a great Coltrane confesses, “I feel like I haven’t been me and I wanted that to go on as long as it could.” benefit for players. If you can maintain these long recording [as a leader for several years] because Despite numerous offers from major record labels associations and relationships some new things can I didn’t feel like I really had anything to say. But at the Coltrane resisted the lure of recording as a leader. His really happen.” The group made its last appearance same time, I do feel like that whatever I am saying first ventures into the recording studio were as a together on the -produced Blue Note album I want to get it documented so that I can move on to sideman and included a pair of two-tenor dates with , which also features the quintet heard on whatever might come next. I think it’s important to David Murray and Antoine Roney and albums with From The Round Box and Lovano. Lovano says of his record for me when it’s time. If it’s not the right time, drummer Gerry Gibbs and trumpeter . fellow saxophonist, “Knowing, playing and working then it’s not. I was never a cat who was into having Asked why he waited almost a decade after his arrival with Ravi has been a highlight for me of a schedule of putting out a record every year or every to record under his own name he says, “When I got to music. He is one of the most driven and inspired 15 months. I see what the benefits are; there are cats New York I was still kind of involved in my musical musicians on the scene today. Every time we share who are very prolific and they can put out a lot of great education. I was still in the process of learning the music it is a beautiful experience all the way around.” music in those short intervals of time. I’m truly a bit music. I know that that’s an ongoing thing, a never- Coltrane’s latest working band with pianist David slower, trying to find certain things and when they’re ending thing, but for me it was a very real thing. I had Virelles, bassist and drummer not there for me they’re just not there. So then I can only really been formally studying the music for a little Johnathan Blake has been together for nearly three sort of work towards these things and move towards less than ten years at that juncture in my life. New York years but has yet to record, something the saxophonist them in my own time. Again, I feel that that’s more was a great place for me to build and to grow... I was plans to remedy soon. He says, “They’re all incredibly consistent with my personality and the way I’ve able to not only go out and hear incredible masters— busy and they’re all doing their own projects now, so developed over time. I think that that’s another thing some who are not here anymore—but play with these I’m happy whenever I can get these same three guys in that I learned from my mother: record when it’s time to incredible masters. To have that kind of apprenticeship, the room at once. I’m overjoyed, thrilled to be on the record. And only when it’s time because it’ll be useless if you can get some of that then you go get it because stage with them. I’m trying to focus on this group, but to do it any other time other than that. But I don’t want that’s going to sustain and build you in ways that I do realize that there often seems to be a shelf life with too much time to pass because what’s the expression— being a bandleader on your own won’t. Being in a rush bands. I don’t think that I’ll be able to hold on to those time waits for no man.” v to go out and do your own thing, I felt that there was cats forever, so I do want to document what we’ve always going to be time for that.” been doing thus far.” For more information, visit ravicoltrane.com. Coltrane is at The Coltrane finally gave into what must have been Also in the works is a recording with the Universal Stone at The New School Aug. 16th and Marcus Garvey Park great pressure to record as a leader, releasing Moving Consciousness Project, a collective unit Aug. 24th as part of Charlie Parker Jazz Festival. See Calendar. Pictures (RCA Victor) in 1998. The date, with pianist with Virelles, harpist , bassist Rashaan , bassist and drummer Jeff Carter and conguero/sonero Román Díaz. Coltrane Recommended Listening: “Tain” Watts placed the still young tenor and soprano says, “That’s something that I wanted to do from the • Elvin Jones Jazz Machine—In Europe (Enja, 1991) saxophonist squarely in the tradition, performing minute we started doing it. I felt that this could be a • Ravi Coltrane—Mad 6 (Eighty-Eights/Columbia, 2002) pieces by , Horace Silver, very exciting band to present and to be involved in. • Ravi Coltrane—Blending Times (Savoy Jazz, 2006-07) and McCoy Tyner along with seven of his own deeply And also, I don’t have to worry so much about being a • Saxophone Summit—Visitation (ArtistShare, 2011) personal originals. His sophomore effort From The leader, that it can operate as a collective. It just really • Ravi Coltrane—Spirit Fiction (Blue Note, 2012) Round Box, also for RCA Victor, came two years later feels like we can approach not just Alice’s music, but • Jack DeJohnette/Ravi Coltrane/Matthew Garrison— and featured regular collaborator trumpeter Ralph the concept that we can explore sonically, trying to (ECM, 2015)

8 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD PRESENTS NEW YORK TO PARIS CD RELEASE

“SHE HAS BECOME A TRUE WORLD TRAVELER AS ONE OF THE TOP VOCAL STARS OF JAZZ..." Joe Bebco/The Syncopated Times

”PARROTT HAS GIVEN US ANOTHER WINNER!” Joe Lang—Jersey Jazz

“FOR ALL JAZZ COLLECTIONS” CD HHotlist!

BIRDLAND THEATRE/NYC AUGUST 8, 9 and 10 2 sets 7 and 9:45

NICKI PARROTT bass/vocals JOHN DIMARTINO piano ALVIN ATKINSON drums ARCD 19466 DISTRIBUTED BY MVD ENCORE

“…began to play in weekly jam sessions and dance if anything, his pace has quickened. Three small group halls…” in Argentina with local “hot jazz players.” As recordings as a leader were recently released. What each GUILLERMO a teen, Gregorio discovered modern classical music, has in is that each is completely improvised attending seminars by Argentine modernist composer and yet, even without any preparation and little Alberto Ginastera, who set in motion a love for the discussion beforehand, Gregorio glows as his quiet self- writing of Anton Webern and Edgard Varèse and later controlled approach, seemingly effortless technique, GREGORIO others such as European composers Luigi Nono and interspersed with emotional blasts of raw sound, eschew Iannis Xenakis. But it was Earle Brown who had the melody but not accessibility. The clarinetist describes by steven loewy greatest impact on Gregorio. “My music has many his approach as the melding of a “cool” sensibility with things in common with his music. I never met him what he terms “composition on the spot.” There are many ways to describe Argentinian-born personally but I’m aware we share many sources and Most recently, the peripatetic clarinetist has been clarinetist and saxophonist Guillermo Gregorio. You read the same books!” performing at an accelerated rate. In July he performed might call him a musician’s musician or an astonishingly Like many musicians, Gregorio worked a day job in New York with a group of violinist Sarah Bernstein, focused and disciplined artist and composer. Or, so that he could focus on his true love of music. He cellist Nicholas Jozwiak and bassist Joe Fonda. In the perhaps, reviewing the long list of recordings on which became an architect, a field that, along with his study fall, he will be performing several times in New York, he appears in a life that has spanned more than three- of “art, music and design…” influenced his persona. A followed by a performance at the Guelph Jazz Festival quarters of a century, you could simply think of him as highly abstract thinker, Gregorio was influenced by the with pianist Paula Shocron and drummer Pablo Diaz, a remarkably prolific performer, whose non-assuming, Constructivism of early 20th century Russian avant on whose Diálogos Gregorio appears as a guest. In yet detailed and varied performances with many garde artists, whom Gregorio explains led to a rejection November, he will be performing in Kraków with highly talented players cross boundaries of genre and of “representation” in favor of “presentation”. More Japanese pianist Satoko Fujii and trumpeter Natsuki explore the edges of modern music. simply, he says his “on the spot” improvisations echo Tamura. Two more recording dates as a leader are But there is probably one way in which you could his fascination with improvisation “in real time and scheduled toward the end of the year and the clarinetist not justifiably describe him: his playing and composing space.” Much of Gregorio’s small group work is totally also hopes to record an album of new compositions for cannot be relegated to a particular type; he is not improvised with little or no preparation. a string group. exactly a jazz musician, avant garde or otherwise; nor For a large part of the ‘70s, after his intense work Given the quality of his work, it is not surprising is he properly described as someone simply immersed with the Fluxus-influenced Movimiento Música Más, that Gregorio is as busy as he is. His considerable skills in a modern classical vein. Even the phrase “new he started “questioning the meaning of the avant and focused technique may still be unknown to some, music” does not aptly describe his works. And, because garde” and stopped playing in public. He lay low until but he is finally being recognized as the outstanding of his Renaissance-like embodiment of so many 1983 after the demise of the brutal dictatorship that performer and composer that he has become. v different ways of viewing the world through sound, seized control of Argentina in 1976. He then traveled to labels are simply meaningless when describing Austria, collaborating with trumpeter Franz Koglmann Gregorio is at Bushwick Public House Aug. 5th. See Calendar. Gregorio’s accomplishments. and then moved to Germany where he performed on Here is something you can say: Gregorio, whose tenor saxophone and formed his group Tal Cual, which Recommended Listening: stellar reputation is known to many serious players, included synthesizer player Thomas Lehn and • Guillermo Gregorio—Otra Musica (Tape Music, remains an unsung performer. His discography and trumpeter Axel Dörner. Gregorio developed the Fluxus & Free Improvisation in Buenos Aires) current hectic pace demand greater recognition for a compositions that he would later record in Boston with (Atavistic, 1963-70) full and distinguished life, in which he continues to violinist Mat Maneri, pianist Pandelis Karayorgis and • Guillermo Gregorio—Approximately (hatART, 1995) produce an enviable body of innovative work. others on his Approximately album. In Europe, Gregorio • Joshua Abrams—Cipher (Delmark, 2002) Born in Buenos Aires, Argentina on May 1st, 1941, studied with saxophonist and Lennie Tristano disciple • Guillermo Gregorio/Pandelis Karayorgis/ Gregorio switched from cornet to clarinet at age 14, . He eventually moved to the Nate McBride—Chicago Approach (Nuscope, 2005) absorbing in his teenage years the fascinating sounds area in 1991, actively participating in concerts and • Guillermo Gregorio/Pandelis Karayorgis/ of clarinetists such as Johnny Dodds, many recordings and focusing exclusively on the Steve Swell—Window and Doorway (Driff, 2011) Jimmie Noone and especially Gregorio’s favorite, the clarinet. He never returned to Argentina to perform. • Guillermo Gregorio/Brandon Lopez— largely forgotten Darnell Howard. The young Gregorio In 2016, Gregorio moved to New York City, where, 12 Episodes (Relative Pitch, 2017) LEST WE FORGET

Lou Donaldson record and soon cut his first album as a and experimenting with different instrumentation. A leader, starting a 28-year association with the label. He five-LP series found him augmenting his quintet horace also freelanced for two years; most important was a (which had trumpeter and or Birdland engagement in a quintet with Donaldson, Larry Schneider on tenor) with many other musicians. and Art Blakey that was extensively In the ‘80s he started his own Silveto label for his self- recorded. Soon Silver and Blakey were co-leading a help pieces while his Emerald label contained more silver new group called . While the straightahead music. Silver made his final recordings pianist only stayed with the band for a year, the during 1993-98 for Columbia, Impulse and Verve. by scott yanow recordings that he made with Blakey set the standard Due to his declining health, Silver largely stopped for what was to follow. performing after 2000 but fortunately royalties from In the early ‘50s when Horace Silver began to emerge It was as a leader of his own trumpet-tenor quintet his hit songs kept him solvent. His memoir, Let’s Get To in the jazz world, nearly all young jazz pianists were where he really made his mark, with a long string of The Nitty Gritty (University of California Press), under the influence of . Silver developed a Blue Note classics during 1956-68. Mostly featuring his received excellent reviews upon its 2006 release. Silver very different style, influenced by gospel music. He originals, Silver’s band had its own sound and was one passed away on Jun. 18th, 2014 at 85. He still remains a utilized funkier rhythms (freeing the bass from its of the most popular in jazz. While trumpeters Donald major influence on modern jazz today. v metronomic role), catchy melodies, bluesy chords and Byrd and and tenors and an inventive use of repetition. were in his early groups, the most A tribute to Silver with Milton Suggs is at Dizzy’s Club Silver was born Sep. 2nd, 1928 in Norwalk, famous edition had trumpeter and tenor Aug. 26th. See Calendar. . He began playing the piano while quite saxophonist during 1959-64. Silver young. He had classical lessons, became interested in retained the same sound throughout the second half of Recommended Listening: playing jazz, began performing professionally in 1946 the ‘60s when his sidemen included , • Horace Silver—And The Jazz Messengers and also played tenor saxophone in the ‘40s. In 1950, , or on (Blue Note, 1954-55) Silver’s trio accompanied at a club in and Joe Henderson, or • Horace Silver—6 Pieces of Silver (Blue Note, 1956/58) Hartford. Getz was so impressed that he hired the on tenor. • Horace Silver— by the Horace group for a tour and for a couple of record dates, which Although Blue Note declined throughout the ‘70s, Silver Quintet (Blue Note, 1958) served as the pianist’s debut. Silver was part of Getz’ Silver remained with the label until 1978 as its last • Horace Silver—Blowin’ The Blues Away (Blue Note, 1959) groups for two years before settling in New York, prominent jazz artist. He evolved a bit, becoming • Horace Silver—Song for My Father (Blue Note, 1963-64) where he worked with both and involved in writing self-help lyrics, often utilizing • Horace Silver—The Hardbop Grandpop . He made his debut for Blue Note on a singer Andy Bey, occasionally playing electric piano (Impulse!, 1996)

10 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

Santiago formed, the Alegre All-Stars, led by Charlie the record store and label) “basically brought together Palmieri and featuring the trombonist Barry Rogers (as some of the best Latin musicians in New York City alegre records well as Johnny Pacheco ). under one roof to showcase their talents. Al Santiago— Santiago stayed active in music, but Alegre was who was one of the funniest people I ever met, he’d by jim motavalli sold to Branston Music (owners of Tico and Roulette) have you in stitches in five minutes—was inspired by in 1966 and then to Fania in 1975. Pacheco was also a the Cuban descarga jam-session records he heard. Before he was 21, Spanish Harlem-born Al Santiago founder of Fania, so the legacy is clear. And Those records were very popular at the time. So Al already had a long history in . Santiago is appreciative. figured, why not do the same thing here in New York was, in fact, born into it. His father was a multi- This month, the Bronx Music Heritage Center City? Our musicians are just as good, if not better.” instrumentalist in Latin dance bands and his uncle led (cultural arm of WHEDco, the Women’s Housing and So the Alegre All-Stars were born and the albums the Bartolo Alvarez Big Band. Santiago studied piano, Economic Development Corporation) will hold a became very popular. “Al would sign the leaders to the then saxophone and took over his uncle’s band when combined discussion and concert, featuring Oreste label and then they would select the sidemen,” he was 18—renaming them the Chack-a-Ňu-Ňu Boys. “Kidd Ore” Abrantes y Su Orquesta playing the music Sanabria said. “He had musicians like A 14-year-old Eddie Palmieri sometimes was on piano of the Alegre All-Stars. The talk will include South and Barry Rogers, who was a force of nature. The and played trumpet one memorable Bronx-born Bobby Sanabria, the Grammy-nominated records were both popular and critically successful— evening. Latin drummer and educator; Orlando Marin, who they became collectors’ items.” Santiago borrowed $1,800 from his family in 1951 was timbalero in the Alegre All-Stars; Mike Amadeo, And they looked different. Izzy Sanabria and started the Casa Latina del Bronx record store, who worked for Casalegre and now runs Latin shop (no relation to Bobby) was a cartoonist whose fanciful later enlarging it in a new location in 1955 as Casalegre. Casa Amadeo—the oldest record store in New York; and funny black-and-white covers drew from such That too was in the family, as his uncle had quit the producer Bobby Marin; and musician Chris Rogers sources as the “Spy vs. Spy” strip in Mad Magazine. band to start another record store, Casa Latina, in (son of Barry). Some covers featured caricatures, others full-blown Spanish Harlem. The next logical step for Santiago the According to Elena Martinez, Co-Artistic Director comic stories. “Instead of sexualized poses, there was musical entrepreneur was founding Alegre Records, of the Bronx Music Heritage Center, “We aim to present high art,” Sanabria said. known as “the Blue Note of Latin music” in 1956. in our space the musical and cultural legacy of the The records weren’t always promoted to the level Alegre was groundbreaking both in the music it Bronx, which is the borough of salsa and the birthplace their artistry demanded and Sanabria said that recorded and the way it was packaged, though the of hip-hop. The history is another thematic layer. dissatisfaction is in part what led Johnny Pacheco and business was somewhat haphazard. The label’s first People don’t realize that Al Santiago started both the former New York City cop Jerry Masucci (who fell in album was Johnny Pacheco y su Charanga Volume One Casalegre record store and the Alegre label.” The love with the music while working as a lawyer in in 1960 and it quickly became the biggest-selling Latin center features a 1,700-square-foot gallery/ Cuba) to found Fania in 1964. But that’s another story album to date. Soon after, Santiago signed Charlie performance space, which hosts art exhibits and and not quite so Bronx-centric. Palmieri and Sabú Martinez for Jazz Espagnole (which concerts that Martinez said, “have another layer to barely sold at first but is now regarded as a classic). them.” “Bronx Rising!—The Hidden Legacy of Alegre Records” Alegre produced 49 albums in the period between Sanabria, who co-directs the Bronx Music Heritage with Oreste “Kidd Ore” Abrantes y Su Orquesta is at Bronx 1960-66, including six or seven from the ‘jam band’ Center with Martinez, told TNYCJR that Alegre (both Music Heritage Center Aug. 17th. See Calendar

Eponymous Sabu’s Jazz Espagnole Eponymous Pachanga At The Caravana Club Las Charangas Pacheco Y Su Charanga Kako Y Su Combo Charlie Palmieri Pacheco/Palmieri/Fajardo VOXNEWS

percussive scat lines on an uptempo “Them There Eyes” baritone enveloped in luxuriant string by and swings with ease on “Do Nothing ‘Til You Hear conductor Andrew Cottee. The album touches on Out-of-Towners from Me”. In truth, Angell’s out-of-the-gate effort is a MacFarlane’s own feelings of love and loss and, as with rare first album. It’s just right. Gazarek and Thirsty Ghost, MacFarlane cannot hide his by suzanne lorge Vocalist Sara Gazarek, another L.A. talent, has sentiment on Once In A While. As he admits in the liner similar strengths as Angell—gorgeous tone, expert notes, “It’s all in there, folks.” singer Gretje Angell’s debut …in any key soloing chops, careful ear for flattering arrangements. Singer Peter Eldridge and pianist Kenny Werner (Grevlinto) comes as a surprise and a delight. A surprise Her career has progressed differently, though: She both used to teach at NYC institutions of higher because by her own admission she’s turned to jazz received laudatory national attention as a vocal jazz learning, Manhattan School of Music and New York somewhat belatedly in her performing life and a delight student at University of Southern California in the early University, respectively. Now colleagues at Berklee because this debut is that good. Raised on her father’s aughts and her first album, Yours (Native Language), in College of Music in Boston, the two have paired up for jazz records, alongside his kit (her late father was Akron, 2005, was a breakout success. This month Gazarek will Somewhere (Rosebud Music), a fully orchestrated album Ohio drummer Tommy Voorhees), Angell studied release her sixth album, Thirsty Ghost (s/r); she describes of standards and standard-sounding originals. Like the classical voice and has performed roles with the Los it as “the first record that has ever truly felt like my two preceding releases, this album explores aching Angeles Metropolitan Opera. What she borrows from voice, my sound and my heart.” A strong admission. emotions; on this one Werner’s at times buoyant her classical training is a granular vocal precision not all She explains that after suffering some extreme personal interjections and the soothing comfort of the strings act jazz singers can master; she tackles each phrase with losses she could no longer sing the light-hearted as palliatives. Even hearts can heal. poise and dexterity, without sacrificing the creamy melodies for which she was known. Thus there’s Other travelers: visits New timbre of the voice. What positions her solidly in the heartbreak in her renderings “I Get Along Without You York to play Birdland (Aug. 6th-10th) and SummerStage’s jazz idiom is her highly developed ability to improvise. Very Well” and “Lonely Hours”; determination in Charlie Parker Jazz Festival (CPJF) at Marcus Garvey Park That she can step into jazz as a fully formed scat singer confrontational “Jolene”; and vulnerability in the (Aug. 24th). Brianna Thomas, Peoria native who now is remarkable. The nine standards feature guitar-based gripping Björk song “Cocoon”. Gazarek celebrates the lives in New York, has August gigs that overlap with arrangements; Angell uses strings and trumpet on one album at Jazz Standard (Aug. 10th). Bridgewater’s; she’ll sing at Grant’s Tomb as part of tune—the ballad “Deep in a Dream”—but for the most Hollywood denizen Seth MacFarlane, creator of Jazzmobile Summerfest (Aug. 7th) and then at CPJF (Aug. part the settings for her vocals are spare and the animated sitcom Family Guy, is all about crooning 23rd). New Orleans-based singer/drummer Jamison complementary. Angell excels at Latin feels, as in the romance when it comes to his vocal recordings—the Ross, jazz vocalists’ favorite non-jazz vocalist, plays Jazz engaging “Berimbau”, in spot-on Portuguese, and brisk anti-thesis of his TV fare. On Once In A While (Verve) he Standard (Aug. 8th-9th); and Aussie-bred bassist/singer “One Note Samba”. Which isn’t to suggest any runs through a baker’s dozen of standards like unveils her new Arbors album New York to shortcomings elsewhere—she turns out smooth, “I Remember You” and “What’ll I Do?”, his deep Paris at Birdland Theater (Aug. 8th-10th). v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 11 IN MEMORIAM

TONY HALL (Apr. 1st, 1928—Jun. 26th, 2019) The British music executive’s dr. john eponymous production company helped the careers of Black Sabbath and by andrey henkin but he got his start in the jazz world, working at London’s famed The 100 Club, producing albums and writing liner notes for Tempo Records by such players as Tubby Hayes, Victor Feldman, , Jimmy Deuchar, Stan Tracey and The Jazz Couriers and being a contributor to Jazzwise magazine well into the new millennium. Hall died Jun. 26th at 91.

LAWRENCE LEATHERS (Nov. 23rd, 1981—Jun. 2nd, 2019) An up-and- coming drummer who, though having a slim discography, was noted for a long association with vocalist Cécile McLorin Salvant (with whom he won two Grammy Awards in 2015 and 2017) and sideman work with Jeremy Pelt, Aaron Diehl, Ian Hendrickson-Smith, John Dokes, Charles Turner, Richie Vitale and others as well as a longtime jam Dr. John, the legendary New Orleanais singer, pianist session at Smalls, a promising career cut tragically and songwriter whose forays into jazz include tributes short with his murder in the hallway of an apartment to seminal performers, collaborations with a wide building on E. 141st Street in the Bronx neighborhood variety of artists and the jazz threads he wove into his of Mott Haven. Leathers died Jun. 2nd at 37. own music (and who was the real-life inspiration for The Muppets’ Dr. Teeth), died Jun. 6th at 77 as the result KARLHEINZ MIKLIN (Nov. 3, 1946— of a heart attack. Jun. 15th, 2019) The Austrian Dr. John was born Malcolm John Rebennack, Jr. saxophonist was active since the ‘80s in New Orleans on Nov. 20th, 1941. His family was of with albums on Amadeo, GeeBeeDee, French origin and he grew up in an integrated section WEA, EMP, SOS and TCB and of the city, which would influence his later eclecticism. collaborations with , Mark As he told radio host Bill King of JAZZ.FM91 in 1998, Murphy and Quintetto Argentina. “I know my family is supposed to be from the Bas Miklin died Jun. 15th at 72. v region of . They arrived in New Orleans in 1813 or 1830. They had a place on Bayou Road which is now Governor Nicholas Street. My great, great, great aunt Pauline Rebennack was involved with a guy who had Academy Records my name, Dr. John. He was a Banbera cat and they had a whorehouse out by what they call Little Woods in New Orleans. Bayou Road was a historical street in & CDs what they call the Tremé area of New Orleans today. Jelly Roll Morton grew up on that street. The one thing the Third Ward was famous for was that Louis Armstrong was born there.” He began playing professionally as a teenager and Cash for new and used started cutting his first records in the late ‘60s for ATCO. His music was a mélange of the blues, jazz, compact discs,vinyl burgeoning rock ‘n’ roll plus the music and spiritual records, blu-rays and practice of the various cultures he found in The Big Easy. As he explained to King, “The Second Line dvds. rhythm in New Orleans is connected to the Brazilian samba. It’s just a little different. Cuban rhythm is in the center of the beat, the Brazilian rhythm is a little more ‘round the beat and in New Orleans, it’s all around the We buy and sell all beat, pullin’ it.” Dr. John was a prolific recording artist and genres of music. performer, making dozens of recordings for CBS, Crazy All sizes of collections Cajun, Warner Bros. Blue Thumb, Parlophone, Nonesuch and many other labels right up until his welcome. death and being a mainstay of the New Orleans Jazz & Heritage Festival as well appearing internationally with his groups. While not a jazz musician per se, his interests led to forays in that direction, such as For large collections, participation in the 1984 A&M album That’s The Way I Feel Now—A Tribute To Thelonious Monk, his 1999 please call to set up an tribute to Duke Ellington (Duke Elegant, Blue Note) and appointment. 2014 tribute to Louis Armstrong (Ske-Dat-De-Dat The Spirit Of Satch, Concord) plus collaborations with Chris Barber, , , , David “Fathead” Newman, Bennie Wallace, , , , Open 7 days a week 11-7 Robin Kenyatta and others over the years. And even those of his albums not specifically jazz tributes had 12 W. 18th Street NY, NY 10011 that Crescent City jazz foundation, such as the 2012 212-242-3000 Nonesuch album Locked Down, which won a Grammy.

12 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD festival report SARATOGA KRAKóW LJUBLJANA by kurt gottschalk by thomas conrad by francesco martinelli a c o f s p t e s y y k o z g a n k r i c h a d o n e / u W o j c i e h L n a d George Benson & Mike Stern Joëlle Léandre

Jazz on a Summer’s Day doesn’t really reflect the NYC On the ride into Kraków from the airport on a 93º Arguably the longest running European festival, the concertizing experience. The Rhode Island environs of summer afternoon, you see nuns in black waiting Jazz Festival of Ljubljana held its 60th edition (Jun. the classic 1959 documentary make for a very different patiently at unshaded bus stops. Poland is now Central 16th-23rd), animating the severe Brutalist architecture tradition than the one built on the city’s after-hours Europe’s most Catholic country. Before that, it was one of the Cankarjev Dom with a week full of concerts. The clubs, but it’s one that can come with its own rewards. of Central Europe’s grayest and grimmest Soviet Slovenian capital is currently one of the hippest When we do get outdoor matinees in the city, they can satellite states. The Kraków impression now contains destinations of Europe, with an international young be sublime (as with Amina Claudine Myers’ Charlie equal measures of Renaissance architecture, capitalist crowd filling its beautiful, elegant streets and riversides. Parker Jazz Festival set in Tompkins Square last enterprise, religiosity and post-Communist austerity. The proceedings—conducted by Artistic Directors summer), but they’re hardly relaxed. Kraków does not look or feel like anywhere else. Bogdan Benigar and Edin Zubčević, opened with a About 180 miles north of the city, however, that Summer Jazz Festival Kraków has been Poland’s series of -related events—14 bands in The summer’s day tradition thrives at Freihofer’s Saratoga premier jazz event since 1996. Every night from the Bagatelles marathon, The Hermetic Organ recital and the Jazz Festival, which held its 42nd edition over the last end of June to the end of July, jazz pervades the town. presentation of Mathieu Amalric’s films on Zorn. Due to weekend of June. It’s a breezy affair where, at least Piwnica pod Baranami and Harris Piano Bar are the teaching commitments your correspondent was able to during the daytime shows, picnickers easily outnumber principal sites. Both clubs are just off the main square, join only the following day, but the program—including those sitting in the paid seats. which is the largest, grandest medieval square in the Masada Quartet in its classic lineup and many Zorn Jazz festivals in general are more enjoyable if Europe. Polish players predominate, but there is associates—was acclaimed as a success by the audience. worries about what fits the criteria are dismissed. A international representation. Every few days, a major The following day master improviser Joëlle Léandre genre that has room for Johnny Hartman has room for concert takes place in a larger venue. This year the performed a riveting bass solo—including vocal, talk , who played an early evening set on headliners included E-Collective and ad-hoc comments—in which she played more Sunday. Of course, a genre that has room for headliner and EGM Trio (/Eddie Gomez/Dado blues-related material than ever, at times sounding like George Benson also has to make room for Steely Dan, Moroni). The biggest night was Jun. 28th, when British an inanga, the traditional Rwandan harp accompanying but such arguments will get you nowhere. Dismiss violinist Nigel Kennedy (who made the best-selling sotto voce singing. Another brilliant light of European such misgivings and the Saratoga Jazz Festival offers classical recording of all time, Vivaldi’s The Four music, Slovenian pianist Kaja Draksler presented a suite talented and well-rehearsed bands, great sound, Seasons) and American guitarist Mike Stern (who for her Octet based on the poetry by Robert Frost. beautiful grounds and appreciative audiences. played with Miles Davis) performed Jimi Hendrix Definitely daring and original in its unique mix of On the other hand, when Jones begins her encore music in Auditorium Maximum. Its 1,200 steeply tiered sounds, the suite reached the climax when the Ayler- saying, “We’re gonna do a country song for you” and seats had been sold out weeks in advance. esque tenor saxophone of Ab Baars was unleashed on on the smaller stage at the same moment Ruthie Foster Kennedy’s stage behavior, politics, apparel and top of the angelic singing of Björk Nielsdottir and Laura is singing “Ring of Fire”, one starts to wonder. punk coiffure have made him a polarizing figure, Polence. Tenor saxophonist Nubya Garcia from U.K. has It’s tempting to say a certain malleability of time is especially in the patrician world of classical music, a round, powerful voice and seems always to be able to at least one prerequisite for positioning in the pantheon which does not expect its virtuosos to take up rock ’n’ raise her dynamics during her solo perorations. For this of jazz (and concomitant festivals), but that would rule roll. It turns out that Kennedy, as a Hendrix interpreter, listener the drumming in the trio was rather too loud out much of an enjoyable set by the Django Festival is uniquely qualified to kick 1,200 asses and unleash the and too stiff to make the music really fly, but Garcia is All-Stars, as well as most of Reinhardt’s own hounds of hell. The primal scream of his skeletal-frame definitely a great personality creating currently up-to- generation. Their particular sort of throwback electric five-string violin can make your hair stand on date jazz. Mammal Hands, another U.K. band, was a traditionalism pays obvious homage to the Roma end almost as high as Kennedy’s. “Third Stone from the pleasant nod to minimal, Orientalist sounds sometimes guitarist but also owed much to their countryman Sun” was exhilarating and terrifying. When Kennedy verging too close to second-hand Garbarek-isms. Not to Michel Legrand. Saxophonist Grace Kelly joined them left openings, Stern was suddenly there, stinging and my taste, but perhaps their music can lead a young for Duke Ellington’s “It Don’t Mean a Thing (If It Ain’t snarling. “Purple Haze” and “Fire” were also barbaric audience to wider listening. Slovenian guitar virtuoso Got That Swing)”—the song also kicked off her 2018 ceremonies. The overall effect on Kennedy was to turn Mihael Hrustelj played a solo set ranging from classical Go Time Brooklyn—swinging in a sweet Ivie Anderson him manic. After every tune, he ran around the stage, sounding compositions to flamenco and songs—a bit approximation but then blowing a powerfully pinched fist-bumping and hugging members of the band and difficult for non-Slovenian speakers. The international alto until her knees knocked together. sometimes members of the audience. trio of Slovenian pianist Marko Črnčec, Dutch bassist Benson and singer Kandace Springs, for their It was also startling when this merciless music Joris Teepe and drum master Billy Hart was a classic parts, showed a flexibility that didn’t seem present in sometimes subsided into quietude, as on “Little Wing”. jazz set, including standards (a rare find in Ljubljana’s some of the other sets. And Trombone Shorty—playing Then it was possible (when Kennedy switched to programs) played with sensitivity and emotional trombone, trumpet and drums—laid fluid soloing atop acoustic violin) to hear Hendrix music become pensive participation. Ken Vandermark’s band was full of rigid rhythms. and poignant, in rich classical sonorities. “The Wind quirky fun and surprises as usual, thanks especially to Springs opened with her infectious cover of The Cries Mary” and “Drifting” were also rapt. The rest of the countering comments by Christof Kurzmann on live Stylistics’ “People Make the World Go ‘Round” (heard the sextet was trumpeter Tomek Nowak and bassist electronics. On the contrary it was difficult to enter the on her 2018 album Indigo) and switched between Piotr Kułakowski from Poland and cellist Gabriella soundworld created by energetic, dynamic Portuguese Fender Rhodes and a concert grand, touching on Swallow and drummer Ed Richardson from the U.K. band The Rite of Trio with their aesthetics of stop and Ellington, Roberta Flack, Astrud Gilberto, Sade, Nina Swallow and Nowak were under-utilized in this go. As soon as a piece was beginning to happen, they (CONTINUED ON PAGE 39) (CONTINUED ON PAGE 39) (CONTINUED ON PAGE 39)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 13 CD REVIEWS

with a masterful plan for this recording, which features lighthearted affair evoking the pianist’s spirit. “All a large cast of supporting players. Everything was The Things Are Redd” salutes pianist Freddie Redd, recorded with a basic track of Loueke playing and this breezy work obviously derived from the standard singing . Any additional instruments were “”, with the rich voicings of the layered on afterwards. The net result is that Loueke ensemble passages matched by potent solos. “Elevated carries the burden of creating each piece himself, rather Tracks” honors Bud Powell without trying to emulate than adjusting his style to accommodate his associates. the pianist’s style of writing; Byars’ rhythm This practice yields substantial benefits. undercurrent represents the trains that Powell heard The opening track “Bouriyan” is a great example. while living in Harlem and the catchy theme includes Arvoles It begins with Loueke morphing through a dizzying the trading of fours between the frontline, along with a Avishai Cohen (RAZDAZ-Sunnyside) variety of pizzicato attacks on a very bluesy theme. punchy arco bass solo and an extended drum break. by George Kanzler Very subtle tambourine from Cyro Baptista and minimal electric bass from Pino Palladino underpin For more information, visit steeplechase.dk. This band is at Birdland Bassist Avishai Cohen returns from the jazz-rock-pop Loueke’s spectacular vocals, which are in three Theater Aug. 1st-3rd and Smalls Aug. 25th. See Calendar. excursions of his last album, 1970 (Sony), to a more different languages on the record. “Vi Gnin” is another straightahead, postbop context on this engaging new standout, with Loueke’s voice deceptively simple, outing of nine Cohen originals and a traditional Ladino reminiscent of the recently departed João Gilberto in Larry Corban Trio wiTh MarCo PanasCia, song (the title track) split between five trio tracks and terms of pure silk content. Tasteful input from Baptista sTeve Johns five augmented by trombone (Björn Samuelsson) and and Christi Joza Orisha (percussion) and layered flute (Anders Hagberg). But the heart of this album is volume pedal-swell overdubs complete the gentle bar nexT Door the very interactive, traditional trio of acoustic bass, narrative. Overdubs and digital delay create an sunDay, augusT 4 piano (Elchin Shirinov) and drums (Noam David). intoxicating mélange of orchestral implications on the seTs: 8 & 10 PM What distinguishes this trio from the hypnotic “Dark Lightning”, which features the For reservaTions: prototype is both Cohen’s use of ostinato and repetitive synthesizer of Sadin. It clocks in at less than three (212) 529-5945 patterns akin to modernists Steve Reich and Philip minutes, but is one of the strongest tracks. Loueke Glass and his frequent employment of the bow for arco keeps things interesting by constantly varying the LarryCorban.CoM playing. A good example is the trio track “Face Me”, pressure of his fingers or nails upon the strings and, on featuring a theme with a repeating riff-like line from “Vivi”, the effect in combination with some clicks from piano and drums eventually anchoring a virtuosic his larynx make him sound like a one-man orchestra. staccato arco bass solo. “Gesture #1”, a brisker trio Shorter tunes and a constantly shifting rhythmic piece, has an arco lead over a piano-drums ostinato dynamic qualify The Journey as one of the most before Shirinov’s exuberant breakout solo. “Nostalgia” consistently engaging albums to cross this desk in changes up rhythms and timelines to swirling effect, quite some time. Highly recommended. Cohen’s pizzicato solo fluttering and sprightly. Arco and pizzicato bass alternate during the For more information, visit apartemusic.com. Loueke is at rhapsodic lullaby that is “Childhood (for Carmel)”, Beacon Theatre Aug. 1st with . See Calendar. a quintet piece with short solo turns for flute and trombone as well as bass. Seemingly a strange blend, • Lawrence Clark—Inner Visions (Jazz Tribes) trombone and flute become a fulgent, ample orchestral R • Whit Dickey Tao Quartets— element in Cohen’s arranging. The two horns’ clarion Peace Planet/Box of Light (AUM Fidelity) sound is introduced on , “Simonero”, rising e • Stephen Gauci/Adam Lane/Kevin Shea— over the trio’s quickstep intro. Piano and flute are pitted Studio Sessions, Vol. 2 (Gaucimusic) against trombone and bass in an upstairs-downstairs c • Jon Irabagon—Invisible Horizon (Irrabagast) theme on “Gesture #2”. “New York 90s” has flute and o • Per Texas Johansson/Torbjörn Zetterberg/ trombone contrasting over a jazz-rock beat, then brash Konrad Agnas—Orakel (Moserobie) riffs leading to an ebullient trombone out solo. The m • Ingrid Laubrock/Sylvie Courvoisier/ horns are also used to orchestral effect on closing track A Hundred Years From Today Mark Feldman/Tom Rainey—TISM “Wings”, with another judicious use of arco bass to Chris Byars (SteepleChase) m (RogueArt) expand the ensemble depth and out choruses conjuring by Ken Dryden e • & Kinetics—Chiasm (Clean Feed) a big band feel. Cohen has created an album that • Sonar—Live at Moods (7D Media) sparkles with fresh ideas and concepts, all within a very Many musicians join forces in the studio without n • Horace Tapscott—Why Don’t You Listen? neo-traditional framework. playing together regularly in a band, so it’s refreshing (Live at LACMA, 1998) (Dark Tree) to hear someone like Chris Byars, who plays his charts d • Basement Research— For more information, visit sunnysiderecords.com. This with his group in clubs prior to entering the studio. e Impromptus and Other Short Works project is at Blue Note Aug. 1st-4th. See Calendar. The expressive saxophonist’s sextet is comprised of (WhyPlayJazz) veteran trombonist John Mosca, alto saxophonist Zaid d Nasser, bass clarinetist Stefano Doglioni, bassist Ari Laurence Donohue-Greene, Managing Editor Roland and drummer Phil Stewart, all of whom have contributed to Byars’ earlier releases, some n • /Gary Peacock/— relationships stretching back decades. As a result, the When Will The Blues Leave (ECM) musicians make working together seem effortless. e • Per Texas Johansson/Torbjörn Zetterberg/ While many of Byars’ SteepleChase CDs have Konrad Agnas—Orakel (Moserobie) been tributes to his favorite neglected jazz composers, w • Vic Juris—Two Guitars (SteepleChase) this session is a bit different, as much of it is either • Ingrid Laubrock/Sylvie Courvoisier/ based on previous jazz works or inspired by various Mark Feldman/Tom Rainey— bop instrumentalists. Byars’ pianoless band has terrific r TISM (RogueArt) The Journey interplay similar to the -Chet Baker • Mark Lotz Trio—The Wroclaw Sessions Lionel Loueke (Aparté) e (Audiocave) by Robert Bush Quartet while each featured soloist joins the other horns playing harmony in support of the next lead. l • Terkel Nørgaard—With This is the 11th album by Lionel Loueke, a wonderful “Intention” is a twisting, stretched-out reworking (WeJazz) guitarist from Benin, and his debut for the mostly of the chord changes to the jazz standard “What’s e • Christophe Rocher/Joe Fonda/ classical label Aparté, after a string of well-received New?”, intended as a tribute to tenor saxophone great Harvey Sorgen—New Origin (Not Two) discs on Blue Note. Folks who have experienced Lucky Thompson. The one warhorse is a rich, loping a • Trio—Archive Project, Volume 1: Loueke before know what to expect: incredible finger- treatment of Victor Young-Ned Washington-Joe s Emanation (NoBusiness) style chops with a masterful command of polyrhythms Young’s “One Hundred Years From Today”, • Sly Horizon—The Anatomy of Light (Iluso) and a vocal range that can traverse Gregory Porter-like transformed from its usual swing setting into a foot- e • Brandee Younger—Soul Awakening (s/r) baritone to an almost angelic falsetto. patting blend of cool jazz and bop. The playfully Andrey Henkin, Editorial Director Producer/keyboard player Robert Sadin came up upbeat “San Juan Hill” honors Thelonious Monk, a s

14 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD

The relatively short CD—just over 40 minutes—by try to emulate any of those famous versions, taking today’s standards opens and closes in a subdued the song in a different direction as an instrumental fashion, leaving space for silences and pauses, adding with a postbop/Dominican spin. Jacobo is equally a sense of drama. In between there is Ibrahim’s musical imaginative on John Coltrane’s “Lonnie’s Lament”, biography: a stark reminder of living under Apartheid; increasing it to a medium tempo and giving it a vibrant being an exile; and triumphantly returning to South AfroDominican makeover. Africa after Nelson Mandela’s liberation. All this can Numerous jazz musicians have incorporated be found in pieces such as “Jabula” and “Tuang Guru”, AfroCuban rhythms into their music but the use of featuring the full group; in “Tonegawa”, “ZB2”, bachata or pambiche in instrumental jazz isn’t nearly as The Balance “Devotion”, all exquisite piano solo interludes common. Jacobo’s use of AfroDominican rhythms (Gearbox) capturing the essence of Ibrahim’s ruminative style; brings unorthodox and consistently exciting results. by Marco Cangiano and in the closing title track, which sound like a lullaby evaporating in a few seconds of silence and leaving the For more information, visit joseanjacobo.com. This project It has been four years since South African pianist listener wanting more. is at Club Bonafide Aug. 2nd and 9th. See Calendar. Abdullah Ibrahim’s last recording but it was worth the “Song for Sathima” is a dedication to Ibrahim’s wait. He renews his longterm partnership with Ekaya, longtime companion, the late jazz singer and poet a superb group of American musicians, and confirms Sathima Bea Benjamin, where the saxophone section UNEARTHED G EM once again the wealth and depth of South Africa’s captures the essence of Duke Ellington, one of musical tradition. Ibrahim’s early influences and champions, with Cleave A true giant, Ibrahim continues to energize his Guyton, Jr.’s alto finding his voice between Ducal musical partners and expand his musical horizons. saxophonists like Johnny Hodges and Paul Gonsalves. Some of the angularities of his earlier recordings have “Skippy” is a joyous interpretation of Thelonious been exchanged for overarching gentleness and sense Monk’s tune, another source of inspiration for Ibrahim, of serendipity. At 84, his status as an artist has now showcasing Guyton’s piccolo, Marshall McDonald’s reached that of master, or “madiba” in Xhosa, baritone saxophone and the stellar rhythm section. culminating with a 2019 National Endowment for the Welcome back Abdullah and please don’t make us wait Arts Jazz Master fellowship. another four years. Despite the many changes that have taken place over the years, Ekaya has been able to maintain its For more information, visit gearboxrecords.com. This Getz at The Gate Stan Getz Quartet (Verve) original sound. This is showcased in “Jabula”, where project is at Jazz Standard Aug. 1st-4th. See Calendar. by Annie Murnighan church music blends with folk and Xhosa traditions in what is now known as Capetown jazz, of which Rare listeners for whom Stan Getz’ legendary Ibrahim (then known as Dollar Brand) was among the reputation isn’t already cemented will find further first pioneers in the early ‘60s. Bassists Noah Jackson evidence of the saxophonist’s skill and sensitivity on or Alec Dankworth and drummer Will Terrill are a Getz at The Gate, a recently unearthed three-disc supple rhythm section throughout the CD. collection of recordings from The Village Gate on Nov. 26th, 1961. With over two hours of previously unheard material, the set serves as a testament to the sonic qualities and collaborative sensibility that made Getz such a singular voice. Getz at The Gate was recorded just one year Cimarrón before the release of Jazz Samba, an album that Josean Jacobo & Tumbao (E7 Studios) by Alex Henderson marked the beginning of the era defining Getz’ legacy with bossa nova classics like Jazz Samba The term “Latin jazz”, already woefully reductionist, Encore! and Getz/Gilberto. But here the saxophonist is is used most often to describe AfroCuban jazz. Yet firmly entrenched in the cool jazz stylings of his rhythms such as son, cha-cha, mambo, guajira and earlier days, delivering dynamic, poetic streams of guaguancó are only part of the vast Latin music melody with backing from pianist , experience. Dominican pianist Josean Jacobo, leading bassist John Neves and drummer . his acoustic group Tumbao, puts his own spin on Latin Getz’ band proves crucial in maintaining jazz by combining postbop with AfroDominican momentum while complementing his smooth, rhythms on Cimarrón. romantic improvisations. On ’s There are many moods on this album, from the “Woody ‘N’ You”, one of the set’s more upbeat intensity of opener “A Pesar de Todo” (“In Spite of numbers, Neves keeps his bass running alongside Everything”) to the reserved introspection of Haynes’ swinging, nuanced rhythms and Kuhn’s “Compadre Pedro Juan: Revisited”, whether Jacobo is glittering harmonic expressions; though Getz’ solos going for exuberance on “El Maniel” and the traditional frequently find him taking both harmonic and “Anaísa Pyé” or being quietly reflective on veteran rhythmic risks, conveying an intensity not often Dominican singer Enerolisa Núñez’ “San Antonio” attributed to his style, each line is played with such (which lends itself nicely to an instrumental setting). grace and timbral depth as to sound effortless. On Jacobo occasionally incorporates AfroDominican Jule Styne-Sammy Cahn’s “It’s You Or No One”, the chanting, yet Cimarrón is an instrumental album first group bounces along, delighting in each dynamic and foremost. shift with palpable synergy and gusto. In contrast, Cimarrón illustrates Jacobo’s talents as not only a the renditions of Harold Arlen-Ted Koehler’s “When pianist and a composer, but also as a leader and The Sun Comes Out” and Ned Washington-Victor arranger. Tumbao is comprised of tenor saxophonist Young’s “Stella By Starlight” highlight the lyricism Rafael Suncar, alto saxophonist Jonathan Suazo, bassist of Getz’ playing and beauty of his characteristically Daroll Méndez, drummer Otoniel Nicolas and feathery tone with steady, effusive support. percussionist Mois Silfa. The use of Latin percussion is Perhaps the most remarkable aspect of the a crucial part of Cimarrón and the latter is right at home performance is the group’s unfailing energy; even on rhythms such as bachata, mangulina, merengue and towards the end of the nearly two-and-a-half hour pambiche. Bachata is extremely popular in the Latin pop set, there is neither dearth of liveliness nor creative market, but Jacobo uses it in a more folkloric way. expression. An essential addition to Getz’ catalogue. Over the years, the Latin standard “Aunque Me Cueste la Vida” (“Although It Could Cost Me My Life”) For more information, visit vervemusicgroup.com. A Getz has been recorded by everyone from Dominican singer tribute with Trio da Paz and Friends is at Dizzy’s Club Alberto Beltrán and Mexican vocalist Pedro Infante to Aug. 21st-25th and Aug. 27th-Sep. 1st. See Calendar. Queen of Salsa Celia Cruz. Jacobo, however, doesn’t

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 15 the start of “Maisons Fragiles”, which melds lyrical GLOBE UNITY tenor, piano string thrums and tappy cymbals with lightly abstract violin to conjure a thing of rare beauty.

For more information, visit intaktrec.ch and roguart.com. Courvoisier is at The Stone at The New School Aug. 3rd. See Calendar. Time Gone Out Eponymous Sylvie Courvoisier/Mark Feldman (Intakt) Red Kite (RareNoise) TISM Music For Empty Halls Johan Lindström Septett (Moserobie) Ingrid Laubrock/Sylvie Courvoisier/ Bay Of Rainbows Mark Feldman/Tom Rainey (RogueArt) Jakob Bro (ECM) by John Sharpe by Tom Greenland Swiss-born, Brooklyn-based pianist Sylvie Courvoisier Guitar has long been an important vehicle for can make a strong claim to be the complete creative Nordic improvisers, from the ‘30s swing stylings of musician. She has long shown her command of free Swede Folke Eriksberg to the late ‘60s jazz-rock improvisation and new music-inflected classicism, but Good Day For Cloud Fishing developments of Norwegian Terje Rypdal, up to the she increasingly allies that to an idiosyncratic take on Ben Goldberg (Pyroclastic) present, when it thrives in the hands of Even Helte the jazz vernacular to astonishing effect. by John Pietaro Hermansen, Johan Lindström and Jakob Bro. One of Courvoisier’s most enduring collaborators -based Red Kite is a prog-rock/jazz quartet is violinist Mark Feldman. Time Gone Out is their sixth Within the varied realm where jazz meets poetry, comprised of Hermansen, keyboard player Bernt release as a unit, since they first got together in 1997. ranging from early Langston Hughes and the Harlem André Moen, bassist Trond Frønes and drummer Although the instrumentation suggests a chamber Renaissance to the Beat Generation and Ken Nordine’s Torstein Lofthus. The group’s eponymous debut duet, the reality goes far beyond and defies easy Word Jazz to Amiri Baraka and the Black Arts Movement establishes a singular sound based around a categorization in a mix of joint creations and charts. through the Last Poets and the shock of the new, compressed and overdriven guitar sound, often wet This is one of the settings where Courvoisier makes the clarinetist Ben Goldberg has carved a singular path. and washy, enhanced with deft and varied use of most extensive use of piano preparations, mingling Instead of having a poet reading/improvising with a wah-wah pedal, fomented by rigorous and restive resonant rattles and spectral shimmering from the jazz ensemble, or simply having the ensemble react to drumming, the pair in close synchrony throughout. instrument’s interior with conventional keyboard written poetry, Goldberg composed music based on 12 Frønes is the anchorman while Moen mortars the sonorities in countless unexpected combinations. works by acclaimed poet Dean Young, rebel of the sonic cracks with ringing Rhodes tones that mimic Feldman embraces a personal lexicon encompassing second New York School of poets, whose verse reaches and complement the guitar. The album moves classical flourishes from Baroque to Shostakovich, well into surrealism. But once Goldberg brought through a series of rock and funk textures derived of peerless technique and boundless imagination. The celebrated guitarist , trumpeter Ron Miles Hermansen’s minimal themes, the solos showing a depth of shared experience means even the improvs and his own clarinet and contra-alto clarinet into the jazz sensibility for sculpted melody, the exploratory possess the poise and logic of a composition, as the studio, Young sat in the control room, creating new jams betraying the influences of Led Zeppelin, Jimi opening “Homesick For Another World” affirms. works based purely on the sounds in his headphones. Hendrix Experience and others. Unaccompanied violin sings with keening austere The poet had no idea as to which of his writings were Lindström is most visible as a producer/ lyricism, answered by twinkling strings from under being ‘played’ by the trio, thus had freest reign, another arranger of others’ projects, but Music for Empty the bonnet, both set amid space and synchrony. The improviser in the band (he’s credited with “typewriter”). Halls, his debut, is a well-paced and balanced forum use of silence in the improvs carries over into the One part Dada, two parts Cage, perhaps. The poetry is for his own compositions and guitar work. His written material too, most obviously in Courvoisier’s visible within this beautifully packaged boxed set on 12 Septett is reed players Jonas Kullhammar and Per lengthy title cut, which contains her customary blend cards with the initial “Entry” poem on the front and “Texas” Johansson, trombonist Mats Äleklint, of dashing unisons, dark-hued melodies, abrupt Young’s final “Exit” poem on back. Also included is a pianist/organ player Jesper Nordenström, bassist pauses and handbrake turns in mood and direction, booklet of photos and first-person liner notes. Torbjörn Zetterberg and drummer Konrad Agnas. interspersed with passages of thrilling invention, The outcome is fascinating, with the instrumental Many tracks have retro resonances—“The Run” rhapsodic romanticism and unresolved cliffhangers. interpretations of the poems subjected to the recalls Henry Mancini’s TV themes; “Europe Endless Her “Éclats For Ornette” channels some of the impressions of the poet. Like a game of telephone, in Boogie” could be stripper music; the title track (Part dedicatee’s bright intricacies in its head, setting the most cases the final work is vastly different than the 2) employs Ellington-ian voicings (à la “Mood stage for ensuing exchanges underpinned by a original source poem. On “Ant-Head Sutures”, Young’s Indigo”); “Sleepless Lapsteels” echoes ‘50s-era gradually more prominent beat until a breathless poem opens with “Once I got into trouble / I got my Hawaiian pop; “Hymn” is nested in the sounds of a sprint back to the theme. aura photographed / green grapefruit with a purple”, scratching vinyl record—but Lindström manages to On TISM, Courvoisier and Feldman join another built on a form with seven stanzas. It’s interpreted by put his own stamp on it all, adding tasteful touches established duo emblematic of the NYC avant scene in Goldberg as a medium tempo groove following the with pedal steel or electric guitar, the latter often saxophonist Ingrid Laubrock and drummer Tom poem’s natural phrasing, with a tonal, yearning played in his lap with a slide. Rainey. Over five seat-of-the-pants journeys, they trumpet solo and biting guitar breaks, before moving Danish guitarist Jakob Bro has steadily raised adopt an inspired approach to resolving the tension into a close two-part canon by the winds with alien his profile via sideman stints with Paul Motian and between free jazz and new music inherent in such terrain guitar effects. The resultant poem, however, Tomasz Stańko and over ten albums as a leader. freewheeling situations. At the two poles are Rainey carries the album title most justifiably. It reads, in part: Bay of Rainbows, his latest and fourth on ECM, is a and Feldman while both Courvoisier and Laubrock “In the grand scheme of things / there probably isn’t… live trio session recorded at the Jazz Standard in straddle the supposed divide. The easing back and Wear your best whirlwind / and meet me at the 2017 with bassist Thomas Morgan (his closest forth on that spectrum, as the participants take part in melody”. Another standout, “A Rhythmia”, a classic musical companion) and drummer Joey Baron. Of ever-changing permutations, is one of the joys of this experimentalist poem (“A mallet stops a horserace / the three guitarists featured here, Bro is easily the offering. Naturally it helps that all are such leading there is a dwarf in my face / I rewind emptiness”) is most restrained, eschewing pyrotechnics for an exponents of their instruments, able to translate heard as relentlessly musical, deliciously listenable ethos privileging space over density, floating pulses impulse into action in a blur of hyper-responsiveness. music. Note the trumpet melody recalling , over steady timekeeping and collaboration over And not only response but also the sort of rejoinders a hip contra-alto clarinet line and Cline serving as an leadership. His ethereal phrases soar then disperse, that move the conversation on. That’s exemplified in entire rhythm section. Beautiful stuff, this. Young’s exit leaving openings for Morgan’s inquisitive replies “Tooth & Nail”, which begins with a pointillist staccato poem here, “Ornithology”, an airborne migration from and Baron’s sympathetic accompaniment. Zen-like feel until bursts of pulse from Rainey shift the Charlie Parker, saddles the rhythm, riding blindfolded moments abound, especially on the final two tracks, emphasis. Later, piano clatters along like a harpsichord to the end: “See that smoke? It’s a person / See that folksy “Evening Song” and a second version of on wheels careening down a cobbled alley, with choked funny stick thing? / That’d be me lucky to be where “Mild”, even more sublime than the first, with soprano chirrups echoed by bat-register bowing, until ever here is…” Baron’s discrete brushwork in high relief. drums stop, thereby catapulting the music into another territory again. And so it goes on with dazzling For more information, visit pyroclasticrecords.com. For more information, visit rarenoiserecords.com, kaleidoscopic interplay the norm, particularly on the Goldberg is at Nublu Aug. 5th, Downtown Music Gallery moserobie.com and ecmrecords.com extended pieces like “À l’infini”. But they can also Aug. 11th and 18th, The Stone at The New School Aug. sustain a feel too, as revealed by the freeform ballad at 13th-17th and Areté Gallery Aug. 19th. See Calendar.

16 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD MONTYMONTY ALEXANDERALEXANDER WAREIKAWAREIKA HILLHILL -- RastaMonkRastaMonk VibrationsVibrations

Songs by Thelonious Monk infused with a sensibility that melds the worlds of Jazz, Ska and Reggae into a unique melting pot. It's Monty on Monk with a twist. RELEASE DATE: AUGUST 23

SEPTEMBER 3 to 8, 2019 131 W. 3rd Street -- New York NY

Corners”, Duke Ellington’s “Mood Indigo”) sit alongside country laments like Jimmie Rodgers’ “High Powered Mama”, Carter Family’s “Motherless Children” and Hank Williams’ “Someday You’ll Call My Name” and Mongo Santamaria’s “” comes right before Ornette Coleman’s “Broadway Blues”. Halley’s phrases carry the bluster and weight of John Coltrane, and , but on “Mood Indigo” he allows himself to slip into a fuzzier, more New York to Paris tender mode reminiscent of Coleman Hawkins. The Nicki Parrott (Arbors) simple trio arrangements, with longtime collaborator by Donald Elfman Clyde Reed on bass, really allows Halley to chew on the melodies. On “Brilliant Corners”, he sounds like he’s Everything about this new album from bassist/ playing a baritone and the beat is an implacable march, vocalist Nicki Parrott is exquisite. She takes a batch of Carson swatting the cymbals almost contemptuously. familiar songs connected with the title cities and, On Terra Incognita, Halley embarks on a real through elemental and delicate singing and group adventure, recording with pianist ’s trio interplay, finds beautiful and timeless meaning. Parrott with bassist Michael Bisio and drummer Newman OCTOBER 19 – 26, 2019 is a complete musician with gentle, quiet vocals Taylor Baker. This could have been a mistake—Shipp suggesting a mix of worldliness and innocence of, say, and company might have chosen to steamroll their Marilyn Monroe or Audrey Hepburn. And the guest. But, in fact, Halley’s version of collective arrangements—all Parrott’s—tell an engaging story. improvisation and the trio’s work quite well together. Parrott includes the little-known verse to Cole On the 12-minute “Opener”, he leaps in with both feet, Porter’s “I Love Paris”—slowly and thoughtfully and playing in a raucous and unfettered style closer to with the beautiful accordion of Gil Goldstein—but and than usual. This when the chorus comes the tempo increases and the sets Shipp off in a way that recalls his early ’90s live ever-swinging tenor saxophonist Harry Allen gives the album Prism. Baker keeps things anchored, but never tune real verve. Parrott plays the bridge of Michel locked down; instead, he lets everyone go as far out as Legrand’s “I Will Wait for You” as a gorgeous arco bass they feel they need to, then brings them back home introduction and, again, Allen and Goldstein complete with precisely dropped bombs. It’s hard to determine the lovely picture. The group performs the too-little Bisio’s role in the music at first, but on the second track, heard Jule Styne-Sammy Cahn gem “Brooklyn Bridge” “Forager”, he takes a terrific solo which sets up Halley and Barry Mann-Cynthia Weil-Jerry Leiber-Mike to come back in unaccompanied, a thrilling moment. Stoller pop hit “On Broadway” is done as a soulful, funky instrumental. And speaking of instrumentals, For more information, visit richhalley.com. Halley’s Terra there’s an in-the-pocket version of Vernon Duke-Yip Incognita is at Soup & Sound Aug. 15th. See Calendar. Harburg’s “April in Paris”, which incorporates the old Basie riff that the Count used to bring back several endings, and a very brief take on Richard Rodgers’ ballet theme “Slaughter on Tenth Avenue”. The Parisian atmosphere is present again in Parrott’s soft vocals with John DiMartino’s piano on Jacques Brel’s “Ne Me Quitte Pas” and equally intimate singing with accordion on Hubert Giraud-Jean Dréjac’s “Under Paris Skies”. The recording is rich with gorgeous singing and strong playing, coming together most strikingly on Dave Frishberg’s witty yet bittersweet “Do You Miss New York” and the Richard Rodgers-Lorenz Hart classic “Manhattan”, for which Parrott has written some humorous contemporary NY location references.

For more information, visit arborsrecords.com. This project is at Birdland Theater Aug. 8th-10th. See Calendar.

The Literature 3 (Pine Eagle) Terra Incognita Rich Halley (Pine Eagle) by Phil Freeman Tenor saxophonist Rich Halley is a terrific player who has chosen to make jazz his avocation, rather than his career. As a result, his music is infused with a deep spirit of creation for the pure love of it. The emotional bond at its core—his son Carson is his regular drummer—helps too. However, each of these CDs represents a departure from his usual practice. CELEBRATING On The Literature, Halley interprets tunes that made YEARS! him what he is as a player. There are some surprises: 5 jazz classics (Miles Davis’ “Little Willie Leaps”, Thelonious Monk’s “Misterioso” and “Brilliant

18 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD nova standards from the ‘60s. With Meurkens splitting his time between harmonica and vibraphone (where he sounds a bit like ) and steady support provided by bassist Eduardo Belo and drummer Adriano Santos, Davidson has a perfect outlet for his very likable pieces. Filled with joyous romps and romantic ballads (all dedicated to his wife Celia), Davidson has created an album lovers of Brazilian jazz Cabin In The Sky will find difficult to resist. Hendrik Meurkens/Bill Cunliffe (Height Advantage) Music From The Heart Roger Davidson Quartet (featuring For more information, visit hendrikmeurkens.com and Hendrik Meurkens) (Soundbrush) soundbrush.com. Meurkens is at Bar Next Door Aug. 15th. by Scott Yanow See Calendar. WARD 1939-2019 MELVILLE There have only been a handful of great chromatic harmonica players in jazz. Because of the complexity Celebrate a legaCy... of inhaling to achieve half of the notes and exhaling to get the other half, playing can be particularly One Man’s VisiOn tricky. The first significant harmonica player was Larry Adler who, starting in the ‘30s, performed in a wide VISIT STONY BROOK VILLAGE variety of settings, including with symphony orchestras and occasionally jazz groups. The King of the jazz harmonica was Toots Thielemans, who had no close John Monteleone competition for decades, able to hold his own with the Natural Machines bebop masters while also playing Brazilian music. Art of the Guitar Festival Dan Tepfer (Sunnyside) featuring Monteleone guitars Recently, his shoes have been partly filled by Gregoire by Brian Charette and mandolins on exhibit Maret, Howard Levy (who plays a blues harp as if it were a chromatic harmonica) and Hendrik Meurkens. Dan Tepfer’s compelling new recording exemplifies September 11 - 14 The latter has always loved bebop and he the cooperation between the left and right brains. Meet John Monteleone and hear performances by Jimmy Bruno, Woody approaches Thielemans’ mastery in that idiom. On Tepfer improvises on piano accompanied by self-coded Mann, , Steve Salerno Cabin In The Sky, a set of duets with pianist Bill Cunliffe, compositional computer programs. The gifted pianist & many more! he performs four of their originals plus . holds a degree in astrophysics and already has an (631) 751-1895 u thejazzloft.org While the pianist shares the solo space, the lead is impressive discography highlighted by virtuoso generally taken by the harmonica master. Playing with improvisations on The Goldberg Variations and a the fluidity of a trumpeter or saxophonist, Meurkens longtime collaboration with jazz icon . The Call for pricing. cooks on the Vernon Duke-John Latouche title track, idea for Natural Machines came to Tepfer as a student Bronisław Kaper-Paul Francis Webster’s “Invitation” searching for a way of music creation combining what and Kurt Weill-Ogden Nash’s “Speak Low”, swings on he calls the “algorithmic and spiritual”. The missing the Joe Zawinul obscurity “Young And Fine” and puts link was discovered five years ago when Tepfer hooked sincere and sensitive feeling into the ballads (including his laptop up to a Yamaha Disklavier, which, to his Wayne Shorter’s “Mikayo”, Cunliffe’s “Time To Say surprise, started to send keystrokes to the piano. He Step Inside the Goodbye” and his own “Afternoon”). Even Bobbie started to develop algorithms and video programs that Hawkins-Mount Gentry’s “Ode To Billie Joe” fares well in this duo made artful sonic and visual interactions with his House/Tours setting. One never misses the bass or drums. playing. The results are hypnotically brilliant and add a Antônio Carlos Jobim’s “Wave”, which is the whole new level of experience to the performances. The Sunday, September 15 10 am - 1 pm closer, is the only bit of Brazilian music on Cabin In The images are geometric, colorful and respond sensitively Sky but Meurkens’ collaboration with pianist Roger to the music. In the background of the videos, the duet (631) 751-0066 Davidson on Music From The Heart is strictly Brazilian of artist and machine is captured in real time. The fact William Sidney Mount, longislandmuseum.org jazz. Meurkens spent several years living in Brazil in that each selection is an improvised single take further Just in Tune, 1849 the ‘80s and has an equal love for that music as he does highlights the irony of the pairing. The algorithms vary for bop. Davidson has had a very prolific and wide- in complexity with song titles giving clues to the device Call for pricing. ranging musical career, playing and composing jazz, used. When you watch the videos on Tepfer’s YouTube sacred music, classical, klezmer, tangos and Brazilian channel, you can really see how the process works. music. Music From The Heart, his second collaboration Jerome Kern would surely love Tepfer’s version of with Meurkens, is comprised of 15 of his originals. The his “All The Things You Are”—one can easily hear most rewarding pieces sound as if they were bossa Konitz’ influence on Tepfer’s melodicism. The fugue that develops stretches the eyes and ears; almost no Journey Walking one in modern times possesses the skill set for this Through Through New Release fRom intricate Baroque device. “Triadsculture” is ominous, Time Time Random ChanCe ReCoRds regal shoegazer rock with lovely suspensions and July 14 - 1 pm and 3 pm shimmery feedback, a haunting ring modulator adding (631) 751-2244 Next Tour: September 29 wmho.org even more intrigue. Tepfer’s technique doesn’t miss 10 am - 5 pm, daily August 10 and he knows just when to let the computer take it. On (RAIN DATE AUG 11) EXHIBIT TOURS THROUGH “Looper”, he sets up an abstract motive, adding Celebrating 80 Years! SEPTEMBER 14 colorful chord shouts on subsequent passes to create a space mambo over the funky bass. “Intervals II / Folk Song” features wild overtone series arpeggios, which Call for pricing. Call for pricing. slowly morph into a dense mantra as the tempo slows. “Demonic March” is dark contemporary classical at its best with Tepfer’s incredible accuracy keeping right in step with the machine. In an age when it seems almost STONY BROOK VILLAGE 7” viNyl 45 Rpm RecoRdiNg “comes love” Main Street, Stony Brook chicago-based siNgeR/soNgwRiteR impossible to squeeze any more from improvised Long Island, New York 11790 hannah FRank music, this set establishes an entirely new genre of (631) 751-2244 with gRammy wiNNeR billy flyNN (guitaR) high-minded instrumental music. deNNis luxioN (piaNo), beN e. milleR (bass), deaN haas (dRums) ® I LOVE NEW YORK is a registered trademark and service mark For more information, visit sunnysiderecords.com. Tepfer is of the New York State Department of Economic Development; available fRom ituNes, amazoN: 45 oR digital dowNload at InterContinental New York Barclay’s Penthouse Suite used with permission. RaNdomchaNceRecoRds.com | haNNahfRaNkmusic.com Aug. 20th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 19

Seen”, which unexpectedly segues into the beautifully 13 since his debut as a leader in 1999. His latest effort layered “Monument Eternal”. Muscular piano reveals (the title is drawn from a book by Zora Neale Hurston itself, dominating as it feeds off of the synth’s and refers to a barracks or enclosure used to confine undercurrent. “Wonder Through” is the realization of slaves) is a powerful, high-energy affair that debuts a the infinite. Similarly effective juxtapositions define new trio of bassist Ian Kenselaar and drummer Nic the remaining pieces. “Emerge” evokes a fearsome Cacioppo and harkens back to some of his early work. ambience and “Blink” is outstanding in its use of poetic Allen is a cerebral artist with a forceful approach and vocal call and response—”blink and see”—over a recalling Sonny Rollins and David Murray, whose majestic backdrop before “Spiral” showcases Hasumi’s influence can be heard right from the top on the Abiding Dawn delicate touch in an oddly blue context. There are many beautifully articulated low notes kicking off the Rema Hasumi (Ruhweh) classically-trained musicians who have come to NYC rousing opening title cut. Another literary work, The by Elliott Simon and fit into the jazz fabric of the city. What sets Hasumi Immortal Life of Henrietta Lacks by Rebecca Skloot, apart is that her spirituality is as strong as her inspired the reflective spiritual “The Immortal Young musicians like pianist Rema Hasumi who are technique. (H.Lacks)”, rumbling tenor enhanced by nimble willing to explore and take chances keep jazz relevant. electric bass and shimmering drums. Two similarly Her latest release is a home-recorded solo offering For more information, visit ruweh.com. This project is at titled tunes illustrate Allen’s technical brilliance and blurring the barriers among electronic, acoustic and Areté Gallery Aug. 22nd. See Calendar. facility in different jazz styles, as he takes a mostly vocal music and in the process creating a holistic work. straightahead route on “The Goldilocks Zone” before

Classically trained, Hasumi uses her understanding delving into much freer territory, with spectacular of form, timbre and harmonics to weave a cohesive results, on “Beyond the Goldilocks Zone”. structure as she cleverly mixes and matches her three Though he generally eschews lengthy compositions chosen modalities. However, a prevailing unity and in favor of concise tunes, Allen stretches things out incorporeality infuses her academic approach for a more than usual here, with extended drum and bass divinely inspired listening experience. intros on the loping “Communion” and serpentine Opener “X-1” and closer “X-2” bracket these eight “Ursa Major”, both bearing a strong Rollins imprint. pieces with gracefully melodic piano solos. The The album closes with its only cover, a surprisingly passages in between are strongly transcendent. They lighthearted (given the intensity of the rest of the set) derive their spiritual nature from Hasumi’s powerful but expertly executed version of Leigh Harline-Ned Barracoon chords and expert use of additive synthesis, which has Washington’s “When You Wish Upon a Star”. This JD Allen (Savant) sounds feeding off of each other to create very potent by Joel Roberts diverse and passionate recording marks a highlight for structures. At its simplest tunes are intentionally one of jazz’ most exhilarating and still-evolving artists. blended into a unified session and one modality instills Over the past two decades, tenor saxophonist JD Allen extra dimensionality into another. These devices add has proven himself to be one of the most creative and For more information, visit jazzdepot.com. Allen is at to the overall grand gestalt of the performance. uncompromising figures in jazz, as well as one of the Smalls Aug. 9th, 16th and 30th and Tompkins Square Park Synth and poetry meet and celebrate universal music’s most productive and consistent artists, releasing Aug. 25th with Carl Allen as part of Charlie Parker Jazz wonderment on the overtly prayerful “Colors Last an album a year for the past nine years and Festival. See Calendar.

Kirk Knuffke on CD - DOWNLOAD - STREAMING Complete catalogs: www.steeplechase.dk

SCCD31846 celebrates Monk!!

SCCD31677 SCCD31769 SCCD31819 SCCD31859

SCCD31717 SCCD31779 SCCD31822 SCCD31867

Tenor saxophonist Vito Dieterle and SCCD31739 SCCD31797 SCCD31827 SCCD31870 pianist Joel Forrester in a unique duet recording featuring tunes by Thelonious and tunes inspired by Monk, composed by Joel Forrester.

SCCD31749 SCCD31799 SCCD31832 SCCD31873 US distribution: ridesymbol.com www.statesidemusic.com - email: [email protected]

20 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD

groove and compels a passionate performance of Cole Porter’s “From This Moment On”. Amid such balladic standbys as Oscar Levant-Edward Heyman’s “Blame It on My Youth” and an unaccompanied take on Vincent Youmans-Billy Rose-Edward Eliscu’s “More Than You Know”, along with a nod to bossa nova in ’s “Pensativa”, Jackson makes the threadbare seem new and the new seem like it has always been with us. As in his sincere rendition of Richard Kerr- Standards and Other Songs Will Jennings’ “Somewhere in the Night”, he brings an Ron Jackson (Roni Music) equal and thoughtful energy to the table. There’s by Tyran Grillo urgency to his delivery that inspires us and in response to which our attention is mandatory. Seven-string guitarist Ron Jackson can always be relied upon to enchant with a purity of expression that takes For more information, visit ronjacksonmusicllc.com. full advantage of his chosen instrument. By no means a Jackson is at Parnell’s Bar Aug. 9th and Bar Next Door purveyor of smooth jazz yet not so pretentious as to Aug. 26th with Dana Reedy. See Calendar. masquerade as avant garde, he rides that middle line of masterful execution and ease of interpretation. Digestibility, however, doesn’t mean flavorlessness, as proven in both his choice of material and unraveling of it. A delicate yet swinging interpretation of ’s “Moon Dance” sets a welcoming tone and showcases the abilities of Jackson’s young sidemen, bassist Nathan Brown and drummer Darrell Green. It’s the first of a few standards-in-the-making, which, by terra virtue of their inclusion, show there’s still plenty of room in the Great American Songbook for more pages. Brian incognita In Sweden 1950 McKnight’s “Anytime”, Bill Withers’ “Lovely Day” and Charlie Parker (Storyville) Drake’s “Passion Fruit” are kindred standouts. Into by Duck Baker new Music froM these, Jackson and company inject more than enough brightness to sustain interest in the darkest of jaded ears. This is a reissue of a 1959 Charlie Parker LP that was Even those tunes riding in on well-traveled horses recorded by an audience member at a gig. Of course in rich halley of expectation feel as fresh as they should be. Jackson the 60 years since its first appearance, dozens of others expounds joyfully on Irving Berlin’s “The Best Thing of this sort have come out, but this was one of the first, Matthew shipp For You Is Me” against his rhythm section’s sparkling although not many listeners outside of Sweden knew of it at the time. Parker’s trip to Sweden in late 1950 was Michael Bisio hastily arranged and he came on his own. The Swedish USED musicians who accompanied him were, however, up to the task, especially trumpeter Rolf Ericson, who had NEW only recently returned after a three-year sojourn in the States, where he worked with the likes of Charlie Barnet and Woody Herman. A few years later he was back in the U.S. and among his long list of subsequent credits availaBle on we may note participation on Curtis Counce’s Exploring cDBaBy | aMazon | itunes The Future and ’s Harold In The Land Of Jazz. Ericson was influenced by both Dizzy Gillespie and Howard McGhee and we also hear something of . He is compared in the notes to Red 236 West 26 Street, Room 804 Rodney, who was Parker’s regular trumpeter, and New York, NY 10001 while there are definite stylistic differences it’s fair to both to suggest that they played to a comparable level. Monday-Saturday, 10:00-6:00 The reason that these recordings have always been cD release valued is that Parker himself is in exceptional form, Tel: 212-675-4480 full of ideas and fully in control of even the wildest of august 15, 7 pM Fax: 212-675-4504 them, taking lots of chances and plainly enjoying himself. The program consists of originals and Email: [email protected] standards Parker played any number of times during Web: jazzrecordcenter.com this peak period. The biggest drawback is the low fidelity, worse than many of the radio broadcasts we soup & LP’s, CD, Videos (DVD/VHS), have of Parker, though not as bad as things like Bird At Books, Magazines, Posters, St. Nick’s. Is it worth upgrading to hear the remastered Postcards, T-shirts, version of something that will always be lo-fi? Opinions Calendars, Ephemera will differ, but sound on the new version is certainly somewhat clearer and more present than it was on sounD earlier vinyl or CD versions. The pressing is beautiful 292 lefferts avenue Buy, Sell, Trade and Lars Werner’s notes are excellent (these were updated and slightly edited by Chris Albertson in Collections bought 1979). We should clarify that this release contains the Brooklyn and/or appraised 10 tunes recorded on Nov. 24th, 1950 with a few solos by sidemen edited out, but does not include the four Also carrying specialist labels pieces recorded on Nov. 22nd. Some listeners may e.g. Criss Cross, ECM, Enja, ESP, prefer the CD that contains all of the Swedish material Fresh Sound, High Note, Pi, Savant, (also called In Sweden 1950, also on Storyville). Sunnyside, Venus and many more. For more information, visit storyvillerecords.com. Parker celebrations are at Birdland Aug. 27th-31st and Aug. richhalley.coM 29th-31st and Smoke Aug. 29th-31st. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 21

All Is Always Now (Live at The Stone) (Intakt) Unexpected Twins This Land Abounds With Life Bruce Ackley/Fred Frith/Henry Kaiser/Aram Shelton Fabian Almazan Trio (Biophilia) (Relative Pitch) by Franz Matzner by Mark Keresman Cuban pianist Fabian Almazan’s This Land Abounds With Fred Frith has proven himself time and again to be an Life is an exceptionally actualized artistic statement. innovative guitarist, composer, educator and Every meticulously rendered detail—captivating collaborator. Beginning with the band Henry Cow in compositions, striking packaging and poetic and the late ‘60s, which fused rock with the avant garde informative text—is steeped in Almazan’s devotion to worlds of jazz and classical music, Frith has appeared environmental protection. Its current runs through on over 400 albums, playing with (and composing for) almost every aspect of Almazan’s life: his label Biophilia artists as diverse as Brian Eno, , Derek does not distribute CDs but instead releases innovative, Bailey, Robert Wyatt and the ROVA Saxophone Quartet. plastic-free Biopholios with a download code; the roster The triple-CD All Is Always Now presents Frith regularly volunteers in the local community; its website with a dizzying array of performers in free-improvised offers a plethora of conservation-related information. duos and trios (with the occasional quartet) live at The The genesis of the album was Almazan’s return to Stone from 2006-16. This is not improvisation in the Cuba for the first time in 23 years. There he encountered jazz sense—Frith had never played with some of the the island’s ecological splendor while making field participants before performing live—but completely recordings of local bird species, which can be heard improvised happenstances. The contents range from throughout the album, providing one of its thematic barrages of jubilant or whimsical noise to droning to pillars. Considering this subject matter some would song-like tapestries. “Reasons to Dream” finds Frith predict a series of pastorals and placid meditations. To trading guitar scrapings with the quasi-operatic vocal the contrary, the album explodes with vibrancy. flights and playful warble of Shelley Hirsch. The Almazan’s playing is evocative and devoid of excess, haunting, contemplative “Veils”, with guitarist Gyan whether dispensing a barn-burning solo or charting Riley, has rolling folk-ish picking and first moaning, delicate chromaticism. Ever present is the eloquent then wailing sustained notes. “Evidence”, with violinist bass of Linda May Han Oh, whose incisive note Laurie Anderson, approximates the soundtrack to a placement and unerring grooves buoy pieces like movie thriller yet to be made; the sounds rise and fall, monumental “Everglades” and ironic “Benjamin”. Oh build and release tension, guitar at one point making also joins with Henry Cole (drums) to accentuate the with the trebly twang of an Ennio Morricone film score Latin sources of “Folklorism”, “Bola de Nieve” and while violin sounds like a whole string section. The duo “The Poets“, which, sometimes subtly, incorporate the dubbed Normal—Frith and Sudhu Tewari, playing rhythms and folk music of Cuba. The latter is unidentified found/invented instruments—is a rough- particularly notable for its moving presentation of hewn, amiably dissonant collage of sonic shards (dis) musica campensina, a rural Cuban tradition about which assembled for the sheer joy of it. the disc’s Biopholio provides background. Unexpected Twins is a very different matter: it’s a By focusing equally on the preservation of Cuba’s studio session; it features compositions by and beyond wildlife and ways of life, Almazan disrupts the notion the participants (along with free improvisation); and is that environmental protection is at odds with people’s somewhat an homage to another saxophone/guitar daily lives. Instead, this is a bravura celebration of the group from the ‘70s, of which two of these players interdependence between native cultures and native were participants. Back when cross-country environments, equal parts proselytization for action, communication meant phone calls, letters and mail- lament at environmental degradation and reminder of order albums and cassettes (by check or money order), the diversity, potency and beauty of the natural world. improv-oriented guitarist Eugene Chadbourne, saxophonist John Zorn, über-eclectic guitarist Henry For more information, visit biophiliarecords.com. This Kaiser and future ROVA member Bruce Ackley got project is at Jazz Standard Aug. 27th-28th. See Calendar. together to blur the distinctions between composition and improvisation, jazz, rock, classical and assorted avant garde movements and acoustic and electric JOSH BENKO REPAIR FUND instrumentation as the collective Twins. Ackley and BENEFIT CONCERT Kaiser have reconvened with Frith and Bay Area-based alto saxophonist Aram Shelton to reexplore the Honoring Jimmy Wormworth repertoire of the original group. It’s a slightly more somber affair compared to All Is Always Now . Kaiser’s Wednesday, August 14 “Court Music” is mournful, with sustained, middle- 7:30 PM DOORS & RECEPTION volume wails from the saxophone, judicious clangs and later feverish feedback from Kaiser and just-lost-my- 8:00 PM PERFORMANCE last-friend funereal piano notes from Frith. “The Shreeve” features a Monk-like theme, which launches The 75 Club jolly head-twisting solos; the Monk vibe is continued 75 Murray Street with Steve Lacy’s “Bound”, with nice, relatively mellow New York, NY unison saxophone passages and noir-ish acoustic and electric guitars. This set has its free aspects to be sure, Tickets $25 (advance) $30 (day of)

but is based in/oriented to composition. RSVP and for more information https://jazzfoundation.org/ For more information, visit intaktrec.ch and benkoannualfundraiser/ relativepitchrecords.com. Frith is at National Sawdust Aug. 28th. See Calendar.

22 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD

The Legacy Orchestra cannot match the original Teepe was a member of Ali’s group from late 2000 ensembles for power and precision and that’s much of until the drummer’s death 10 years ago this month. the glory of the music, which, at its original peak, was Teepe came from Holland because he wanted to play like a Cadillac with the agility and turning radius of a with the “heavy cats” in New York and he succeeded, Porsche 911. Nor do the soloists have the imagination, working with , , Billy Hart skill and style of the likes of or Anita O’Day. and Randy Brecker. But meeting Ali turned his head As unfair a comparison as that is, the orchestra brings around. “You could say for me there is the period it upon itself. The recording quality itself is middling, before Rashied and the period after Rashied,” he says boxy and a little stuffy, with a disorienting placement in the book. “He was simply such a strong personality Flyin’ Through Florida of instruments and sections. that all kinds of other things [including the power of Legacy Orchestra (Summit) And there is the tribute trap, the lure of the luxury expression] would suddenly become much more by George Grella of the past, but the past had a context of musical talent important than technique, or a nice sound.” and revolutionary thinking that can’t be recreated. The book (with text by label founder John Weijers) The jazz discography is littered with albums that fell includes testimony from musicians who played with into the tribute trap, the combination of a tradition- For more information, visit summitrecords.com Ali, including trumpeter Jumaane Smith and the late bound approach to creating careers and an attitude of Fortune. It’s fascinating, though it could have included ancestor worship that compels artists to produce a brief biography and discography of Ali for context. second-rate versions of music previous greats made. It’s also beautifully produced, with wonderful The trap, as this album shows, can be a velvet one. Jazz photography. could certainly use a Kenton Legacy Orchestra—Stan Ali is associated with the avant garde (especially Kenton, who died 40 years ago this month, remains because of the Interstellar Space duet album with both influential and controversial and his legacy Coltrane) but both the book and the CD makes clear includes some of the finest arrangements and most that he straddled jazz’ dividing lines. The music is a exciting recordings in big band jazz, as well as personnel pleasure, works by , Ornette Coleman, that included and Stan Getz. Kudos to Thelonious Monk, and both Teepe and Ali. director Mike Vax for undertaking this endeavor. The sound is reminiscent of mid-period Ornette and In The Spirit of The result here, a live concert recording, is not a includes , Johannes Enders and Joris Teepe (Jazz Tribes) bad album, nor is it a good one. The band plays with by Jim Motavalli on horns, Freddie Bryant on guitar and a clear love for the material, a combination of Kenton on drums. It’s free, but very melodic, with originals, his band’s classic arrangements of standards Here’s a neat idea, a CD tucked into a book, as the always-searching bass pushing the musicians forward. like “In The Wee Small Hours” and new pieces like first product of the Rotterdam/New York-based Monk’s “Bolivar Blues” is a highlight, as is Lowe’s “The Trashman Cometh” produced by Legacy members Jazztribes label. This pairing is done a lot with boxed “Sidewalks in Motion”. The whole package makes and the audience is very much into it all. But this is not sets, but In The Spirit of Rashied Ali is a new recording total sense: put the CD on and read the book. When the Kenton band. While in one respect that’s by Dutch-born, New York-based bassist Joris Teepe, you’ve absorbed the book, listen to the CD again. refreshing—the listener is not beaten to a pulp by all with an accompanying 66-page book about what it was that brass—it’s a problem. like to work with John Coltrane’s final drummer. For more information, visit jazztribes.net

Chris Byars on CD - DOWNLOAD - STREAMING Complete catalogs: www.steeplechase.dk

SCCD31773 SCCD31824

SCCD31662 SCCD31713 SCCD31787 SCCD31842

SCCD31686 SCCD31743 SCCD31807 SCCD31868

August releases from Complete catalogs: www.steeplechase.dk CD - DOWNLOAD - STREAMING

SCCD31874 SCCD31876 SCCD31881 US distribution: www.statesidemusic.com - email: [email protected]

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 23

courtesy of Marc Myers and interviews with Feldman, Gomez and Morell. While other Resonance Evans releases might exhibit better fidelity, this one allows a casual but intimate glimpse into this superb trio’s working dynamic. Magic it certainly is and Evans collectors owe Resonance yet another debt of gratitude.

For more information, visit resonancerecords.org

Evans in England Bill Evans (Resonance) by Marc Medwin

There’s something satisfying about falling for the old hat-and-rabbit trick, the one always foiling Bullwinkle Moose. Whatever emerged from that fractious headgear was anything as surprising, fun and downright beautiful as is every note and nuance of Evans in England. Resonance Records producer Zev Feldman manages the feat at regular intervals, this time with the Unreleased (Columbia University 1973) fourth installment in what is proving to be an Sounds Of Liberation (Dogtown-Corbett vs. Dempsey) indispensable series of concert and studio performances by Pierre Crépon from Bill Evans (who would have turned 90 this month), which, so far, focuses on dates from the Active in the Philadelphia of the early ‘70s, Sounds of pianist’s busy and fertile years 1968 and 1969. The Liberation released their sole LP, New Horizons, on the present offering hails from Ronnie Scott’s in December collective self-production vehicle Dogtown Records, of 1969 and features the then-recent but ultimately named after a section of the Germantown area, long-lived trio of bassist Eddie Gomez and drummer northwest of the city. Marty Morell. Working with the musicians, Philadelphia record Listeners familiar with the material from the store Brewerytown Beats has resurrected the imprint boxed set of dates released as The for Unreleased, 30 minutes of unheard material from a Secret Sessions will know what to expect from this 1973 Columbia University studio session (multiple engaging amateur recording. Get past a few distortions versions are being issued, including a Corbett vs. and pitch instabilities, relax into the homey club Dempsey CD). atmosphere and the rest is a breeze. The trio runs the and Byard Lancaster are the most gamut from glow to fire, anticipating and interacting well-known band members. Their names ring avant with the intensity, on all dynamic levels, which would garde bells (notably for their work with drummer ensure its long life and justify its plaudits. Dip in ), but the group’s approach here is anywhere and dig the interplay, as on the steaming firmly centered on the groove. Dense rhythmic layers version of Miles Davis’ “So What”, which the trio had are provided throughout by electric bassist Billy Mills, recorded with flutist earlier that year. The continuously remarkable guitarist studio version is considerably faster and slightly and the three-man percussive team of Dwight James, longer, the London version hits harder. Evans’ pastoral Omar Hill and Rashid Salim, primarily on hand drums. opening phrases give no hint of the freedoms After an opening Sudler original, “Thoughts”, the immediately to follow as Gomez and Morell enter in music is mostly a vehicle for Jamal’s vibraphone and something remarkably close to “New Thing” Lancaster’s flute and saxophone. The pair pen two polyrhythmic dialogue. Gomez then slams the tune compositions each. into gear with an amenable Morell riding the Saxophonist and engineer Marzette Watts once syncopations for all he and they are worth. As the trio recalled—in an interview with Chris Flicker and gradually swings into Gomez’ solo, bass and drums Thierry Trombert—his November 1973 work on an interlock as dueling percussionists, so intricate is the album left unfinished after the adversity faced in the rhythmic reciprocation as dynamic thresholds are United States prompted Lancaster’s departure for traversed, carrying the tune along on concentric waves Paris. Mention of an unreleased Lancaster album for that Evans rides and breaks with those vigorous octave the Muse label titled The Back Streets of Heaven appeared punctuations familiar from the studio version. soon after in the columns of the French Jazz magazine. For the other side of Evans’ artistry, luxuriate in the Those two bits of information quite possibly tie back to exquisite rendering of Victor Young-Ned Washington’s the music presented here. “My Foolish Heart”, to which the pianist returned many The engineering is indeed reminiscent of Watts’ times but nowhere with a more crystalline touch, each work on Ju Ju’s first Strata-East album, A Message from note and chord expertly timed and imbued with the Mozambique, but whatever further investigations might dynamic and color gradations that were his specialty. reveal, Unreleased’s detailed mix is another strong Again, Gomez and Morell prove absolutely sympathetic, point of interest, adding a second layer of listening the former often in a high register, melding effortlessly beyond the groove’s immediacy. The engineering with the piano’s gorgeous middle range, the latter’s actively shapes the music through strategic uses of cymbals quietly luminous. reverb or overdubbing. Most interestingly, it not only The English audience was afforded the privilege positions the musicians spatially but also inside the of hearing two Evans tunes that would first appear on layers of the groove: solos are not automatically a studio album in 1971: “Sugar Plum” and a slightly brought to the forefront, rather often wrapped inside slower but more urgent version of “The Two Lonely the rhythmic foundation, nurturing it. People”, but the Evans staples are also here. “Turn Out The final number, possibly intended as the title the Stars” lets Evans loose on an embryonic version of track, is a vocal version of the New Horizons theme the rhythmic displacements he’d demonstrate nine already featured twice on the eponymous LP. This new years later during a memorable hour of Marian take shows the versatility of the band. McPartland’s and what would an Evans’ Unreleased finds the Sounds of Liberation at their concert album be without “Waltz for Debby”? The most compact and provides a much welcome occasion well-loved tune only drives harder when Evans’ final to look back at the group. trio turns an almost manic attention to it in 1980. The music is contextualized and analyzed with liners For more information, visit dogtownrecords.com

24 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD

During the ‘50s, Granz was a champion of many The moods vary from swirling and undulating older, but by no means yet old, jazz musicians, masters arco on “West Wind” to a delicious tension on like Hawkins, Young and Eldridge, who’d been “Heaven’s Blessing”, which could be the soundtrack to seemingly left behind by bebop and hardbop. He a modern murder film in the tradition of Bernard paired Webster with baritone saxophonist Gerry Herrmann’s indelible work with Alfred Hitchcock. Mulligan in a quintet for an exquisite “Chelsea Bridge” There is also a heavy dose of Bartók in much of the on Disc 4. Another classic allstar jam in 1953 was scoring, which is hardly a pejorative. Irabagon returns released as and His Orchestra, but a listen to to close the disc on “Vignette for Sopranino Saxophone “Blues for the Count”, on Disc 2, reveals a lineup and String Quartet” with a fully operational horn and : The Founder including Basie on B3 organ; Edison; alto saxophonists the combination of the five musicians is almost Various Artists (Verve-Universal) and Smith; tenors Wardell Gray and Stan unbearably creative and it would have been a good by George Kanzler Getz and clarinetist Buddy DeFranco. thing if there were more of this on Invisible Horizon. Granz recorded a lot more than staged jam sessions It would be difficult to imagine a more radically As a student at UCLA in the early ‘40s, Norman Granz on his labels and The Founder dips into many of his different session than the one on Disc 2. Live from the (born 101 years ago this month) explored the jazz scene varied interests and projects, from his transformation Mausoleum is a solo effort, featuring Irabagon on largely concentrated around Central Avenue in Los of into a classic singer with the Songbook mezzo- (pitched in F) playing in an Angeles and became a fan of the music, especially of albums; to his promotion of pianist , actual tomb in . Irabagon gets a glorious sound the jam sessions that were often performed after hours teaming him with a host of greats; to jazz projects for from the instrument and the 13-second reverb of the and attended almost exclusively by musicians. It was and Bing Crosby; and the futuristic, mausoleum (18 seconds if you count the low-frequency where he first witnessed black and white musicians ambitious The Jazz Scene album from 1950, represented echoes) is quite impressive, although many listeners and singers playing together. by three tracks here, including Hawkins’ stunning, might be put off by the intense latency. Granz changed the way we listen to jazz, bringing a cappella improvisation “Picasso”. The others are the concept of the jam session out of after-hours, insider pieces he commissioned for that 1950 project from For more information, visit jonirabagon.com. Irabagon is at events to prime time. And along the way he promoted Duke Ellington and George Handy. Duke’s “Sono” is a Fat Cat Aug. 4th with Fat Cat Big Band, Jazz Gallery Aug. integration, insisting that his concerts only be in non- sterling feature for baritone saxophonist Harry Carney, 9th-10th with Manuel Valera, Smalls Aug. 14th with segregated audience venues. “I happen to like the jam with the band rhythm section, Billy Strayhorn subbing Andrew Hartman and 28th with Fat Cat Big Band and session,” Granz told an interviewer in 1987, after he for Duke, and a string orchestra. Handy’s “The Bloos” Dizzy’s Club Aug. 15th with . See Calendar. had retired from a long career as a jazz producer, features an expanded Handy big band with French promoter, artist manager and record label creator, horn, woodwinds and strings. There’s also a Lionel “because I happen to like the role of the individual in Hampton Orchestra when the later famous duo of any art. I don’t think it’s hard to argue that each day we Dwike Mitchell (piano) and (French horn), have more and more conformity in our lives and less were in the band; a “Lonely Town” by vocalist Mel and less opportunity for the individual…” Tormé from his seminal Marty Paich Dektette sessions; By 1942-43 Granz wasn’t just a fan, he was and a West Coast all-star Big Band. recording and producing jam sessions as concerts— dance floors were filled with tables to encourage For more information, visit vervemusicgroup.com listening—with local jazz musicians often joined by stars from traveling big bands. Some of those locals— OP (A Tribute to Oscar Peterson) Dexter Gordon, Nat ‘King’ Cole, bassist Johnny Miller (Stunt) and drummer Juicy Owens—appear on the first track, by Ken Dryden “I Blowed and Gone”, of this album’s first disc: “Mercury/Clef 1942-1948”, joined by trumpeter Harry It is hard to underestimate the virtuosity of the late ‘Sweets’ Edison of the . piano jazz master Oscar Peterson, who recorded Granz’ first jam session concerts were at a club, prolifically as a soloist and leader, in addition to making but his goal was to bring them to the concert hall. On important contributions as a sideman and being a major Jul. 2nd, 1944, he rented catalyst in allstar jam sessions organized by producer Auditorium for a benefit concert to fund the defense Norman Granz. But his prolific legacy as a composer Invisible Horizon for a group of Mexican-American gang members on Jon Irabagon (Irrabagast) has been somewhat overlooked, something that trial in the notorious Sleepy Lagoon murder case. He by Robert Bush drummer Alvin Queen, who was Peterson’s drummer also recorded the concert and released it as Volume One for the last three years of his life, wanted to remedy. of Jazz at the Philharmonic, shortened to JATP, a name Ever since the multi-woodwind virtuoso Jon Irabagon Queen has made his home in Europe for decades he brought to his jam session centered concerts at halls won the 2008 Thelonious Monk saxophone competition, and chose two talented up-and-coming Danish all over the world until 1957. he has been quietly, steadily producing some of the musicians for this date: pianist Zier Romme Larsen The ten-plus minute “Blues”, the second track on most consistently interesting music on the scene. His and bassist Ida Hvid. Of the 14 tracks, 9 are Peterson Disc One, is from that original JATP concert and inexorable progress has netted him top-drawer status originals while others were songs he played, excepting features the template of big, bold horns and driving in the “Rising Star” category in DownBeat magazine Larsen’s “Hero”, a thoughtful ballad tribute to the jazz rhythm sections that informed Granz’ jam session several years running but, perhaps more importantly, giant. Queen doesn’t stick exclusively to the best- concert lineups. Tenor saxophonists , his talent has been recognized by people like Dave known songs long a part of the pianist’s performing Joe Thomas and Jack McVea are joined by trombonist Douglas, Mary Halvorson and , all of repertoire, also playing his later works, including the J.J. Johnson, with Cole (piano), Les Paul (guitar), Miller whom have employed Irabagon in recent years. somber spiritual “Jesus Christ Lies Here Tonight” and (bass) and Lee Young (drums). Another allstar jam, His latest album is a sprawling, two-disc set moving gospel-infused “The Last Supper”, both “I Got Rhythm”, from an Apr. 22nd, 1946 JATP concert actually representing two entirely different projects. written for Peterson’s Easter Suite and brilliant solo follows, pairing tenor saxophonists Coleman Hawkins On the first, Invisible Horizon, Irabagon, playing features for Larsen. and Lester Young, alto saxophonists Charlie Parker sopranino saxophone (but only on two cuts) showcases Peterson devotees will also enjoy familiar tunes and Willie Smith and trumpeter Buck Clayton with a his considerable talents as a composer, directing the like the driving “Sushi”, lush “Wheatland” (Queen rhythm section anchored by a young Buddy Rich on Mivos Quartet and sterling pianist Matt Mitchell giving it a more Latin flavor with his percussion) as drums. though an intense and challenging set of charts. well as Peterson’s popular “Hymn To Freedom”, the Granz loved to mix and match musicians at JATP Irabagon and Mivos Quartet are present for the latter performed as a piano solo. While “Reunion and went on to do the same thing in studio recordings. opening gambit: “Vignette for Mouthpieceless Blues” was a staple in Peterson’s extensive music Disc 4: “Verve 1957-1960” highlights two of the most Sopranino Saxophone and String Quartet”. It features library, it was actually penned by Milt Jackson; this notable of those jam-like sessions: “On the Sunny Side the leader conjuring up a wide variety of strange hard-charging interpretation shows Larsen to be a of the Street” pairs tenor saxophonists and sounds from blowing across, spitting into, chirping player clearly inspired by the master while Hvid’s Sonny Rollins in the company of trumpeter Dizzy and popping the pads of his saxophone over some feature reveals her promise. The high level of Gillespie, who also sings; “Budd Johnson” is a tune by harshly dissonant strings. The next six pieces feature musicianship throughout the CD makes it stand far tenor saxophonist Ben Webster where he is joined by some brilliant string writing, which demonstrate both above typical tribute releases. the eponymous saxophonist and another titan of the the wide talent and extended techniques of the quartet tenor, Coleman Hawkins. Roy Eldridge’s trumpet is in dialogue with some stunning work from Mitchell, For more information, visit sundance.dk. A Peterson tribute the other horn on the date. who is in monstrous form throughout. with Johnny O’Neal is at Smoke Aug. 16th-17th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 25

no wave edge, the celebration of whispers and tacits ’s and his kick drum sound is massive. He adds a true third dimension to this genre. relies less on cymbals than many of his peers, using them In full force, Boneshaker shreds the atmosphere properly—as an accent rather than a constant wash of with three lengthy works paying homage to the classic sound. His solo track “Paths, Traits And Passages” is a pianoless trio while reveling in new and different thundering, martial display; one can almost picture him fields of exploration. The opening movement of standing upright behind the kit, glowering at the listener. “Miakoda” offers aural evidence of the band’s moniker, And with Kirschenmann playing through so many with reed player Mars Williams seemingly caught in different effects, it winds up being Hooker’s constancy a most wicked travail of intensity. But then, the that both anchors and drives this album. He’s listening Live at the Bushwick Series saxophonist earned his reputation touring and to what his partner is doing, but the trumpeter (and Sean Conly/Michaël Attias/Tom Rainey (Gaucimusic) recording with The Psychedelic Furs, Pete Cosey, saxophonist) must always come to him. by John Sharpe Massacre, Fred Frith, Peter Brötzmann, Bill Laswell, The Waitresses and Ikue Mori, among many others. For more information, visit markkirschenmann.bandcamp.com. Bassist Sean Conly’s trio with alto saxophonist Still, rupturing the inner ear doesn’t seem to be Hooker is at Funkadelic Studios Aug. 18th. See Calendar. Michaël Attias and drummer Tom Rainey demonstrates Williams’ goal, for his nearly breathless excursions the benefits of shared time at the coalface on Live at the extend well into the pianissimo. Bushwick Series. It’s the same outfit that made the Each of the three pieces comprising Fake Music maurice excellent Hard Knocks (Clean Feed, 2018), but this time (one is tempted to put “so-called” in front of the title) out, rather than follow Conly’s charts, the talented trio sports sections of varying dynamic, tempo, mood and frank traverse three untitled off-the-map territories in a well- structure. Once the volume comes down, bassist Kent aug 23-24 | 8 & 10 pm recorded 37-minute set captured, as the title suggests, Kessler really comes to the fore, teasing sounds from jazz at kitano live at Stephen Gauci’s Bushwick Improvisers Series at his instrument and then casting faint moans into the 66 park avenue at e. 38th Street Bushwick Public House. Given their familiarity the shadows. Though Kessler is an American, he spends for reServationS call cohesion and focus is no surprise, as they unite in much time on the European improv scene, credits 212-885-7119 group music thriving on constant give and take. imbued with their own rewards. These become with Special gueStS apparent in “Echo Clang”, the first half of which john Dimartino Each cut develops organically, unfolding in loose (piano) conversational interplay, alternating between upbeat establishes a palette of many colors. Tireless Norwegian neal miner (bass) roiling intensity and intimate timbral exchange. Attias’ drummer Paal Nilssen-Love moves from his incendiary “A well balanced voice is always airy tone belies a wiry, muscular sense of form, which kit to gently whistling bullroarers and miniature a plus in jazz vocals. Maurice Frank lends inevitability to his lines, as if he’s playing on an gongs. These shimmer over a psaltery-like instrument is a case in point, and a welcome voice in jazz singing” unstated theme. There’s a bittersweet Ornette-ish layered against bowed cymbals and the bass bowed - C. Michael Bailey, allaboutjazz.com bounce to his sound too, though that’s tempered at above the bridge. The overall effect is deliciously times by the bending pitches, snagging figures and ghostly, utterly compelling. “What I feel so abundantly from Maurice’s singing is a deep scrawling overblowing episodes that contribute to the affinity for the ballad, the love depth of light and shade. He’s inventive and always For more information, visit marswilliams.bandcamp.com. song, and the swinger. ” saying something worth hearing. But that applies Williams is at 244 Rehearsal Studios Aug. 30th. See Calendar. mauricefrank.com - , pianist extraordinaire equally to everyone in this trio. Rainey is crisp, precise and inspired, creating an insistent non-linear pulse. He varies his attack from moment to moment. The richness of detail he imparts can be easily missed if not paying close attention, as when he emphasizes a kick drum and cymbals combination part way through the first cut. Perhaps the only indication of any leadership role comes in Conly’s unaccompanied arco intro to the second piece, where his dark investigations still hint at his trademark confluence of melody and rhythm. As Rainey eases in Full On! with a brushed patter, Conly seesaws between two William Hooker/Mark Kirschenmann (Sonikmann) notes, a motif that Attias uses as his opening phrase in by Phil Freeman a brightly voiced exposition. Implying telepathy, each of the cuts halts on a dime, a testament to the This two-CD set does not sound like an album of tremendous empathy of a tremendous band. trumpet/drums duos, although for the most part that’s what it is. (Saxophonist Marcus Elliott guests on a few For more information, visit gaucimusic.com. Conly is at tracks and two vocalists, Steven Klingbiel and Matthew Bushwick Public House Aug. 5th. See Calendar. Boutte, appear on the aptly titled “Incantation”.) Mark Kirschenmann pushes his trumpet through a stunning

array of effects, warping it to the point that it frequently sounds like a synth or a heavy metal guitar. He uses loops and MIDI programming to create layers of sound, one big riff playing while he adds a second voice; or he’ll transition from a squirmy, ribbon-like tone like a pennywhistle fed through a wah-wah pedal to a deep rumble like an earthquake in a cave, and when all that drops away, a soft hiss of crackling static remains. When Elliott shows up for a mini-suite toward the end of the first disc (the three tracks are called “The Fake Music Meeting”, “The Summit” and “The Calling”), his non- Boneshaker (Soulwhat) by John Pietaro reliance on electronic manipulation of his instrument seems almost atavistic. His tenor playing is burly and For anyone who feared that the end of “fire music” free in the manner of players like Andrew Lamb or the was near, the opulence of free jazz proves otherwise. late David S. Ware and he’s left alone to do battle with The avant garde remains alive and well, fortified by drummer William Hooker on “The Meeting”. When he the wisdom one expects with the passage of some 60 switches to soprano on “The Summit”, though, he years. Today’s free jazzers are composers as well as shows his sensitive side, even as Kirschenmann joins improvisers and often reared not only in jazz’ rich the action, opting for a sound like a cross between a heritage, but also orchestral and chamber music as theremin and a melodica. well as a planet’s worth of culture. And while primal Hooker is, of course, one of the most powerful screams remain profoundly evident, often infused with drummers around. His precision and crisp attack rivals

26 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD

melody and piano playing that is heated and hard- swinging, has a surprise bonus in Nash’s scat-filled vocal. Richard Rodgers-Lorenz Hart’s “My Funny Valentine” is given a funky vamp at its beginning before being largely taken at a double-time pace while Jimmy Van Heusen-Johnny Burke’s “Here’s That Rainy Day” is also taken faster than usual. The only real ballad is J.J. Johnson’s “Lament” and even here LeDonne occasionally plays explosive lines. Partners in Time Whether playing the waltz “Saud” Mike LeDonne (Savant) (a tribute to McCoy Tyner)—the group sounding a bit by Scott Yanow like the Wynton Kelly Trio on “Recovery Blues”—or showing on the rapid “Bopsolete” that there is plenty Despite being major jazz artists for 30 years, pianist of creative life left in bebop, LeDonne is featured Mike LeDonne has not played very often with bassist throughout in top form. Add in McBride’s usual Christian McBride and drummer Lewis Nash prior to brilliance and the consistently creative drumming of recording Partners in Time: LeDonne shared the Nash and one has a particularly memorable outing. bandstand with McBride back in 1992 when they were part of the Philip Morris Superband’s Jazz Generations For more information, visit jazzdepot.com. LeDonne is at tour while Nash is on LeDonne’s 1993 album Soulmates. Smoke Tuesdays. See Regular Engagements. In contrast, McBride and Nash have been together on at least 32 albums through the years, from Carters Benny and Betty to and Warren Wolf. But listening to this new CD, it sounds as if the Mike LeDonne Trio was a regular band. While LeDonne’s first seven albums as a leader (1988-98) featured him on piano, on those since 2001 he has played organ on 7 of 11. Partners in Time shows that, rather than losing some of his piano chops, he has continued to grow as a pianist and long exceeded his original potential. Performing three originals, a trio of Contra la indecisión standards and a song apiece by and Cedar Bobo Stenson Trio (ECM) Walton, LeDonne comes up with fresh and swinging by Tyran Grillo playing on each of the selections. The music on this set is filled with joyful energy. After a six-year hiatus, pianist Bobo Stenson (who Brown’s “Lined With A Groove”, which has a catchy turns 75 this month), bassist Anders Jormin and drummer Jon Fält return to the studio with a new direction in tow. The path of said direction carves its way through equally varied territory, but with a philosophical nakedness of association that distinguishes it from previous outings. Compositionally speaking, the focus is on Jormin, who contributes five new tunes. In each of these, especially the Hamlet-inspired “Doubt Thou The Stars” and intimate “Three Shades Of A House”, the broad-ranging palette of not only the composer but also Fält is showcased. Whether coasting along the edges of consciousness with contemplative themes or shifting into a midtempo groove without looking back, the trio moves as a simpatico vessel, attuned to the subtlest changes of wind and current. Jormin’s confidence is expressed through unforced engagement, which in “Stilla” inspires colorful adlibbing from Stenson. The bandleader’s only original this time around is “Alice”, a haunting piece finding him in dialogue with bowed bass, not a hint of disagreement within earshot. A smattering of bandmember favorites rounds out the set, including a unified rendition of Cuban songwriter Silvio Rodríguez’ title track, as well as classical melodies drawn from the oeuvres of Béla Bartók (“Wedding Song From Poniky”), Erik Satie (“Elégie”) and Federico Mompou (“Canción y Danza VI”). The latter two are standouts for their respectful introductions and denouements. The freely improvised “Kalimba Impressions” is also noteworthy for its synchronicity and lush, modal development. At once grounded in the source material and straying far from it, it gives testimony to Stenson’s favoring of poetry over prosody. Although perhaps not quite the masterpiece that 2012’s Indicum was, there’s no reason why it shouldn’t occupy its own territory, beyond the trappings of comparison. As unassuming as an observer whose thoughtful profundity far outweighs the extroversions of its regard, it prefers a quieter approach, masterful in its own way.

For more information, visit ecmrecords.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 27

solid performances throughout this live set, most of atmospheric “A Pause, A Rose”, where sopranino which focuses on Abate’s potent originals. saxophone whickers against spare guitar and splashy Things start with his engaging bossa nova cymbals. It’s only a temporary respite. “Shimmer Intend “Gratitude”, each member showcased in turn. When Spark Groove Defend” begins with a tribal thump, the leader is playing bop tunes, the influence of jazz before the needle veers into the red and, after a few false master is present; though he is by no means starts, guitar and saxophone simultaneously erupt like a clone, it is his execution and wealth of ideas that twin volcanoes. This will blow away the cobwebs. invite comparison to the late alto saxophonist, whom he admired greatly. The feeling is especially present in For more information, visit cleanfeed-records.com. Cline is at The Drone Dream “Bop Lives” and his heartfelt tribute “Farewell Phil Stone at The New School Aug. 9th and 17th, Le Poisson Rouge Whit Dickey/Kirk Knuffke (NoBusiness) Woods”, the latter written as a ballad but performed Aug. 20th and Brooklyn Bowl Aug. 22nd. Cleaver is at The Owl by George Grella here at a strolling tempo. The jazz waltz “Hazy Moon” Music Parlor Aug. 1st with Steph Richards, Nublu Aug. 5th with is the first of two songs spotlighting Abate’s Eli Wallace/Karl Evangelista, The Stone at The New School Aug. Kirk Knuffke starts the second track on this album, considerable chops on flute, darting lines incorporating 16th and 21st and Mezzrow Aug. 25th. See Calendar. “Weave 1”, with a phrase that could be something out Eric Dolphy-like detours in spots. His sole appearance of the beginning of “Lush Life”. From there the on baritone is on his rapid-fire “In The Stratosphere” dialogue between the cornet player and drummer Whit where his gritty sound recalls . IN PRINT Dickey weaves—there it is—together moments that Rahsaan Roland Kirk’s “Serenade To A Cuckoo” could be transmuted from old bits of swing via an featured the composer on flute on the original, but Abate abstract stream of consciousness. opts for tenor to give it a gruffer texture. Fats Waller’s The track is an ideal example of Drone Dream, “Jitterbug Waltz” is a trio number and Ray’s Caribbean- which has little to do with drones and everything to do flavored treatment in the introduction is a surprising, with dreams. There’s an intimacy built into the duo novel approach; this performance never loses steam in setting; a soloist presents themselves to the audience spite of stretching out over nine minutes. Back on tenor, while two musicians play for and with each other. Abate devours Joe Henderson’s hard-charging signature Intimate is too simple a term for this album, though. piece “Inner Urge”, tackling it at a brisk tempo. The The music sounds like there is a completely natural excellent recording gives the listener a front-and-center sense of comfort and ease between the pair. What that seat for musicians having a ball on stage. allows them is a transparent and un-selfconscious Experiencing Herbie Hancock (A Listener’s Companion) Eric Wendell (Rowman & Littlefield) exploration of whatever comes to mind. That’s more For more information, visit whalingcitysound.com. Abate is by George Grella than a phrase and response, a lead line and at Birdland Theater Aug. 28th. See Calendar. accompaniment. It’s a kind of musical flâneurism, now your audience. That’s the premise of the K setting a course and then instantaneously following “Experiencing” series of books from Rowman & the most interesting things, dark or light. There’s no Littlefield, “Listener’s Companions” meant to destination, only the journey. introduce classical, jazz and pop artists and styles to This partnership brings out the best in two new listeners. That’s precisely the audience for Eric musicians who can be opaque as often as they are Wendell’s installment on Herbie Hancock: the fascinating. They listen to each other as closely as one curious music fan with little or no previous will hear in any improvisers and while the playing is knowledge of the keyboardist and composer’s always intelligent, it is thoughtless in the best sense— enormous career. it is without thought, there is no filter or judgment Resolutely straightforward and linear, Wendell between the ears and the hands and embouchure. They outlines a brief biography that brings the reader to What Is To Be Done just play with complete trust in each other’s sense of Hancock’s launch with and his Blue Larry Ochs/Nels Cline/Gerald Cleaver (Clean Feed) meaning and beauty. The result is an absorbing listen, by John Sharpe Note debut, Takin’ Off. Once there, the book steps time-stopping from start to finish. The gentle surface from album to album, discussing individual tracks draws one in to some roiling and mysterious thoughts Bay Area saxophonist Larry Ochs’ ongoing partnership and adding not only Wendell’s critical analysis but and feelings. This is jazz in the way it honors the with drummer Gerald Cleaver had its origins in the also that of critics contemporary to the music’s idiomatic language, but what it is in the main is a reedplayer’s 2014 residency at The Stone. Its first release. After working through The Imagine Project musical experience that only belongs in the category of manifestation on disc was the unique Songs Of The Wild from 2009, the book closes with a brief look at the spontaneous and absolutely personal. Cave (RogueArt, 2016), which documented a near Hancock’s performing career over the last decade. shamanistic encounter in a cave in southern France. But This is an enormous amount of music and so the For more information, visit nobusinessrecords.com. Knuffke is what a difference the addition of a third voice can make. book is very much at an introductory level—its at The Stone at The New School Aug. 15th and InterContinental When fellow Californian guitarist Nels Cline joins the point. While the dedicated fan or aficionado will New York Barclay’s Penthouse Suite Aug. 20th. See Calendar. duo on What Is To Be Done, they channel another sort of learn little, there’s pleasure in Wendell’s open- primal, morphing into an avant power trio. minded approach to Hancock’s career; he treats the

Cline brings out the rockier side of Cleaver, soulful, intellectual Blue Note albums, hellacious resulting in three collective navigations from a 2016 funk of Chameleon and Man-Child, of Sunshine, concert in Richmond, VA, uniting a dense sound with a popular success of “Rockit” and the pop take-no-prisoners attitude. Cline digs deep into his collaborations of The Joni Letters and The Imagine kitbag, producing electronic jiggery pokery, scrawling Project with, properly, equal respect. And though he fretwork that evokes a Hammond organ and fuzzed is kinder to Hancock’s mid-late ‘70’s disco and noise, along with rippling loops in the quieter sections. vocals than most, much of the book will inspire the Although they work through the various combinations reader to reach for their Hancock albums. inherent in the lineup, the emphasis is on the pairings Though breezy in tone, the book often takes with the drummer, with Ochs and Cline’s incantations surprising effort to read and there are frustrations in Gratitude: Stage Door LIVE@TheZ finding common ground in Cleaver’s loosely the series’ approach. While intentionally eschewing Greg Abate (Whaling City Sound) by Ken Dryden demarcated pulse. technical and musicological analysis, Wendell still The first of two long-form improvs, “Outcries drops in mentions of modes and musical structure, There are many players who are so recognized for Rousing”, hews to an approximate ABA structure, assuming the reader knows what those are in a their work on one instrument that the public is often beginning and ending ruminatively, framing a broad- context that expressly assumes no such musical unaware that they play several more. Greg Abate has brush splatter of energy and intensity. As thudding knowledge. The style is blocky and repetitive—in one been primarily heard on throughout drums and rasping guitar scrapes synchronize, three-sentence paragraph Wendell uses “band” five his career, but for this live recording, his fourth both saxophone caps the mayhem with an outburst of gruff times and with some glaring grammatical problems, for Whaling City Sound and with pianist Tim Ray’s skronk, which builds to a climax when both guitar and one wonders if the editors ever read the manuscript. trio with bassist John Lockwood and drummer Mark saxophone cut free over the lopsided drum groove. After Walker, he decided also to feature himself on tenor and the storm comes the catharsis with Ochs breathily lyrical, For more information, visit rowman.com. Hancock is at baritone saxophones and flute. The time that the before the drummer seals the deal with a lone tattoo. Beacon Theatre Aug. 1st. See Calendar. musicians have spent together as a unit shows in the Nestled between the extended cuts is the shorter,

28 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD

differently to the mind’s eye. Although undeniably capturing the excitement and impact of the duo in snatches, the overall episodic effect is less than compelling. Shorn of context the extracts offer stark exercises in contrast, but that’s not enough to offset the lack of opportunity to appreciate the trajectory and drama of the long-form improvisations at which this twosome excel. For Vandermark completists only. For Deeply Discounted II/Sequences of Snow newbies, the good news is that there are nine other Nate Wooley/Ken Vandermark (Audiographic) Breathing in the Walls Screen Off places to start. Tiger Hatchery (ESP-Disk’) Ken Vandermark/Paal Nilssen-Love (PNL) by Phil Freeman by John Sharpe For more information, visit audiographicrecords.com and paalnilssen-love.com. Vandermark is at 244 Rehearsal Tiger Hatchery is a Chicago-based free jazz trio of Chicago-based reed player Ken Vandermark remains Studios Aug. 30th. See Calendar. saxophonist Mike Forbes, bassist Andrew Scott Young one of the most productive and consistently and drummer Ben Billington. Breathing in the Walls is adventurous artists on the scene. In a full-on schedule their second album for ESP-Disk, following 2013’s Sun he continues to develop new projects and partnerships on screen Worship. (They’ve also released a string of hard-to-find spanning myriad styles, from free jazz and punk to cassettes, CD-Rs and limited-edition LPs, including a noise and contemporary classical and all points in live collaboration with fire-breathing New England between, allowing the realization of an ever more saxophonist Paul Flaherty.) Sun Worship offered three rounded portrait. However he also still finds mileage tracks in 31:17 and Breathing in the Walls is even more of in existing alliances like the two represented here, a punk-rock blast, its nine tracks flying by in just 30:09. which are among his most exuberant, although both The trio’s music draws a lot of its power from its are realized in ways that are a departure from previous willingness to embrace noise-rock, another form for practice. which the Midwest is well known, as fervently as free On Deeply Discounted II/Sequences of Snow, jazz. Young plays a loud, heavily distorted electric Vandermark joins forces with trumpeter Nate Wooley bass, his meaty roar forcing Forbes to battle him for for their third outing since 2015. Released in LP and dominance of the sonic field, as Billington clatters and download format, the album is a sidelong piece by Ashram: The Spiritual Community of Alice Coltrane Turiyasangitananda splashes around his kit, surrounding the two men with each rather than the sequences of shorter pieces that by Phil Freeman waves of Rashied Ali-style temporal disruption. have characterized their earlier efforts. Bravura Sun Worship’s three tracks ran 7, nearly 9 and more interplay prevails no matter the author, but After releasing a string of highly regarded albums than 15 minutes, respectively. Breathing in the Walls is notwithstanding the pyrotechnics there’s a surprising between 1968-73, Alice Coltrane left Impulse for generally much more concise; the longest piece, amount of melodic material in evidence too. Warner Bros. She was already drifting away from “Drawing Down The Moon”, lasts a mere 5:39 and Wooley’s “Deeply Discounted II” comprises seven the secular music world though. The three studio the shortest, “Pothole Pleasure”, sprints past in a discrete episodes, separated by between 10 and 20 albums and double live disc to follow were breathtaking 1:07. It’s a heavier album than its seconds of near silence. A sprightly trilling fanfare unmistakably transitional records; each one was a predecessor too, mixed for maximum physical impact. appears in the second section, which later recurs first little more spiritually inclined than the one before. Bass is even more distorted and aggressive than before, as an explicitly stated motif and then as something By the end of her career as a ‘jazz’ musician, she was very much in the spirit of Marino Pliakas’ work with hinted at but never fully restated towards the close. As singing in Sanskrit and performing interpretations Peter Brötzmann’s group Full Blast. Drums are louder both get chances to stretch out, Vandermark takes a of Indian songs from the Vedic spiritual tradition. as well. On the aptly titled “Not Chill”, Billington turn in the spotlight on baritone saxophone, combining Coltrane moved from Long Island to Malibu, explodes from the first note, thundering across the kit plosive pops, screeches, exhalations, whistles and California, where she established the Vedantic like a herd of wild horses trampling the landscape into snuffles in the sort of timbral display of which the Center and changed her name to Turiyasangitananda. frothy mud as saxophone shrieks and gibbers and bass trumpeter would be proud. In 1983, the Shanti Anantam Ashram opened its rumbles and throbs. On Vandermark’s “Sequences of Snow”, dedicated doors. Coltrane was the swamini, or spiritual leader, The album has more than one mood though. The to experimental filmmaker Michael Snow, even though and led weekly services. The music she recorded title track is essayed twice, to end each side of the LP. the structure of the continuous 15-minutes track is less during the ‘80s-90s was entirely devotional in Each version is atmospheric, even haunted. Drones discernible, there is a clear sense of composerly nature, but not at all traditional; she set lyrics and mechanical sound effects appear in the background direction as it unfolds, made clear through occasional honoring her Vedic spiritual beliefs to hard-driving and Young limits himself to rumbling, almost subsonic recurrent elements, such as the corkscrewing unison gospel organ with layers of percussion, ashram drones, as Billington scrapes and taps his kit and towards the close. Wooley gets to show his chops members chanting along with her in a call-and- Forbes plays squiggling, murmuring figures that only again, notably where Vandermark belays a repeated response manner that was thrilling to hear, no occasionally erupt into wrathful outbursts. figure and the trumpeter comes on like an exploding matter what one’s religious beliefs—or lack thereof. steam engine, if such a thing could also purr, growl Alice Coltrane Turiyasangitananda died in 2007 For more information, visit espdisk.com and slobber. Both sides of this excellent disc (she would have turned 82 this month), but the center demonstrate what a fertile partnership this is. stayed open until it was destroyed in the California Of greater vintage is Vandermark’s duo with wildfires of November 2018. Before that, filmmakers FREE CONCERTS powerhouse Norwegian drummer Paal Nilssen-Love. Vincent Moon and Priscilla Telmon were permitted to www.jazzfoundation.org Screen Off is the tenth offering from the pair. It’s a film a Sunday service, the results depicted in Ashram. retrospective, but with a twist. In the bandcamp notes This is not a traditional music documentary. The GANTRY PLAZA STATE SOCRATES SCULPTURE to the release there is again reference to Michael Snow viewer is simply immersed in the beautiful Agoura PARK - 3pm PARK– 6:30pm and the Structural Film movement he initiated and the landscape and taken inside the ashram. Men on one 8/8: Bertha Hope album boasts an intriguing concept. Purposefully side, women on the other, the devotees sit and kneel 4-09 47th Rd Quintet Long Island City, Queens disruptive, it contains 21 two-minute extracts from on the floor and clap and chant along as Surya 8/3: Greg Lewis YouTube footage of the duo drawn from the last ten Botofasina plays keyboards and sings one of 8/10: Mel Davis and Friends FOR MORE INFO: years of its existence, selected by Vandermark and Coltrane’s songs. During the film’s half-hour 8/17: Kelvyn Bell www.jazzfoundation.org/ Nilssen-Love in collaboration with producer Lasse running time, two songs are performed and 8/24: Steve Swell’s events Marhaug. But sound only. The screen is off. The cuts Botofasina, Coltrane’s sister Marilyn McLeod and Kende Dreams were then assembled together not in a chronological two ashram members, Purushottama Hickson and

This project is supported in part by an award manner, but rather what made sense musically, often Uma E. Pierson, make statements about their beliefs, from the National Endowment for the Arts, the New York State Council on the Arts with the jumping back and forth years in the process. heard as voice-overs. Ashram is an immersive support of Governor Andrew M. Cuomo and the New York State Legislature and by public funds Obviously the fidelity varies tremendously from experience and the music is powerful indeed, but from the New York City Department of Cultural JAZZ AT PIER 84 - 7pm Affairs in partnership with the City Council and by the Howard Gilman Foundation. almost normal quality to tinny and murky. To soften those expecting to learn something about Alice 8/8: Carol Sudhalter the jump from one event to another, Marhaug has Coltrane’s beliefs and practices will be disappointed. Quartet inserted electronic linking sounds to enable the segue. But while the fast-cut technique could work with film, For more information, visit fourthree.boilerroom.tv the disc serves to confirm that the mind’s ear works

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 29 sonic exploration and genuinely melodic drumming. Pierre-Antoine Badaroux’ “Serial Swan Attack” BOXED SET Grande Casino also features the virtuosic English moves from air horn blast to squawking bird, only bassist , another key figure in the history revealing in its final moments the identifying marks of European free jazz. of an alto saxophone; an extended bass duet of Guy The orchestra is definitely Schwerdt’s creation. and Eckhardt develops into an intriguing episode of He’s credited with the editing and design of the microtonal bowing; “Oma Eierschecke” moves from music heard here and his personality comes through a hand-in-glove duet of Schwerdt and Sommer to an as well in the titling with co-founder and guitarist extended Sommer interlude highlighting his special Friedrich Kettlitz, with long descriptive or narrative gift for developing dancing rhythmic patterns on phrases, whether in English or German, sometimes small tuned drums. with elements of Dadaist absurdity or Grand As the ensemble expands, there’s increasing use Guignol horror, whether it’s “Disembowelment III” of little instruments, including a passage that Grande Casino or the concluding “Mark Rothko goes to bath”. matches whistling with small flutes, a dense EUPHORIUM_freakestra feat. Baby Sommer There’s a general movement throughout from an improvisation that suddenly includes a police & Barry Guy (Euphorium) emphasis on solo and small ensemble passages whistle and a jaw harp that later appears as a central by Stuart Broomer towards the full complement of ten musicians. While element. Disc Three emphasizes increasingly it’s hard to tell how active Schwerdt has been in the expansive group passages, beginning with an EUPHORIUM_Freakestra is a German improvising sequencing, there’s at least some evidence of ephemeral drone among the winds set against the orchestra based in Leipzig. Organized and led by composerly shaping. Discs One and Two each end ringing of a small bell and Guy’s resonant harmonics. pianist Oliver Schwerdt, it has assumed many forms, with subtle abstractions entitled “Epilog: Daniel, Electric organ, piano and electric guitar combine to including various dance and literary projects. Its Bertrand, Burkhard und die anderen”, Part 1 and create increasingly insistent and inventive textures usual operating procedure is free improvisation and Part 2. in which the trumpet can displace the organ role and the group has drawn on distinguished guests from Disc One is highlighted by Swiss tenor a struck hi-hat can become a major event. With the around Europe and further afield. Since 2002, Alex saxophonist Bertrand Denzler’s exploration of band exploring a range of orchestral forms, Denzler von Schlippenbach, , Peter Brötzmann, multiphonics and beat patterns; Sommer, Guy and can summon the focused force of a . Axel Dörner, , , Urs Schwerdt’s rapid-fire, scattershot passage sounds Eventually it stretches through a period of Leimgruber and Akira Sakata have all appeared in like a piano trio with a long working relationship; intense blowing to a passage alive with detail, its various configurations of the orchestra. electric organ player Daniel Beilschmidt develops a textural evolutions and modulations accomplished This three-CD concert recording from 2016 was dense, pitch-shifting solo reverie that hints at Sun with incredible sensitivity and vision. Schwerdt and released in honor of drummer Günter “Baby” Ra; while Patrick Schanze lays fractured trumpet his Leipzig regulars may not be as well known as the Sommer’s 75th birthday (Aug. 25th, 2018). One of blasts against the group’s full rhythmic component guests, but the ten musicians form a brilliant the orchestra’s first guests and a central figure in the of Guy, Sommer and Schwerdt along with bassist collective, creating improvised ensembles of rare development of free jazz in the inhospitable soil of John Eckhardt and percussionist Burkhard Beins. depth and coherence. the old German Democratic Republic, Sommer is a Disc Two continues the pattern of contrast and master of driving polyrhythms, global beats, subtle surprise: chameleonic French alto saxophonist For more information, visit euphorium.de

AUG 1-4 AUG 19 ben wolfe quintet featuring randy charles pillow large ensemble: brecker (aug 1-3) & warren wolf electric miles

AUG 5 AUG 20 jazz house kids luisito quintero’s 3rd element hosted by AUG 21-25 AUG 6-7 trio da paz & friends with charenee wade: at 90 maucha adnet, harry allen, and AUG 8-11 victor goines quartet meets string quartet AUG 26 milton suggs quintet: horace AUG 12 MONDAY NIGHTS WITH WBGO silver’s the united states of mind harlem quartet with john patitucci AUG 27 - SEPT 1

AUG 15 trio da paz & friends with maucha adnet, harry allen, and tim hagans quintet claudio roditi AUG 16-18 sounds for sculpture: christian tamburr septet with special guest clint holmes

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

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

30 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Jazz in the Round Aug. 5, 1958 Soy Califa Live At Laren Jazz Festival 1975 Antwerp 1988 Live At Yoshi’s Nightspot Count Basie (Canby) Dexter Gordon (Gearbox) (Fondamenta) Fast Colour (Loose Torque) Quintet (Boulevard) August 5th, 1958 August 5th, 1967 August 5th, 1975 August 5th, 1988 August 5th, 1994 An ephemeral series from California Coming squarely in the middle of Fondamenta’s “The Lost Recordings” This is the first official document of Almost 29 years­—and two-plus label Canby, itself a subsidiary of Dexter Gordon’s European sojourn, series documents American jazz drummer John Stevens’ Fast Colour, a hours south­­­—after John Handy’s bootleg company Quicksilver, “Radio this set finds the saxophonist about legends in various European locales band active from January 1988-August quintet played a monumental set at Days” presented 30-minute radio 25 kilometers north of his Copenhagen from the ‘50s-70s. This is the latest of 1990. Harry Beckett (trumpet), Annie the 1965 broadcasts from some of the biggest homebase at the Magleås Højskole those recordings, singer Sarah Whitehead (trombone), Dudu (released the next year on Columbia), names in ‘40-50s big band jazz. This in Birkerød playing in front of the Vaughan at the Laren Jazz Festival Pukwana (alto) and Nick Stephens the complete band reunited at the edition features one of Count Basie’s student body with his summer 1967 1975 in northern Holland, just north (bass, on whose imprint this was Oakland jazz club Yoshi’s. Handy strongest orchestras (no personnel is quartet of Kenny Drew (piano), Niels- of Hilversum. The hour-plus set, released in 2004) were the mainstays (alto saxophone), Michael White listed but one assumes it to be the Henning Ørsted Pedersen (bass) and recorded when she was 51, is expected while this set from Belgium also (violin), Jerry Hahn (guitar), Don same as other period albums). Joe Albert “Tootie” Heath (drums). The standards, including a medley of “It’s includes occasional participants Evan Thompson (bass) and Williams is the featured singer and title track previously appeared on the Magic”, “My Reverie”, “Body And Parker (saxophones) and Pinise Saul (drums) revisit the Columbia album’s Sonny Payne (drums), Moon bootleg Those Were The Days but Soul” and “Moonlight In Vermont”, (vocals). The five tunes make up a two tracks, “Spanish Lady” and (flute) and (guitar)­­—all this 39-minute LP adds two other with longtime collaborators Carl suite composed by Stevens in homage “If Only We Knew” in equally lengthy misspelled—also­­­ get solo space on tracks: “The Shadow Of Your Smile” Schroeder (piano), Bob Magnusson to South African bassist Johnny versions (the former done twice), Basie material typical of the era. and “The Blues Up And Down”. (bass) and Jimmy Cobb (drums). Dyani, who died 20 months earlier. adding four other expansive tunes. BIRTHDAYS August 1 August 6 August 11 August 17 August 22 August 27 †Luckey Roberts 1887-1968 †Norman Granz 1918-2001 b.1940 †Ike Quebec 1918-63 †Malachi Favors 1937-2004 †Lester Young 1909-59 †Elmer Crumbley 1908-93 † 1921-2010 Steve Nelson b.1954 †George Duvivier 1920-85 Warren Daly b.1943 †Tony Crombie 1925-99 † 1932-86 Russ Gershon b.1959 †Derek Smith 1931-2016 Vernon Reid b.1958 †Rudolf Dašek 1933-2013 August 2 Joe Diorio b.1936 Donny McCaslin b.1966 † 1932-80 Aruán Ortiz b.1973 †Alice Coltrane 1937-2007 †Big Nick Nicholas 1922-97 † 1937-2014 Peter Martin b. 1970 †Sonny Sharrock 1940-94 † 1944-69 †Baden Powell 1937-2000 August 12 Jeb Patton b.1974 August 23 Edward Perez b.1978 † 1944-2016 †Byard Lancaster 1942-2012 †Bent Axen 1925-2010 Martial Solal b.1927 David Binney b.1961 Joseph Daley b.1949 Dave Lee b.1930 August 18 †Gil Coggins 1928-2004 August 28 Billy Kilson b.1962 Victor Goines b.1961 Pat Metheny b.1954 †Eddie Durham 1906-87 †Danny Barcelona 1929-2007 †Phil Seaman 1926-72 Zach Brock b.1974 Ramón López b.1961 Phil Palombi b.1970 †Don Lamond 1920-2003 Terje Rypdal b.1947 †Kenny Drew 1928-93 roscoe mitchell Ravi Coltrane b.1965 †Chuck Connors 1930-94 Bobby Watson b.1953 John Marshall b.1941 August 3rd, 1940 August 3 Andrew Bemkey b.1974 August 13 Adam Makowicz b.1940 b.1970 Stephen Gauci b.1966 †Charlie Shavers 1917-71 †Stuff Smith 1909-67 John Escreet b.1984 Christoph Pepe Auer b.1981 One of jazz’ most fervent †Eddie Jefferson 1918-79 August 7 † 1919-2011 August 24 Robin Verheyen b.1983 conceptualists, to refer to †Dom Um Romao 1925-2005 †Idrees Sulieman 1923-2002 †Benny Bailey 1925-2005 August 19 †Al Philburn 1902-72 Roscoe Mitchell as merely b.1926 †Rahsaan Roland Kirk 1936-77 †Joe Puma 1927-2000 †Jimmy Rowles 1918-96 †Buster Smith 1904-91 August 29 a saxophonist would be † 1940-82 Howard Johnson b.1941 † 1955-2013 Danny Mixon b.1949 †Alphonso Trent 1905-59 †Charlie Parker 1920-55 absurdly reductionist. His Roscoe Mitchell b.1940 Marcus Roberts b.1963 Tim Hagans b.1954 † 1924-63 1966 debut album Sound Hamid Drake b.1955 August 14 Marc Ducret b.1957 August 25 Jerry Dodgion b.1932 (Delmark) was an opening Tom Zlabinger b.1971 August 8 †Eddie Costa 1930-62 †Bob Crosby 1913-93 Bennie Maupin b.1940 shot for a particular brand †Lucky Millinder 1900-66 Jimmy Wormworth b.1937 August 20 †Leonard Gaskin 1920-2009 Florian Hoefner b.1982 of Chicagoan jazz that August 4 †Benny Carter 1907-2003 Tony Monaco b.1959 Mitchell, both as a leader †Jack Teagarden 1905-64 †Rune Gustafsson 1933-2012 and part of the soon- †Louis Armstrong 1901-71 †Jimmy Witherspoon 1923-97 Walter Blanding b.1971 †Frank Rosolino 1926-78 Wayne Shorter b.1933 August 30 founded Art Ensemble of †Bill Coleman 1904-81 † 1926-2018 † 1927-95 †Carrie Smith 1941-2012 † 1924-72 Chicago, has spearheaded † 1921-2010 Don Burrows b.1928 August 15 b.1939 Günter “Baby” Sommer b.1943 John Surman b.1944 for over half a century. The Sonny Simmons b.1933 †Vinnie Dean 1929-2010 †Oscar Peterson 1925-2007 Milford Graves b.1941 Pat Martino b.1944 Bronislaw Suchanek b.1948 latter band was part of the Bobo Stenson b.1944 Bill Dowdy b.1933 Jiggs Whigham b.1943 Keith Tippett b.1947 Anthony Coleman b.1955 seminal expat scene in ‘60s Terri Lyne Carrington b.1965 August 9 b.1938 Terry Clarke b.1944 Michael Marcus b.1952 Rodney Jones b.1956 Paris, with nearly as many Eric Alexander b.1968 Jack DeJohnette b.1942 Art Lillard b.1950 John Clayton b.1952 b.1975 albums recorded as years Michäel Attias b.1968 Dennis Gonzalez b.1954 Reto Weber b.1953 b.1982 August 31 in existence. Mitchell has August 10 Stefan Zeniuk b.1980 †Edgar Sampson 1907-73 his own large discography August 5 †Arnett Cobb 1918-89 August 21 August 26 †Herman Riley 1933-2007 on Sackville, Nessa, 1750 †Terry Pollard 1931-2009 b.1936 August 16 †Count Basie 1904-84 †Jimmy Rushing 1903-72 Gunter Hampel b.1937 Arch, Cecma, Black Saint, Silkheart, ECM, RogueArt, Sigi Schwab b.1940 Denny Zeitlin b.1938 † 1926-2002 †Art Farmer 1928-99 †Francis Wayne 1924-78 † 1940-2015 Pi and collaborations with †Lenny Breau 1941-84 Mike Mantler b.1943 †Bill Evans 1929-80 †Malachi Thompson 1949-2006 †Peter Appleyard 1928-2013 Bengt Berger b. 1942 equally cerebral saxophonists b.1941 †Fred Ho 1957-2014 Alvin Queen b.1950 Peter Apfelbaum b.1960 †Clifford Jarvis 1941-99 Stefano Battaglia b.1965 like and Phil Wachsmann b.1944 Akiko Pavolka b.1965 Cecil Brooks III b.1959 Oscar Perez b.1974 Andrew Lamb b.1958 Evan Christopher b.1969 Evan Parker. -AH Jemeel Moondoc b.1951 Cyrille Aimée b.1984 b.1959 Chris Dingman b.1980 b.1960 Tineka Postma b.1978 CROSSWORD

1 2 3 4 5 6 ACROSS DOWN

1. This prog-rock band covered ’s 1. ‘70s Mercury double-LP compilation catalogue prefixes 7 8 9 10 11 “Blue Rondo à la Turk” 2. British pianist Pete who debuted on ESP-Disk in 1968 4. John Coltrane supposedly was on this while recording Om 3. 2013 John Butcher/Tony Buck/Magda Mayas/ 12 13 7. Trombonist Liston who was neither crisp nor Burkhard Stangl Unsounds album thinly sliced? 4. 1990 Epic Midori Takada/Masahiko Satoh album ____ Cruise 14 15 10. Trombonists Connie or Johannes 5. Billy Bang song “The New ____” 12. Cartoon character on the cover of ’s Friends 6. Eddie Henderson and Denny Zeitlin (abbr.) 13. Singer Heginger of Plasmic Quartet 8. Organizers of the annual Celebrate Brooklyn! Festival 16 17 14. French improvising ensemble who collaborates 9. Jazz style pioneered by Dizzy Gillespie and Chano Pozo regularly with Barre Phillips 10. Like Herbie, Ron and Tony 18 15. 1992 Verve Joe Henderson album So ____, So Far 11. Baritone saxophonist Jack who worked with Oliver 16. These come in sizes ranging from sopranino to Nelson and Claude Thornhill 19 20 21 22 23 24 contrabass 17. 1994 ECM John Surman album A Biography Of The ____ 18. Marketing Manager Kurosman Absalom Dawe 19. Label run by French bassist Claude Tchamitchian 19. Pianist Don who worked with Sidney Bechet, Kid Ory, 25 26 25. Swing Era bandleader Chick George Lewis and others. 26. What jazz musicians do to survive 20. With Park, California city where Vince Guaraldi died 27 28 29 27. Home of Italy’s Count Basie Jazz Club 21. Saxophonist Bob Cooper was also known for playing 28. Ragtime pianist Blake this instrument

30 31 30. Sun Ra Arkestra’s Marshall 22. Jazz is one 31. 2003 Roy Ayers Chrysalis album 23. Another name for 9 Down 32. 1990 Gramavision John Scofield album ____ Sco: 24. At the heart of Monk’s “Misterioso”? 32 33 Best Of The Ballads 27. A budget item for 26 Across 33. Evan Parker label founded under pressure? 29. ‘70s Label founded by Byron Morris in Poughkeepsie By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 31 CALENDAR

Thursday, August 1 • Gary Pierce Trio with Jon B. Roche, Rie Yamaguchi-Borden êSeraphic Light: Matthew Shipp, Daniel Carter, William Parker Uke Hut 8 pm $20 The Stone at The New School 8:30 pm $20 • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm êHarold Mabern Trio with , Joe Farnsworth êHarold Mabern Trio with John Webber, Joe Farnsworth • Amy Cervini 55Bar 7 pm Village Vanguard 8:30, 10:30 pm $35 Village Vanguard 8:30, 10:30 pm $35 • Yunior Terry and Son de Altura The Archway 6:30 pm • Jeong Lim Yang Bar Lunàtico 9 pm $10 Friday, August 2 Saturday, August 3 • Jocelyn Gould Trio with Louie Leager, Sarah Gooch; Assaf Kehati Trio with Sam Bevan, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm • Ayana Lowe 55Bar 6 pm êHerbie Hancock Band with Lionel Loueke, Terrace Martin, James Genus, • Christopher Cerrone’s The Pieces That Fall to Earth • Will Bernard Bar Lunàtico 9 pm $10 Vinnie Colaiuta; Thundercat Beacon Theatre 7:30 pm $75-125 Areté Gallery 8 pm $15 êRodney Jones Trio with Lonnie Plaxico, Carl Allen • Lorin Cohen Birdland 5:30 pm $30 • Anant Pradham Bar Lunàtico 8:30, 10 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 êBenny Goodman Tribute: with guest êSpin Cycle Minus One: Scott Neumann, Tom Christiansen, Phil Palombi • Eric Comstock/Sean Smith with guest Barbara Fasano Birdland 8:30, 11 pm $40-50 Bar Next Door 7:30, 9:30, 11:30 pm $12 Birdland 5:30 pm $30 êChris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland, êBenny Goodman Tribute: John Pizzarelli with guest Ken Peplowski êBenny Goodman Tribute: John Pizzarelli with guest Ken Peplowski Phil Stewart Birdland Theater 7, 9:45 pm $20-30 Birdland 8:30, 11 pm $40-50 Birdland 8:30, 11 pm $40-50 • Avishai Cohen Trio with Shai Maestro, Mark Guiliana êChris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland, êChris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland, Blue Note 8, 10:30 pm $35 Phil Stewart Birdland Theater 7, 9:45 pm $20-30 Phil Stewart Birdland Theater 7, 9:45 pm $20-30 • Mwenso and The Shakes Chelsea Music Hall 8:30 pm $20 • Avishai Cohen Trio with Shai Maestro, Mark Guiliana • Avishai Cohen Trio with Shai Maestro, Mark Guiliana • Noriko Kamo Duo Cleopatra’s Needle 7 pm Blue Note 8, 10:30 pm $35 Blue Note 8, 10:30 pm $35 • Yuka Mito Quartet with Allen Farnham, Dean Johnson, Tim Horner • Issac Raz Duo Cleopatra’s Needle 8 pm • Justin Lees Trio Cleopatra’s Needle 8 pm Club Bonafide 8 pm $20 • Josean Jacobo and Tumbao Club Bonafide 10 pm $20 • Ben Wolfe Quintet with Randy Brecker, Warren Wolf, , Donald Edwards • Ben Wolfe Quintet with Randy Brecker, Warren Wolf, Luis Perdomo, Donald Edwards • Ben Wolfe Quintet with Randy Brecker, Warren Wolf, Luis Perdomo, Donald Edwards Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $40 Dizzy’s Club 7:30, 9:30 pm $40 • The Ladybugs Dizzy’s Club 11:15 pm $20 • The Ladybugs Dizzy’s Club 11:15 pm $10 • The Ladybugs Dizzy’s Club 11:15 pm $10 • Dave Meder Passage Trio; Fleur Seule Latin Big Band • Benny Benack III/Yotam Silberstein; Johnny O’Neal • Ken Fowser Quartet; Chino Pons The Django at Roxy Hotel 8:30, 10:30 pm The Django at Roxy Hotel 8:30, 10:30 pm The Django at Roxy Hotel 8:30, 10:30 pm • ; Jared Gold/Dave Gibson; Nick Hempton • Sanah Kadoura; Raphael D’lugoff; Greg Glassman Jam • Bruce Jackson; Saul Rubin Zebtet; Paul Nowinski Fat Cat 6, 10:30 pm 1:30 am $10 Fat Cat 7, 10 pm 1:30 am $10 Fat Cat 7, 10 pm 1:30 am $10 • Lady Leah Gin Fizz Harlem 7, 8:30 pm $30 êGreg Lewis Gantry Plaza State Park 3 pm • Pedrito Martinez Ginny’s Supper Club 7:30, 9:30 pm $20 êDick Griffin Greater Calvary Baptist Church 7 pm $10 • Afro Yaqui Music Collective Ginny’s Supper Club 7:30, 9:30 pm $20 • Takaaki Otomo Trio with Brian Woodruff êAnthony Coleman Trio with Henry Fraser, Francisco Mela êAnthony Coleman solo Happylucky no.1 8 pm $20 Jazz at Kitano 8, 10 pm $18 Happylucky no.1 8 pm $20 • and Brazilian Jazz All Stars with Scott Robinson, , • Secret Mall: Alfredo Colon, Edward Gavitt, Steve Williams, Andres Valbuena • Duduka Da Fonseca and Brazilian Jazz All Stars with Scott Robinson, Helio Alves, Jazz at Kitano 8, 10 pm $34 The Jazz Gallery 7:30, 9:30 pm $15 Peter Washington Jazz at Kitano 8, 10 pm $34 êPeter Bernstein/Gilad Hekselman The Jazz Gallery 7:30, 9:30 pm $25 êAbdullah Ibrahim and Ekaya with Noah Jackson, Will Terrill, Cleave Guyton, Jr., êAbdullah Ibrahim and Ekaya with Noah Jackson, Will Terrill, Cleave Guyton, Jr., êAbdullah Ibrahim and Ekaya with Noah Jackson, Will Terrill, Cleave Guyton, Jr., Lance Bryant, Andrae Murchison, Marshall McDonald Lance Bryant, Andrae Murchison, Marshall McDonald Lance Bryant, Andrae Murchison, Marshall McDonald Jazz Standard 7:30, 9:30 pm $40 Jazz Standard 7:30, 9:30 pm $40 Jazz Standard 7:30, 9:30 pm $40 • Myron Walden and Strings with Jon Cowherd • Jazzmobile: Antonio Hart Marcus Garvey Park 7 pm • Wayne Escoffery, Anthony Wonsey, Ugonna Okegwo; Jon Davis Mezzrow 7:30 pm $20 • Endea Owens Band Medgar Evers College 7 pm Mezzrow 7:30, 10:30 pm $20 • Huvudbry: Marija Kovacevic, Michael Coleman, Hampus Ohman-Frolund; • Wayne Escoffery, Anthony Wonsey, Ugonna Okegwo; Noah Haidu êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 The Why: Anders Nisson/Jeremy Carlstedt Mezzrow 7:30, 10:30 pm $20 • Rodrigo Bonelli Trio Silvana 7 pm Nublu 8 pm • Vanisha Gould Minton’s 7:30, 9:30 pm $20 • Vince Ector Organatomy Trio+ with Bruce Williams, Pat Bianchi, Paul Bollenback; êSteph Richards Quartet with Joshua White, Stomu Takeishi, Gerald Cleaver êTribute to Hermeto Pascoal: Tony Malaby, Vitor Gonçalves, Rogério Boccato Mike DiRubbo Quartet with Brian Charette, Ugonna Okegwo, Kush Abadey; The Owl Music Parlor 7:30 pm $10 Neighborhood Church of Greenwich Village 8, 9:30 pm Brooklyn Circle Smalls 7:30, 10:30 pm 1 am $20 • David DeMotta Silvana 6 pm • Ethan Eubanks’ Grease Room 623 at B2 Harlem 10 pm $20 êAaron Diehl Trio with Paul Sikivie, Greg Hutchinson • Quartet with Kyle Koehler, Ed Cherry, Mark Whitfield, Jr.; • Kengchakaj’s Lak Lan with Niall Cade, Shai Golan, Pureum Jin, Perrin Grace, Smoke 7, 9, 10:30 pm $40 Alexander Claffy Quintet with Jeremy Pelt, Immanuel Wilkins, Takeshi Ohbayashi, Nolan Byrd; Pureum Jin’s The Real Blue Quartet with Kengchakaj, Jeonghwan Park, • and Holographic Principle Ofri Nehemya; Mimi Jones and The Lab Session Robin Baytas ShapeShifter Lab 8:15, 9:30 pm $10 St. Albans Congregational Church 5 pm $20 Smalls 7:30, 10:30 pm 1 am $20 • Rebecca Chubay Silvana 6 pm êSylvie Courvoisier, John Zorn, Okkyung Lee, William Parker • Steve Kroon Sextet with Igor Atalita, Donald Nicks, Bryan Carrott, Craig Rivers, • Vince Ector Organatomy Trio+ with Bruce Williams, Pat Bianchi, Paul Bollenback; The Stone at The New School 8:30 pm $20 Joel Mateo Smoke 7, 9, 10:30 pm $20 Mike DiRubbo Quartet with Brian Charette, Ugonna Okegwo, Kush Abadey; • New Bojaira: Jesús Hernández, Alfonso Cid, Tim Ferguson, Mark Holen • Prana Voice: Rosie Hertlein, William Parker, Gary Hassay, Daniel Carter Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20 Terraza 7 7 pm $15 The Stone at The New School 8:30 pm $20 êAaron Diehl Trio with Paul Sikivie, Greg Hutchinson êHarold Mabern Trio with John Webber, Joe Farnsworth Smoke 7, 9, 10:30 pm $40 Village Vanguard 8:30, 10:30 pm $35

32 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD êBetty Carter at 90: Charenée Wade Dizzy’s Club 7:30, 9:30 pm $35 êKirk Lightsey Trio; Eden Ladin Mezzrow 7:30, 10:30 pm $20 Sunday, August 4 • Evan Sherman Dizzy’s Club 11:15 pm $5 • Karlea Lynne Minton’s 7:30, 9:30 pm $20 • Larry Corban Trio with Marco Panascia, Steve Johns • Greg Ruggiero solo; Steven Feifke Big Band • Scot Albertson/Ron Jackson Parnell’s Bar 7 pm Bar Next Door 8, 10 pm $12 The Django at Roxy Hotel 8:30, 10:30 pm • Dave Schumacher’s Chicago 3 +2 with Charlie Sigler, Anthony Wonsey, Tyler Mitchell, • Ben Monder solo Barbès 5 pm $10 • Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam Charles Goold; Quintet with Duane Eubanks, Luis Perdomo, êThe Duke Ellington Center Big Band Fat Cat 7, 9 pm 12:30 am $10 Kenny Davis, Donald Edwards; JD Allen Birdland 6 pm $30 • Louis Armstrong Jazz Jam led by Carol Sudhalter Smalls 7:30, 10:30 pm 1 am $20 • Louis Armstrong Birthday Brunch: Joey Morant and Catfish Stew Flushing Town Hall 7 pm $10 • 1959—A Year of Iconic Jazz Recordings: Eric Reed Quartet with Jon Beshay, Blue Note 11:30 am 1:30 pm $39.50 êJazzmobile: Brianna Thomas Grant’s Tomb 7 pm Clovis Nicholas, Aaron Seeber Smoke 7, 9, 10:30 pm $38 • Avishai Cohen Trio with Shai Maestro, Mark Guiliana êArt Lande Quartet with Bruce Williamson, Dean Johnson, Matt Wilson êIngrid Laubrock, Nels Cline, , Ches Smith Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $18 The Stone at The New School 8:30 pm $20 • Ben Wolfe Quintet with Immanuel Wllkins, Warren Wolf, Luis Perdomo, • Quartet with Jon Cowherd, Gilad Hekselman, Jimmy Macbride êBill Frisell Trio with Thomas Morgan, Rudy Royston Donald Edwards Dizzy’s Club 7:30, 9:30 pm $35 The Jazz Gallery 7:30, 9:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Alex Ward, Sam Weinberg, Henry Fraser; Sean Ali solo • The Rolling Stones Project: Bernard Fowler, Tim Ries, Ben Monder, Grégoire Maret, • Liz Rosa Quartet with Misha Piatigorsky, Peter Slavov, Graciliano Zambonin Downtown Music Gallery 6, 7 pm Larry Goldings, Tony Scherr, Terreon Gully Zinc Bar 7:30, 9 pm $30 • ’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band Jazz Standard 7:30, 9:30 pm $30 Fat Cat 6, 8:30 pm $10 • Camila Meza and The Nectar Orchestra Saturday, August 10 • Louis Armstrong Jazz Jam All-Stars Madison Square Park 7 pm Flushing Town Hall 7:30 pm • Billy Test, Evan Gregor, Ian Froman; Isaiah J. Thompson • Alex LoRe Trio with Martin Nevin, Jochen Rueckert êArtemis Sextet: Art Lande, Will Bernard, Bruce Williamson, Brian Drye, Mike McGinnis, Mezzrow 7:30, 10:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Matt Wilson Ibeam Brooklyn 8:30 pm $15 • David Hazeltine/Sean Smith Saint Peter’s Church 1 pm $10 • Pedro Giraudo Tango Quartet with Nick Danielson, Rodolfo Zanetti, Ahmed Alom êAbdullah Ibrahim and Ekaya with Noah Jackson, Will Terrill, Cleave Guyton, Jr., • Will Barnard Silvana 6 pm Barbès 8 pm $10 Lance Bryant, Andrae Murchison, Marshall McDonald êKirk Lightsey Quartet with Mark Whitfield, Santi Debriano, Taru Alexander; • Eric Comstock/Sean Smith with guest Barbara Fasano Jazz Standard 7:30, 9:30 pm $40 Darryl Yokley Quartet with Zaccai Curtis, Luques Curtis, Byron Landham; Birdland 5:30 pm $30 • Spike Wilner solo; Saul Rubin Trio; Panas Athanatos and Friends Julius Rodriguez Trio Smalls 7:30, 10:30 pm 1 am $20 êDee Dee Bridgewater Birdland 8:30, 11 pm $30-40 Mezzrow 5, 7;30, 10:30 pm $20 êGrammy Season Sextet: Ingrid Laubrock, Brandon Seabrook, Michael Formanek, êNicki Parrott Trio with John DiMartino, Alvin Atkinson • Stephanie Jnote Renaissance Harlem 6 pm Tom Rainey, Mazz Swift, Tomeka Reid Birdland Theater 7, 9:45 pm $20-30 • Richard Shade Russian Samovar 3 pm The Stone at The New School 8:30 pm $20 • Nicholas Payton Blue Note 8, 10:30 pm $35 • Melissa Stylianou, Godwin Louis, Chris Dingman, Ike Sturm êBill Frisell Trio with Thomas Morgan, Rudy Royston êMarcos Varela The Cell 8 pm $10 Saint Peter’s Church 6 pm Village Vanguard 8:30, 10:30 pm $35 êJazzzmobile: Wycliffe Gordon; Harlem Renaissance Orchestra; Alyson Williams; Sage • Beartrap: Tristan Cappel, Jason Dida, Stuart Lyons, Jeff Cuny, David Dunham; Central Park Great Hill 4 pm Tiny Tree: Steve Williams, Kate Gentile, Noah Becker, Theo Walentiny Thursday, August 8 • Soul Gard Band Cleopatra’s Needle 8 pm ShapeShifter Lab 7, 8:15 pm $10 • Pureum Jin’s The Real Blue Quartet Club Bonafide 8 pm $15 • Shrine Big Band Shrine 8 pm • Robin Grasso/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 8 pm • Victor Goines Quartet with Strings Dizzy’s Club 7:30, 9:30 pm $45 • Larry Ham/Woody Witt Quartet with Lee Hudson, Tom Melito; • Nicole Zuraitis 55Bar 7 pm • Evan Sherman Dizzy’s Club 11:15 pm $20 Ralph Lalama’s Bop-Juice with Akiko Tsuruga, Clifford Barbaro; David Gibson • Dandy Wellington The Archway 6:30 pm • Wayne Escoffery; “King” Solomon Hicks Smalls 7:30, 10:30 pm 1 am $20 • Adam Cordero Trio with Odin Scherer, Solomon Gottfried; Pete Zimmer with The Django at Roxy Hotel 8:30, 10:30 pm • Bill Stevens Songbook with Corey Larson, Paul Pricer Avi Rothbard, Sam Trapchak Bar Next Door 6:30, 8:30, 10:30 pm $12 • Steve Carrington; Antoine Drye; Greg Glassman Jam Tomi Jazz 7 pm • Chiemi Nakai Quartet with Alejandro Aviles, Carlo De Rosa, Vince Cherico Fat Cat 7, 10 pm 1:30 am $10 êHarold Mabern Trio with John Webber, Joe Farnsworth Birdland 5:30 pm $30 • Mel Davis and Friends Gantry Plaza State Park 3 pm Village Vanguard 8:30, 10:30 pm $35 êDee Dee Bridgewater Birdland 8:30, 11 pm $30-40 • Michela Marino Lerman Ginny’s Supper Club 7:30, 9:30 pm $20 êNicki Parrott Trio with John DiMartino, Alvin Atkinson êJohn Medeski Happylucky no.1 8 pm $20 Birdland Theater 7, 9:45 pm $20-30 • Denise Mangiardi Quartet with , , Tim Horner Monday, August 5 • Nicholas Payton Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $34 • Oz Noy 55Bar 10 pm • New Bojaira: Jesús Hernández, Alfonso Cid, Tim Ferguson, Mark Holen, Peter Brainin, êManuel Valera’s New Cuban Express Big Band êSheryl Bailey 3 with Ron Oswanski, Ian Froman Elisabet Torras Bronx Music Heritage Center 7 pm $7 The Jazz Gallery 7:30, 9:30 pm $25 Bar Lunàtico 9 pm $10 • Daryl Sherman Bryant Park 12:30 pm • Sara Gazarek with Immanuel Wilkins, Alan Ferber, Charles Pillow, Julian Shore, • Ryan Hernandez Trio with Allan Bezama, Griffin Fink; Michelle Walker Trio with • Kuni Mikami Duo Cleopatra’s Needle 7 pm Matt Aronoff, Zach Harmon Jazz Standard 7:30, 9:30 pm $30 Sean Fitzpatrick, Michael O’Brien Bar Next Door 6:30, 8:30, 10:30 pm $12 • NY Jazz Composers’ Mosaic: Rafael Piccolotto de Lima, Jihye Lee and Migiwa Miyajima êKirk Lightsey Trio; Neal Caine Mezzrow 7:30, 10:30 pm $20 • Ben Williams and Friends Blue Note 8, 10:30 pm $25 with Ben Kono, Alejandro Aviles, Dan Pratt, Jeremy Powell, Carl Maraghi, Mike Fahie, êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 • Daryl Sherman Bryant Park 12:30 pm Matthew McDonald, Nick Grinder, Jennifer Wharton, Brian Pareschi, John Lake, • Kaushik Viswanath Shrine 7 pm êRodney Chapman, Eric Plaks, Zach Swanson, Vijay Anderson; Stephen Gauci, Mike Sailors, Adam Birnbaum, Evan Gregor, Rogério Boccato • Dave Schumacher’s Chicago 3 +2 with Charlie Sigler, Anthony Wonsey, Tyler Mitchell, Adam Lane, Ava Mendoza, Vijay Anderson; Guillermo Gregorio, The DiMenna Center 8 pm $35 Charles Goold; Robin Eubanks Quintet with Duane Eubanks, Luis Perdomo, Nicholas James Jozwiak, Josh Sinton; Juan Pablo Carletti, Christof Knoche, • Victor Goines Quartet with Strings Dizzy’s Club 7:30, 9:30 pm $40 Kenny Davis, Donald Edwards; Philip Harper Quintet Yoni Kretzmer, Jake Henry, Rick Parker, Shayna Dulberger, Ben Stapp, • Evan Sherman Dizzy’s Club 11:15 pm $10 Smalls 7:30, 10:30 pm 1 am $20 Thomas Heberer; Flin van Hemmen, Lathan Hardy, Sean Ali; Aron Namenwirth, • Bruce Harris/Andrew Latona; Mark Whitfield • 1959—A Year of Iconic Jazz Recordings: Eric Reed Quartet with Jon Beshay, Eric Plaks, Sean Conly, Jon Panikkar, John Loggia The Django at Roxy Hotel 8:30, 10:30 pm Clovis Nicholas, Aaron Seeber Smoke 7, 9, 10:30 pm $38 Bushwick Public House 7 pm $10 • Billy Kaye Quintet; Greg Glassman Quintet; Avi Rothbard • Keiko Matsui with guest Randy Brecker • Jazz House Kids hosted by Christian McBride Fat Cat 7, 10 pm 1:30 am $10 Sony Hall 8 pm $40 Dizzy’s Club 7:30, 9:30 pm $35 • Pedrito Martinez Ginny’s Supper Club 7:30, 9:30 pm $20 êIngrid Laubrock, Adam Matlock, Brandon Lopez, Nate Wooley, Tom Rainey êRobert Dick/Leszek “Hefi” Wisniowski; Milo Tamez solo • Joshua Richman Quintet with Steve Wilson, Leon Jordan, Jr., Peter Washington, The Stone at The New School 8:30 pm $20 Downtown Music Gallery 6:30 pm Donald Edwards Jazz at Kitano 8, 10 pm $18 êBill Frisell Trio with Thomas Morgan, Rudy Royston • Galen Passen; Tim Ferguson; Billy Kaye Jam • Chad Taylor Trio with Brian Settles, Neil Podgurski Village Vanguard 8:30, 10:30 pm $35 Fat Cat 6, 9 pm 12:30 am $10 The Jazz Gallery 7:30, 9:30 pm $15 • Dave Meder/Miguel Zenón Mezzrow 7:30 pm $20 • Jamison Ross Quartet with Chris Pattishall, Cory Irvin, Jay White Sunday, August 11 • Practitioner: Michael Coleman/Ben Goldberg; Grex; Eli Wallace/Karl Evangelista 3 with Jazz Standard 7:30, 9:30 pm $30 Matt Nelson, Gerald Cleaver Nublu 8 pm • Nitai Hershkovits, Peter Bernstein, Rick Rosato • Jim Campilongo 55Bar 7 pm • Ari Hoenig Abarè Trio with Chico Pinheiro, Eduardo Belo; Joe Farnsworth Quartet with Mezzrow 7:30 pm $20 • solo Bar Next Door 8, 10 pm $12 Jeremy Pelt Smalls 7:30, 10:30 pm $20 êHank Roberts Sextet with Brian Drye, Dana Lyn, Mike McGinnis, Jacob Sacks, • DW Jazz Orchestra led by Louis Danowsky and Sam Wolsk with Alex Hope Kramer êGeorge Cables Trio Smoke 7, 9, 10:30 pm $15 Vinnie Sperrazza; Zosha Warpeha and Friends Birdland 5:30 pm $30 • John Webber Trio with David Wong, Yuriana Sobrino The Owl Music Parlor 7:30 pm $10 • Nicholas Payton Blue Note 8, 10:30 pm $35 Zinc Bar 7:30, 9 pm $25 • Carol Sudhalter Quartet with Katie Cosco, Mike Campenni • Victor Goines Quartet with Strings Dizzy’s Club 7:30, 9:30 pm $35 Pier 84 7 pm • Louna Dekker-Vargas, Lehad Finck, Tal Yahalom, Nick Dunston, Stephen Boegehold; • Joe Bataan and Cilantro Boom Box Ben Goldberg/Caroline Davis Downtown Music Gallery 6 pm Tuesday, August 6 S.O.B.’s 7 pm $25 êSummerstage: Eddie Palmieri East River Park Promenade Amphitheater 6 pm • Jazzmobile: James Zollar 32nd Police Precinct 7 pm • Diana Herald Silvana 6 pm • Terry Waldo’s Gotham City Band; Aaron Bahr • Leni Stern Trio with Mamadou Ba, Alioune Faye êKirk Lightsey Quartet with Mark Whitfield, Santi Debriano, Taru Alexander; Fat Cat 6, 8:30 pm $10 55Bar 10 pm Brent Birckhead Quartet with Mark G. Meadows, Jonathan Michel, Curtis Nowosad; • Eric Harland Electric Quartet with Big Yuki, Joshua Giunta, Keita Ogawa • Todd Clouser’s A Love Electric Bar Lunàtico 8:30, 10 pm $10 Mimi Jones and The Lab Session Smalls 7:30, 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $30 • Alex DeLazzari Trio with Paul Cuffari, Hank Allen Barfield; David Rosenthal Trio with êReuben Wilson Trio with Paul Bollenback, Carmen Intorre, Jr. • Spike Wilner solo; Evan Arntzen, Jon-Erik Kellso, Mathis Picard; Greg Ruggiero Coleman Bartels, Nathaniel Schroeder Smoke 7, 9, 10:30 pm $20 Mezzrow 5, 7;30, 10:30 pm $20 Bar Next Door 6:30, 8:30, 10:30 pm $12 êBertha Hope Quintet Socrates Sculpture Park 6:30 pm • Aimee Allen Trio with Tony Romano, Yoshi Waki • Myk Freedman with JP Shlegelmilch, Jason Nazary, Ari Folman-Cohen and guests êIngrid Laubrock, Stephan Crump, Cory Smythe North Square Lounge 12:30, 2 pm Barbès 7 pm $10 The Stone at The New School 8:30 pm $20 • Deborah Davis Renaissance Harlem 6 pm êDee Dee Bridgewater Birdland 8:30, 11 pm $30-40 • Pedro Giraudo Tango Quartet with Nick Danielson, Rodolfo Zanetti, Ahmed Alom • Vocal Jazz Jam hosted by Jocelyn Medina and Marcus Goldhaber with • Josh Richman Quintet with Steve Wilson, Leon Jordan, Jr., Peter Washington, Terraza 7 9 pm $10 Elizabeth Tomboulian Room 623 at B2 Harlem 2 pm Donald Edwards Birdland Theater 7 pm $20-30 • Michelle Zangara Trio with Jerry Weinstein, Nobu Yamasaki • Beverly Crosby/Joel Diamond Russian Samovar 3 pm • Nicholas Payton Blue Note 8, 10:30 pm $35 Uke Hut 8 pm $20 • Miriam Elhajli, Zaneta Sykes, Chris Dingman • Daryl Sherman Bryant Park 12:30 pm êBill Frisell Trio with Thomas Morgan, Rudy Royston Saint Peter’s Church 6 pm êBetty Carter at 90: Charenée Wade Dizzy’s Club 7:30, 9:30 pm $35 Village Vanguard 8:30, 10:30 pm $35 êMusic for Human Rights—ACLU Benefit Concert: Shai Maestro Trio with Jorge Roeder, • Evan Sherman Dizzy’s Club 11:15 pm $5 • Quartet with Oscar Perez, Kenny Davis, Jeremy Warren Ben Wendel; Aaron Parks solo; Dayna Stephens Trio with Rick Rosato, Adam Arruda; • Saul Rubin Zebtet; Willie Martinez y La Familia; Alexi David Zinc Bar 7:30, 9 pm $30 Camila Meza; Antonio Sanchez Quintet with John Escreet, Thana Alexa, Chase Baird, Fat Cat 7, 9 pm 12:30 am $10 • Ornette Coleman Tribute: Mari Okubo with with Kenny Wessel, Alexis Marcelo, Orlando le Fleming ShapeShifter Lab 4 pm • New Bojaira: Jesús Hernández, Alfonso Cid, Tim Ferguson, Mark Holen, Peter Brainin, Damon Banks Zürcher Gallery 8 pm $15 • Ramiro Barrios Trio Silvana 7 pm María de los Angeles Gantry Plaza State Park 7 pm • Joey “G-Clef” Cavaseno Quartet with Jordan Piper, William Ash, David F. Gibson; • Calvin Jones Greater Calvary Baptist Church 2 pm $10 Friday, August 9 Steve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold; êMichael Formanek Quartet with Chet Doxas, Jacob Sacks, Vinnie Sperazza David Gibson Smalls 7:30, 10:30 pm 1 am $20 Halyard’s 8 pm $10 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai êSons of Kemet: Shabaka Hutchings, Seb Rochford, Tom Skinner, Oren Marshall; • Michael Valeanu Trio with Julian Smith, Adam Arruda Tomi Jazz 7 pm Irreversible Entanglements: Keir Neuringer, Aquiles Navarro, Luke Stewart, Bar Next Door 7:30, 9:30, 11:30 pm $12 êBill Frisell Trio with Thomas Morgan, Rudy Royston Tcheser Holmes, Camae Ayewa Industry City 8 pm $22 êDee Dee Bridgewater Birdland 8:30, 11 pm $30-40 Village Vanguard 8:30, 10:30 pm $35 • Michael Vitali Quartet Jazz at Kitano 8 pm êNicki Parrott Trio with John DiMartino, Alvin Atkinson • Tim Ries Sextet with Ben Monder, Grégoire Maret, Larry Goldings, Tony Scherr, Birdland Theater 7, 9:45 pm $20-30 Monday, August 12 Terreon Gully Jazz Standard 7:30, 9:30 pm $30 • Nicholas Payton Blue Note 8, 10:30 pm $35 • Roxy Coss/Mike King Mezzrow 7:30 pm $20 • Daryl Sherman Bryant Park 12:30 pm • Jim Ridl 55Bar 7 pm êRay Blue Band New York City Baha’i Center 8, 9:30 pm $15 • Steve Stanberg Duo Cleopatra’s Needle 8 pm êHery Paz Trio with Aruán Ortiz, Francisco Mela • Spheres: Jamie Saft, Chuck Hammer, Jamaaladeen Tacuma, Mike Clark • Josean Jacobo and Tumbao Club Bonafide 10 pm $20 Bar Lunàtico 9 pm $10 Nublu 151 8 pm $10 • Victor Goines Quartet with Strings Dizzy’s Club 7:30, 9:30 pm $45 • Ryan Hernandez Trio with Allan Bezama, Griffin Fink; Elisabeth Lohninger Trio with • Eli Degibri Quartet with Tom Oren, Tamir Shmerling; Justin Robinson Quartet with • Evan Sherman Dizzy’s Club 11:15 pm $10 Walter Fischbcher, Marcos Varela Bar Next Door 6:30, 8:30, 10:30 pm $12 Tadataka Unno, Santi Debriano, Taru Alexander • Ken Fowser Quartet; Lezlie Harrison • Jared Grimes Quintet with Mark Meadows, Bret Puchir, Brent Birckhead, Smalls 7:30, 10:30 pm $20 The Django at Roxy Hotel 8:30, 10:30 pm DeWitt Fleming Birdland 7 pm $30 êAnti-House 4: Ingrid Laubrock, Mary Halvorson, Kris Davis, Tom Rainey • New Bojaira: Jesús Hernández, Alfonso Cid, Tim Ferguson, Mark Holen and guests • Ben Williams and Friends Blue Note 8, 10:30 pm $25 The Stone at The New School 8:30 pm $20 Elisabet Torras, Peter Brainin, Claudia Valentina • Victor Lin Bryant Park 12:30 pm êBill Frisell Trio with Thomas Morgan, Rudy Royston Drom 7 pm $20 • Lisanne Tremblay, David Leon, Jon Elbaz, Jessie Cox; Stephen Gauci, Adam Lane, Village Vanguard 8:30, 10:30 pm $35 • Adam Moezinia Trio; Corcoran Holt; Craig Wuepper Kevin Shea; Eli Wallace Quartet; Andrew Schiller, Josh Sinton, Stephen Boegehold; Fat Cat 6, 10:30 pm 1:30 am $10 Nicolás del Aguila Ensemble; Rick Cutler/Vinnie Zummo • Karen Marie with Darrian Douglas Gin Fizz Harlem 7, 8:30 pm $30 Bushwick Public House 7 pm $10 Wednesday, August 7 • Marquis Knox Ginny’s Supper Club 7:30, 9:30 pm $20 • Harlem Quartet: Ilmar Gavilán, Melissa White, Jaime Amador, Felix Umansky and guest • Scott Wendholt Quartet/Adam Kolker Quartet with Ugonna Okegwo, Adam Cruz • Lafayette Gilchrist Greater Calvary Baptist Church 7 pm $10 John Patitucci Dizzy’s Club 7:30, 9:30 pm $35-40 Bar Bayeux 8 pm êJohn Medeski Happylucky no.1 8 pm $20 • Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 • Danny Fox Trio Bar Lunàtico 8:30, 10 pm $10 êAlexis Cole Trio with David Finck, Kenny Hassler êEd Palermo Big Band Iridium 8:30 pm $25 • Juan Munguia Trio with Erick Alfaro, Josh Bailey Jazz at Kitano 8, 10 pm $34 • JFA Jam Session Local 802 6:30 pm Bar Next Door 6:30 pm êManuel Valera’s New Cuban Express Big Band • Roni Ben-Hur, , Vince Ector Mezzrow 7:30 pm $20 êDee Dee Bridgewater Birdland 8:30, 11 pm $30-40 The Jazz Gallery 7:30, 9:30 pm $25 • Lucas Pino Nonet with Alex LoRe, Philip Dizack, Nick Finzer, Andrew Gutauskas, êAbbey Lincoln Celebration: Teri Roiger with James Weidman, John Menegon, • Jamison Ross Quartet with Chris Pattishall, Cory Irvin, Jay White Rafal Sarnecki, , Desmond White, Jimmy Macbride; Neal Smith Birdland Theater 7, 9:45 pm $20-30 Jazz Standard 7:30, 9:30 pm $30 Emilio Modeste Quartet with Oscar Williams II, Dylan Reis, Allen Jones • Nicholas Payton Blue Note 8, 10:30 pm $35 • Vince Ector Organatomy Trio+ with Bruce Williams, Pat Bianchi, Paul Bollenback Smalls 7:30, 10:30 pm $20 • Daryl Sherman Bryant Park 12:30 pm Medgar Evers College 7 pm êGeorge Cables Trio Smoke 7, 9, 10:30 pm $15

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 33 Tuesday, August 13 • Kilter: Laurent David, Kenny Grohowski, Ed Rosenberg III • Black —50th Anniversary of Harlem Cultural Festival: Igmar Thomas; Nublu 11 pm Talib Kweli; Keyon Harrold and guest • Stan Killian 55Bar 7 pm • Jonathon Crompton’s Intuit with Patrick Booth, Patrick Breiner, Ingrid Laubrock, Marcus Garvey Park 6 pm • Niklas Lukassen Trio with Michalis Tsiftsis, Joe Peri; Paul Jubong Lee Trio with Adam Hopkins, Kate Gentile The Owl Music Parlor 7:30 pm $10 êLuis Perdomo/; Jon Davis Daniel Durst, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 • Joe Pino Quintet Shrine 7 pm Mezzrow 7:30, 10:30 pm $20 • David Matthews Trio with Eddie Gomez, Steve Gadd • Alicia Rau Silvana 6 pm êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 Birdland 8:30, 11 pm $30-40 • Eric Johnson Trio with Dan Wasson, Jeff Montgomery; Akiko Tsuruga Quartet with • Claire de Brunner Quartet; Jeff Pearring Sound • Dizzy Gillespie All-Star Big Band Blue Note 8, 10:30 pm $45 Jerry Weldon, Ed Cherry, Joe Farnsworth; Malick Koly Mirror in the Woods 8, 9:30 pm $15 • Victor Lin Bryant Park 12:30 pm Smalls 7:30, 10:30 pm 1 am $20 • Roz Corral Trio with Josh Richman, Yoshi Waki êLouis Hayes Sextet Dizzy’s Club 7:30, 9:30 pm $40 • John Farnsworth Sextet with Joe Magnarelli, James Burton, Rick Germanson, North Square Lounge 12:30, 2 pm • Jake Chapman Quartet Dizzy’s Club 11:15 pm $5 James Cammack, Joe Farnsworth Smoke 7, 9, 10:30 pm $20 • Ramiro Barrios Trio Shrine 6 pm • Gerardo Contino and Los Habaneros êRich Halley Quartet with Matthew Shipp, Michael Bisio, Newman Taylor Baker • Amanda Khiri Silvana 7 pm The Django at Roxy Hotel 8:30 pm Soup & Sound 8 pm $20 • Philip Dizack Quintet with Logan Richardson, Shai Maestro, Harish Raghavan, • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop êChes Smith, Kenny Wollesen, Will Shore, Allison Miller, Kirk Knuffke, Ryan Ferreira, Jeremy Dutton; Darrell Green Quintet with Wallace Roney, Jr., Jordan Young, Fat Cat 7, 9 pm $10 Ben Goldberg, Andrew Conklin The Stone at The New School 8:30 pm $20 Elijah Easton, Tom DiCarlo; Brooklyn Circle êVincent Chancey Greater Calvary Baptist Church 2 pm $10 • Songbook Summit—Duke Ellington: Peter and Will Anderson Ensemble with Smalls 7:30, 10:30 pm 1 am $20 • Ethan Iversen Trio with Dylan Reis, Matt Wilson Molly Ryan, Jeb Patton, Neal Miner, êA Birthday Tribute to Oscar Peterson: Johnny O’Neal Trio with Peter Washington, Halyard’s 8 pm $10 Symphony Space Leonard Nimoy Thalia 5:30, 8 pm $35 Lewis Nash Smoke 7, 9, 10:30 pm $38 • Kenji Yoshitake Quartet Jazz at Kitano 8 pm • Linda Presgrave Quartet with Larry Corban, Dimitri Moderbacher, Seiji Ochiai êNels Cline, Tom Rainey, Ben Goldberg êMichael Leonhart Orchestra with Dave Guy, Scott Wendholt, Jordan McLean, Tomi Jazz 7 pm The Stone at The New School 8:30 pm $20 Carter Yasutake, Ray Mason, Jeff Nelson, Sam Sadigursky, Ian Hendrickson-Smith, • Eugene Pugachov Quartet with Chris Bacas, Chris Wright, Evan Hide êBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Gregory Tardy Jason Marshall, Sara Schoenbeck, Pauline Kim, Emily Hope Price, Robbie Mangano, Uke Hut 8 pm $20 Village Vanguard 8:30, 10:30 pm $35 Nathan Koci, Joe Martin, E.J. Strickland, Elizabeth Pupo-Walker, Daniel Freedman êBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Gregory Tardy • Richie Morales Quartet with Danny Walsh, Charles Blenzig, Harvie S Jazz Standard 7:30, 9:30 pm $30 Village Vanguard 8:30, 10:30 pm $35 Zinc Bar 7:30, 9 pm $30 • Marty Elkins, Steve Ash, Lee Hudson, Jon-Erik Kellso; Naama Gheber Mezzrow 7:30, 10:30 pm $20 Friday, August 16 Sunday, August 18 • Russ Kassoff Trio with Catherine Dupuis New York City Baha’i Center 8, 9:30 pm $15 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm êRay Anderson 55Bar 6 pm • Bruce Harris Quintet; Abraham Burton Quartet with David Bryant, Dezron Douglas, • Kyle Nasser Trio with Rick Rosato, Vinnie Sperrazza êEJ Strickland Trio Bar Next Door 8, 10 pm $12 Eric McPherson Smalls 7:30, 10:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • David Berger Jazz Orchestra Birdland 5:30 pm $30 • Invisible Guy: Ben Goldberg, Michael Coleman, Hamir Atwal, Eli Crews • David Matthews Trio with Eddie Gomez, Steve Gadd êGunhild Carling Birdland Theater 7 pm $25-35 The Stone at The New School 8:30 pm $20 Birdland 8:30, 11 pm $30-40 • Emilio Solla Tango Jazz Orchestra Blue Note 11:30 am 1:30 pm $39.50 • Songbook Summit—Duke Ellington: Peter and Will Anderson Ensemble with êGunhild Carling Birdland Theater 7, 9:45 pm $25-35 • Dizzy Gillespie All-Star Big Band Blue Note 8, 10:30 pm $45 Molly Ryan, Jeb Patton, Neal Miner, Chuck Redd êDizzy Gillespie All-Star Big Band Blue Note 8, 10:30 pm $45 • Sounds for Sculpture: Christian Tamburr Septet with Clint Holmes, Scott Giddens, Symphony Space Leonard Nimoy Thalia 5:30, 8 pm $35 • Victor Lin Bryant Park 12:30 pm Linda Briceño, Paul Creel, John Davis, Keita Ogawa, Michael Dobson • Ascend!: Daniel Carter, Robert Boston, Tom Kotik, Dave Miller • Robert Rucker Project Cleopatra’s Needle 8 pm Dizzy’s Club 7:30, 9:30 pm $35 Troost 8 pm • Okkyung Lee with Chris Corsano, Ches Smith, Ganavya Doraiswamy, Sara Serpa, • Ben Goldberg, Simon Jermyn, Ryan Ferreira; Jack Wright, Evan Lipson, Zach Darrup êBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Gregory Tardy Maeve Gilchrist, Caley Monahon-Ward Downtown Music Gallery 6 pm Village Vanguard 8:30, 10:30 pm $35 The DiMenna Center 8 pm $20 • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 • Sounds for Sculpture: Christian Tamburr Septet with Clint Holmes, Scott Giddens, • William Hooker’s Let Music Be Your Brunch Wednesday, August 14 Linda Briceño, Paul Creel, John Davis, Keita Ogawa, Michael Dobson Funkadelic Studios 11 am Dizzy’s Club 7:30, 9:30 pm $45 êAzar Lawrence Experience with Brian Swartz, Julian Coryell, Theo Saunders, • Melissa Stylianou 55Bar 7 pm • Jake Chapman Quartet Dizzy’s Club 11:15 pm $10 Edwin Livingston,Yayo Morales, Babatunde Lea êJosh Benko Repair Fund Benefit Concert Honoring Jimmy Wormworth • Ken Fowser Quartet; Professor Cunningham and His Old School Jazz Standard 7:30, 9:30 pm $30 The 75 Club at Bogardus Mansion 7:30 pm $30 The Django at Roxy Hotel 8:30, 10:30 pm • Spike Wilner solo; Alan Broadbent, Don Falzone, Billy Mintz; Chris Flory • Dayna Stephens Band Bar Bayeux 8 pm • Lynette Washington Gin Fizz Harlem 7, 8:30 pm $30 Mezzrow 5, 7;30, 10:30 pm $20 • Alec Aldred Trio with Bob Bruya, Jake Richter êRay Blue Greater Calvary Baptist Church 7 pm $10 • Yuko Ito Renaissance Harlem 6 pm Bar Next Door 6:30 pm • Eraser Ear: Mat Maneri, Aurora Nealand, Ryan Ferreira, Tim Berne • Takaaki Otomo Russian Samovar 3 pm • David Matthews Trio with Eddie Gomez, Steve Gadd Happylucky no.1 8 pm $20 • Miriam Elhajli/Chris Dingman Saint Peter’s Church 6 pm Birdland 8:30, 11 pm $30-40 êMakaya McCraven; L’Rain with Ben Katz, Devin Starks, Buz Donald • MoonJune Label Spotlight: Markus Reuter/Kenny Grohowski; Beledo with ê100 Years of George Shearing: John Menegon Quartet with John DiMartino, Industry City 8 pm $22 Lincoln Goines, Kenny Grohowski, Ofer Assaf , Birdland Theater 7, 9:45 pm $20-30 êRan Blake/Christine Correa Jazz at Kitano 8, 10 pm $34 ShapeShifter Lab 7 pm $15 êDizzy Gillespie All-Star Big Band Blue Note 8, 10:30 pm $45 • Taylor Ho Bynum 9-Tette with Jim Hobbs, Ingrid Laubrock, Bill Lowe, Mary Halvorson, • Ned Goold Quartet with Andrew Renfroe, Reid Taylor, Charles Goold; • Victor Lin Bryant Park 12:30 pm Tomeka Reid, Ken Filiano, Stomu Takeishi, Tomas Fujiwara Jon Beshay Quartet; David Gibson êLouis Hayes Sextet Dizzy’s Club 7:30, 9:30 pm $40 The Jazz Gallery 7:30, 9:30 pm $25 Smalls 7:30, 10:30 pm 1 am $20 • Jake Chapman Quartet Dizzy’s Club 11:15 pm $5 êAzar Lawrence Experience with Brian Swartz, Julian Coryell, Theo Saunders, êJohn Zorn’s Nove Cantici per Francesco D’Assisi: , Julian Lage, Gyan Riley • Pasquale Grasso Trio; George Gee Swing Orchestra Edwin Livingston,Yayo Morales, Babatunde Lea Village Vanguard 3 pm $35 The Django at Roxy Hotel 8:30, 10:30 pm Jazz Standard 7:30, 9:30 pm $30 êBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Gregory Tardy • Raphael D’lugoff Trio +1; Trio; Ned Goold Jam êJazzmobile: Craig Harris Marcus Garvey Park 7 pm Village Vanguard 8:30, 10:30 pm $35 Fat Cat 7, 9 pm 12:30 am $10 • Camile Gainer Jones Band Medgar Evers College 7 pm • Jazzmobile: Dayramir Gonzalez Grant’s Tomb 7 pm êLuis Perdomo/Rufus Reid; Joe Davidian Monday, August 19 êJessica Pavone String Ensemble; Ava Mendoza solo Mezzrow 7:30, 10:30 pm $20 Happylucky no.1 8 pm $20 • Thomas Heberer, Terrence McManus, Michael Bates, Jeff Davis êBen Goldberg/Ingrid Laubrock; Ryan Ferreira • Judimarie Canterino Quartet with Rio Clemente, Steve Lamatina, John Beil Michiko Studios 8 pm $20 Areté Gallery 8 pm $15 Jazz at Kitano 8, 10 pm $18 • Melvis Santa Minton’s 7:30, 9:30 pm $20 êBruce Barth Trio Bar Lunàtico 9 pm $10 • Michael Thomas Quartet with Jason Palmer, Hans Glawischnig, Johnathan Blake • Mimi Jones Trio Room 623 at B2 Harlem 10 pm $20 • Jake Richter Trio with Connor Evans, Matthias Jensen; Erli Perez Trio with The Jazz Gallery 7:30, 9:30 pm $15 • Philip Dizack Quintet with Logan Richardson, Shai Maestro, Harish Raghavan, Paul Bollenback, Yoshi Waki Bar Next Door 6:30, 8:30, 10:30 pm $12 • Dave Stryker Quartet with Warren Wolf, Jared Gold, McClenty Hunter Jeremy Dutton; Darrell Green Quintet with Wallace Roney, Jr., Jordan Young, • Miki Yamanaka Birdland Theater 8:30 pm $20-30 Jazz Standard 7:30, 9:30 pm $30 Elijah Easton, Tom DiCarlo; JD Allen • Ben Williams and Friends Blue Note 8, 10:30 pm $25 êLew Tabackin Trio Michiko Studios 8 pm $20 Smalls 7:30, 10:30 pm 1 am $20 • Armen Donelian Bryant Park 12:30 pm • Berbere Criollo: Leo Genovese, Brahim Fribgane, Franco Pinna êA Birthday Tribute to Oscar Peterson: Johnny O’Neal Trio with Peter Washington, • Prawit Siriwat, Eva Lawitts, Colin Avery Hinton; Stephen Gauci, Sandy Ewen, Nublu 12 am Lewis Nash Smoke 7, 9, 10:30 pm $38 Adam Lane, Kevin Shea; David Leon, Kenny Warren, Garrett Wingfield, Davy Lazar; • Jeff Newell New Trad Octet Saint Peter’s Church 1 pm $10 êRavi Coltrane, Chris Lightcap, Gerald Cleaver, Ben Goldberg Kenny Warren, Matthias Pichler, Nathan Ellman-Bell; Darren Johnston, Simon Jermyn, • Graciano 4 Quartet Silvana 7 pm The Stone at The New School 8:30 pm $20 Alex Wyatt; James McKain/Kevin Murray • Andrew Hartman Quartet with Jon Irabagon, Matt Pavolka, Mark Ferber; • The Doggy Cats: Tetsuro Hoshii, Dave Smith, , Christopher Palmer, Bushwick Public House 7 pm $10 Noam Wiesenberg Quintet with Philip Dizack, Immanuel Wilkins, Kush Abadey; Michael Bates, Rob Garcia Sunny’s Bar 9 pm • Electric Miles: Charles Pillow Large Ensemble with Alexa Tarantino, Troy Roberts, Charles Blenzig Smalls 7:30, 10:30 pm 1 am $20 êBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Gregory Tardy Marc Phanuef, Owen Broder, Mike Davis, Alan Ferber, Keith O’Quinn, Jeff Nelson, êBen Goldberg, Ellery Eskelin, Mary Halvorson, Michael Formanek, Tomas Fujiwara Village Vanguard 8:30, 10:30 pm $35 Tony Kadleck, Frank Greene, Scott Wendholt, Tim Hagans, Chuck Bergeron, The Stone at The New School 8:30 pm $20 Jared Schonig Dizzy’s Club 7:30, 9:30 pm $35 êBilly Martin’s Worldbeats with Min Xiao-Fen and guests Saturday, August 17 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 The Sultan Room 8, 9:30 pm $12-15 • Jim Ridl, Steve Wilson, Jay Anderson • Songbook Summit—Duke Ellington: Peter and Will Anderson Ensemble with • Eddie Bruce’s Celebrating Tony Bennett Mezzrow 7:30 pm $20 Molly Ryan, Jeb Patton, Neal Miner, Chuck Redd 54 Below 9:30 pm $30-40 • Kenn Salters Haven with Matt Holman, Tivon Pennicott, Myron Walden, Aki Ishiguro, Symphony Space Leonard Nimoy Thalia 5:30, 8 pm $35 êJerry Weldon Sax Party The 75 Club at Bogardus Mansion 8, 9:30 pm $25 Brad Whiteley, Rick Rosato; Joe Farnsworth Quartet with Jeremy Pelt êBill Frisell Trio with Thomas Morgan, Rudy Royston and guest Gregory Tardy êRon Stabinsky, Shayna Dunkelman, Ava Mendoza Smalls 7:30, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 Areté Gallery 3 pm $15 êGeorge Cables Trio Smoke 7, 9, 10:30 pm $15 • Alvaro Benavides Group Bar Lunàtico 8:30, 10 pm $10 • Flavio Silva Quartet with Corey Wallace, Pat Bianchi, E.J. Strickland Thursday, August 15 • Quentin Angus Trio with Steven Feifke, Rogério Boccato Zinc Bar 7:30, 9 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jinjoo Yoo and guests 1986 Est. Wine Bar & Lounge 8 pm • Birdland 5:30 pm $30 Tuesday, August 20 • Michael Dutra and The Strictly Sinatra Band • David Matthews Trio with Eddie Gomez, Steve Gadd 54 Below 9:30 pm $30-40 Birdland 8:30, 11 pm $30-40 • Leni Stern Trio with Mamadou Ba, Alioune Faye • Nora McCarthy/Jorge Sylvester with guest Fernando Natalici êGunhild Carling Birdland Theater 7, 9:45 pm $25-35 55Bar 10 pm Areté Gallery 8:30 pm $15 • Evan Sherman Big Band Blue Note 12:30 am $15 • Nick Marziani Trio with Cole Davis, Varun Das; Andrew Kushnir with Andrew LaTona, • Andrew Cheng Trio with Giuseppe Cucchiari, Erubiel Rangel; Hendrik Meurkens Trio • Dizzy Gillespie All-Star Big Band Blue Note 8, 10:30 pm $45 Myles Sloniker Bar Next Door 6:30, 8:30, 10:30 pm $12 with Misha Tsiganov, Joe Fitzgerald êBronx Rising!—The Hidden Legacy of Alegre Records: Oreste “Kidd Ore” Abrantes y êCount Basie Orchestra directed by Scotty Barnhart with guest Carmen Bradford Bar Next Door 6:30, 8:30, 10:30 pm $12 Su Orquesta Bronx Music Heritage Center 7 pm $7 Birdland 8:30, 11 pm $40-50 • Jane Irving Birdland 5:30 pm $30 • Carol Sudhalter Sonny Rollins Tribute êEddie Palmieri Blue Note 8, 10:30 pm $45 • David Matthews Trio with Eddie Gomez, Steve Gadd Bryant Park 12 pm • Armen Donelian Bryant Park 12:30 pm Birdland 8:30, 11 pm $30-40 • Denton Darien Trio Cleopatra’s Needle 8 pm • Luisito Quintero’s 3rd Elements with Roberto Quintero, Doug Beavers, Felipe Fournier, • The Tristano Project: Alejandro Aviles, John Marshall, Dave Lalama, Eduardo Belo, êMatana Roberts with Jaimie Branch, Matt Lavelle, María Grand, King Vision Ultra, Roman Lajara, Gabriel Chakarji, “Bam Bam” Rodriguez Chris Smith Birdland Theater 7, 9:45 pm $20-30 Roberto C. Lange, Tomas Fujiwara and International Contemporary Ensemble: Dizzy’s Club 7:30, 9:30 pm $35 • Dizzy Gillespie All-Star Big Band Blue Note 8, 10:30 pm $45 Joshua Rubin, Ryan Muncy, Rebekah Heller, Levy Lorenzo, Cory Smythe, • Tahira Clayton and Addison Frei Dizzy’s Club 11:15 pm $5 • Human Hearts Trio: Lindsey Wilson, Reggie Sylvester, Micheal Trotman Mariel Roberts The DiMenna Center 8 pm $20 • Pedro Giraudo Tango Quartet The Django at Roxy Hotel 8:30, 10:30 pm Brooklyn Public Library Macon Branch 6 pm • Sounds for Sculpture: Christian Tamburr Septet with Clint Holmes, Scott Giddens, • Pedro Giraudo Tango Quartet with Nick Danielson, Rodolfo Zanetti, Ahmed Alom • Victor Lin Bryant Park 12:30 pm Linda Briceño, Paul Creel, John Davis, Keita Ogawa, Michael Dobson The Django at Roxy Hotel 7:30 pm • Frank Whitehouse All Stars Cleopatra’s Needle 7 pm Dizzy’s Club 7:30, 9:30 pm $45 • Saul Rubin Zebtet Fat Cat 7 pm $10 êTim Hagans Quintet with Jon Irabagon, Leo Genovese, Jay Anderson, Joe Hertenstein • Jake Chapman Quartet Dizzy’s Club 11:15 pm $20 • Aki Ishiguro Quartet with Kyle Nasser, Pablo Menares, Jochen Rueckert Dizzy’s Club 7:30, 9:30 pm $40 • Stacy Dillard Quartet; Itai Kriss and Televana Halyard’s 8 pm $10 • Jake Chapman Quartet Dizzy’s Club 11:15 pm $10 The Django at Roxy Hotel 8:30, 10:30 pm êDan Tepfer/Kirk Knuffke InterContinental New York Barclay’s Penthouse Suite 7 pm $35 • Ben Paterson/John Sims; Ian Hendrickson-Smith • Samantha Sidley Elsewhere 7 pm $17 • Aubrey Johnson Quartet Jazz at Kitano 8 pm The Django at Roxy Hotel 8:30, 10:30 pm • Point of Departure; Greg Glassman Jam • Jon Cowherd, Steve Cardenas, Tony Scherr, Brian Blade • Pedrito Martinez Ginny’s Supper Club 7:30, 9:30 pm $20 Fat Cat 10 pm 1:30 am $10 Jazz Standard 7:30, 9:30 pm $30 • M.J. Territo Band with Linda Presgrave, Iris Ornig, Lucianna Padmore • Kelvyn Bell Gantry Plaza State Park 3 pm êNels Cline 4 with Julian Lage, Jorge Roeder, Tom Rainey Jazz at Kitano 8, 10 pm $18 • Charles Anthony Bryant Ginny’s Supper Club 7:30, 9:30 pm $20 Le Poisson Rouge 8 pm $30 • Michael Thomas Quartet with Jason Palmer, Hans Glawischnig, Johnathan Blake êTim Berne with Mat Maneri, Ches Smith, Ryan Ferreira • Vickie Burns, Art Hirahara, Sam Bevan; Vanessa Perea The Jazz Gallery 7:30, 9:30 pm $15 Happylucky no.1 8 pm $20 Mezzrow 7:30, 10:30 pm $20 êAzar Lawrence Experience with Brian Swartz, Julian Coryell, Theo Saunders, êRan Blake/Christine Correa Jazz at Kitano 8, 10 pm $34 êPhillip Johnston and The Silent Six with Joe Fiedler, Mike Hashim, Neal Kirkwood, Edwin Livingston,Yayo Morales, Babatunde Lea • Kalia Vandever’s In Bloom with Theo Walentiny, Lee Meadvin, Nick Dunston, David Hofstra, Rob Garcia; ’s Tromboniverse Jazz Standard 7:30, 9:30 pm $30 Connor Parks The Jazz Gallery 7:30, 9:30 pm $20 Smalls 7:30, 10:30 pm $20 • Steve LaSpina, Luis Perdomo, Ron Affif êAzar Lawrence Experience with Brian Swartz, Julian Coryell, Theo Saunders, êAndrew Cyrille Quartet with Bill Frisell, David Virelles, Mezzrow 7:30 pm $20 Edwin Livingston,Yayo Morales, Babatunde Lea Village Vanguard 8:30, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $30

34 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD Wednesday, August 21 • Trio da Paz and Friends: , Nilson Matta, Duduka da Fonseca with • Davis Whitfield Band Medgar Evers College 7 pm Maucha Adnet, Harry Allen, Claudio Roditi • Lawrence Fields; Tardo Hammer Mezzrow 7:30, 10:30 pm $20 • Matthew R. Smith Trio with John Sheehy, Eric Ficarra Dizzy’s Club 7:30, 9:30 pm $45 • King Solomon Hicks Minton’s 7:30, 9:30 pm $20 54 Below 9:30 pm $25-35 • Tahira Clayton and Addison Frei Dizzy’s Club 11:15 pm $10 • Joel Frahm Trio Room 623 at B2 Harlem 10 pm $20 • Mark Shim Trio with Matt Brewer, • Vanisha Gould/Victor Gould; Alita Moses • Furmi Gomez 4tet Shrine 7 pm Bar Bayeux 8 pm The Django at Roxy Hotel 8:30, 10:30 pm êJed Levy Quartet with Phil Robson, Peter Slavov, Clarence Penn; Lew Tabackin Trio • Pedro Giraudo Tango Quartet with Nick Danielson, Rodolfo Zanetti, Ahmed Alom • Kendra Shank Trio with Frank Kimbrough, Dean Johnson with Boris Kozlov, Mark Taylor; Corey Wallace DUBtet Bar Lunàtico 9 pm $10 Jazz at Kitano 8, 10 pm $18 Smalls 7:30, 10:30 pm 1 am $20 • Artur Akhmetov Trio with Nathan Garrett, Samvel Sarkisyan êKris Davis/Julian Lage The Jazz Gallery 7:30, 9:30 pm $25 êHarold Mabern Trio with Nat Reeves, Joe Farnsworth Bar Next Door 6:30 pm $12 • Glenn Zaleski, Rick Rosato, Colin Stranahan Smoke 7, 9, 10:30 pm $38 êCount Basie Orchestra directed by Scotty Barnhart with guest Carmen Bradford Jazz Standard 7:30, 9:30 pm $30 êLiberty Ellman/Matana Roberts The Stone at The New School 8:30 pm $20 Birdland 8:30, 11 pm $40-50 • Gabriel Guerrero QUΔΠTUM Quartet • Songbook Summit—Louis Armstrong: Peter and Will Anderson Ensemble with • Jazz Vocal Mania: Janis Siegel and Lauren Kinhan with guest Nicole Henry and LIC Landing 6 pm Vince Giordano, Jon-Erik Kellso, Rossano Sportiello, Paul Wells John DiMartino, Yoshi Waki, Vince Cherico • Cynthia Sayer, Charlie Giordano, Mike Weatherly Symphony Space Leonard Nimoy Thalia 5:30, 8 pm $35 Birdland Theater 7 pm $20-30 Mezzrow 7:30 pm $20 êAndrew Cyrille Quartet with Bill Frisell, David Virelles, Ben Street • Karl Lydon Silvana 6 pm Village Vanguard 8:30, 10:30 pm $35 • The Ladybugs Birdland Theater 9:45 pm $20-30 ê êEddie Palmieri Blue Note 8, 10:30 pm $45 Ben Allison and Think Free with Ingrid Jensen, Steve Cardenas, Allan Mednard; • Armen Donelian Bryant Park 12:30 pm Bill Goodwin Trio with , Evan Gregor; Mimi Jones and The Lab Session Saturday, August 24 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with Smalls 7:30, 10:30 pm 1 am $20 Maucha Adnet, Harry Allen, Claudio Roditi êHarold Mabern Trio with Nat Reeves, Joe Farnsworth êBinky Griptite Orchestra Bar Lunàtico 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 Smoke 7, 9, 10:30 pm $38 • Zakk Jones Trio Bar Next Door 7:30, 9:30, 11:30 pm $12 êAva Mendoza/Matana Roberts The Stone at The New School 8:30 pm $20 • Eric Comstock/Sean Smith with guest Barbara Fasano • Tahira Clayton and Addison Frei Dizzy’s Club 11:15 pm $5 Songbook Summit—Louis Armstrong: Peter and Will Anderson Ensemble with êEd Cherry solo; Terraza Big Band The Django at Roxy Hotel 8:30, 10:30 pm • Birdland 5:30 pm $30 Vince Giordano, Jon-Erik Kellso, Rossano Sportiello, Paul Wells êCount Basie Orchestra directed by Scotty Barnhart with guest Carmen Bradford • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam Symphony Space Leonard Nimoy Thalia 5:30, 8 pm $35 Fat Cat 7, 9 pm 12:30 am $10 Birdland 8:30, 11 pm $40-50 • Rie Yamaguchi-Borden Trio with Jon Elbaz, Kevin Hailey êKen Peplowski/Diego Figueiredo Birdland Theater 7, 9:45 pm $20-30 • Stefan Bauer’s Voyage West with Chris Bacas, Tammy Scheffer, Mary Ann McSweeney, Uke Hut 8 pm $20 Dayeon Seok Jazz at Kitano 8, 10 pm $18 êEddie Palmieri Blue Note 8, 10:30 pm $45 êAndrew Cyrille Quartet with Bill Frisell, David Virelles, Ben Street Richard Russo Quartet Cleopatra’s Needle 8 pm • Kris Davis/Julian Lage The Jazz Gallery 7:30, 9:30 pm $25 Village Vanguard 8:30, 10:30 pm $35 • • Jon Cowherd, Steve Cardenas, Tony Scherr, Brian Blade • Mark Capon/Michelle Duda Trio The Cupping Room 8 pm Jazz Standard 7:30, 9:30 pm $30 Friday, August 23 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with • Richard Johnson; Sullivan Fortner Mezzrow 7:30, 10:30 pm $20 Maucha Adnet, Harry Allen, Claudio Roditi • Chet Baker Tribute: Warren Chiasson with Benno Marmur, Alex Gressel, Dizzy’s Club 7:30, 9:30 pm $45 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm Tahira Clayton and Addison Frei Dizzy’s Club 11:15 pm $20 Jimmy Madison Saint Peter’s Church 1 pm $10 • Andrew Renfroe Trio with Matt Dwonszyk, Curtis Nowosad • • Tom Dempsey/Tim Ferguson Quartet with Chris Byars, Eliot Zigmund; Bar Next Door 7:30, 9:30, 11:30 pm $12 • Ray Gallon Trio; Eyal Vilner Big Band Harold Mabern Trio; Julius Rodriguez Trio êCount Basie Orchestra directed by Scotty Barnhart with guest Carmen Bradford The Django at Roxy Hotel 8:30, 10:30 pm Smalls 7:30, 10:30 pm 1 am $20 êSteve Swell Kende Dreams Gantry Plaza State Park 3 pm Birdland 8:30, 11 pm $40-50 ê êGerald Cleaver/Matana Roberts The Stone at The New School 8:30 pm $20 ê Charles Turner Ginny’s Supper Club 7:30, 9:30 pm $20 Ken Peplowski/Diego Figueiredo Birdland Theater 7, 9:45 pm $20-30 ê • Songbook Summit—Louis Armstrong: Peter and Will Anderson Ensemble with êEddie Palmieri Blue Note 8, 10:30 pm $45 Julian Lage Happylucky no.1 8 pm $20 Vince Giordano, Jon-Erik Kellso, Rossano Sportiello, Paul Wells • Armen Donelian Bryant Park 12:30 pm • Maurice Frank Trio with John DiMartino, Neal Miner Symphony Space Leonard Nimoy Thalia 5:30, 8 pm $35 • Dan Furman Duo Cleopatra’s Needle 8 pm Jazz at Kitano 8, 10 pm $34 êAndrew Cyrille Quartet with Bill Frisell, David Virelles, Ben Street • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with • Charles Altura The Jazz Gallery 7:30, 9:30 pm $25 Village Vanguard 8:30, 10:30 pm $35 Maucha Adnet, Harry Allen, Claudio Roditi • Global Messengers with Farayi Malek, Vasilis Kostas, Layth Al-Rubaye, Dizzy’s Club 7:30, 9:30 pm $45 Nasesem Alatrash, Tareq Rantisi Jazz Standard 7:30, 9:30 pm $35 Thursday, August 22 • Tahira Clayton and Addison Frei Dizzy’s Club 11:15 pm $10 êCharlie Parker Jazz Festival: Dee Dee Bridgewater; Ravi Coltrane Quartet with • Ken Fowser Quartet; Itai Kriss and Gato Gordo David Virelles, Dezron Douglas, Johnathan Blake; Quiana Lynell; • Robin Grasso/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 8 pm The Django at Roxy Hotel 8:30, 10:30 pm Reclamation: Camille Thurman, Nikara Warren, Brandee Younger • Rema Hasumi solo Areté Gallery 7:30 pm $15 êEd Cherry Trio Fat Cat 6 pm $10 Marcus Garvey Park 3 pm • Brandon Ross Trio with Charlie Burnham, Warren Benbow • Endea Owens/Shenel Johns Gin Fizz Harlem 7, 8:30 pm $30 • Lawrence Fields; Miki Yamanaka Mezzrow 7:30, 10:30 pm $20 Bar Lunàtico 9 pm $10 • Brent Birckhead Ginny’s Supper Club 7:30, 9:30 pm $20 êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 • Lisa Hoppe Trio with Rachel Therrien, Dayeon Aaron Edgcomb; Austin Becker Trio with êDarius Jones Greater Calvary Baptist Church 7 pm $10 • Hina Oikawa; Joe Barna Silvana 6, 7 pm Martin Nevin, Mike Davis Bar Next Door 6:30, 8:30, 10:30 pm $12 • Underground Horns Groove Bar & Grill 7 pm êJed Levy Quartet with Phil Robson, Peter Slavov, Clarence Penn; Lew Tabackin Trio êCount Basie Orchestra directed by Scotty Barnhart with guest Carmen Bradford êJulian Lage Happylucky no.1 8 pm $20 with Boris Kozlov, Mark Taylor; Eric Wyatt Birdland 8:30, 11 pm $40-50 • Maurice Frank Trio with John DiMartino, Neal Miner Smalls 7:30, 10:30 pm 1 am $20 êKen Peplowski/Diego Figueiredo Birdland Theater 7, 9:45 pm $20-30 Jazz at Kitano 8, 10 pm $34 êHarold Mabern Trio with Nat Reeves, Joe Farnsworth êEddie Palmieri Blue Note 8, 10:30 pm $45 • Charles Altura The Jazz Gallery 7:30, 9:30 pm $25 Smoke 7, 9, 10:30 pm $38 êThe Music of Woodstock 50 Years After: Joel Harrison and Grateful Havens; Nels Cline; • Danilo Pérez Global Messengers with Farayi Malek, Vasilis Kostas, Layth Al-Rubaye, êVijay Iyer/Matana Roberts The Stone at The New School 8:30 pm $20 Brandon Seabrook; Vernon Reid; Nasesem Alatrash, Tareq Rantisi Jazz Standard 7:30, 9:30 pm $35 • Arthur Sadowsky and The Troubadours Brooklyn Bowl 8 pm $25-60 êCharlie Parker Jazz Festival: Mwenso and The Shakes; Brianna Thomas; Symphony Space Bar Thalia 9 pm • Armen Donelian Bryant Park 12:30 pm Vuyo Sotashe; Fred Wesley; Winard Harper and Jeli Posse êAndrew Cyrille Quartet with Bill Frisell, David Virelles, Ben Street • Equilibrum Cleopatra’s Needle 7 pm Marcus Garvey Park 7 pm Village Vanguard 8:30, 10:30 pm $35

Cross-Cultural Connection, Inc. 2nd Annual Jazz Festival JAZZ IN THE PARK

Peekskill Riverfront Green SUNDAY, AUGUST 25, 2019 3-9pm Quartet Dr. Ray Blue Sextet Norm Hathaway Big Band C.C.C. Pro-Am Ensemble MC: Sharif Abdus-Salaam, WKCR Radio

Rainsite: Elks Hall, 1038 Brown St. Peekskill Parks and Recreation www.cccjazz.org

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 35 Sunday, August 25 Thursday, August 29 • Marcio Garcia’s Forest with Myles Sloniker, Jimmy Macbride, Rich Bomzer • Robin Grasso/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 8 pm REGULAR ENGAGEMENTS Birdland Theater 7 pm $20-30 êIngrid Laubrock, Eli Wallace, Drew Wesley êStephane Wrembel and Friends Blue Note 11:30 am 1:30 pm $39.50 244 Rehearsal Studios 8 pm $20 êEddie Palmieri Blue Note 8, 10:30 pm $45 êFay Victor 55Bar 7 pm MONDAY • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with • Andrew Pereira Trio with Dan Pappalardo, JK Kim; Flavio Silva Trio with Alex Ayala, • Richard Clements/Murray Wall Band Maucha Adnet, Harry Allen, Claudio Roditi Zack O’Farrill Bar Next Door 6:30, 8:30, 10:30 pm $12 11th Street Bar 8 pm Dizzy’s Club 7:30, 9:30 pm $35 • Marialy Pacheco Birdland 5:30 pm $30 • Grove Street Stompers Arthur’s Tavern 7 pm • Aaron Rubinstein, William Parker, Kevin Murray; Camila Nebbia, Joanna Mattrey, êCharlie Parker Birthday Celebration: Jeremy Pelt, , Helen Sung, • Earl Rose Bemelmans Bar 5:30, 9 pm Violeta Garcia, Diana Arias Downtown Music Gallery 6 pm Lonnie Plaxico, , Camille Thurman • Terry Waldo Gotham City Band Black Door 11 pm • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 Birdland 8:30, 11 pm $30-40 • Jordan Young Bflat 8 pm • Danilo Pérez Global Messengers with Farayi Malek, Vasilis Kostas, Layth Al-Rubaye, • Birdography: David DeJesus and Chris Smith with Donald Vega, Doug Weiss • Vince Giordano and The Nighthawks Nasesem Alatrash, Tareq Rantisi Jazz Standard 7:30, 9:30 pm $35 Birdland Theater 7, 9:45 pm $20-30 Iguana 8 pm • Spike Wilner solo; Ben Waltzer, Matt Penman, Gerald Cleaver; John Merrill • Take 6: Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, • Iris Ornig Jam Session Jazz at Kitano 8 pm Mezzrow 5, 7;30, 10:30 pm $20 Khristian Dentley Blue Note 8, 10:30 pm $55 • Jazz Standard 7:30, 9:30 pm $25 • Roz Corral Trio with Gilad Hekselman, Matt Clohesy • Frank Owens Bryant Park 12:30 pm • Trio Le Rivage 6:30 pm North Square Lounge 12:30, 2 pm êJoel Forrester Duo Cleopatra’s Needle 7 pm • Pasquale Grasso Mezzrow 11 pm $20 • Vinnie Knight Renaissance Harlem 6 pm • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with • Stan Killian and Friends Queens Brewery 8 pm • Richard Clements, Lil Phillips, Tommy Morimoto, Donald Nicks Maucha Adnet, Harry Allen, Claudio Roditi • Gil Defay Red Rooster 8 pm Russian Samovar 3 pm Dizzy’s Club 7:30, 9:30 pm $45 • Misha Tsiganov Russian Vodka Room 7 pm • Miriam Elhajli/Chris Dingman Saint Peter’s Church 6 pm • Darrell Green Quintet Dizzy’s Club 11:15 pm $10 • Captain Black Big Band and Jam Session • Chris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland, • Hilary Gardner/Greg Ruggiero; Freddie Deboe Band Smoke 7, 9, 10:30 pm Phil Stewart; Aaron Johnson Quintet with Ilya Lushtak, Neal Miner, Charles Goold, The Django at Roxy Hotel 8:30, 10:30 pm • Swingadelic Swing 46 8:30 pm Michael Figueiredo; David Gibson Smalls 7:30, 10:30 pm 1 am $20 • Erika Matsuo Quartet with Art Hirahara, Juancho Herrera, Boris Kozlov • John Benitez Jam Terraza 7 9:30 pm $7 êCharlie Parker Jazz Festival: Carl Allen Art Blakey Tribute with JD Allen, Jeremy Pelt, Jazz at Kitano 8, 10 pm $18 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 Cyrus Chestnut, Peter Washington; Trio with Brian Charette, êJohnathan Blake Quartet with Immanuel Wilkins, Joel Ross, Dezron Douglas George Coleman, Jr.; Fred Hersch; Lakecia Benjamin The Jazz Gallery 7:30, 9:30 pm $25 Tompkins Square Park 3 pm • Orrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest TUESDAY êAndrew Cyrille Quartet with Bill Frisell, David Virelles, Ben Street Jazz Standard 7:30, 9:30 pm $30 • Michael Kanan Trio The 75 Club at Bogardus Mansion 7 pm Village Vanguard 8:30, 10:30 pm $35 • Ola Onabulé Joe’s Pub 7 pm $25 • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm • David O’Rourke, Jim Ridl, Lorin Cohen • Art Hirahara Trio Arturo’s 8 pm Monday, August 26 Mezzrow 7:30 pm $20 • David Budway Trio Bemelmans Bar 9:30 pm • Jackie Gage Minton’s 7:30, 9:30 pm $20 • Marc Devine Trio Cleopatra’s Needle 8 pm • Yoon Sun Choi/Jacob Sacks Bar Lunàtico 8:30, 10 pm $10 • John Yao/Jimmy Smith/James Hughes Sextet with Corey Kendrick, Jeff Pedraz, • Diego Voglino Jam Session Halyard’s 10 pm • Chris Parker Trio with Peter DiCarlo, Jonathan Gardner; Dana Reedy Trio with Nick Collins Silvana 6 pm • Vince Giordano and The Nighthawks Ron Jackson, Marco Panascia Bar Next Door 6:30, 8:30, 10:30 pm $12 • Harish Raghavan Quintet with Steve Lehman, Charles Altura, John Escreet, Iguana 8 pm • Frank Owens Bryant Park 12:30 pm Kendrick Scott; Carlos Abadie Quintet; Malick Koly • Joe Graziosi Legacy Jam Minton’s 6 pm • Rick Cutler, Vinnie Zummo, David Katzenberg; Stephen Gauci, Adam Lane, Kevin Shea; Smalls 7:30, 10:30 pm 1 am $20 • Mona’s Hot Four Mona’s 11 pm Vio Garcia/Brandon Lopez Trio; Eli Wallace, Joe Moffett, Joanna Mattrey, Carlo Costa; êBird at 100: Celebrating the Music of Charlie Parker: , Gary Bartz, • Misha Tsiganov Russian Vodka Room 7 pm Matt Lavelle/Tcheser Holmes Trio; Camila Nebbia, Kenneth Jimenez, Vinnie Sperrazza Bobby Watson, David Kikoski, Yasushi Nakamura, Johnathan Blake • Mike LeDonne Quartet Smoke 7, 9, 10:30 pm Bushwick Public House 7 pm $10 Smoke 7, 9, 10:30 pm $40 • Hayes Greenfield Soapbox 7:30 pm êHorace Silver’s The United States of Mind: Milton Suggs Quintet • Agustin Grasso Group Uke Hut 8 pm $20 • George Gee Orchestra Swing 46 8:30 pm Dizzy’s Club 7:30, 9:30 pm $30-40 • Chris Potter Underground with Adam Rogers, Fima Ephron, Dan Weiss

• JFA Jam Session Local 802 6:30 pm Village Vanguard 8:30, 10:30 pm $35 WEDNESDAY êKate McGarry, Keith Ganz, Gary Versace Mezzrow 7:30 pm $20 Friday, August 30 • Tardo Hammer Jam Session The 75 Club at Bogardus Mansion 7 pm • Ari Hoenig Trio with Gilad Hekselman, Orlando le Fleming; Giveton Gelin Quintet • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm Smalls 7:30, 10:30 pm $20 • Anna Kolchina/Jinjoo Yoo 1986 Est. Wine Bar & Lounge 9 pm • Jason Marshall Trio American Legion Post 398 7 pm êGeorge Cables Trio Smoke 7, 9, 10:30 pm $15 êKen Vandermark/Mars Williams; Steve Marquette solo • Eve Silber Arthur’s Tavern 7 pm • Nate Radley Trio with Tony Scherr, Mark Ferber 244 Rehearsal Studios 8 pm $20 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Zinc Bar 7:30, 9 pm $25 • Kendra Shank 55Bar 6 pm • David Budway Trio Bemelmans Bar 9:30 pm • Jeff McLaughlin Trio with Sharik Hassan, Rodrigo Recabarren • Jordan Young Bflat 8:30 pm Tuesday, August 27 Bar Next Door 7:30, 9:30, 11:30 pm $12 • David Ostwald’s Louis Armstrong Centennial Band êCharlie Parker Birthday Celebration: Jeremy Pelt, Greg Osby, Helen Sung, Birdland 5:30 pm $20 êShoko Nagai/ Satoshi Takeishi Abysm Lonnie Plaxico, Billy Drummond, Camille Thurman • Joel Forrester solo Bistro Jules 5:30 pm Areté Gallery 8:30 pm $15 Birdland 8:30, 11 pm $30-40 • Les Kurtz Trio Cleopatra’s Needle 7 pm • Walter Parks/Vivian Sessoms Unlawful Assembly • Birdography: David DeJesus and Chris Smith with Donald Vega, Doug Weiss • Pasquale Grasso; Django Jam Session Bar Lunàtico 9 pm $10 Birdland Theater 7, 9:45 pm $20-30 The Django 8:30, 11 pm • Yuma Uesaka Trio with Alec Goldfarb, Steve Crammer; Jerome Sabbagh Trio with • Take 6: Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, • WaHi Jazz Jam Le Chéile 8 pm Dean Torrey, JK Kim Bar Next Door 6:30, 8:30, 10:30 pm $12 Khristian Dentley Blue Note 8, 10:30 pm $55 • Noah Garabedian Jam The Nest 9 pm êCharlie Parker Birthday Celebration: Jeremy Pelt, Greg Osby, Helen Sung, • Frank Owens Bryant Park 12:30 pm • Les Goodson Band Paris Blues 9 pm Lonnie Plaxico, Billy Drummond, Camille Thurman • Alex Layne Trio Cleopatra’s Needle 8 pm • Lezlie Harrison Smoke 7, 9, 10:30 Birdland 8:30, 11 pm $30-40 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with • Stan Rubin Orchestra Swing 46 8:30 pm • Frank Owens Bryant Park 12:30 pm Maucha Adnet, Harry Allen, Claudio Roditi • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with Dizzy’s Club 7:30, 9:30 pm $45 Maucha Adnet, Harry Allen, Claudio Roditi • Darrell Green Quintet Dizzy’s Club 11:15 pm $10 THURSDAY Dizzy’s Club 7:30, 9:30 pm $40 • Ken Fowser Quartet; Danny Jonokuchi and The Revisionists • Ray Blue Organ Quartet American Legion Post 398 7 pm • Darrell Green Quintet Dizzy’s Club 11:15 pm $5 The Django at Roxy Hotel 8:30, 10:30 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm • Gerardo Contino’s Los Habaneros The Django at Roxy Hotel 8:30 pm • Aronda Way Gin Fizz Harlem 7, 8:30 pm $30 • David Budway Trio Bemelmans Bar 9:30 pm • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop êJerome Jennings Greater Calvary Baptist Church 7 pm $10 • John McNeil/Mike Fahie The Douglass 9 pm Fat Cat 7, 9 pm 12:30 am $10 • Kenny Wollesen Happylucky no.1 8 pm $20 • Joel Forrester George’s 6:30 pm • Caroline Davis Trio with Pablo Menares, Allan Mednard • Jon Gordon Quartet with Adam Birnbaum, Matt Clohesy, Mark Ferber • Steve Wirts/Joe Cohn Quartet Han Dynasty 6 pm Halyard’s 8 pm $10 Jazz at Kitano 8, 10 pm $34 • Kyle Colina and Friends Le Rivage 7 pm • Alden Hellmuth Quartet Jazz at Kitano 8 pm • Orrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kevin Eubanks • Spike Wilner/Pascal Grasso Mezzrow 11 pm $20 • Fabian Almazan Trio with Linda May Han Oh, Henry Cole Jazz Standard 7:30, 9:30 pm $30 • Les Goodson Band Paris Blues 9 pm Jazz Standard 7:30, 9:30 pm $30 • Monday Michiru Joe’s Pub 7 pm $18 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm • JD Walter, Julius Rodriguez, Ben Wolfe; Lucy Yeghiazaryan • Shanto Ensemble Medgar Evers College 7 pm • Rob Duguay Low Key Trio Turnmill NYC 11 pm Mezzrow 7:30, 10:30 pm $20 êEthan Iverson; Pete Malinverni Mezzrow 7:30, 10:30 pm $20 • Ms. Marie Special Showcase Uke Hut 8 pm • Spike Wilner Trio; Josh Evans Quintet • Jazzmobile: Bobby Sanabria; Akiko Tsuruga Smalls 7:30, 10:30 pm $20 Riverbank State Park 7 pm FRIDAY • Chris Potter Underground with Adam Rogers, Fima Ephron, Dan Weiss êEd Cherry Trio Room 623 at B2 Harlem 10 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Jan Sturiale Shrine 6 pm • Jostein Gulbrandsen Aretsky’s Patroon 6 pm • Joe Pino Quintet Silvana 6 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm Wednesday, August 28 êRodney Jones Quartet with Dabin Ryu, Kenny Davis, Ronnie Burrage; • Joel Forrester Baker’s Pizza 7 pm Jaleel Shaw Group; JD Allen Smalls 7:30, 10:30 pm 1 am $20 • The Crooked Trio Barbès 5 pm • Paul Jost 55Bar 7 pm êBird at 100: Celebrating the Music of Charlie Parker: Vincent Herring, Gary Bartz, • David Budway Trio Bemelmans Bar 9:30 pm êLage Lund Trio with Ben Street, Anwar Marshall Bobby Watson, David Kikoski, Yasushi Nakamura, Johnathan Blake • Birdland Big Band Birdland 5:15 pm $25 Bar Bayeux 8 pm Smoke 7, 9, 10:30 pm $40 • Bennett Paster Trio Hillstone 6 pm • Vid Jamnik Trio with Ori Jacobson, Aaron Holthus • Chip Shelton PeaceTime Ensemble • Gerry Eastman Quartet Williamsburg Music Center 10 pm Bar Next Door 6:30 pm Symphony Space Bar Thalia 9 pm êCharlie Parker Birthday Celebration: Jeremy Pelt, Greg Osby, Helen Sung, • Chris Potter Underground with Adam Rogers, Fima Ephron, Dan Weiss Lonnie Plaxico, Billy Drummond, Camille Thurman Village Vanguard 8:30, 10:30 pm $35 SATURDAY Birdland 8:30, 11 pm $30-40 • Eri Yamamoto Trio Arthur’s Tavern 7 pm • Greg Abate Quartet with Mike Longo, Harvie S, Steve Johns Saturday, August 31 • Bill’s Place 8, 10 pm $20 Birdland Theater 7, 9:45 pm $20-30 • Joel Forrester solo Bistro Jules 6 pm • Take 6: Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, • Jan Sturiale Trio with Marco Panascia, Colin Stranahan • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm Khristian Dentley Blue Note 8, 10:30 pm $55 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Yvonnick Prené Henry’s 12:30 pm • Frank Owens Bryant Park 12:30 pm êCharlie Parker Birthday Celebration: Jeremy Pelt, Greg Osby, Helen Sung, • Assaf Kehati Duo Il Gattopardo 11:30 am • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with Lonnie Plaxico, Billy Drummond, Camille Thurman • Marc Cary’s Harlem Session Smoke 11:30 pm 12:45 am Maucha Adnet, Harry Allen, Claudio Roditi Birdland 8:30, 11 pm $30-40 Dizzy’s Club 7:30, 9:30 pm $40 • Birdography: David DeJesus and Chris Smith with Donald Vega, Doug Weiss • Darrell Green Quintet Dizzy’s Club 11:15 pm $5 Birdland Theater 7, 9:45 pm $20-30 SUNDAY • Pasquale Grasso solo; David Gibson Dectet with Tony Hewitt • Take 6: Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, • Creole Cooking Jazz Band; Stew Cutler and Friends The Django at Roxy Hotel 8:30, 10:30 pm Khristian Dentley Blue Note 8, 10:30 pm $55 Arthur’s Tavern 7, 10 pm • Raphael D’lugoff Trio +1; Ned Goold Jam • Roland Temple Trio Cleopatra’s Needle 8 pm • Matt La Von Jam Session Bā’sik 7 pm Fat Cat 7 pm 12:30 am $10 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca with • Peter Mazza Trio Bar Next Door 8, 10 pm $12 êJazzmobile: King Solomon Hicks; Charenée Wade Maucha Adnet, Harry Allen, Claudio Roditi • Stephane Wrembel Barbès 9 pm $10 Grant’s Tomb 7 pm Dizzy’s Club 7:30, 9:30 pm $45 • Arturo O’Farrill Afro Latin Jazz Orchestra • Mark Wade Quartet with Roberta Piket, Eric Halvorson, Teri Wade • Darrell Green Quintet Dizzy’s Club 11:15 pm $20 Birdland 9, 11 pm $30 Jazz at Kitano 8, 10 pm $18 • Nick Hempton; Hudson Horns The Django at Roxy Hotel 8:30, 10:30 pm • Joel Forrester solo Bistro Jules 4 pm êJohnathan Blake Quartet with Immanuel Wilkins, Joel Ross, Dezron Douglas • Allan Harris Ginny’s Supper Club 7:30, 9:30 pm $20 • Renaud Penant Trio Bistro Jules 7:30 pm The Jazz Gallery 7:30, 9:30 pm $25 • Kenny Wollesen Happylucky no.1 8 pm $20 • Steve LaSpina Trio Café Loup 12:30 pm • Fabian Almazan Trio with Linda May Han Oh, Henry Cole • Jon Gordon Quartet with Adam Birnbaum, Matt Clohesy, Mark Ferber • Marc Devine/Hide Tanaka Café Loup 6:30 pm Jazz Standard 7:30, 9:30 pm $30 Jazz at Kitano 8, 10 pm $34 • Keith Ingham Cleopatra’s Needle 4 pm • Michael Valeanu, Jake Chapman, Julian Smith; Sullivan Fortner • Orrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kevin Eubanks • Trampelman Dominie’s Astoria 9 pm Mezzrow 7:30, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 • The EarRegulars The Ear Inn 8 pm êThe Stone Commissions: Fred Frith êEthan Iverson; Greg Murphy Mezzrow 7:30, 10:30 pm $20 • Joel Forrester solo Grace Gospel Church 11 am National Sawdust 7 pm $25 êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 • Sam Taylor The Grange 7 pm êAndy Statman and Brooklyn Raga Massive êRodney Jones Quartet with Dabin Ryu, Kenny Davis, Ronnie Burrage; • Grassroots Jazz Effort Grassroots Tavern 9 pm Rubin Museum 7 pm $30 Jaleel Shaw Group; Philip Harper Quintet • Idan Morim Trio Injera 7:30 pm êSheila Jordan/ Saint Peter’s Church 1 pm $10 Smalls 7:30, 10:30 pm 1 am $20 • Tony Middleton Trio Jazz at Kitano 12 pm $40 • Fat Cat Big Band: Jade Synstelien, Josh Lawrence, Caleb Wheeler Curtis, Jon Irabagon, êBird at 100: Celebrating the Music of Charlie Parker: Vincent Herring, Gary Bartz, • Christopher McBride Minton’s 7:30 pm $10 Jon Beshay, Robert Edwards, Max Seigel, Jack Glottman, Alexi David, Phil Stewart; Bobby Watson, David Kikoski, Yasushi Nakamura, Johnathan Blake • Marjorie Eliot Parlor Entertainment 4 pm Taber Gable Group; Charles Blenzig Smalls 7:30, 10:30 pm 1 am $20 Smoke 7, 9, 10:30 pm $40 • Lu Reid Jam Session Shrine 4 pm • John Yao/Jimmy Smith/James Hughes Sextet with Corey Kendrick, Jeff Pedraz, • Chris Potter Underground with Adam Rogers, Fima Ephron, Dan Weiss • Michelle Smoke 7, 9, 10:30 pm Nick Collins Terraza 7 8 pm Village Vanguard 8:30, 10:30 pm $35 • John Benitez Jazz Jam Terraza 7 9:30 pm $7 • Chris Potter Underground with Adam Rogers, Fima Ephron, Dan Weiss • Sean Smith and guest Walker’s 8 pm Village Vanguard 8:30, 10:30 pm $35

36 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • East River Park Promenade Amphitheater • Nhà Minh 485 Morgan Avenue (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com East River Promenade (Grand Street and FDR Drive) (212-639-9675) (718-387-7848) Subway: L to Graham Avenue • 32nd Police Precinct 250 W. 135th Street Subway: F, to Delancey Street, J, M to Essex Street www.nycgovparks.org • North Square Lounge 103 Waverly Place (212-254-1200) (212-690-6311) Subway: 2, 3 to 135th Street • Elsewhere 599 Johnson Avenue Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • 54 Below 254 W. 54th Street Subway: L to Jefferson Street www.elsewherebrooklyn.com • Nublu 62 Avenue C between 4th and 5th Streets (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) (212-979-9925) Subway: F, V to Second Avenue www.nublu.net www.54below.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • Nublu 151 151 Avenue C • 55Bar 55 Christopher Street (212-929-9883) • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-979-9925) Subway: 6 to Astor Place www.nublu.net Subway: 1 to Christopher Street www.55bar.com (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • The Owl Music Parlor 497 Rogers Avenue, Brooklyn • The 75 Club at Bogardus Mansion 75 Murray Street • Funkadelic Studios 209 W. 40th Street (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc (212-406-7575) Subway: 1, 2, 3 to Chambers Street www.the75clubnyc.com (212-696-2513) Subway: 1, 2, 3, 7, A, C, E, N, Q, R to 42nd Street-Times Square • Parlor Entertainment 555 Edgecombe Ave. #3F • 244 Rehearsal Studios 244 W. 54th Street www.funkadelicstudios.com (212-781-6595) Subway: C to 155th Street (212-586-9056) Subway: C, E to 54th Street • Gantry Plaza State Park 49th Avenue and Center Boulevard • Parnell’s Bar 350 E. 53rd Street #1 www.244rehearsalstudiosny.com Subway: 7 to Vernon-Jackson Boulevard www.liveatthegantries.com (212-753-1761) Subway: E, M to Lexington Avenue/53rd Street • 1986 Est. Wine Bar & Lounge 43 W. 32nd Street • Gin Fizz Harlem 308 Malcolm X Boulevard www.parnellsny.com (212-563-1500) Subway: B, D, F, Q, R to 34th Street-Herald Square (212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com • The Penrose 1590 2nd Avenue www.hotelstanford.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com • American Folk Art Museum 65th Street at Columbis Avenue (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com • Pier 84 W. 44th Street and Hudson River (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • Grace Gospel Church 589 East 164th Street Subway: A, C, E, F, V to 42nd Street-Port Authority • American Legion Post 398 248 W. 132nd Street (718-328-0166) Subway: 2, 5 to Prospect Avenue • Queens Brewery 1539 Covert Street, Ridgewood (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • The Grange 1635 Amsterdam Avenue Subway: L to Halsey Street www.queensbrewery.com • The Archway Water Street Brooklyn (212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com • Renaissance Harlem 2245 Adam Clayton Powell, Jr. Boulevard Subway: F to York Street www.dumbo.is • Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street (646-838-7604) Subway: 2, 3, to 135th Street • Areté Gallery 67 West Street, Brooklyn • Grassroots Tavern 20 Saint Marks Place www.renaissance-harlem.com (929-397-0025) Subway: G to Greenpoint Avenue www.aretevenue.com (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street • Riverbank State Park 679 Riverside Drive at 145th Street • Aretsky’s Patroon 160 E. 46th Street • Greater Calvary Baptist Church 55 W. 124th Street Subway: A, C, 1 to 145th Street (212-883-7373) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street (404-227-3748) Subway: 2, 3 to 125th Street • Rockwood Music Hall 196 Allen Street (212-477-4155) www.aretskyspatroon.com • Groove Bar & Grill 125 MacDougal Street Subway: F, V to Second Avenue www.rockwoodmusichall.com • Arthur’s Tavern 57 Grove Street (212-675-6879) (212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street • Room 623 at B2 Harlem 271 W. 119th Street Subway: 1 to Christopher Street www.arthurstavernnyc.com www.clubgroovenyc.com (212-280-2248) Subway: B, C to 116th Street www.b2harlem.com • Arturo’s 106 W. Houston Street (at Thompson Street) • Halyard’s 406 3rd Avenue, Brooklyn • Rubin Museum 150 W. 17th Street (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (718-532-8787) Subway: R to 9th Street www.barhalyards.com (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Baker’s Pizza 201 Avenue A • Han Dynasty 215 W. 85th Street • Russ & Daughters Café 127 Orchard Street (212-777-7477) Subway: L to First Avenue www.bakerspizzanyc.com (212-858-9060) Subway: 1 to 86th Street www.handynasty.net (212-475-4881) Subway: F to Delancey Street • Bar Bayeux 1066 Nostrand Avenue • Happylucky no.1 734 Nostrand Avenue www.russanddaughterscafe.com (347-533-7845) Subway: 2, 5 to Sterling Street (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • Russian Samovar 256 W. 52nd Street • Bar Lunàtico 486 Halsey Street www.happyluckyno1.com (212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com (917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com • Hari NYC 140 W. 30th Street, 3rd floor Subway: 1 to 28th Street • Russian Vodka Room 265 W. 52nd Street • Bar Next Door 129 MacDougal Street (212-529-5945) • Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street (212-307-5835) Subway: C, E to 50th Street www.russianvodkaroom.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Hillstone 153 E. 53rd Street • Ryan’s Daughter 350 E. 85th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (212-888-3828) Subway: E, M to 53rd Street www.hillstone.com (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com Subway: F to 7th Avenue www.barbesbrooklyn.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • St. Albans Congregational Church 172-17 Linden Boulevard • Bā’sik 323 Graham Avenue, Brooklyn Subway: F to 4th Avenue www.ibeambrooklyn.com (718-657-8282) Subway: E to Jamaica Center - Parsons/Archer (347-889-7597) Subway: L to Graham Avenue www.basikbrooklyn.com • Iguana 240 West 54th Street (212-765-5454) www.stalbanscc.org • Beacon Theatre 2124 Broadway at 74th Street Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street (212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com • Il Gattopardo 13-15 W. 54th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Bemelmans Bar 35 E. 76th Street (212-744-1600) (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street • Scholes Street Studio 375 Lorimer Street Subway: 6 to 77th Street www.thecarlyle.com www.ilgattopardonyc.com (718-964-8763) Subway: L to Lorimer Street • Bflat 277 Church Street (between Franklin and White Streets) • Industry City 220 36th Street, Brooklyn www.scholesstreetstudio.com Subway: 1, 2 to Franklin Streets (718-965-6450) Subway: D, N, R to 36th Street www.industrycity.com • ShapeShifter Lab 18 Whitwell Place • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Injera 11 Abingdon Square (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-281-0777) Subway: 2, 3 to 135th Street (212-206-9330) Subway: 1, 2, 3 to 14th Street www.injeranyc.com • Showman’s 375 W. 125th Street at Morningside • Birdland and Birdland Theater 315 W. 44th Street (212-581-3080) • InterContinental New York Barclay’s Penthouse Suite 111 E. 48th Street (212-864-8941) Subway: 1 to 125th Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com (212-755-5900) Subway: 6 to 51st Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bistro Jules 60 St Marks Place www.intercontinentalnybarclay.com/exclusively-barclay-events Subway: B, 2, 3 to 135th Street www.shrinenyc.com (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Silvana 300 West 116th Street • Black Door 127 W. 26th Street Subway: 1,2 to 50th Street www.theiridium.com (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com (212-645-0215) Subway: R, W to 28th Street www.blackdoornyc.com • Jazz 966 966 Fulton Street • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (718-638-6910) Subway: C to Clinton Street www.jazz966.com Subway: 1 to Christopher Street www.smallsjazzclub.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Smoke 2751 Broadway between 105th and 106th Streets • Bronx Music Heritage Center 1303 Louis Niñé Boulevard Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com (347-708-7591) Subway: 2, 5 to Freeman www.thisisbronxmusic.org • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Soapbox 636 Dean Street Subway: 2, 3 to Bergen Street • Brooklyn Bowl 61 Wythe Avenue Subway: N, R to 28th Street www.jazzgallery.org • S.O.B.’s 204 Varick Street (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox (212-243-4940) Subway: 1 to Varick Street www.sobs.com • Brooklyn Public Library Macon Branch 361 Lewis Avenue Avenues (212-348-8300) Subway: 6 to 125th Street • Socrates Sculpture Park 32-01 Vernon Boulevard, Long Island City (718-573-5606) Subway: A, C to Utica Avenue www.jazzmuseuminharlem.org (718-956-1819) Subway: 7 to Vernon Boulevard-Jackson Avenue; www.brooklynpubliclibrary.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue M to Broadway www.socratessculpturepark.org • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.com • Sony Hall 235 W. 46th Street Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • Joe’s Pub at the Public Theater 425 Lafayette Street (212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com • Bushwick Public House 1288 Myrtle Avenue (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues) (917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54 www.joespub.com Subway: 2 to Sterling Street www.bushwickpublichouse.com • Le Chéile 839 W. 181st Street • Spectrum 70 Flushing Avenue • Café Carlyle 35 E. 76th Street (212-744-1600) (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com Subway: 6 to 77th Street www.thecarlyle.com • Le Poisson Rouge 158 Bleecker Street • The Stone at The New School 55 West 13th Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com www.lepoissonrouge.com • The Sultan Room 234 Starr Street • Carnegie Club 156 W. 56th Street • Le Rivage 340 W. 46th Street (612-964-1420) Subway: L to Jefferson Street www.thesultanroom.com (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue (212-765-7374) Subway: C, E to 50th Street www.lerivagenyc.com • Sunny’s Bar 254 Conover Street • The Cell 338 W. 23rd Street • LIC Landing Center Boulevard and Borden Avenue, Long Island City (718-625-8211) Bus: B61 to Beard Street/Van Brunt (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org Subway: 7 to Vernon Boulevard/Jackson Avenue www.sunnysredhook.com • Central Park Great Hill 105th Street Subway: B, C to 103rd Street • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Swing 46 349 W. 46th Street (646-322-4051) • Chelsea Music Hall 407 W. 15th Street (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org Subway: A, C, E to 42nd Street www.swing46.com (646-609-1344) Subway: A, C, E, L to 14th Street • Madison Square Park 5th Avenue and 23rd Street • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and www.chelseamusichall.com Subway: R, W to 23rd Street Bar Thalia 2537 Broadway at 95th Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Marcus Garvey Park 120th Street between Mt. Morris Park and Madison (212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Avenue (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street • Terraza 7 40-19 Gleane Street • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Medgar Evers College 1650 Bedford Avenue, Brooklyn (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com E, V to 53rd Street www.clubbonafide.com Subway: 2, 3, 4 to Franklin Street • Tomi Jazz 239 E. 53rd Street • The Cupping Room 359 West Broadway between Broome and Grand Street • Mezzrow 163 W. 10th Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com (212-925-2898) Subway: A, C, E to Canal Street (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com • Tompkins Square Park 7th to 10th Streets between Avenue A and Avenue B • The DiMenna Center 450 W. 37th Street • Michiko Studios 149 W. 46th Street, 3rd Floor (212-387-7685) Subway: L to 1st Avenue; F, V to Second Avenue; (212-594-6100) Subway: A, C, E to 34h Street-Penn Station (212-302-4011) Subway: B, D, F, M to 47-50 Streets 6 to Astor Place www.dimennacenter.org www.michikostudios.com • Troost 1011 Manhattan Avenue • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Minton’s 206 W. 118th Street (between St. Nicholas Avenue and (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street • Turnmill NYC 119 East 27th Street • The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600) www.mintonsharlem.com (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: A, C, E to Canal Street; 1 to Franklin Street • Mirror in the Woods 575 Union Street, #A • Uke Hut 36-01 36th Avenue www.thedjangonyc.com (917-909-0577) Subway: R to Union Street www.mirrorinthewoods.com (347-458-3031) Subway: N, W to 36th Avenue www.ukehut.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • MIST 40 W. 116th Street Subway: 2, 3 to 116th Street • Village Vanguard 178 Seventh Avenue South (212-255-4037) • The Douglass 149 4th Avenue www.mistharlem.com Subway: 1, 2, 3 to 14th Street www.villagevanguard.com (718-857-4337) Subway: R to Union Street www.thedouglass.com • Mona’s 224 Avenue B Subway: L to First Avenue • Walker’s 16 North Moore Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) • National Sawdust 80 N. 6th Street (212-941-0142) Subway: A, C, E to Canal Street Subway: F to East Broadway www.downtownmusicgallery.com (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Drom 85 Avenue A • Neighborhood Church of Greenwich Village 269 Bleecker Street (718-384-1654) Subway: L to Bedford Avenue (212-777-1157) Subway: F to Second Avenue www.dromnyc.com (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net • Zinc Bar 82 W. 3rd Street (212-477-8337) • Dweck Center at Brooklyn Public Library Central Branch • The Nest 504 Flatbush Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.zincjazz.com Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue (718-484-9494) Subway: B, S, Q to Prospect Park www.thenestbrooklyn.com • Zürcher Gallery 33 Bleecker Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • New York City Baha’i Center 53 E. 11th Street (212-222-5159) (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: C, E to Spring Street www.earinn.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 37 (INTERVIEW CONTINUED FROM PAGE 6) said, “Bobby, you’ve been under my armpit for four- choir and she’ll bring me in on her stuff. She’s working and-a-half years, you’re starting to get gray and you’ve on a folk opera that we hope to premiere in New York I got married right afterwards because I’d known Pam been all over the world with me. I’ve shown you all I in the next year or so. She did “Ms. B.C.” while I was in at Miami. We were hanging out outside, we were these can show you. I think you’re ready to fly. When do you the Messengers, so when I brought the song in, I didn’t little fixtures and had a spot by each club to listen and want to leave?” It was June or July and I said, “Well, tell the guys that my wife wrote it because they sometimes see. Guys started inviting me in. I went to can I stay until around Christmas? We usually take a wouldn’t have played it. The band and Art liked it. We Folk City and [pianist] Albert Dailey had a session there break then and I could save up a little money and I’ll opened every night with it. I didn’t put a name in the every Sunday. I sat in and that was also [bassist] Rufus go.” He said okay and in the meantime he had me show right-hand corner, so they assumed that I wrote it. We Reid’s first day in New York. So it was Rufus Reid and my part to Branford Marsalis, who was sitting in with had been playing it for about three months, then all of Billy Hart on drums. Albert came up from the basement us, because he wanted to expand with four horns. We a sudden Pam was on the road with us and we drove to and heard me, then sat at the piano and asked me what got back to New York and had a couple of days off and the and we’re about to go on and Pam I wanted to play. After it was over they started asking I saw something in the Village Voice about Art Blakey & is sitting in the front row. Art had been announcing it me who I was with. I said I wasn’t with anybody, I just the Jazz Messengers at the Bottom Line. I had heard as my tune, so I had to tell him that is was Pam’s tune. got here. That gave me a clue that I was in the ballpark. nothing about it, so I called his road manager and he I wanted her music to stand on its own. We played it, I met through a friend, Joe Kingston. said, “Oh, Bobby, you’re not in the band anymore.” then Art goes to the mic and said, “That was ‘Ms. B.C.’ Curtis kept saying, “You need to meet Art, you need to by Pamela Watson, please stand up.” Then he said, be with Bu.” It was Art’s birthday, Oct. 11th, and Joe, TNYCJR: You have such a distinctive sound. “You know, she writes all of Bobby’s songs and he puts who was friends with Art, brought him down and told his name on them.” (Laughs) We work together because him he needed to hear this kid. Next thing I know, BW: Well, I used to sound like Bird, Cannonball and we’re two artists, not because we’re man and wife. v Butch Miles did this thing where Art would take the Trane and everybody. When I started recording and ride cymbal then take over for him. I was playing and hearing myself, I didn’t sound like I thought I did, so For more information, visit bobbywatson.com. Watson is at suddenly felt the energy change. It was like going I just had to learn to love my sound. I started trying to Smoke Aug. 29th-31st as part of a Charlie Parker celebration. down the road doing 60 and this big semi-truck comes exploit the things that were uniquely me. I stopped See Calendar. up and bumps you from behind. I looked back and it’s trying to sound like anybody else. Recording and Art and he’s going, “Blow! Blow!” After I came down hearing the consistency, the things I liked and didn’t Recommended Listening: he grabbed me by the arm and asked who I was with. like, and recognizing the things that I could never • Art Blakey and the Jazz Messengers—In My Prime, “I ain’t with nobody.” Art said, “How’d you like to be change and just learning to love those things. It may Vol. 1-2 (Timeless, 1977-78) in the Messengers?” I thought about it for a half- seem like oversimplification. You can’t escape yourself, • Bobby Watson/Curtis Lundy—Beatitudes second. He told me to meet him at his house tomorrow you have to learn to love yourself and you’ll be all right. (New Note, 1983) and he’d give me some records and that he was going • Bobby Watson & Horizon—Present Tense to expand to a sextet. He wanted me in it. So I went, he TNYCJR: How did you become a part of The 29th (Columbia, 1991) handed me a bunch of records and told me to learn Street Saxophone Quartet? I bet that was a fun group. • 29th Street Saxophone Quartet—Milano New York them. So I studied the records and added my part to all Bridge (Red, 1992) the quintet stuff. I added the third part to pretty much BW: It was a blast, we were like an amoeba, we moved • Bobby Watson & Horizon—Horizon Reassembled everything they were doing. When I got to the stage, it as one. Jim Hartog called me. It was Ed Jackson and (Palmetto, 2004) was an instant sextet. That sealed the deal. Rich Rothenberg. They had tried a couple of guys. They • Bobby Watson—Made in America (Smoke Sessions, 2016) came to some gigs with Art and I had met them at some TNYCJR: A number of your compositions became sessions and they invited me down to Jim’s loft. We staples in the repertoire. rehearsed and it started to click, so we started playing on Sundays in Central Park and putting things together. BW: Yeah, that was quite an honor. Art encouraged us We had this chemistry. Then Jim, he’s a second to write. I was hoping to get some time under my belt generation Dutch-American, had some connections in before we went into the studio. By February when we Holland. We went over for our first tour and things were in it, we were recording three of Walter Davis, started moving from there. We’re trying to come back. Jr.’s tunes. We didn’t do a lot of takes and Art looked over at me and said, “Who got something?” I raised TNYCJR: You’re getting back together? my hand, because he had already been told I had some tunes and he said, “Pass them out.” So I passed out BW: Yeah, we need to get together, rehearse and build “Time Will Tell” and this song called “Hawkman”. Art up our stamina. That was a lot of blowing, face time, listened and when we got ready to record “Time Will on the horn. Steve Wilson sometimes subs for Ed Tell” I was handing music to Art and just coming out of Jackson, he said, “This is a hard gig, it really builds college. I had a performance note in the corner that your chops up.” Now we have Willie Williams because said, “Elvin-ish feel”. Then I realized what I was doing, Rich Rothenberg has stopped playing. In the last ten so I scratched that out and handed it to him. He looked years, we’ve done a few gigs over in Europe. We’re August 6th at the music then crumpled it up, threw it on the floor trying to come back, just for a bit, like Horizon. and said, “Stomp it off!” He put that beat on it and Ray Blue band that’s how it went. He put a shuffle on “Hawkman”. TNYCJR: How does a new tune come together? I learned what Art liked to do and I wrote songs that fit what he liked to do. BW: I keep a journal. If I hear something, I’ll write it down, even if it’s not complete. I keep it with me and August 13th TNYCJR: Art pushed musicians out after a certain time-stamp it, like 9/20/92, 2 am, my bedroom. I call period of time to encourage them to become leaders. these snippets my boneyard and when I get back to Russ Kassoff Trio them, I try to put them together. I don’t set out to write BW: Art always said that, “When you leave the Jazz a specific tempo, style or meter, that comes later. with Messengers, you need to start your own band.” He Something that might start out being a fast tune might never fired anybody, he had his line, if you weren’t end up as a ballad. Sometimes a ballad might end up Catherine Dupuis swinging, he’d say, “Band meeting!” He’d say, “You a samba. “Wheel Within A Wheel” began in 3/4 and guys sound like you’re playing out of exercise books. I “Horizon Reassembled” was originally a ballad. If a want to hear some mistakes, let me know you’re melody is strong enough, it can stand different searching. I’m selling swing, will you swing, please?” treatments and tempos. I leave that part open and see We’d be shaking in our boots. Three or four years went where the song takes me and wants to live, then go New York Baha’i Center by and we had , from there. Melody is first, then harmony. 53 E. 11th Street and James Williams in the band. He had that band (between University Place and Broadway) meeting and went through his act. I’m calming the TNYCJR: I had the opportunity to hear you and Pamela Shows: 8:00 & 9:30 PM troops, going, “I’ve heard this before.” Art and I caught perform and I know you’ve recorded her tune “Ms. B.C.”. Gen Adm: $15 Students $10 each other’s eye and caught me defusing his program. 212-222-5159 At the moment he and I knew that I had to go. A few BW: Every so often and we do different things together. bahainyc.org/nyc-bahai-center/jazz-night months later driving back from Washington D.C., Art She’s a big choir writer. She does jazz arrangements of

38 AUGUST 2019 | THE NEW YORK CITY JAZZ RECORD (saratoga CONTINUED FROM PAGE 13) although he doesn’t hit the upper register as he once something else. Chromatic Vortex, a project by did. The album’s title track, however, fit him and his Slovenian saxophonist Igor Lumpert with singer Lana Simone, Mal Waldron, War and Chopin. Following in band like a silk suit. The band was rock solid, playing Cencić, pianist Aruán Ortiz, cellist Tomeka Reid and the wake of Cassandra Wilson and , a simple tune stylized to a new sheen. drummer Chad Taylor was rich in good compositional she delivered pop-leaning jazz, a youthful adult Walking back to the hotel through the beautiful ideas but gave the impression of being underrehearsed contemporary that didn’t pander or dilute. Saratoga Spa State Park after Benson encored with and rather constrictive in concept. It seems rather And if room is to be made for Shorty’s loud jazz/ “The Greatest Love of All” and a truly exciting “On perverse to gather some of the most exciting funk party music—in which he perpetuated a proper Broadway”, I put Duke Ellington’s 1960 Hot Summer improvising musicians on Earth and tie them to interpolation and breakdown of “When the Saints Go Dance on my headphones. Unlike the nitpicking complex scores—at times one longed to hear them just Marching In” and executed a duet with his electric intricacies of the modern-day jazz festival, that album jam, to let the sound build in the dialogue of their bassist that displayed reasonable ethereality—then left me with no questions. v distinctive voices. Pedro Costa from Lisbon, of Clean space must be left for the cerebral jazz rock of Donna Feed fame and regular collaborator of the Ljubljana Grantis’ band of bass guitar, keyboards, drums and For more information, visit spac.org/event/freihofers- Jazz Festival, curated the Portuguese section and tablas and her screaming guitar. saratoga-jazz-festival offered more than one convivial occasion on the terrace One major disappointment was the cancellation of of the Cankarjev Dom with excellent wines, cheeses a festival-eve set by Fred Hersch at Saratoga’s historic and canned bacalhau, cementing the Mediterranean Caffé Lena. The concert was advertised as a “one-time (krakow CONTINUED FROM PAGE 13) fraternity. only” celebration of the 50th anniversary of the Thoroughly enjoyable was the set by unique Stonewall riots, often considered to be the birth of the ensemble, but they were ready when their moments Serbian band Fish in Oil, a sort of Balkan Grateful modern gay rights movement. The pianist was came. Trumpet lines, emerging from the din, were Dead. They played long, evocative pieces very well scheduled to play but also speak about how the riots streaks of fire. On the soft pieces, cello tracings, beneath built with plenty of space for improvisation and it was shaped him as a person and a performer. Unfortunately, aching violin, were like whispers from the heart. Still, a pleasure listening to a band that was really together, health issues kept him from appearing. In his stead, the direction of the night was always toward mayhem. honed by years of common work, a collective in the vibraphonist and his quartet performed a It was the first time this band performed Hendrix strongest sense of the word. high-energy set of instrumental dexterity including repertoire in public and they were loose, raw and wild. During the festival a running thread was the young nods to and . Overlapping the first days of the festival was the bands playing mostly in the park stage in the Alphabet But two other sets set a high and inarguable International Jazz Guitar Competition, series curated by Dré Hočevar. Ranging from free standard for jazz festivities. James Carter’s Organ Trio established in 2015 to honor one of Poland’s most revered improvisation/conduction to folk-inspired tunes and expertly mixed groove and joyful noise like the pro jazz musicians. The competition takes place every other including musicians from all over Europe in a final Carter is, seeming to remember the lessons of his one- year. In 2019 40 applicants from 20 countries submitted concert with some 80 participants. I managed to hear time boss, : that if you please the crowd, samples of their work. 11 semi-finalists were selected to Chimera, the duo of singer Carolina Giannakopoulou they’ll let you go out. And the Quartet come to Kraków and audition for a panel of judges that and guitarist Domen Bohte, and the two bands led by played Hoagy Carmichael and Charlie Parker in a included American guitarists Stern and Peter Bernstein singer Veronika Kumar and bassist Gašper Livkit fashion both fearless and friendly. Carter and Redman and Polish guitarists Marek Napiórkowski and Karol retaining the impression of a wide pool of talents, have both booked time in David Murray’s bands and Ferfecki. Witold Wnuk, founder of both the competition daring to find their own voice(s) and their own true to that contemporary master, displayed passion and the festival, also sat on the panel. audience using inspiration from Joni Mitchell coming from both inside and out. The participants were all in their 20s but were also (a perennial favorite), art-rock bands, electronic music Similarly, Benin singer/guitarist Lionel Loueke professional working musicians. The level of guitar and avant garde jazz. A remarkable mix of challenging demonstrated that avant garde is often just expertise was consistently high. After three days of music in an ideally relaxed context. inventiveness, playing traditional sounding songs here auditions, the winner was 21-year old David Rourke of The final Saturday concert at the popular open air with fast mouth percussion, there with a strip of paper Montréal. Throughout, Rourke had appeared utterly theatre Križanke, situated in the garden of an ancient muting his strings and drumming on the guitar’s body, relaxed and confident, as if competing in an important religious complex, was disturbed by the rain, which later building ambient, electric loops and yet all with a international contest was just another day at the office. however did not dampen the enthusiasm of the feeling of tradition. He shared a bill and a single song He smoked “West Coast Blues” by Wes Montgomery audience for the Slovenian jazz/rock band Ecliptic and with singer/guitarist Raul Midón, who employed a and nailed “If Ever I Would Leave You” by Lerner and the always-popular . fairly Piedmont style of fingerpicking matched with Loewe. Every participant was required to play a The rich program of the festival included a series jazz-vocalized solos. It was showy, sure, but there was Śmietana composition and his body of work provided of readings, a children’s concert with the great plenty of style. stimulating source material, from funky hardbop to Slovenian percussionist Zlatko Kaučič, an exhibition of Benson’s crowning set held promise based on the ballads. Second place went to Emmett Scher of the U.S., photographer Žiga Koritnik opened by a solo strength of Walking to New Orleans, his new album of who elaborately, flawlessly, humorously decorated saxophone performance by Mats Gustafsson, book Chuck Berry and Fats Domino songs. Unfortunately, “April in Paris” without once cracking a smile. The discussions, a jazz market and just enjoying the scene he stuck with a tried-and-true set, trotting out the hits guitarist with the most personal voice was the third- with a local beer in hand under the shade of the ancient like a Vegas review with a band that included two place finisher, Jakub Mizeracki of Poland. Even though trees around the park stage. Ljubljana and its jazz keyboardists and no horns. At 76, his guitar playing is Poland is a flat country, Mizeracki is into dramatic festival, a recommended visit! v on point (even if he left his axe in the stand for much of guitar-from-the-mountaintop pronouncements that the set) and his voice is strong and impassioned, crash down on the valleys below. The first three For more information, visit ljubljanajazz.si finishers split up 35,000 PLN (about $9,300). With all these guitarists kicking around Kraków, there were special opportunities for jams. Bernstein hooked up with adept local organ player Kajetan Galas in the Piwnica pod Baranami, the underground brick and stone cellar where the Polish Beat Generation and the anti-Communist resistance used to hang in the ‘50s. Bernstein’s “Body and Soul” was alluring, all hovering hesitations and fulfilling resolutions. There was also a gala on Jun. 29th with guitars everywhere, in many combinations. Marek Napiórkowski, a mild-mannered man, is a guitar badass. Stern sang “Red House” for an encore. The previous night, with Kennedy, he had sung “Hey Joe” for an encore and inserted a few bars of “The Star Spangled Banner”. In Kraków, Jimi Hendrix lived. v

For more information, visit cracjazz.com

(ljubljana CONTINUED FROM PAGE 13)

seemed to get disinterested and started looking for

THE NEW YORK CITY JAZZ RECORD | AUGUST 2019 39 nov 9–24 Christian McBride, jazz advisor

Nimbus Dance featuring members of the New Jersey Symphony Orchestra with music by and Nancy Wilson Thu, Nov 14 @ 7PM

NJMEA All-State Jazz with special guest Steve Turre Fri, Nov 15 @ 7PM

After Midnight: the roots with The Music of the King Cole Trio a christian mcbride featuring Billy Stritch, situation Catherine Russell and nov 16 Clint Holmes Fri, Nov 15 @ 7:30PM

Lee Ritenour with & Friends Thu, Nov 21 @ 7:30PM

Christian Sands presents The Erroll Garner buddy guy 3 Piano Summit with special guest chaka khan Fri, Nov 22 @ 7:30PM mavis staples with special guest Maurice Hines nov 10 nov 14 Tappin’ Thru Life featuring The DIVA Jazz Orchestra Sat, Nov 23 @ 3 & 7PM of with Bill Evans, , Dorthaan’s Place Jazz Brunch Baron Browne & Steve Smith Houston Person Sun, Nov 24 @ 11AM & 1PM

steps ahead sarah vaughan ...and more to be announced! michael franks international & spyro gyra jazz vocal competition nov 15 nov 24

Sponsored by: @NJPAC • njpac.org/moodyjazz 1.888.GO.NJPAC Groups of 9 or more 973.353.7561 one center street newark nj

9.5x12_NYCJazzRecord_aug_njpac_2019.indd 1 7/22/19 9:47 AM