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May 2013 | No. 133<br />
WILL<br />
CALHOUN<br />
Your FREE Guide to the NYC Jazz Scene<br />
CHICK COREA<br />
CREATING FREEDOM<br />
•<br />
MIKE<br />
•<br />
STEVE<br />
•<br />
MUTABLE<br />
•<br />
PRIDE WILLIAMS MUSIC<br />
nycjazzrecord.com<br />
EVENT<br />
CALENDAR
4<br />
6<br />
7<br />
9<br />
10<br />
11<br />
12<br />
14<br />
38<br />
45<br />
47<br />
New York@Night<br />
Interview: Will Calhoun<br />
by Brad Farberman<br />
Artist Feature: Mike Pride<br />
by Clifford Allen<br />
On The Cover: Chick Corea<br />
by Suzanne Lorge<br />
Encore: Lest We Forget:<br />
Steve Williams Revolutionary Ensemble<br />
by Marcia Hillman by Andrey Henkin<br />
Megaphone VOXNews<br />
by Kirk Knuffke by Katie Bull<br />
Label Spotlight: Listen Up!:<br />
Mutable Music<br />
by Kurt Gottschalk<br />
Justin Brown & Jon De Lucia<br />
CD Reviews: Steve Kuhn, Andrea Centazzo, Bill Frisell,<br />
Miguel Zénon, Deborah Latz, Christian McBride, Craig Taborn and more<br />
Event Calendar<br />
Club Directory<br />
Miscellany: In Memoriam • Birthdays • On This Day<br />
It is a little strange to think that keyboardist Chick Corea (On The Cover) is in his<br />
70s. He seems ageless, not too far from the mop-haired, mustachioed genius that<br />
came up in the bands of Mongo Santamaria, Herbie Mann, Blue Mitchell and, most<br />
notably, Miles Davis (who never reached septuagenarian status). He is, simply<br />
put, one of the legends and Jazz at Lincoln Center (JALC) celebrates his wideranging<br />
achievements with a multi-night festival in his honor: Corea will join the<br />
JALC Orchestra at Rose Hall for performances from his songbook while the Allen<br />
Room will host Friends of Chick Corea: Musicians of the Future and Dizzy’s Club will<br />
showcase a number of bands fêting his legacy.<br />
While the piano is considered a percussion instrument, our other two features<br />
focus on actual drummers. Will Calhoun (Interview) is best known from the rock<br />
band Living Colour but has tons of impressive jazz credits and a new album on<br />
Motéma Music, which he’ll celebrate this month at Blue Note. And Mike Pride<br />
(Artist Feature), veteran of numerous avant garde jazz and rock bands himself, has<br />
a big month of May, releasing two different projects on AUM Fidelity: a new disc<br />
from his From Bacteria to Boys group, who play Greenwich House Music School<br />
this month, and his Drummer’s Corpse project, including fellow drummers Tyshawn<br />
Sorey, Ches Smith and Bobby Previte.<br />
In the other features, drummer Steve Williams (Encore) honed his skills with<br />
Shirley Horn for decades, experience he will bring to several groups this month.<br />
Legendary chamber jazz group Revolutionary Ensemble (Lest We Forget) is the<br />
beneficiary of a posthumous release on Mutable Music, which also happens to be<br />
our Label Spotlight. And local cornet luminary Kirk Knuffke writes our Megaphone<br />
and performs with a typically diverse range of bands throughout the month.<br />
Of course, there are CD reviews aplenty and an Event Calendar packed full as<br />
the spring thaw segues into the summer burn.<br />
We’ll see you out there...<br />
Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director<br />
On the cover: Chick Corea (Santa Istvan Csaba / www.photo-santa.com)<br />
Corrections: In last month’s Lest We Forget on Borah Bergman, we mistakenly said that<br />
the pianist was influenced by Earl Hines after hearing him on Louis Armstrong’s<br />
“Potato Head Blues”; in fact the song was “West End Blues”.<br />
Submit Letters to the Editor by emailing feedback@nycjazzrecord.com<br />
US Subscription rates: 12 issues, $30 (International: 12 issues, $40)<br />
For subscription assistance, send check, cash or money order to the<br />
address below or email info@nycjazzrecord.com.<br />
The New York City Jazz Record<br />
www.nycjazzrecord.com / twitter: @nycjazzrecord<br />
Managing Editor: Laurence Donohue-Greene<br />
Editorial Director & Production Manager: Andrey Henkin<br />
Staff Writers<br />
David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull,<br />
Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan,<br />
Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman,<br />
Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie,<br />
Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts,<br />
John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman<br />
Contributing Writers<br />
Duck Baker, George Kanzler, Kirk Knuffke, Suzanne Lorge, Robert Milburn, Stanley Zappa<br />
Contributing Photographers<br />
Bill Bernstein, Santa Istvan Csaba, Scott Friedlander,<br />
Peter Gannushkin, Erika Kapin, Alan Nahigian, Jim Newberry<br />
To Contact:<br />
The New York City Jazz Record<br />
116 Pinehurst Avenue, Ste. J41<br />
New York, NY 10033<br />
United States<br />
Laurence Donohue-Greene: ldgreene@nycjazzrecord.com<br />
Andrey Henkin: ahenkin@nycjazzrecord.com<br />
General Inquiries: info@nycjazzrecord.com<br />
Advertising: advertising@nycjazzrecord.com<br />
Editorial: editorial@nycjazzrecord.com<br />
Calendar: calendar@nycjazzrecord.com<br />
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 3
NEW YORK @ NIGHT<br />
The Hell’s Kitchen Cultural Center, Inc.<br />
Presents:<br />
The Seventh Annual<br />
“Rhythm in the Kitchen”<br />
Music Festival 2013<br />
Wednesday, June 5th<br />
In Collaboration with Harvestworks<br />
7pm - Hans Tammen & Denman Maroney<br />
8pm - Lori Napoleon<br />
9pm - Phillip Stearns<br />
10pm - Peter Edwards<br />
Thursday, June 6th<br />
Hell’s Kitchen Cultural Center, Inc. Benefit<br />
7pm - In Performance Music Workshop directed<br />
by Sean King with guest JD Parran<br />
8:30pm - David Jimenez/Charles Evans Duo<br />
9:30pm - York College Jazz Ensemble<br />
directed by Thomas Zlabinger<br />
10:30pm - Elise Wood /Bruce Edwards<br />
Friday, June 7th<br />
7pm - Eri Yamamoto Trio with<br />
David Ambrosio, Ikuo Takeuchi<br />
8pm - Rob Reddy Ensemble with<br />
Charlie Burnham, John Carlson,<br />
Dom Richards, Guillermo Brown<br />
9pm - Alex Garcia/AfroMantra with<br />
Ole Mathisen, Mike Eckroth, Ariel De La Portilla<br />
10pm - Ernie Hammes Group with<br />
Pierre Alain Goualch, Paul Wiltgen, Jay Anderson<br />
Saturday, June 8th<br />
7pm - Curtis Stewart PUBLIquartet with<br />
Jannina Norpoth, Nick Revel, Amanda Gookin<br />
8pm - Michele Rosewoman with Liberty Ellman<br />
9pm - William Hooker/Strings 3 with<br />
David Soldier and David First<br />
10pm - Joseph C. Phillips, Jr. and Numinous with<br />
Ana Milosavljevic, Maya Bennardo,<br />
Hannah Levinson, Richard Vaudrey<br />
$15/$12 (students & seniors)<br />
The HKCC Benefit on June 6th is $20/$15 (students & seniors)<br />
$25 / 2 Evening Festival Pass - only for purchase on Friday, June 7th<br />
Church for All Nations<br />
417 West 57th Street (9th & 10 Aves) NYC<br />
hkculturalcenter.org<br />
Facebook.com/rhythminthekitchen<br />
contact: dwhook@att.net / abrajazzbra@aol.com<br />
Ministere de la Culture,<br />
de l’Enseignement Superieur<br />
et de la Recherche, Luxembourg<br />
Lux Mux, Luxembourg<br />
4 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Photo by Erika Kapin<br />
With the band name Voyager emblazoned on his bass<br />
drum head, drummer Eric Harland appeared at Jazz<br />
Standard (Apr. 13th) and played five powerful<br />
extended numbers straight through, speaking only to<br />
introduce his colleagues at the end: tenor saxophonist<br />
Walter Smith III, guitarist Julian Lage, pianist Taylor<br />
Eigsti and bassist Harish Raghavan. Each of these<br />
mammoth musicians could have played a full solo set<br />
and left the crowd happy, but what they did was a<br />
sequence of unaccompanied virtuoso spots to introduce<br />
or transition the tunes - “Intermezzos”, as Harland<br />
termed them on his 2011 debut Voyager: Live By Night<br />
(Sunnyside). Following a bright and challenging<br />
opener with the provisional title “New Song”, Lage<br />
brought a ragged experimentalism and strategic<br />
effects-pedal tweaking to his intro on “Voyager”.<br />
Raghavan was nimble and deeply expressive as he<br />
segued into the lyrical waltz ballad “Trust the Light”.<br />
Eigsti destroyed at the piano but also brought a cool<br />
and glowing harmony to the band, taking the spotlight<br />
right before the irresistibly soulful “Eclipse”. Smith<br />
battled a little harder to be heard, but he shred the<br />
music to pieces consistently. Harland’s show-stopping<br />
solo before “Play With Me”, the catchy groove-based<br />
finale, might have topped the energy of all previous<br />
intermezzos combined. But Harland doesn’t seek to<br />
dominate: he picks players who can do what he does,<br />
transforming the moment in their own highly personal<br />
way. - David R. Adler<br />
Eric Harland @ Jazz Standard<br />
When trumpeter Wadada Leo Smith and pianist<br />
Angelica Sanchez played duo at Greenwich House<br />
Music School (Apr. 6th), there were zones of deep<br />
concentration and silence, but also an outburst or two<br />
from car horns on the small West Village street just<br />
outside. Smith’s horn, too, shattered the calm, but with<br />
high musical intent and creative control. Three of the<br />
six untitled improvisations began with Smith solo,<br />
commanding the room with triple-fortissimo shouts,<br />
relaxed and poetic legato lines, coarse multiphonic<br />
timbres, breath tones and fast blurry runs. Receiving<br />
all this inspiration from a few feet away, Sanchez<br />
showed a great virtuosic reach, favoring a dark<br />
language with 20th-century echoes. At one point she<br />
strove to drown out the car horns with a dissonant<br />
crescendo, but in quieter moments one could hear her<br />
voice, singing the notes and melodies as they emerged.<br />
Her sparse rubato passages and harp-like string<br />
strumming had a way of bringing out Smith’s lyricism<br />
and introspection. “More” called out one listener after<br />
the fifth piece, but Smith grinned and turned the<br />
request around: “How much more?” Then began the<br />
stormy encore, with rumbling rhythms and patterns<br />
and a huge, long-decaying bass note from the piano as<br />
its final gesture. The rich harmonic bed of this<br />
collaboration sets it apart from Smith’s other recent<br />
duos with Louis Moholo-Moholo, Jack DeJohnette and<br />
others. There will in fact be more: Smith and Sanchez<br />
entered the studio the next day to record. (DA)<br />
The ICP Orchestra’s opening piece at Littlefield (Apr.<br />
13th) could have been called “All The Things They<br />
Are” except it was Monk, not Jerome Kern, under an<br />
arrangement by pianist Misha Mengelberg. But with<br />
the array of fragments they worked through, from<br />
graceful minuets for the horns or strings to momentary,<br />
rousing free jazz to brief and blistering tenor solos<br />
from Tobias Delius to full band swing, it made for a<br />
show of prowess whether or not it was intended that<br />
way. It was the ensemble’s first US tour without<br />
Mengelberg, who co-founded the band some 45 years<br />
ago. “He’s just not up to touring right now, but he’s<br />
with us in spirit,” violinist Mary Oliver told the full<br />
house and few in attendance could have been unaware<br />
of the missing figure at the piano. Along with<br />
Mengelberg and Monk they played Basie and Ellington<br />
as well as compositions and arrangements by<br />
saxophonists Ab Baars and Michael Moore and cellist<br />
Tristan Honsinger and a couple by the late South<br />
African saxophonist Sean Bergin, with whom many of<br />
them worked. From a surgical perspective, the nonet<br />
wasn’t so different without its leader. Mengelberg -<br />
who was never one to play 20 notes where one would<br />
do - wasn’t usually heard so much as felt. His spirit of<br />
playful absurdism, of unhinged bop, was still instilled<br />
in the music forwarded by a talented pool of instant<br />
composers who have all played with him for years, if<br />
not decades - and with hope, in spirit or practice, for<br />
decades to come. - Kurt Gottschalk<br />
ICP Orchestra @ Littlefield<br />
The former New York percussionist Tatsuya Nakatani<br />
- who has taken up residence in Pennsylvania - and<br />
Chicago saxophonist Edward Wilkerson, Jr. stopped<br />
at Clemente Soto Velez Cultural Center (as a part of the<br />
Arts for Art Evolving Music series) Apr. 5th during<br />
their tour playing music for the 2012 Japanese silent<br />
vampire movie Sanguivorous. But, as Nakatani pointed<br />
out, instead of the vampire they had William Parker.<br />
They conjured music with one foot in the Mali jungle,<br />
one in the Australian outback and a third downtown<br />
with Parker on kora and Wilkerson playing didgeridoo.<br />
Nakatani created a sonic bed with delicate blowing<br />
across a handheld cymbal and rigorous crushing of<br />
larger ones against his drumhead. They put another<br />
foot back home in Chicago once Wilkerson pulled out<br />
his tenor, sock in bell, and Parker picked up his bass.<br />
They played midtempo excursions while Nakatani<br />
kept in constant motion with brushes and bowls and<br />
cymbals and gongs. Wilkerson brought a nice constraint<br />
to the free formations, playing in boppish boxes and<br />
well-parsed phrases, faithful as Chicago saxophonists<br />
so often are to the spirit of Gene Ammons while<br />
working the array of hand percussion and small<br />
instruments trademark to a younger generation of<br />
Chicagoans. Announcing the band at the end of the set,<br />
Nakatani laughed, “Usually when free jazz improvisers<br />
play together for the first time, it is OK, then the<br />
second, third time it is good. This was the first time we<br />
played together - it was really pretty good.” (KG)<br />
Peter Gannushkin/DOWNTOWNMUSIC.NET
Photo by Scott Friedlander<br />
One imagines when the quartet Conference Call came<br />
together in New York 15 years ago, the name was a<br />
cheekily oblique reference to group improvisation. But<br />
now that geography has separated the members across<br />
states and continents, the appellation is even more<br />
fitting. The foundation of the group is the remarkable<br />
communication between (now) North Carolina-based<br />
pianist Michael Jefry Stevens and Washington Heights<br />
bassist Joe Fonda - their partnership goes back twice as<br />
long as the quartet in question. At ShapeShifter Lab<br />
(Apr. 3rd), their pairing, particularly in the more quiet<br />
moments, is why one laments modern jazz’ dearth of<br />
longterm relationships. But those quiet moments were<br />
in the minority, no surprise given tenor saxophonist/<br />
bass clarinetist Gebhard Ullmann, now returned to his<br />
native Germany, who evinces shades of both homes in<br />
his playing, especially a unique approach to the bass<br />
clarinet. His “Dreierlei” opened and took up over half<br />
of the set, a complex piece but not stultifyingly so,<br />
demonstrating Conference Call’s two best features:<br />
precisely harnessed energy and immediate and organic<br />
responsiveness. Drummer George Schuller (third in<br />
the chair after Matt Wilson and Han Bennink) drove<br />
the Township jive-like second piece, featuring a classic<br />
tenor tone from Ullmann. Stevens’ “What About the<br />
Future” closed the set in succinct fashion but ended up<br />
being the concert’s highlight, mainly due to some arco<br />
magic from Fonda, who makes everything he plays<br />
look easy. - Andrey Henkin<br />
Conference Call @ ShapeShifter Lab<br />
Seeing Art Lande at Jazz at Kitano (Apr. 10th), it is<br />
hard to reconcile the pianist’s early ECM efforts with<br />
Jan Garbarek or Gary Peacock, dour men of jazz, with<br />
the almost manic cutup slaying the audience while<br />
leading a quartet of Bruce Williamson (reeds), Dean<br />
Johnson (bass) and Tony Moreno (drums). When he<br />
wasn’t reading random snatches of poetry or jumping<br />
up from his piano stool, he was exhorting the assembled<br />
New Yorkers to come by his next gig...back home in<br />
Colorado. For a Wednesday night and an obscure<br />
figure such as Lande, Jazz at Kitano was packed,<br />
mostly with musicians, a testament to Lande the artful<br />
educator. But he wasn’t the only one teaching in a<br />
70-minute set made up of 6 tunes, each oddly either 9<br />
or 12 minutes. Williamson, a collaborator of Lande’s<br />
since the ‘70s when both were based in San Francisco,<br />
was a marvel on alto saxophone, clarinet and bass<br />
clarinet. Johnson and Moreno made up a gooey rhythm<br />
section, delicious like melted chocolate. There were<br />
standards like a slightly fractured take on “St. Thomas”<br />
and the plucky, clarinet-led “Moon River” encore or<br />
Lande originals like “Osloxica” (where Norwegian and<br />
Mexican music meet) or “Pitless”, written for trumpeter<br />
Don Cherry. The opening “Sass” was just that, courtesy<br />
of Johnson’s intro and Lande’s pushing-against-time<br />
solo while “Gallery Cool”, written by Paul Grabowsky,<br />
referenced art in the impressionism of Lande’s insidethe-piano<br />
musings and an elfin quality that could be<br />
subtitled “Evening of a Midtown Faun”. (AH)<br />
Having long ago shunned the word jazz to identify<br />
the sounds he creates - preferring his own neologism<br />
‘autophysiopsychic’, meaning from the physical,<br />
mental and spiritual self - it was not surprising that the<br />
program for Yusef Lateef: Celebrating 75 Years of<br />
Music at Roulette (Apr. 6th) featured an expansive<br />
range of music by the 92-year-old multi-instrumentalist,<br />
little of which could be described with that term he has<br />
historically disdained. The evening’s first half<br />
showcased Lateef the composer, with three pieces -<br />
“String Quartet no. 2 2012”, performed by the Momenta<br />
Quartet; “Trio in December 1998 op. 2 No. 2 (Elan<br />
Vital)” featuring the saxophone trio of JD Parran,<br />
Marty Ehrlich and Allen Won and “Autophysiopsychic<br />
(variations for piano) 2012” with Taka Kigawa - that<br />
while best described as being in the European classical<br />
tradition, still evinced the engaging lyricism and<br />
rhythmic resourcefulness that distinguishes all of<br />
composer’s work. But it was the second portion of the<br />
concert, an hour-long duet between Lateef and<br />
longtime colleague/percussionist Adam Rudolph that<br />
was most rewarding. Seated center stage, the elder<br />
master blew tenor sax, flutes (both bamboo and metal)<br />
and oboe, weaving an intriguing panoply of ethereal<br />
and earthy tones into Rudolph’s percussive array of<br />
polyrhythms to create a bluesy Eastern-tinged sonic<br />
tapestry, made all the more dramatic with the solemn<br />
recitation of Lateef’s two poems “When” and “A<br />
Syllogism”. - Russ Musto<br />
Yusef Lateef & Adam Rudolph @ Roulette<br />
Peter Bernstein kicked off his first set at 54 Below<br />
(Apr. 2nd) with an upbeat “This Could Be The Start Of<br />
Something Big”, a suitably optimistic opener marking<br />
the inaugural night of the WBGO Jazz Series at the<br />
room called “Broadway’s Nightclub”. Following up,<br />
the young-yet-veteran guitarist introduced an easy<br />
grooving “Stairway To The Stars” with a knowing grin<br />
that recognized the ironic relationship between the<br />
song’s title and the subterranean location of the<br />
opulently appointed room where his stellar band of<br />
pianist Harold Mabern, bassist John Webber and<br />
drummer Jimmy Cobb was holding forth for the first<br />
time. Bernstein’s lyrical single-note stylings shined on<br />
the Victor Young classic “Delilah”, contrasting nicely<br />
with Mabern’s fluent harmonically rich solo. The<br />
pianist was featured on his own “Edward Lee”, a<br />
soulful dedication to his old bandleader boss Lee<br />
Morgan, showcasing his powerful parallel octave runs<br />
in conversational tandem with Bernstein’s mellifluous<br />
chording. The addition of guest Frank Wess added a<br />
classic jazz element to the group that seemed<br />
particularly at home in the old-style cabaret<br />
environment of the room. Swinging breezily on “The<br />
Street Where You Live” the saxophonist’s airy tone<br />
recalled the sound of his glory days with Count Basie.<br />
His unaccompanied intro to “How About You”<br />
launched the band into a medium-up tour de force<br />
outing, before bringing things home with a moving<br />
“Never Let Me Go”. (RM)<br />
Photo by Alan Nahigian<br />
WHAT’S NEWS<br />
The nominees for the 2013 Jazz Journalists<br />
Association Awards have been released. We are<br />
pleased to have been nominated for Best Print<br />
Periodical of the Year for the seventh time in the last<br />
eight years. Winners in musical categories will be<br />
announced on the JJA website May 1st. A celebration<br />
for the winners will take place at Blue Note Jun. 19th,<br />
where prizes in journalism/media categories will be<br />
announced. Additionally, the JJA has named its class<br />
of 2013 Jazz Heroes, which includes local activists<br />
Robbin Ahrold, president of Century Media Partners<br />
and past Vice President, Corporate Relations for BMI,<br />
and Karl Berger and Ingrid Sertso, co-founders of<br />
the Creative Music Studio workshops in Woodstock.<br />
For more information, visit JJAJazzAwards.com.<br />
The 2013 Nesuhi Ertegun Jazz Hall of Fame<br />
Inductees have been announced. Based on the<br />
results of a worldwide popular vote, Art Blakey, Lionel<br />
Hampton and Clark Terry will be the 43rd-45th<br />
members inducted and the first since 2010. For more<br />
information, visit jalc.org/learn/online-learning/hall-offame.<br />
Trumpeter Wadada Leo Smith was named a finalist<br />
for the 2013 Pulitzer Prize in Music for his 10 Freedom<br />
Summers, released on Cuneiform Records and<br />
receiving its local premiere at Roulette May 1st-3rd.<br />
The 2013 Essentially Ellington Competition will<br />
take place at Jazz at Lincoln Center’s Rose Hall May<br />
10th-12th. For more information, visit jalc.org/learn/<br />
teachers-students/essentially-ellington.<br />
The late trombonist Albert Mangelsdorff is to be<br />
celebrated in his native Frankfurt, Germany by the<br />
naming of a small pond in the city in his honor.<br />
Mangelsdorff apparently visited the pond daily and<br />
was inspired by the many birds who frequented it.<br />
The Library of Congress’ National Recording<br />
Registry, recordings that “are culturally, historically, or<br />
aesthetically important, and/or inform or reflect life in<br />
the United States” has added the following to its list:<br />
“Begin the Beguine” - Artie Shaw & His Orchestra<br />
(1938); Descargas: Cuban Jam Session in Miniature -<br />
Cachao Y Su Ritmo Caliente (1957); The Shape of<br />
Jazz to Come - Ornette Coleman (1959) and The<br />
Audience with Betty Carter - Betty Carter (1980). For<br />
more information, visit loc.gov/rr/record/nrpb/registry.<br />
Jazz at Lincoln Center has acquired the collection of<br />
Frank Driggs, including a massive archive of<br />
photographs, posters, sheet music, records and<br />
personal papers. Driggs was a longtime jazz record<br />
executive for Columbia and later RCA Victor. For more<br />
information, visit jalc.org.<br />
The film The Girls in the Band, a documentary on<br />
female jazz instrumentalists from the ‘30s onwards,<br />
will receive its theatrical premiere at Lincoln Center’s<br />
Walter Reade Theater May 10th followed by a week<br />
run at the Francesca Beale Theater, May 10th-16th.<br />
For more information, visit thegirlsintheband.com.<br />
Clarinetist Anat Cohen is the recipient of the 2013<br />
Paul Acket Award, given annually by the North Sea<br />
Jazz Festival (and named for its founder) to artists<br />
“deserving wider recognition for their extraordinary<br />
musicianship.” For more information, visit<br />
northseajazz.com.<br />
Submit news to info@nycjazzrecord.com<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 5
Photo by Bill Bernstein<br />
INTERVIEW<br />
Drummer Will Calhoun’s playing is vivid. It’s clear and<br />
forceful; you always know he’s there. So when big names<br />
need a big beat, they call Calhoun; in addition to his many<br />
years as the fire underneath rock band Living Colour, the<br />
Bronx-based Calhoun has laid it down for Pharoah Sanders,<br />
Wayne Shorter, rapper Yasiin Bey (when he was still known<br />
as Mos Def) and Malian vocalist Oumou Sangare. In<br />
between Living Colour dates last month, Calhoun spoke to<br />
The New York City Jazz Record about his wide-ranging<br />
fifth jazz album as a leader, Life in This World.<br />
The New York City Jazz Record: I really like the new<br />
album title.<br />
Will Calhoun: There’s a lot of things going on in my<br />
career and what I’m doing. How I’m experiencing<br />
myself as an artist. I’m kind of pigeonholed a little bit<br />
in the press for being a rock guy, [because I was]<br />
introduced to the industry by Living Colour. But Mali<br />
and Africa in general, but mostly Mali and Senegal and<br />
Mauritania and Morocco are places where I’ve studied<br />
and researched music. And that music has influenced<br />
me a great deal in playing everything. So Life in This<br />
World really is an experience of the world that I’m in<br />
and putting it, sort of, in a jazz narrative with this<br />
record. I wanted to bring my Bronx history: hip-hop -<br />
whether folks hear it in there or not - drum-and-bass,<br />
reggae, growing up in a Caribbean community. My<br />
first professional gig, at the age of 19, with Harry<br />
Belafonte. What that experience was like. Working<br />
with Harry and working with unbelievable South<br />
African musicians. That was my first contact, really,<br />
with musicians from Africa. And that was my first<br />
experience with each singer or musician being able to<br />
play at least eight instruments. So Life in This World is<br />
where I am now and the experiences that I’ve had.<br />
TNYCJR: “Naima”, uniquely, gets a Brazilian groove.<br />
WC: Very well stated. It’s a baiao. I wanted to try<br />
something not on the kit. I’m very influenced by that<br />
country. Less samba and more from maracatu. More<br />
the north, more in the Bahia and the Recife area. But<br />
still, yes, I’m a huge fan of that culture and the country<br />
and of course if you’re a drummer or an acoustic guitar<br />
player that country can become paradise for you as a<br />
musician. But yeah, it is a Brazilian influence, that is<br />
correct. I love all of [John] Coltrane’s music. “Naima”,<br />
to me, just has such a universal melody to it. Whether<br />
you’re playing straightahead jazz, or with hand drums,<br />
or in the choir. I’ve heard it done many ways, with<br />
many different types of musicians and I wanted to put<br />
a little bit of a Brazilian twist on it and feel, without<br />
insulting [Coltrane’s] music.<br />
TNYCJR: And am I hearing some Latin stuff also on<br />
[Thelonious Monk’s] “Evidence”?<br />
WC: That six that I’m playing there is Malian actually.<br />
6 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Will<br />
Calhoun<br />
by Brad Farberman<br />
And it’s interesting when you go to some of these<br />
rhythms, because a lot of the cascaras and a lot of the<br />
claves and these things that left the continent and went<br />
to Central and South America actually come from a lot<br />
of these areas of Mali, of Senegal. I was with a Dogon<br />
family for a little while. I was just out in the bush and<br />
I stopped at this place to eat and this guy had a very<br />
old, crusty boombox and he put this cassette in and the<br />
drums destroyed me. And I was like, “What is that?”<br />
He said, “Oh, it’s just old Dogon music.” It was taped<br />
over, like, an Earth, Wind & Fire or Jackson 5 tape - I<br />
don’t know how he got the tape, but he obviously<br />
taped over it - but the drumming was insane. And on<br />
this cassette, you hear these kinds of claves, these<br />
kinds of cascara patterns and I was asking him how old<br />
these patterns were in the culture. They were laughing<br />
at me, ’cause I liked all the old stuff. I liked the hunter’s<br />
music. All the things that aren’t popular, that are only<br />
played for a certain purpose. So they kinda got a kick<br />
out of me diggin’ that stuff. ’Cause you have to be<br />
initiated to play that music. So that was the attraction.<br />
But that six, it does sound very Latin, but historically<br />
it’s coming from a Manding style.<br />
TNYCJR: It’s so interesting how all these rhythms and<br />
all these different musical elements get dispersed<br />
around the world.<br />
WC: Yeah, yeah, yeah. I wish I had the time and the<br />
money to really get a team together and a film crew<br />
and a whole plane full of people and go over and really<br />
start to comb through this stuff at that level. But my<br />
sort of smaller level has just been so amazing to<br />
experience. Older balafon players telling me why [Jimi<br />
Hendrix’] Band of Gypsys meant more to them than<br />
the Experience band. And I’m saying, “Well, what’s the<br />
reason?” and they started to play me Manding music<br />
that sounded so much like what Jimi was doing with<br />
the Band of Gypsys that they thought Jimi was trying<br />
to get to that. And then who knows with Jimi; maybe<br />
he was! [laughs] But this 80-something-year-old man<br />
played me so many traditional songs that sounded like<br />
“Power of Soul” and sounded like “Machine Gun”. Of<br />
course not exactly like the same licks, but if you hear<br />
the movements in the music, it’s spine-tingling to have<br />
that experience and then go back and listen to [Hendrix]<br />
and realize, “Whoa, there’s a relationship there,<br />
whether Jimi realized it or not.”<br />
TNYCJR: Ron Carter appears on two tracks from Life<br />
in This World. “Etcetera”, in particular, I felt was really<br />
spontaneous-sounding.<br />
WC: First of all, it was an honor. Second of all, I’ve<br />
done a few jingles with Ron. He won’t remember it,<br />
because Ron was such a professional. He used to just<br />
come in and read the music down and leave. [laughs]<br />
He won’t remember me playing on most of the jingles<br />
we did together; I was just happy to be in the same<br />
room with Ron. But yeah, Ron’s a master. When you<br />
hear that sound, it just brings you back.<br />
The “Etcetera” thing was interesting because I<br />
love this track and on Wayne Shorter’s original version,<br />
Joe Chambers is playing drums and there’s a solo in<br />
the section after the piano and saxophone solo. And I<br />
was just talking down the arrangement and Ron, he<br />
didn’t want any music before this recording, he didn’t<br />
want to hear anything, he just said, “I’ll just come and<br />
do it.” I said, “Okay, fine.” He showed up, we talked<br />
about it and I said, “Well, you know, there’s a solo, it’s<br />
an open drum solo.” And he said, “You know, I think I<br />
wanna play with you in that section”. And I said,<br />
(CONTINUED ON PAGE 46)<br />
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Photo by Jim Newberry<br />
ARTIST FEATURE<br />
Great art, or even much good art, often comes from<br />
strife. Whether socio-political, personal, internal or<br />
external, it is important to creation. Of course too much<br />
can be made of the psychological or social complexities<br />
that resulted in the work of Jackson Pollock or Francisco<br />
Goya, in the face of their art’s ability to stand on its<br />
own without the crutch of torment. Jazz and improvised<br />
music too has a deep connection to social and personal<br />
complexities, an intertwined series of challenges to<br />
survival that begat and beset musicians from Charlie<br />
Parker to Cecil Taylor. While coming out of a different<br />
milieu (“a white farm boy from Maine” as he tells it),<br />
drummer Mike Pride has certainly developed his art<br />
from personal difficulties that have resulted in as much<br />
celebration as pain.<br />
In 2005, shortly after leaving his job as a working<br />
drummer in the well-regarded punk band MDC<br />
(Millions of Dead Cops, et al) and seeing a couple of<br />
his personal musical projects dissipate, his Park Slope<br />
apartment suffered a catastrophic electrical fire,<br />
leaving him and his wife temporarily homeless and<br />
destroying nearly all of their belongings as well as<br />
killing the family cat. Pride’s response to this was<br />
creative: “I decided to have this thing called Drummer’s<br />
Corpse that could be super dark and when people<br />
want me to play rock shows now I don’t show up with<br />
a rock band anymore. What to do next? Fill up the<br />
room with drummers and go nuts. I wanted to have an<br />
installation rather than a rock band and that has<br />
continued for going on eight years.” Extant only in a<br />
few live clips until now, the Drummer’s Corpse record,<br />
just out on AUM Fidelity, features Pride on drums,<br />
organ, vocals, nose flute and percussion, joined by<br />
Tyshawn Sorey, Ches Smith, Bobby Previte, Oran<br />
Canfield, Russell Greenberg and John McLellan on<br />
drums and gongs, Chris Welcome on guitar and<br />
performance artists Marissa Perel and Fritz Welch on<br />
voice and percussion.<br />
The cast has changed with each performance,<br />
though Welch and Canfield have been constants. As a<br />
performative installation it’s not easy to translate to<br />
record, but Pride has made adjustments. It is scored<br />
and mapped out to an exacting degree with ‘Cage-ian’<br />
vocal parts and what Pride calls “Messianic chords”<br />
written for organ and guitar. “Catharsis is the goal;<br />
you have six chords and each chord is held for five<br />
minutes. That’s when the shifts happen. Live every<br />
drummer starts when a female performance artist<br />
comes up and makes uncomfortable eye contact and<br />
that’s when they start improvising. I start the clock and<br />
there’s three minutes of that.” What one hears is what<br />
was recorded with only a few studio tweaks and<br />
imperceptible superimpositions - and yet as cathartic<br />
as the music is, it’s quite spacious and flows in a<br />
number of affecting directions. The recording was<br />
funded by a Kickstarter campaign that exceeded its<br />
goal, bringing in enough to pay the artists a good<br />
hourly wage and ensure that it was mastered in a clear<br />
and sympathetic fashion. While Pride intended to<br />
Mike<br />
Pride<br />
by Clifford Allen<br />
release it himself, events transpired that might give the<br />
music a larger audience. “I thought Tzadik was<br />
interested and was kind of thrown off when that didn’t<br />
happen, so I thought why not put this out on a label<br />
with some business behind it rather than have another<br />
record on my own label, because as far as I’m<br />
concerned, this is one of the heaviest records I’ve ever<br />
heard. Why not have people beyond the 120 or 130 that<br />
supported it via Kickstarter be made aware? It just<br />
seemed to make sense and it was good that it could be<br />
offset by the new Bacteria to Boys record. They’re both<br />
joyful, but coming from completely different places.”<br />
The latter disc, Birthing Days, is being released<br />
concurrently on AUM Fidelity and features Pride’s<br />
working group From Bacteria to Boys with pianist<br />
Alexis Marcelo, bassist Peter Bitenc and saxophonist<br />
Jon Irabagon (two tracks feature tenor saxophonist<br />
Jonathan Moritz and bass clarinetist Jason Stein). The<br />
third record under this moniker, the group’s name<br />
comes from String Theory. “It was a documentary that<br />
I was watching and the closing line referred to ‘…the<br />
evolution of man from bacteria to boys.’ I wrote that<br />
down and it remained something I’d wanted to use for<br />
years. It’s a ridiculous name - any time I meet someone<br />
who recognizes the String Theory reference, they think<br />
it’s the best name ever. I thought the name was<br />
interesting and it fit how the music was written,<br />
especially the trio music that I wrote for [alto<br />
saxophonist] Darius [Jones] and Evan [Lipson, bassist<br />
– both featured in earlier incarnations of the group]. It<br />
was cellular material that grew and got bigger and<br />
created this kind of architectural mass of sound.”<br />
Pride’s name has cropped up with increasing<br />
regularity over the last eight or ten years; while punk<br />
and noise were (and remain) in his blood, he can be<br />
heard in settings with Jon Irabagon, guitarist Joe<br />
Morris, organist Jamie Saft, bassist William Parker,<br />
guitarist Mick Barr and trumpeter Peter Evans (to<br />
name just a few). A big-toned, harmonically-minded<br />
and economical drummer, “Milford Graves was the<br />
reason I moved to New York – I was a huge fan of his,<br />
despite never having seen him play. I became his<br />
understudy. We immediately hit it off and I studied off<br />
and on until at a fundraiser at Tonic, where he had me<br />
come up and do a duet with him at the end of his solo<br />
performance. He had me up on his shoulders and I<br />
would lean over and play his drums. He had me play<br />
solo on his kit while he went out into the audience and<br />
sang. It was really deep and we didn’t talk for a year<br />
after that. He said, ‘Mike is one of my best students<br />
and this was his best lesson.’” A Graves connection<br />
might seem surprising for a drummer who is dedicated<br />
to specific forms and their ability to enact cathartic and<br />
cellular actualities, but as Pride spins it, “my whole<br />
thing is a sort of ‘Grand Unification’ [referencing a<br />
Graves solo recording] of everything I’m into.” v<br />
For more information, visit mikepride.com. Pride’s From<br />
Bacteria to Boys is at Greenwich House Music School May<br />
22nd. He is also at ShapeShifter Lab May 8th with Mostly<br />
Other People Do the Killing. See Calendar.<br />
Recommended Listening:<br />
• Mike Pride - Scrambler (Not Two, 2002)<br />
• Jason Stein Locksmith Isidore - A Calculus of Loss<br />
(Clean Feed, 2006)<br />
• Jon Irabagon - I Don’t Hear Nothin’ But The Blues<br />
(with Mike Pride) (Loyal Label, 2008)<br />
• Mike Pride’s From Bacteria to Boys -<br />
Betweenwhile (AUM Fidelity, 2010)<br />
• Yoni Kretzmer 2Bass Quartet - Weight<br />
(OutNow, 2011)<br />
• Mike Pride - Birthing Days (AUM Fidelity, 2012)<br />
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THE NEW YORK CITY JAZZ RECORD | May 2013 7
ON THE COVER<br />
In accepting one of two Grammys this past February<br />
for his work with vibraphonist Gary Burton on Hot<br />
House (Concord), pianist Chick Corea gave an<br />
impromptu salute to musicians everywhere. “I know<br />
that we all have the same intention, which is to bring<br />
pleasure and beauty to people around the world,” he<br />
said. This intention continues to motivate Corea well<br />
into his fourth decade as a solo artist and bandleader:<br />
Corea, now 72, tours relentlessly throughout the US<br />
and abroad, performing in all manner of venues, with<br />
all manner of musicians. This month that touring<br />
brings him to New York City for a festival in his honor<br />
at Jazz at Lincoln Center (JALC).<br />
Corea and JALC Artistic Director Wynton Marsalis<br />
have known each other for years - with a total of almost<br />
30 Grammys between them, the pianist and trumpeter<br />
are two of the most prolific jazz players around - but<br />
they hadn’t worked together until 2011, when Marsalis<br />
invited Corea to play three nights at JALC’s Rose Hall.<br />
Marsalis wrote some arrangements of Corea’s tunes,<br />
Corea rehearsed for a bit with the JALC Orchestra and<br />
the resultant performances transformed their<br />
relationship from one of mutual admiration to one of<br />
powerful collaboration. Corea and Marsalis agreed<br />
that they’d have to do it again.<br />
This time Marsalis added two nights to the run<br />
and asked Corea to curate the performances on the<br />
other stages at JALC, all of which would be booked<br />
with prominent players who’d been brought up on<br />
Corea’s music. “I had to look the word [curate] up in<br />
the dictionary,” joked Corea, who agreed to select the<br />
participating musicians. When the plan took form it<br />
looked like this: Corea would perform Marsalis’<br />
arrangements of Corea’s compositions with the JALC<br />
Orchestra for three evenings in Rose Hall; five<br />
bandleaders hand-picked by Corea would play across<br />
five evenings in Dizzy’s Club and two of Corea’s<br />
young protégés would play with some more<br />
experienced instrumentalists in a program called<br />
“Friends of Chick Corea: Musicians of the Future” in<br />
the Allen Room. The visiting ensembles would perform<br />
their own Corea-inspired works along with<br />
arrangements of one or two Corea tunes.<br />
Corea, who’s produced a staggering array of<br />
traditional jazz, fusion, avant garde and symphonic<br />
compositions over the last nearly 50 years, took a<br />
decidedly hands-off approach to the repertoire for the<br />
festival. “I didn’t want to have to choose the material<br />
for the artists to perform,” Corea asserted. “These<br />
young musicians are in a thorough mode of creativity…<br />
and I didn’t want to interrupt it by saying ‘do this, do<br />
that.’ The idea was that each group might choose a<br />
Chick Corea tune that they might like to play. Even if<br />
they all chose the same tune they’d play incredibly<br />
different renditions. [But] they’re making choices<br />
pretty far afield from what would be considered the<br />
standard tunes, like ‘Spain’.”<br />
Corea’s willingness to grant the participants so<br />
much creative autonomy reflects the appreciation he<br />
feels for the next generation of musicians. He admires<br />
their confidence, he says, their technical brilliance,<br />
CHICK COREA<br />
CREATING FREEDOM<br />
by Suzanne Lorge<br />
their expressiveness. “What’s coming out [of these<br />
musicians] is so uninhibited that it bubbles with light,”<br />
he says. “…That freedom to create…that’s something<br />
that every artist, no matter what his age, strives for all<br />
the time.”<br />
Of course, the artists involved might well say that<br />
the very qualities that Corea admires in them are part<br />
of his legacy to the jazz world. “His music, virtuosic<br />
skill, incredible compositional skills - how do you even<br />
talk about it?” asks pianist Edsel Gomez, who opens<br />
the lineup at Dizzy’s Club with his Cubist Music Band.<br />
Puerto Rican-born Gomez first met Corea in the mid<br />
‘80s, when Corea was visiting Berklee School of Music<br />
in Boston and selected Gomez, a student then, to play<br />
in his band. “He influences everybody. He’s influenced<br />
everything I do, even [music] that has nothing to do<br />
with jazz.”<br />
Outside the US Corea’s influence on young<br />
musicians was no less pronounced - even in Cuba,<br />
where jazz was banned during the ‘80s-90s. Bandleader<br />
Elio Villafranca was studying percussion and classical<br />
composition in a state-run program in Havana during<br />
those years, sometimes spending half of his monthly<br />
income on the black-market cassettes he needed to<br />
make copies of Corea’s albums. “It was a conscious<br />
decision, [to be] hungry that month, but then we would<br />
listen to really great music,” Villafranca says. “That’s<br />
what Chick is to me. That moment when you have to<br />
make a choice, whether you really want to be a<br />
musician, to make that sacrifice…to get where you<br />
want to go.” Villafranca and Corea didn’t meet in<br />
person until three years ago, the same year that<br />
Villafranca received a Grammy nomination for Best<br />
Latin Jazz album. Corea had come to hear him and his<br />
septet, the Jass Syncopators, at Dizzy’s Club and after<br />
the gig the two pianists chatted late into the night.<br />
The youngest participants in the Festival are piano<br />
prodigies Gadi Lehavi from Israel and Beka<br />
Gochiashvili from Tbilisi, Georgia, both of whom just<br />
turned 17. Corea had first heard of the gifted teenagers<br />
from other musicians: drummer Lenny White told<br />
Corea about the 11-year-old Gochiashvili in 2007, two<br />
years before the pianist became the youngest winner of<br />
the Montreux Jazz Competition, and saxophonist Ravi<br />
Coltrane had met Lehavi during a trip to Israel in 2009<br />
and passed one of his recordings on to Corea. Corea<br />
struck up a mentorship with each of the boys, offering<br />
them performing advice and helping to launch their<br />
international careers. Both have visited Corea’s Florida<br />
home and recorded duets with him there. Especially<br />
helpful, says Lehavi, has been Corea’s guidance on<br />
composing. “Chick told me to write something every<br />
day and not worry so much, to have fun,” he says. “He<br />
wants people to have their own voice come out<br />
naturally.” Lehavi will play some of his mentored<br />
compositions in the Allen Room gig, where both of the<br />
young artists will perform with Grammy-winning<br />
bassist John Patitucci, trumpeter Wallace Roney and<br />
drummer Marcus Gilmore.<br />
For his three days of performances with the JALC<br />
Orchestra, Corea says that Marsalis is revising some<br />
existing arrangements of Corea’s work and preparing<br />
some new charts; though he can’t confirm the specifics,<br />
Corea reports that Marsalis called an extra day of<br />
rehearsal in May to work through the new material.<br />
“And I’m going to bring in some ideas,” Corea says,<br />
adding, “I wish I’d have had time to write something<br />
brand new myself, but I’ve been on the road touring so<br />
constantly these past six months that I haven’t had the<br />
chance.”<br />
Corea admits that touring cuts into the time that<br />
he’d like to devote to new projects. To address this lack<br />
Corea has formed his own band - The Vigil, a quintet<br />
that mixes electric and acoustic instruments in a<br />
distinctly different jazz sound. “I’ve been wanting to<br />
do this [group] for five, six, seven years,” says Corea,<br />
“because there’s a part of my musical output that I was<br />
missing, which is writing, composing, arranging and<br />
putting it all together. Having a band like [The Vigil] is<br />
like having a palette to explore ideas of how to present<br />
music.”<br />
Corea and The Vigil - bassist Hadrien Feraud,<br />
guitarist Charles Altura, saxophonist Tim Garland and<br />
drummer Marcus Gilmore - have already started<br />
performing in the US and after the JALC Festival,<br />
Corea will tour with them throughout Europe and Asia<br />
during the summer and early fall. In addition to his<br />
Vigil performances, Corea has multiple bookings with<br />
bassist Stanley Clarke and banjo player Béla Fleck,<br />
some solo gigs and one-offs with pianist Herbie<br />
Hancock and vocalist Bobby McFerrin scheduled for<br />
the latter part of 2013; all told, by the time Corea wraps<br />
up The Vigil tour he will have spent the better part of a<br />
year on the road.<br />
Corea has controls in place to manage the<br />
arduousness of touring - he wants to be at his best on<br />
stage. The important thing, after all, is fulfilling the<br />
intention that he mentioned in his Grammy speech.<br />
“I like it when someone in an audience will be able to<br />
feel…the joy we get out of making music on stage,” he<br />
says. “That’s why I love live performance. The<br />
message…of most musicians and artists is the<br />
freedom…to be. It shouldn’t be underestimated how<br />
important that is.”v<br />
For more information, visit chickcorea.com. Corea is at Rose<br />
Hall May 16th-18th with the JALC Orchestra. The Chick<br />
Corea Festival is at Allen Room May 17th-18th and Dizzy’s<br />
Club May 15th-19th. See calendar.<br />
Recommended Listening:<br />
• Chick Corea - Now He Sings, Now He Sobs<br />
(Solid State-Blue Note, 1968)<br />
• Miles Davis - Live in Europe 1969: The Bootleg Series<br />
(Legacy Recordings, 1969)<br />
• Gary Burton/Chick Corea - Crystal Silence<br />
(ECM, 1972)<br />
• Chick Corea - Remembering Bud Powell (Stretch, 1997)<br />
• Chick Corea - Rendezvous in New York<br />
(Stretch-Concord, 2001)<br />
• Chick Corea/Eddie Gomez/Paul Motian -<br />
Further Explorations (Concord, 2010)<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 9<br />
Santa Istvan Csaba / www.photo-santa.com
ENCORE<br />
Steve Williams<br />
by Marcia Hillman<br />
There are drummers<br />
who are timekeepers<br />
and then there are<br />
drummers who go<br />
beyond and play the<br />
melody on their drums<br />
as well as keeping the<br />
beat going. Steve Williams belongs to the latter class.<br />
Born in 1956, Williams grew up in Washington, DC<br />
and started playing drums at about 8 or 9 years of age.<br />
Williams recalls, “My father played all kinds of music<br />
around the house. For some reason, the drum was the<br />
first instrument that made my ears perk up. And when<br />
my father played Philly Joe Jones,” he continues, “I<br />
realized that drums could play both melody and<br />
rhythm.” After high school, Williams went on to the<br />
University of Miami and continued his music education<br />
in the jazz department there, working locally at nights<br />
with fellow schoolmates Carmen and Curtis Lundy<br />
and Bobby Watson. It was while he was in Miami that<br />
he joined Monty Alexander’s band and started to<br />
travel internationally. After the Lundys moved to New<br />
York in 1978, Williams decided to try his luck in the Big<br />
Apple. In New York he studied with drummer Billy<br />
Hart and performed with such artists as Clifford<br />
Jordan, Tex Allen and Charles Davis. After some time,<br />
Williams returned to Washington to continue building<br />
his reputation the old fashioned way - on the job. At<br />
that time he played a lot with visiting musicians that<br />
he had met in New York, including Milt Jackson,<br />
Freddie Hubbard, Joe Williams, Eddie Henderson,<br />
Larry Willis, Mulgrew Miller and John Hicks.<br />
And then in 1980, the next step in Williams’<br />
musical education began – one that lasted for the next<br />
25 years of his life. Shirley Horn was looking for a<br />
drummer to replace Hart in her trio and came to hear<br />
Williams play on a gig. “I think she liked me because<br />
she felt she could work with me and teach me what I<br />
needed to know to work with her,” he comments.<br />
LEST WE FORGET<br />
Revolutionary Ensemble<br />
by Andrey Henkin<br />
Unlike “Hardest Working Man in Show Business”<br />
James Brown, “Greatest Show on Earth” Ringling Bros.<br />
and Barnum & Bailey Circus or other self-adhered<br />
honorifics, Revolutionary Ensemble, the trio of<br />
violinist Leroy Jenkins, bassist Sirone (né Norris Jones)<br />
and drummer/keyboardist Jerome Cooper, deserved<br />
their name. Expertly knitting together the disparate<br />
threads of avant garde jazz, Third Stream and primal<br />
blues, the group would spearhead the genre known as<br />
“Chamber Jazz” (wherein strings took the role<br />
traditionally held by brass and/or reed instruments in<br />
small groups) and inspire entire swathes of modern<br />
American and European jazz.<br />
Jenkins and Cooper were both from Chicago while<br />
Sirone was born in Atlanta. The former two spent time<br />
in Europe during the late ‘60s, participating in sessions<br />
with other American expatriates like Anthony Braxton,<br />
Alan Silva and Archie Shepp while Sirone was busy<br />
with Gato Barbieri, Marion Brown and Dave Burrell.<br />
Jenkins, Sirone and original (and short-tenured)<br />
drummer Frank Clayton came together in New York<br />
City as Revolutionary Ensemble in 1971, an odd period<br />
in jazz history, where (not-so) New Thing, fusion and<br />
soul jazz eyed each other’s scenes warily. Cooper came<br />
10 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Pierre Sprey, owner of Mapleshade Records remembers<br />
the night: “It was at a club called One Step Down in<br />
Washington, DC. I knew Shirley well and she asked me<br />
to come and listen to this drummer... Steve is a very<br />
creative drummer and I thought he could be perfect<br />
with Shirley.” This meeting also marked the beginning<br />
of a strong friendship and association between Sprey<br />
and Williams. “Over the years, Steve has become a sort<br />
of resident drummer at Mapleshade Records, appearing<br />
as sideman on a number of albums and working with<br />
Larry Willis.” Williams can be heard on Kendra Shank’s<br />
first CD for Mapleshade, Afterglow, co-produced by<br />
Horn. Shank says, “I was thrilled to have Steve on the<br />
date... I was doing a lot of slow ballads, which Steve<br />
plays so masterfully.”<br />
Horn was able to keep the same personnel together<br />
in a working trio (with bassist Charles Ables) for the<br />
next quarter-century, which afforded Williams steady<br />
work and the opportunity to play on bandstands all<br />
over the world. This also gave Williams the chance to<br />
play and/or record with Miles Davis, Toots Thielemans,<br />
Ron Carter, Branford and Wynton Marsalis and Carmen<br />
McRae. One of Williams’ fondest memories is of<br />
playing on McRae’s last recording (Sarah: Dedicated To<br />
You) with Horn on piano and Ables. “It was the<br />
relationship between Shirley and Carmen and their<br />
talking about Sarah. It was like the three of them were<br />
in the room,” he states.<br />
Working with Horn provided Williams with the<br />
major portion of his musical education. Horn’s slow<br />
singing of ballads tailored his brushwork. “I had to<br />
learn to make a wide figure eight on the snare in order<br />
to keep with her timing. I learned to listen to know<br />
when to play the fills. I found it fascinating to play<br />
slow. You just have to tell your body and your mind to<br />
slow down,” he relates. Talking about Horn, Williams<br />
goes on, “My time on the road with her was very<br />
precious. On the road, she became a mother figure, a<br />
sister, a teacher, a best friend and almost like a love.”<br />
Williams worked with Horn and Ables until their<br />
deaths (Horn in 2005 and Ables a few years before<br />
hers). Since then he has been working as leader with<br />
his own quintet and as sideman with other musicians.<br />
He also continues working with vocalists such as Teri<br />
on board by the time of the group’s first album,<br />
Vietnam, recorded at Greenwich Village’s Peace Church<br />
in March 1972 and one of the late period ESP-Disk’<br />
albums. The group worked steadily during the ‘70s,<br />
releasing four more albums for four different labels:<br />
Manhattan Cycles (India Navigation) came from a New<br />
Year’s Eve performance of the Wadada Leo Smithpenned<br />
title track in the titular borough; The Psyche<br />
(RE: Records, 1975), also waxed in New York, was the<br />
first disc to include tunes from each member; The<br />
People’s Republic could be called the group’s major<br />
label debut, recorded over three days in Burbank, CA<br />
in December 1975 and released by A&M/Horizon; and<br />
the eponymous Enja album from August 1977<br />
documented a set from the swanky Moosham Castle in<br />
Salzburgerland, Austria.<br />
It is unclear whether the group split up over<br />
anything more substantial than normal attrition.<br />
Jenkins went on to record frequently as a leader. Sirone<br />
joined Cecil Taylor’s 1978 Unit and later the cooperative<br />
group Phalanx (and released two obscure sessions<br />
under his own name) before settling permanently in<br />
Europe. Cooper added more instruments to his arsenal<br />
and split time between his own projects and sideman<br />
work.<br />
The group may have been consigned to history, its<br />
influence felt solely through its excellent recordings<br />
and heirs, but on May 30th, 2004, over a quartercentury<br />
after their last performances and in the wake<br />
Roiger who says of him, “Steve creates this tapestry of<br />
sound. He listens so well to the song right with me and<br />
never overplays. He always knows where the beat is<br />
and his sense of swing is pure joy!” v<br />
For more information visit abrushfire.com. Williams is at Jazz at<br />
Kitano May 4th with Greg Abate, ShapeShifter Lab May 10th<br />
with Teri Roiger, 55Bar May 11th with Roz Corral, 55Bar May<br />
20th with Sean Smith, Somethin’ Jazz Club May 21st with<br />
Larry Corban, Birdland May 23rd with Sally Knight and Village<br />
Vanguard May 28th-Jun. 2nd with Joe Lovano. See Calendar.<br />
Recommended Listening:<br />
• Shirley Horn - I Thought About You (Verve, 1987)<br />
• Carmen McRae - Sarah - Dedicated To You<br />
(RCA Novus, 1990)<br />
• Toots Thielemans - For My Lady (with the Shirley Horn<br />
Trio) (EmArcy, 1991)<br />
• Thurman Green - Dance of the Night Creatures<br />
(Mapleshade, 1994)<br />
• Shirley Horn - The Main Ingredient (Verve, 1995)<br />
• Steve Williams - New Incentive (Elabeth, 2005)<br />
of Mutable Music making The Psyche the first of their<br />
albums to be available on CD, Jenkins, Sirone and<br />
Cooper gave a transcendent reunion performance at<br />
that year’s Vision Festival. Still adept and, more<br />
importantly, still relevant, the reformed group went<br />
into the studio a few weeks later to record And Now...<br />
for Pi Recordings. In 2008 Mutable released a May 2005<br />
concert from Warsaw, Poland as Beyond the Boundary of<br />
Time and just this year put out Counterparts, the group’s<br />
final concert, from Genoa, Italy in late 2005.<br />
Jenkins passed away in 2007 and Sirone followed<br />
two years later, ending any hope that Revolutionary<br />
Ensemble would be as active in the Aughts as it was in<br />
the ‘70s. But advanced jazz listeners can be happy one<br />
of the most revolutionary ensembles in jazz history got<br />
a second, well-deserved go-around. v<br />
Recommended Listening:<br />
• Revolutionary Ensemble - Vietnam (ESP-Disk’, 1972)<br />
• Revolutionary Ensemble - Manhattan Cycles<br />
(India Navigation, 1972)<br />
• Revolutionary Ensemble - The Psyche<br />
(RE: Records-Mutable Music, 1975)<br />
• Revolutionary Ensemble - The People’s Republic<br />
(A&M/Horizon, 1975)<br />
• Revolutionary Ensemble - And Now...<br />
(Pi Recordings, 2004)<br />
• Revolutionary Ensemble - Counterparts<br />
(Mutable Music, 2005)
MEGAPHONE<br />
Cornet and Lineage:<br />
Ron and Butch<br />
by Kirk Knuffke<br />
I play the cornet and so have my two biggest musical<br />
influences. I got my first cornet when I was 13 years<br />
old and I still have it, a funky Olds Recording that I<br />
played for years. I had to switch to trumpet when I<br />
joined the orchestra in high school and I stayed on it<br />
until I was 29. But I always kept the round mellow<br />
cornet sound in my head. Now I get a lot of questions<br />
like: What is that? Why do you play cornet instead of<br />
trumpet? What’s the difference between the two, etc?<br />
I was first attracted to the instrument when I saw<br />
it and other cornets at the store. They came in all<br />
shapes and sizes and were very individual. There was<br />
never really a standard model and there was a lot of<br />
experimentation. And it’s precisely individuality and<br />
experimentation that drew me to music!<br />
You can go your own way on any instrument but I<br />
am also attracted to the whole idea of playing cornet<br />
because it is different from trumpet. Four years ago I<br />
made the permanent switch back to cornet and<br />
followed the sound in my head. I had the strength and<br />
opportunity to do this thanks to two amazing<br />
influences who always did their own thing: Ron Miles<br />
and Butch Morris.<br />
When I started hanging around Ron I was 17. He<br />
and I have become close over the years and I now have<br />
the great honor of playing his cornet, a truly beautiful<br />
and unique horn made by Dave Monette. When I<br />
played it the first time a whole new sound opened up<br />
and it felt like home. I learned and still learn so much<br />
from Ron and he never told me how to play. He did<br />
show the way by his own playing. This was perfect for<br />
me, because when I was young the reason I didn’t want<br />
regular trumpet lessons or to go to college was because<br />
I didn’t want anyone telling me how to do it. Music<br />
was my sanctuary, a place where I could go and be<br />
myself. I would ask Ron questions and sometimes he<br />
would just say, “After you play for a while you’ll figure<br />
VOXNEWS<br />
These Two are One<br />
by Katie Bull<br />
A flock of birds lift off of a branch at the exact same<br />
second and fly in unison. It’s beautiful. Instinctive<br />
sensitivity sparks a reflex response and away the birds<br />
venture, gliding together. Perhaps the birds fly in a<br />
common mind space as well. The shared impulse<br />
between a singer and an instrumentalist is like the<br />
flight of birds - sonic receptivity in motion.<br />
Pianist Geri Allen has an exquisite way with giving<br />
and receiving. Her masterful exchanges with vocalists<br />
Lizz Wright and Dianne Reeves will be featured in the<br />
Harlem Jazz Shrines’ “Celebrating Great Jazz Women<br />
of the Apollo” (May 11th), which also includes<br />
drummer/vocalist Terri Lyne Carrington. Wright<br />
sings with an easy strength and richness of unmasked<br />
tone that is movingly unembellished while Reeves, an<br />
icon herself, sounds sourced from singer’s heaven.<br />
Also part of the Harlem Jazz Shrines festival, pianist<br />
Marc Cary’s tribute to Abbey Lincoln at Harlem Stage<br />
Gatehouse (May 10th) will showcase a wide lineup of<br />
vocalists including one of Lincoln’s best protégés,<br />
Maggie Brown, whose gutsy voice is full of deep and<br />
robust resonance. Like Lincoln, Brown conveys the<br />
persona of a grounded and earthy woman. Cary was<br />
Lincoln’s long-time pianist, working with her in total<br />
it out” and he was right! He also introduced me to the<br />
music of Steve Lacy and Lee Konitz, among many<br />
others. He told me not to copy other people but to look<br />
for the things that may have informed their ideas in<br />
order to construct my own. Ron taught me being a jazz<br />
musician is about individuality and proficiency. You<br />
will get hired because you are you, not by what<br />
instrument you play. And you have to have good time!<br />
The idea of lineage and influence can seem<br />
overwhelming, but it is precisely men like these that<br />
make lineage not overwhelming at all. And I mean<br />
trumpet, cornet, or any instrument. When you create<br />
your own space there is always room for you. If you try<br />
to force yourself into someone else’s space or only play<br />
on a “style level”, as Ornette calls it, then you might<br />
not fit. Just like the cornet, there is no standard model<br />
in jazz and improvised music. Listening to the great<br />
individualists always gives me strength and confidence,<br />
especially self-taught musicians and guys from the<br />
Swing Era: Pee Wee Russell, Red Allen, Rex Stewart,<br />
etc.<br />
Which brings us to Butch Morris, another cornetist<br />
and a true innovator of modern music. When I started<br />
working with Butch I was still playing trumpet and he<br />
told me I would end up a cornet player again. Butch<br />
believed there was something truly special about the<br />
cornet specifically and, of course, when Butch played<br />
cornet he made it special.<br />
Butch showed me how to make music in a way no<br />
one else ever did. He answered the questions: What is<br />
music? What makes music work? What does music<br />
need at any given moment to make more of an impact?<br />
Butch separated the building blocks of music and dealt<br />
with them one at a time: sound, idea, duration, line,<br />
repetition... He also allowed great freedom for the<br />
improvisers in his ensembles but we had to give<br />
something to the music - that was the key word: Give!<br />
Sometimes instead of showing me a sign to make an<br />
entrance he would lean in and whisper, “Give me your<br />
baddest shit!” But if he felt like we weren’t giving the<br />
band something, we would get cut out immediately.<br />
Everything you did had to have musical interest and a<br />
place to build to. Information should always be for the<br />
collective good.<br />
simpatico. You can bet all the singers at the tribute will<br />
explore the same synergy with Cary.<br />
Louise Rogers is a naturally swinging vocalist<br />
who has been on the scene for years. In advance tracks<br />
from her recent recording date, Rogers’ soulfully<br />
assured tone synchronizes with pianist Mark Kross<br />
and flutist Jamie Baum in a buoyantly lyrical tribute to<br />
the French composer Gabriel Fauré. The trio will offer<br />
this fresh music at Somethin’ Jazz Club (May 4th).<br />
Also at Somethin’ (May 18th), another solidly in-thepocket<br />
singer, Deborah Latz, will celebrate the release<br />
of Fig Tree (June Moon). Bluesy at heart, Latz sings in a<br />
versatile range of styles from swing to bossa. Latz’<br />
playful humor and radiating warmth will surely<br />
permeate the night.<br />
For more heat, travel to the Brazil side of sound<br />
and make May your Birdland month. The club’s<br />
Bossabrasil Festival features two remarkable Brazilian<br />
veterans: vocalist/guitarists Dori Caymmi and Joyce<br />
Moreno (May 14th-18th). Their supremely intricate<br />
weaving of voices and guitars creates a very fine<br />
musical fabric. Their shared heritage is evident and<br />
they play with a relaxed and joyous nature.<br />
Speaking of heritage, an absolutely extraordinary<br />
first-time issue is available this month: Tony Bennett<br />
with pianist Dave Brubeck’s quartet! You will not<br />
believe the recording quality on Bennett/Brubeck – The<br />
White House Sessions, Live 1962 (Legacy Recordings).<br />
This album is a national treasure. Bennett’s voice is<br />
Thank you, Butch and Ron - two amazing teachers<br />
that teach by example, who taught me that along with<br />
being yourself you have to be good and you have to<br />
give. v<br />
For more information, visit kirkknuffke.com. Knuffke is at<br />
The Firehouse Space May 4th with Stephen Gauci,<br />
92YTribeca May 8th with Allison Miller, Sycamore May<br />
13th and Korzo May 28th, both with Max Johnson, and<br />
Ibeam Brooklyn May 24th with Federico Ughi. See Calendar.<br />
Originally from Colorado, cornetist/composer Kirk Knuffke<br />
has been based in New York City since 2005. Knuffke played<br />
in four projects conducted by the late Butch Morris,<br />
generating three CDs and a film soundtrack, and is currently<br />
a member of the Matt Wilson Quartet, Mark Helias Quartet,<br />
Merger with Andrew D’Angelo, Ideal Bread, Bizingas and<br />
Jeff Davis Band, among others. A largely self-taught<br />
musician, Knuffke also studied improvisation with Ornette<br />
Coleman, Art Lande and Ron Miles. Knuffke has released<br />
eight CDs as a leader or co-leader for Clean Feed,<br />
SteepleChase, No Business, NotTwo and other labels.<br />
charged with 10,000 watts of energy. An equally<br />
charged Brubeck meets Bennett’s energy and sends it<br />
right back. Note that on May 11th there is a Brubeck<br />
tribute at the Church of St. John the Divine.<br />
History moves us towards some very important<br />
CD releases representing the best of unified impulse in<br />
the spoken world realm. Barry Wallenstein’s fantastic<br />
new recording Lucky These Days (Cadence Jazz)<br />
presents a wholly evolved artist. Wallenstein has been<br />
a major force in the jazz and spoken word world for<br />
over 50 years and the convergence of the two realms<br />
doesn’t get any more satisfyingly entrained than on<br />
this recording. We are all lucky to have Wallenstein. He<br />
will be celebrating his CD release at Medicine Show<br />
Theater (May 11th).<br />
Radical veteran poet and spoken wordist Jane<br />
Grenier B.’s collaboration with husband/bassist Albey<br />
Balgochian - Tragically Hip, available as an electronic<br />
download (Zenbeatz.com) - includes a printed book of<br />
Grenier’s poems with themes that span from earth to<br />
cosmos. Drenched in a beat-cool sound while delivering<br />
an understated yet electrically charged energy, the<br />
album is a sonic hologram of a politically happening<br />
poetry club.<br />
To quote the Greek poet and philosopher Ovid:<br />
“We two are one. We two form a Multitude.” This<br />
month some particularly fine singer-instrumental<br />
oneness is taking place in New York City and the<br />
listening multitude are invited to fly along. v<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 11
LABEL SPOTLIGHT<br />
Mutable Music<br />
by Kurt Gottschalk<br />
Singer Thomas Buckner has seen his sideline career as<br />
a producer of events and recordings through a number<br />
of changes over some 40 years and has been responsible<br />
for a number of remarkable recordings, spanning<br />
baroque to contemporary classical, jazz and improvised<br />
music and the realms between. He’s shifted from a<br />
focus on local musicians and composers as director of<br />
the 1750 Arch record label and performance series in<br />
Los Angeles to an international focus with the Mutable<br />
Music label and Interpretations concert series in New<br />
York. And not incidentally, he has worked as a singer<br />
with many of the artists he has presented.<br />
He has gone from working in the somewhat<br />
traditional world of classical music in Los Angeles to<br />
the grayer and sometimes more challenging spheres of<br />
improvisation and new music. And, perhaps less by<br />
his own choice, he has seen his job as record label<br />
director through LPs, CDs and now digital downloads.<br />
In October of last year, Buckner announced that<br />
Mutable would be going the route of Internet releases,<br />
with CD-Rs available for sale but no more proper CDs<br />
being pressed.<br />
“We’ve had low sales of CDs,” Buckner said. “The<br />
only part of our business that has grown is the<br />
downloads. Sales for CDs has been very low except for<br />
artists who take them on the road and sell them to their<br />
following. We’re not making CDs but we are making<br />
Beyond the Boundary of Time<br />
Revolutionary Ensemble<br />
LISTEN UP!<br />
Spectrum<br />
Abrams/Mitchell<br />
Born in Richmond, CA, JUSTIN BROWN is dazzling<br />
audiences around the world with his unique style and<br />
musical sensibility. He was the Second Place winner in<br />
the 2012 Thelonious Monk International Jazz Drums<br />
Competition. Determined to be suitable for any musical<br />
style, at 29 he is a regular member of the Gerald<br />
Clayton Trio, Ambrose Akinmusire Quintet and has<br />
performed and toured with notable artists like Kenny<br />
Garrett, Vijay Iyer, Yosvany Terry, Gretchen Parlato,<br />
Esperanza Spalding and Terence Blanchard.<br />
Teachers: Wilson Brooks, Darrell Green, Howard<br />
Wiley, Geechi Taylor, Yosvany Terry, Christian McBride.<br />
Influences: Tony Williams, J.Dilla, Georgia Anne<br />
Muldrow, Reggie Watts, African music, Gospel.<br />
Current Projects: I’m in the process of recording to<br />
release videos and a solo EP.<br />
By Day: Practicing, writing and striving to have a<br />
higher level of consciousness.<br />
I knew I wanted to be a musician when... I was tall<br />
enough to reach the hi-hat pedal. Drummers who<br />
started off as toddlers know what I mean.<br />
Dream Band: At this point of my life my live band<br />
would be a configuration of Fabian Almazan, Robert<br />
Glasper or David Bryant on Fender Rhodes; Burniss<br />
Travis, Stephen Bruner, Derrick Hodge or Joe Sanders<br />
12 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
CD-Rs for each record we put out. We’re only making<br />
50 at a time but the idea is when an order comes in<br />
we’ll make them as needed.”<br />
Mutable’s first digital releases - perhaps<br />
unsurprisingly - hold close to his own aesthetic as a<br />
performer, including titles by saxophone great Roscoe<br />
Mitchell, the legendary jazz trio Revolutionary<br />
Ensemble, new music electronicist/composer Richard<br />
Teitelbaum and his own recording of compositions by<br />
Earl Howard and JD Parran, plus an improvisation by<br />
Howard and himself.<br />
It can be hard for digital releases to get the attention<br />
of reviewers and the listening public. Buckner himself<br />
said that he has concerns. “We have a lot of musicians<br />
who are very active,” he said, “but absolutely I’m<br />
worried about it.” If one of the new releases will<br />
manage to get critics and fans to overlook the lack of a<br />
physical product in stores, it’s likely Not Yet, Mitchell’s<br />
new and richly diverse release.<br />
Mutable released one of Mitchell’s most remarkable<br />
albums outside his venerable Art Ensemble of Chicago.<br />
The 2004 triple-CD set Solo 3 (one of six Mutable titles<br />
Mitchell has appeared on) contains - as the title would<br />
imply - a variety of solo performances, running<br />
through the saxophone family, at times multi-tracked,<br />
and a full disc of percussion pieces.<br />
Not Yet is an entirely different affair, putting<br />
Mitchell the composer in the spotlight. It does begin, in<br />
a sense, where Solo 3 ended, with a percussion piece,<br />
but this time played by the fantastic William Winant. It<br />
continues on with a piano/saxophone duo, a string<br />
quartet, a piece for Buckner with chamber orchestra<br />
on bass; Ambrose Akinmusire on trumpet; Lionel<br />
Loueke, Charles Altura or Matthew Stevens on guitar<br />
and Mark Shim on wind controller.<br />
Did you know? I played bass and organ in church for<br />
a year when I was 16.<br />
For more information, visit twitter.com/drumbrownie.<br />
Brown is at The Jazz Gallery May 3rd-4th as a leader, May<br />
9th with Pascal Le Boeuf and Smalls May 20th with Mike<br />
Moreno. See Calendar.<br />
Justin Brown<br />
A Magical Approach<br />
Jerome Cooper<br />
Jon De Lucia<br />
JON DE LUCIA is a Brooklyn-based saxophonist and<br />
composer. Predominantly a student of jazz, he also has<br />
a deep interest in the folkloric music and instruments<br />
of Cuba, Japan, Ireland and Italy, having performed on<br />
a variety of ethnic flutes, drums and stringed<br />
instruments. Recently he has explored early music<br />
with his ensemble the Luce Trio, while playing<br />
straightahead swing regularly and focusing on<br />
and two arrangements of Mitchell’s often revisited<br />
study “Nonaah”, one for chamber orchestra and the<br />
other played by James Fei’s saxophone quartet.<br />
Mitchell has had other releases featuring his<br />
composed works on such labels as Lovely Music, Ltd.<br />
and Rogue Art. And like those labels, Mutable isn’t<br />
fixed on set ideas of style and pigeonholes into which<br />
artists fit.<br />
“A lot of the work I do is composed,” Mitchell<br />
said. “It’s all become blurred. The word that never<br />
goes away is ‘improvisation’. That’s the new thing, but<br />
it’s a big thing. I always advise my students to study<br />
composition and improvisation at the same time.<br />
[Making the CD] was a great opportunity for me<br />
because Mills College offered to do a night of my<br />
compositions. For me it’s an honor to get a night like<br />
that documented. I’m honored that people would think<br />
I could have a CD like this.”<br />
Mitchell’s association with Buckner goes back to<br />
the 1750 Arch days and, in fact, some of the singer’s<br />
finest recordings have been of Mitchell’s compositions.<br />
Mitchell said he supports Mutable’s shift to a digital<br />
format. “I think it’s a great move,” he said. “All the<br />
technology moves so fast, it’s hard for me to keep up. I<br />
mean, I’m 72 years old. I came up on 78 records. But<br />
Mutable is a great label. When you take a look at the<br />
whole history of it, it’s enormous, the work that they’ve<br />
done, all the way back to 1750.”<br />
Another name Buckner has shown a dedication to<br />
in the world of jazz is the Revolutionary Ensemble.<br />
The trio of violinist Leroy Jenkins, bassist Sirone and<br />
(CONTINUED ON PAGE 46)<br />
Counterparts<br />
Revolutionary Ensemble<br />
teaching.<br />
Not Yet: Six Compositions<br />
Roscoe Mitchell<br />
Teachers: Lee Konitz, George Garzone, Greg Osby, Joe<br />
Lovano, Shannon LeClaire and many more!<br />
Influences: JS Bach, Lee Konitz, Paul Desmond, Jimmy<br />
Giuffre, Steve Coleman, David Bowie.<br />
Current Projects: Jon De Lucia Group with guitarist<br />
Greg Ruggiero, bassist Chris Tordini and drummer<br />
Tommy Crane; Luce Trio with guitarist Ryan Ferreira<br />
and Chris Tordini; Background Music with saxophonist<br />
Kyle Wilson, bassist Aidan O’Donnell and drummer<br />
Mark Farnsworth; Duo Project with drummer Flin van<br />
Hemmen.<br />
By Day: Teaching, selling wine, practicing music and<br />
Tai Chi.<br />
I knew I wanted to be a musician when... I got together<br />
and practiced with a small group of friends in 5th<br />
grade and we all ended up going to Berklee College of<br />
Music.<br />
Dream Band: Ted Brown, Leroy Vinnegar, Paul Motian.<br />
Did you know? I cure meats and make sausages and<br />
various cheeses.<br />
For more information, visit jondelucia.com. Lucia is at<br />
Sycamore May 4th and Korzo May 14th. See Calendar.
CD REVIEWS<br />
HUSH POINT<br />
SSC 1358<br />
In Stores May 21<br />
HUSH POINT is:<br />
JOHN McNEIL: trumpet / JEREMY UDDEN: alto sax<br />
ARYEH KOBRINSKY: bass / VINNIE SPERRAZZA: drums<br />
Fortunately, you can still find bands who invest the time<br />
to evolve as a unit. Trumpeter John McNeil and saxophonist<br />
Jeremy Udden established Hush Point as a group<br />
that does just that. Also including bassist Aryeh Kobrinsky<br />
and drummer Vinnie Sperrazza, Hush Point is a working<br />
and rehearsing ensemble, and on their new self-titled<br />
album, Hush Point, the group shows a cohesiveness of<br />
concept that is only achieved through hours of practice,<br />
performance and experimentation.<br />
Release gig on May 18 and 19 (Fri. & Sat.) @<br />
Cornelia Street Café / 29 Cornelia Street, NYC<br />
JOEY CALDERAZZO TRIO<br />
LIVE<br />
SSC 1368<br />
In Stores May 21<br />
JOEY CALDERAZZO: piano<br />
ORLANDO Le FLEMING: bass / DONALD EDWARDS: drums<br />
For over two decades, pianist Joey Calderazzo has been<br />
unassumingly, yet assuredly, impressing listeners with his<br />
informed and refined playing. Using elements of style from<br />
his musical heroes as a springboard, the pianist has developed<br />
his own take on the tradition, which he happily shares<br />
on this new album, recorded during a performance at Daly<br />
Jazz in Missoula, Montana.<br />
www.sunnysiderecords.com<br />
eOne Distribution<br />
14 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Who Am I?<br />
Cecilia Coleman (Pandakat)<br />
by Sean O’Connell<br />
It is unclear whom the title of pianist/arranger/<br />
composer Cecilia Coleman’s big band release is<br />
addressing. Is she asking herself? The listener? Do we<br />
ask ourselves? Coleman made a name for herself as a<br />
performer and teacher in Southern California before<br />
making her way east; the high school yearbook-like<br />
collage on the cover proudly boasts the city of Long<br />
Beach but this album was recorded in Brooklyn.<br />
The field of big band arranging is no stranger to<br />
women. From Mary Lou Williams to Melba Liston to<br />
Maria Schneider, there has been a great tradition of<br />
musical minds combining the disparate instrumentation<br />
of a big band into a formidable and swinging unit.<br />
Although it is almost entirely irrelevant to the sound<br />
on the album, it is interesting to note that Coleman is<br />
the only woman involved in her own big band. Maybe<br />
that’s because of scheduling, the makeup of her social<br />
circle or just a coincidence. That discussion opens up a<br />
whole can of worms that someone else can tackle for<br />
their thesis. We’re just here to listen.<br />
Coleman has produced nine arrangements (eight<br />
of them original tunes) for this release, showcasing an<br />
ability to pilot a large ensemble from her piano bench.<br />
Opener “Ode to A Tip Jar” is a straightahead swinger<br />
that puts piano up front for a little bit before the full<br />
band kicks in with shades of Monk’s “In Walked Bud”<br />
and soprano saxophonist Peter Brainin gets a chance to<br />
stretch out. The lone standard, “East of the Sun”, gets a<br />
very straightforward reading with vocalist David Coss<br />
offering up an inoffensive croon.<br />
Baritone saxophonist Keith Bishop’s low honk is a<br />
pleasant presence throughout the album, especially<br />
when anchoring the funkier “Hope” and album-closing<br />
title track. Coleman has a smooth swinging touch<br />
writing for a large ensemble but unfortunately doesn’t<br />
take much of a solo spotlight on the album. Hopefully<br />
for her next release she can pen some features for<br />
herself and fully show off her wide range of abilities.<br />
For more information, visit ceciliacolemanbigband.com.<br />
This group is at Saint Peter’s May 1st. See Calendar.<br />
Life’s Magic<br />
Steve Kuhn Trio (Black Hawk-Sunnyside)<br />
by Donald Elfman<br />
This reissue of a 1986 live Steve Kuhn set from the<br />
Village Vanguard is a stunning demonstration of the<br />
pianist’s abilities. With intelligence, passion, wit and<br />
more, Kuhn has fashioned a brilliant set of music that<br />
underlines the power of his trio with bassist Ron Carter<br />
and drummer Al Foster and builds a narrative the<br />
completion of which is an artistic marvel.<br />
Kuhn, Carter and Foster are an ideal trio: each<br />
player deftly and supportively complements the work<br />
of the others. Kuhn’s ideas are fluid and both delicately<br />
crafted and spontaneously generated while Carter<br />
plays with grace, melodic and harmonic richness and a<br />
sense of forward motion. And Foster has power but<br />
knows how to use it; he is propulsive and dynamic but<br />
sensitive to the needs of every musical moment.<br />
The selection of tunes and the progression they<br />
form is exceptional: three strikingly different Kuhn<br />
originals; a glorious take on Fats Waller’s “Jitterbug<br />
Waltz”; “Yesterday’s Gardenias”, a popular tune for<br />
Glenn Miller and his Orchestra; the ballad favorite<br />
“Never Let Me Go”; a rare Hoagy Carmichael number,<br />
“Little Old Lady”, and the Romberg-Hammerstein<br />
chestnut “Softly as in a Morning Sunrise”.<br />
Kuhn has great technique and his choice of the<br />
Carmichael tune as an opener gets the set off to a<br />
dynamic start, the trio in powerhouse mode but never<br />
losing the charm of the original melody. The most<br />
dazzling interpretation is of “Jitterbug Waltz”,<br />
beginning ever so delicately with Kuhn lightly tickling<br />
the famous theme. Carter is up first as a soloist and he<br />
is both dextrous and ever so soulful, Kuhn then slowly<br />
barrels in with a sense of old jazz world and blues.<br />
The originals are just as compelling, none more<br />
than “Ulla/Trance”, which opens as a melancholy<br />
waltz and morphs into something darker, a kind of<br />
trance in which the time becomes more hypnotic. And,<br />
speaking of hypnotic, “Mr. Calypso Kuhn” grows in<br />
power and pulse, with Carter and Foster laying down<br />
a moveable carpet of island groove.<br />
Life’s Magic is one of the finest live recordings<br />
made at the Vanguard - and consider what constitutes<br />
that list - retaining, to quote Kuhn, its “freshness and<br />
vitality”, almost 30 years later.<br />
For more information, visit sunnysiderecords.com. Kuhn is<br />
at Birdland May 1st-4th. See Calendar.<br />
RECOMMENDED<br />
NEW RELEASES<br />
• JD Allen - Grace (Savant)<br />
• Steve Coleman and Five Elements -<br />
Functional Arrhythmias (Pi)<br />
• Kris Davis - Capricorn Climber (Clean Feed)<br />
• Jason Mears Electric Quintet -<br />
Book of Changes: Part I (Prefecture)<br />
• O’Farrill Brothers Band - Sensing Flight (ZoHo)<br />
• Thiefs - Eponymous (Melamine Harmonique)<br />
David Adler, New York@Night Columnist<br />
• Benoît Delbecq/Fred Hersch Double Trio -<br />
Fun House (Songlines)<br />
• Tommy Flanagan/Jaki Byard - The Magic of 2<br />
(Live at Keystone Korner) (Resonance)<br />
• Bo Jacobsen - Free Spirit (Embla Music)<br />
• Roscoe Mitchell - Duets (Wide Hive)<br />
• New York Art Quartet - Call It Art (Boxed Set)<br />
(Triple Point)<br />
• Scott Robinson - Creative Music for 3 Bass Saxophones<br />
(ScienSonic)<br />
Laurence Donohue-Greene<br />
Managing Editor, The New York City Jazz Record<br />
• Long Story Short (curated by Peter Brötzmann) (Trost)<br />
• Robert Morgenthaler - Bone Art (Unit Records)<br />
• Sexmob - Cinema, Circus & Spaghetti (Plays Fellini:<br />
The Music of Nino Rota (The Royal Potato Family)<br />
• Colin Stetson - New History Warfare Vol. 3:<br />
To See More Light (Constellation)<br />
• François Tusques - L’etang Change (mais les poissons<br />
sont toujours là) (Improvising Beings)<br />
• Miguel Zenón & The Rhythm Collective -<br />
OYE!!! Live in Puerto Rico (Miel Music)<br />
Andrey Henkin<br />
Editorial Director, The New York City Jazz Record
Ache & Flutter<br />
Shayna Dulberger Quartet (Empty Room Music)<br />
by Clifford Allen<br />
With an inordinate amount of history at one’s<br />
fingertips, it’s often hard to imagine where a modern<br />
musician may ‘start’, but creative figures somehow do<br />
so and continue on path through combining spirit,<br />
drive and necessary homework. Bassist Shayna<br />
Dulberger has studied such masters as William Parker,<br />
Peter Kowald and Wilbur Ware; increasingly visible on<br />
the free music underground over the past near-decade,<br />
Ache & Flutter is her second disc as a leader (though the<br />
first was for unaccompanied bass/electronics).<br />
Leading a quartet with guitarist Chris Welcome,<br />
tenor saxophonist Yoni Kretzmer and drummer Carlo<br />
Costa, the music on Ache & Flutter has been in gestation<br />
since the group’s 2011 formation, if not longer. One<br />
notices Dulberger’s playing immediately - simply put,<br />
she’s a monster. With the propulsiveness of Parker, the<br />
painterly rigor and energy of Kowald and the tone of<br />
Ware, Dulberger is an extraordinary soloist steeped in<br />
tradition and often placed forward in the mix. 4 of the<br />
disc’s 11 pieces are, in fact, solo bass performances.<br />
Following the a cappella “Whim”, “Heart Like a<br />
Rabbit” opens with a slinky guitar-bass duet, soon<br />
adding Costa’s microfilamental tap and Kretzmer’s<br />
throaty and florid lines. Welcome’s guitar work is all<br />
over with respect to the beat and as Kretzmer digs in<br />
his heels, the rhythm section becomes subtly scattered.<br />
“Doorways” is maddeningly lickety-split,<br />
Kretzmer untying knots into searing snatches of Albert<br />
Ayler, Clifford Jordan and Sam Rivers. Welcome is<br />
unruly and consistently surprising; his solo section<br />
begins lushly, though he quickly splays out into wiry<br />
and scumbled shifts, leading into Costa’s airy piles.<br />
Following the tugging solo pizzicato of “The<br />
Spontaneous Combustion of Shayna Dulberger”,<br />
which almost acts as a closer to the record’s first half,<br />
“Cookie Cutter” presents martial reach and unsettled<br />
footfalls unspooled into Welcome’s jittery twang and<br />
gummy volume-pedal action. Dedicated to the late<br />
Frank Lowe, “Lowed” is chunky and skirling, saying a<br />
lot in a shade over three minutes, while “Crestfallen”<br />
adds pitch-bending electronics to the quartet’s jagged<br />
crovus. Ache & Flutter is a fine step in Dulberger’s<br />
opus, presenting muscular and sensitive group and<br />
solo music aware of its place in the continuum.<br />
For more information, visit shaynadulberger.com. This<br />
group is at Caffe Vivaldi May 2nd. See Calendar.<br />
Super Eight<br />
Secret Keeper (Intakt)<br />
by John Sharpe<br />
Sometimes you just have to put aside your<br />
preconceptions. Such is the case with Super Eight, the<br />
debut album from the twosome of guitarist Mary<br />
Halvorson and bassist Stephan Crump under the<br />
moniker Secret Keeper. This is not the Halvorson of the<br />
lopsided songs for quintet showcased on last year’s<br />
Bending Bridges (Firehouse 12) or the ferocious<br />
improviser of her tenure in the various agglomerations<br />
of saxophone iconoclast Anthony Braxton. Nor does<br />
Crump provide the energetic incitement that propels<br />
pianist Vijay Iyer’s tightly focused trio. Instead what<br />
we get is a sequence of 14 intimate string duets in<br />
which the two principals trade sounds in a completely<br />
unselfconscious and non-hierarchical setting.<br />
Halvorson deploys her usual staggering litany of<br />
effects, even twisting notes to evoke a sitar on the<br />
opening “Moom Song”. Crump contrasts and<br />
complements, equally adept at wielding a bow to<br />
extract eerie drones as plucking deeply resonant pedal<br />
points. Both eschew obvious displays of virtuosity but<br />
nonetheless draw a wide range of textures from their<br />
respective axes. They combine responsively to create<br />
pieces that evolve following their own inner logic,<br />
based on intuition and timbral juxtaposition rather<br />
than any preordained structure.<br />
Five tracks clock in at less than a minute while<br />
only two breast the five-minute marker. The shorter<br />
numbers conjure a self-contained mood, varying from<br />
perky “Ciclical” to abrasive “Aquarub”, while the<br />
longer cuts allow for greater development of ideas and<br />
stand out as a result. Pick of the bunch are the mercurial<br />
“Toothsea”, which contains a notable passage of catchy<br />
buoyancy amid its nine-minute span, and the dynamic<br />
bite of the concluding “Secret Keeper”.<br />
Ultimately, however, the set comes across as a<br />
series of enigmatic private conversations, which only<br />
fitfully engage, most notably on the more expansive<br />
cuts. Hopefully these successes will act as a pointer for<br />
more inclusive encounters on their next meeting.<br />
For more information, visit intaktrec.ch. This duo is at<br />
Cornelia Street Café May 4th. See Calendar.<br />
Family Tree<br />
Oregon (Sunnyside)<br />
by Alex Henderson<br />
Most of the groups that contributed to fusion’s vitality<br />
during the ‘70s are long gone. Oregon, however, is a<br />
rare example of a fusion-oriented outfit from that era<br />
that has been continuously active. The band’s new<br />
album features three of the four founding members:<br />
Paul McCandless (soprano sax, oboe, bass clarinet,<br />
flute), Ralph Towner (classical guitar, acoustic piano,<br />
synthesizers) and Glen Moore (acoustic bass). The<br />
fourth, drummer/percussionist Mark Walker, is a 1996<br />
arrival.<br />
Oregon has always played by its own rules, using<br />
both electric and acoustic instruments, unlike<br />
traditional jazz or fusion units. While Family Tree has a<br />
lighter, folk-influenced approach than one might<br />
expect from fusion, that doesn’t mean that the album<br />
lacks depth or substance. Quite the contrary.<br />
Memorable selections include the mysterious “The<br />
Hexagram”, impressionistic “Mirror Pond” and<br />
probing “Jurassic”.<br />
World cultures continue to be a source of<br />
inspiration for Oregon, and Towner specifically, who<br />
incorporates elements of Indian music on “Bibo Babo”,<br />
Middle Eastern aesthetics on “Creeper” and sounds of<br />
the Caribbean on the good-natured “Carnival Express”.<br />
Towner wrote 7 of the 12 pieces here, with McCandless<br />
and Moore contributing a song each, along with a pair<br />
of group compositions. Of the latter, “Max Alert” finds<br />
Oregon briefly detouring into avant garde territory but<br />
in a subtle way reminiscent of such Association for the<br />
Advancement of Creative Musicians composers as<br />
Roscoe Mitchell or Muhal Richard Abrams. The piece<br />
is an interesting departure from the melodic fusion<br />
that otherwise dominates this release.<br />
Although not quite in a class with Oregon’s best<br />
‘70s output, Family Tree demonstrates that these<br />
fusion/world jazz survivors are still quite capable of<br />
delivering solid and inspired albums.<br />
For more information, visit camjazz.com. Paul McCandless<br />
is at Blue Note May 5th with Combo Nuvo. See Calendar.<br />
UNEARTHED GEM<br />
BigBands Live<br />
Duke Ellington Orchestra (JazzHaus Musik)<br />
by Duck Baker<br />
Presumably, many readers will have heard<br />
something about the JazzHaus Musik label’s<br />
archival series, including “BigBands Live”, of which<br />
this is the second release. We are told that these are<br />
being drawn from a vast body of previously<br />
unreleased music recorded for German radio, some<br />
of which dates back to the late ‘40s, and that the<br />
sound quality is superior. The last is certainly true,<br />
but much of what is on this CD, taken from a March<br />
1967 gig, has seen the light of day previously, albeit<br />
on a little remembered LP on the English label Jazz<br />
Band (Live at Stuttgart, Vol. 1; Vol. 2 never appeared,<br />
however). If memory serves, the sound quality for<br />
this CD release is better than the original LP.<br />
In any case, this is an exciting document of<br />
Ellington’s late ‘60s working band, with an emphasis<br />
on material of then-recent coinage. For many<br />
listeners, the only very familiar tunes after the brief<br />
statement of the theme are likely to be two Billy<br />
Strayhorn masterpieces, “Johnny Come Lately” and<br />
“Freakish Lights”, which is much better known as<br />
“Blood Count” (“Freakish Lights” was a working<br />
title). In fact, the inclusion of this Johnny Hodges<br />
showcase will be one of the most significant things<br />
about this release for hardcore fans, as Ellington<br />
retired it after the definitive recording later in 1967<br />
on And His Mother Called Him Bill and only a handful<br />
of other live versions have been released. Other<br />
titles that late-period Ellington fans will know are<br />
“Tutti for Cootie”, a staple feature for Cootie<br />
Williams after the trumpeter’s return to the fold in<br />
1962, and “Le Plus Belle Africaine”, which entered<br />
the book in 1966 and stayed until the end.<br />
The balance of the material will only be familiar<br />
to those who have studied this period, which was<br />
certainly a strong one (the 2004 Storyville release,<br />
The Jaywalker, features many of these tunes). The<br />
Duke never rested and he and all his featured<br />
soloists (also including Harry Carney, Lawrence<br />
Brown and Paul Gonsalves) sound happy and<br />
inspired on this excellent and easily recommended<br />
release.<br />
For more information, visit jazzhaus-label.com. Ellington<br />
tributes are at Dizzy’s Club May 7th-12th and Blue Note<br />
May 21st-26th. See Calendar.<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 15
GLOBE UNITY: ITALY<br />
Sin Fronteras Actis Dato Quartet (Leo)<br />
If Not (omaggio a Mario Schiano)<br />
Progetto Guzman (Terre Sommerse)<br />
Untitled #28 Fabrizio Sferra Quartet (Jando Music)<br />
by Tom Greenland<br />
Jazz, first introduced to Milanese audiences in the<br />
early 20th century, was later adopted and adapted<br />
by local musicians, with strong scenes emerging in<br />
Milan, Rome, Sicily, Perugia (home of the Umbria<br />
Jazz Festival) and elsewhere.<br />
Integral to Italian new jazz for 40 years, multireedist<br />
Carlo Actis Dato maintains his ebullient<br />
humor on Sin Fronteras, a quartet release with<br />
soprano/alto saxist Beppe Di Filippo, bassist Matteo<br />
Ravizza and drummer Daniele Bertone. The alloriginal<br />
date sustains a Carnevale-esque atmosphere<br />
through danceable beats, catchy unison melodies<br />
and raucous soloing, spurred by group chanting,<br />
whistling and scatting. Favoring baritone sax (with<br />
occasional tenor and bass clarinet), Dato’s style<br />
blends inside and outside playing, delivered in a<br />
slightly husky tone, complemented by Di Filippo’s<br />
higher-pitched melismatic lines. Bertone combines<br />
standard drumkit and hand percussion on Middle<br />
Eastern and South American rhythms, which meld<br />
with Dato’s Middle Eastern melodies and Phrygian<br />
harmonies in a distinctively Mediterranean style.<br />
If Not, an homage organized by author Paola<br />
Carradori to the late Mario Schiano, a father figure<br />
of Italian free jazz, combines the trios of trumpeter<br />
Angelo Olivieri (with bassist Silvia Bolognesi and<br />
drummer Marco Ariano) and tenor/soprano<br />
saxophonist Alípio C. Neto (with bassist Roberto<br />
Raciti and drummer Ermanno Baron), with guest<br />
appearances by soprano saxist Eugenio Colombo,<br />
trombonist Giancarlo Schiaffini and others. The<br />
repertoire includes Schiano’s “If Not Ecstatic We<br />
Refund” (both studio and live versions), “Sud” and<br />
“Song” (which ends with a recording of Schiano<br />
singing in a slurry, Louis Armstrong style), plus<br />
standard covers and free improvisations. Olivieri<br />
and Neto prove dynamic leaders and the free<br />
improvisations show remarkable transparency, no<br />
easy task with multiple bassists and drummers.<br />
Drummer Fabrizio Sferra leads his quartet of<br />
reedman Dan Kinzelman, pianist Giovanni Guidi<br />
and bassist Joe Rehmer on Untitled #28, a collection<br />
of hummable tunes over floating rhythms, which<br />
are easily accessible yet open-minded. Like the late<br />
Paul Motian, Sferra leads by following, preferring<br />
the role of facilitator and colorist to that of<br />
timekeeper, giving this project a truly collaborative<br />
feel. Most of his songs are grounded in tonal<br />
harmony, with an almost hymn-like quality, though<br />
the key centers tend to shift in unpredictable ways.<br />
Sferra’s unobtrusive, virtually subliminal playing<br />
accomplishes more through innuendo than overt<br />
emphasis while Kinzelman’s tenor sax (with several<br />
clarinet cameos) and Guidi’s tinkling arpeggios add<br />
to the Sunday afternoon ambiance of the set.<br />
For more information, visit leorecords.com,<br />
terresommerse.it and jandomusic.com<br />
16 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Bridges<br />
Andrea Centazzo/Akira Sakata/Kiyoto Fujiwara (Ictus)<br />
Halcyon Days, The Complete Recording Vol. 2<br />
Andrea Centazzo/LaDonna Smith/Davey Williams (Ictus)<br />
In A Rainy Day<br />
Andrea Centazzo/Roberto Ottaviano (Ictus)<br />
The Battle Andrea Centazzo Invasion Orchestra (Ictus)<br />
by Robert Iannapollo<br />
Italian born/American resident, percussionist Andrea<br />
Centazzo has a massive discography at over 100<br />
recordings, with his Ictus record label, founded in<br />
1976, releasing many of them. He’s recorded albums<br />
with the finest of European and American improvisers;<br />
a short list would include Steve Lacy, John Carter,<br />
ROVA Saxophone Quartet, Derek Bailey, Evan Parker,<br />
Lol Coxhill…the list is extensive. Although a master<br />
free improviser, he’s also a composer, having done<br />
orchestral and chamber compositions. And he’s not<br />
averse to playing mainstream and fusion when the<br />
muse moves him. These four albums are among the<br />
most recent editions released on Ictus and show<br />
Centazzo still forging ahead at a creative pitch after 40<br />
years.<br />
Centazzo’s peripatetic nature has seen him<br />
establishing musical relationships all over the globe.<br />
Bridges finds Centazzo collaborating with two of<br />
Japan’s most august improvisers, saxophonist Akira<br />
Sakata and bassist Kiyoto Fujiwara, in a 2012 concert<br />
from Milan. Sakata was one of the earliest Japanese<br />
saxophonists to embrace free jazz, part of pianist<br />
Yosuke Yamashita’s trio for much of the ‘70s. And he<br />
has kept his music fresh by collaborating with<br />
contemporary players like Jim O’Rourke and D.J.<br />
Krush. On Bridges his alto voice is the most dominant,<br />
coming from the Charlie Parker-through-Jimmy Lyons<br />
lineage, and Centazzo and Fujiwara keep a busy<br />
accompaniment to Sakata’s flights, spurring him on to<br />
some truly frenetic sequences. Although everything<br />
here is improvised, “Bridge #5“ toys with “Stella By<br />
Starlight” but taken to some pretty far-flung places.<br />
While the performance is quite good, the sound of the<br />
disc is a bit too ‘live’ and at 32 minutes, a little bit<br />
chintzy with playing time.<br />
Centazzo’s journeys have even taken him to such<br />
unexpected places as Tuscaloosa, AL, meeting up with<br />
the improvising duo of violinist/violist LaDonna<br />
Smith and guitarist Davey Williams. They first<br />
collaborated in 1979 and their meetings have resulted<br />
in several albums. Halcyon Days stems from recordings<br />
that date back to a concert in Venice in April 1979.<br />
Generally, the instrumentation skews this music<br />
toward the treble range; Centazzo’s mini-moog is his<br />
only electronic element and that reinforces it. This<br />
sounds like music of discovery and there’s an almost<br />
giddy quality that is attractive. Centazzo patters away<br />
while Smith scrabbles and scrapes and Williams<br />
wrenches all sorts of sound from his guitar and banjo.<br />
The music runs the sonic spectrum from delicate<br />
textures to all-out barrage. There’s an obvious<br />
connection among these three and the music flows<br />
with natural ease.<br />
In A Rainy Day finds Centazzo in a duo with<br />
countryman soprano saxophonist Roberto Ottaviano.<br />
The latter leans towards music with a more melodic<br />
character and Centazzo adjusts his playing accordingly,<br />
his percussion much more textural and reliant on an<br />
electronics and keyboard setup. At times the music<br />
tends towards the ambient (“In A Balinese Garden”,<br />
where the kat mallet sounds like a gamelan instrument)<br />
but Ottaviano can ratchet up the energy level and he<br />
proves a good match for Centazzo’s free jazz chops. “A<br />
Kind Of Duke’s Blue” opens up with a percussive reed<br />
squall, which, despite the freneticism, clearly draws on<br />
“Take the ‘A’ Train”, going through several changes<br />
before concluding with a repeated sample of the song’s<br />
famous piano intro. This is a studio recording from<br />
2012 with a lot of overdubbing and while some of the<br />
electronic work is a little clunky, in general, this is a<br />
satisfying set of duets that shows both musicians’<br />
range.<br />
The Battle is the most elaborate of these releases,<br />
consisting of a 2012 performance at The Stone by<br />
Centazzo’s 13-member strong Invasion Orchestra.<br />
Consisting of Italian and American musicians, it is a<br />
well-stacked ensemble including Dato, Ottaviano,<br />
trumpeters Dave Ballou and Guido Mazzon, pianist<br />
Umberto Petrin and co-drummer Gino Robair. The<br />
compositions are multi-faceted, make good use of the<br />
instrumentation and are long and involved (the<br />
shortest is eight minutes). They tend to go into<br />
unexpected areas; for example, the title track has a<br />
brass chorale inserted at the midway point that leads<br />
into simultaneous solos from the reed section. Most<br />
players are featured but trombonist Giancarlo<br />
Schiaffini’s plunger extravaganza at the beginning of<br />
“The Victory” stands out.<br />
For more information, visit ictusrecords.com. Centazzo is at<br />
JACK May 3rd and The Firehouse Space May 5th. See<br />
Calendar.<br />
May 7th<br />
Rosemary George and Group<br />
May 14th<br />
Antoinette Montague and Group<br />
May 21st<br />
Mike Longo’s 17 piece NY<br />
State of the Art Jazz Ensemble<br />
with Ira Hawkins<br />
New York Baha’i Center<br />
53 E. 11th Street<br />
(between University Place and Broadway)<br />
Shows: 8:00 & 9:30 PM<br />
Gen Adm: $15 Students $10<br />
212-222-5159<br />
bahainyc.org/nyc-bahai-center/jazz-night
Silent Comedy<br />
Bill Frisell (Tzadik)<br />
by Stuart Broomer<br />
2012 was the centenary of the births of two central<br />
figures in American music, John Cage and Woody<br />
Guthrie, and a document that got wide circulation was<br />
a 1947 letter from Guthrie in which the folk singer and<br />
songwriter praised Cage’s early prepared piano music.<br />
One of the places the letter turned up was guitarist Bill<br />
Frisell’s website, a singularly appropriate spot, for<br />
there are few musicians whose aesthetic regularly<br />
includes heartland melodies and electronics.<br />
Frisell’s first solo CD, Ghost Town from 2000,<br />
mixed various instruments and loops, improvisations<br />
and traditional songs. His current solo outing, Silent<br />
Comedy, foregoes any familiar melodies and focuses on<br />
what sound like largely improvised pieces. Frisell<br />
builds each work out of loops and contrasts, picking<br />
up a brief motif, repeating it, mutating it electronically<br />
and layering it into an ongoing pattern. One is<br />
conscious here of the electronic musician, a man who’s<br />
using his guitar as a source for sounds to be<br />
reconfigured by a medley of pedals - loops, delays,<br />
sustains, ring-modulators - that will transform a sound<br />
or a phrase. But one is also aware of Frisell the film<br />
composer, alert to nuance, continuity and mood.<br />
Occasionally you’ll get a ghost phrase, a barely<br />
amplified folk motif or a wail that’s characteristic rock<br />
guitar (on the ironically titled “Lullaby”), a hint of<br />
some other chapter in Frisell’s musical odyssey, but<br />
that too is liable to become part of something else.<br />
There’s a piece here called “Proof” that has some of the<br />
openness and sudden unexpected phrases of Cage’s<br />
early sonatas while “Ice Cave” possesses all the austere<br />
architecture and unexpected grandeur of its subject.<br />
“John Goldfarb, Please Come Home”, at nine minutes<br />
something of an epic, is particularly witty and<br />
cinematic.<br />
What comes through here strongest is Frisell’s<br />
mindfulness. He’s an explorer, but also a musician who<br />
ultimately values coherence and a certain musical<br />
grace. More than one of the year’s most interesting<br />
guitar records, this is genuinely arresting music.<br />
For more information, visit tzadik.com. Frisell is at Village<br />
Vanguard May 7th-12th. See Calendar.<br />
Creative Music for 3 Bass Saxophones<br />
Scott Robinson (ScienSonic)<br />
New History Warfare Vol. 3: To See More Light<br />
Colin Stetson (Constellation)<br />
As If There Was A Tomorrow<br />
Andreas Kaling (JazzHausMusik)<br />
by Jeff Stockton<br />
Musicians performing on the bass saxophone have to<br />
avoid becoming a novelty act. The instrument is<br />
sufficiently large and unwieldy that playing it becomes<br />
as much of an effort in physicality as it does in breath<br />
control. The saxists under consideration here each<br />
approach this challenge in slightly different ways.<br />
On Creative Music for 3 Bass Saxophones, its chief<br />
composer Scott Robinson enlists a couple of veterans<br />
of unusual horns and creative improvisation, Vinny<br />
Golia and JD Parran, along with percussionist Warren<br />
Smith. Recorded live in 2011 at the Rubin Museum of<br />
Art in Manhattan, the band engages one another in<br />
brief conversational entwinings, notes surfacing and<br />
submerging like whales coming up for air, then going<br />
back underwater to sing their songs. For the majority<br />
of the program, the band concentrates on abstraction:<br />
susurrations, long tones, percussive accents. It’s not<br />
until nearly the very end where the three mighty<br />
sounds join together as one, giving some indication of<br />
what they are capable.<br />
To See More Light is Volume 3 in Colin Stetson’s<br />
series of solo sax performances called New History<br />
Warfare. A couple of years ago Volume 2, Judges, made<br />
quite an impression with indie audiences. With a<br />
remarkable system of all-over body mic’ing, circular<br />
breathing techniques, vocalizations and unorthodox<br />
fingerings, Stetson manages to create music that ranges<br />
from tranquil repose to harrowing intensity. The pops<br />
and clicks of the keys are amplified. Humming roars<br />
and screams like animal sounds. And while the<br />
previous volume concentrated on the bass sax and<br />
soothing tones of Laurie Anderson, this one expands<br />
the sonic palette to include alto and tenor and Bon<br />
Iver’s Justin Vernon handles the vocal atmospherics.<br />
The inclusion of these higher pitches heightens the<br />
music’s intensity, making To See More Light a gripping<br />
listening experience, but not at all an easy one. No one<br />
makes music like Stetson.<br />
Except, it seems, German saxist Andreas Kaling,<br />
who claims, as Stetson does, that all songs are played<br />
“live, without loops or overdubs”. But where Stetson’s<br />
music can be nerve-wracking, Kaling’s is less<br />
challenging and easier to enjoy but still an achievement.<br />
Kaling wheezes and puffs and hums along with<br />
himself, but with a mastery and attention to dynamics<br />
that keep As If There Was A Tomorrow compelling.<br />
Thanks to the structure, compositional logic and<br />
momentum of the performances and with nothing<br />
clocking in much over five minutes, nothing overstays<br />
its welcome. From a purely technical perspective, the<br />
sounds Kaling is able to conjure are mind-blowing and<br />
inexplicable. He often sounds like a foghorn warning<br />
incoming ships and then like a ship blowing its answer<br />
back. That he can do so to serve the purpose of each<br />
song makes this recording not only impressive to think<br />
about, but also to hear. Not to be missed.<br />
For more information, visit sciensonic.net, cstrecords.com and<br />
jazzhausmusik.de. Robinson is at Greenwich House Music School<br />
May 31st. Stetson is at Le Poisson Rouge May 8th. See Calendar.<br />
J a ZZ a T LinC o L n CenT er<br />
M ay<br />
J une<br />
25 yearS oF J a ZZ<br />
May 15 / 7 PM | May 16 / 7 PM & 9PM<br />
a TribuT e T o b obby ShorT<br />
Michael Feinstein leads an all-star cast featuring<br />
saxophonist Andy Farber and vocalists<br />
Paula West, T. Oliver Reid, and Barbara Carroll<br />
ChiC k Corea Festival<br />
May 16–18 / 8 PM<br />
ChiC k Corea<br />
Jazz at Lincoln Center Orchestra with Wynton<br />
Marsalis and featured artist Chick Corea<br />
ChiC k Corea Festival<br />
May 17–18 / 7:30 PM & 9:30PM<br />
FriendS oF ChiC k C o r e a :<br />
MuS i C ianS oF T he FuT ure<br />
Pianists Gadi Lehavi and Beka Gochiashvili,<br />
bassist John Patitucci, drummer Marcus Gilmore,<br />
with trumpeter Wallace Roney<br />
June 12 / 7 PM | June 13 / 7 PM & 9PM<br />
Swinging wiT h<br />
T he b ig b andS<br />
Michael Feinstein hosts Wynton Marsalis<br />
and Vince Giordano’s Nighthawks with<br />
vocalists Nellie McKay, Connie Evingson,<br />
and Sachal Vasandani<br />
T h<br />
boX o FFi C e Broadway at 60<br />
C enT erC harge 212-721-6500<br />
jalc.org<br />
Preferred Card of<br />
Jazz at Lincoln Center<br />
Lead Corporate Sponsor<br />
chick corea<br />
Photo by Frank Stewart<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 17
$18 ADVANCE $20 AT DOOR<br />
9/20: Roy Eaton<br />
18 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
visitors center:<br />
OPEN M-F 10 AM - 4 PM<br />
104 E. 126th Street, #2D, New York, NY 10035<br />
(Take the 2/3/4/5/6 train)<br />
WWW.JMIH.ORG<br />
THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS<br />
Harlem Speaks<br />
A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ<br />
5/15 Portraits of Harlem Poetry Slam Competition - Theme: Harlem<br />
5/29 Portraits Pianist of Harlem Poetry Slam Competition Bandleader<br />
- Theme: Jazz<br />
9/27: George Gee<br />
Time: 6:30 - 8:30 pm Price: Free SuggeSted donation of $20 LocaTion: miSt Harlem 46 W 116tH St for more information: 212-348-8300<br />
Jazz for Curious Listeners<br />
Tuesdays 7:00 - 8:30 p.m.<br />
Free classes celebrating Harlem and its legacy. Attend any individual class.<br />
Catching up with Christian<br />
Host: Christian McBride<br />
5/14: Location: Maysles Cinema (343 Lenox Avenue between 127th 128th) Donation Suggested<br />
5/21: Location: Metropolitan Community United Methodist Church,<br />
NE Corner of 126th Street and Madison Avenue, enter on 126th FREE<br />
For more information: 212-348-8300<br />
May 3 - Roy Assaf Trio<br />
TICKETS: www.rmanyc.org/harleminthehimalayas<br />
Parallax Conversation Series: The Spectrum of Storytelling<br />
May 7 Kewulay Kamara and Melvin Reeves 7:00 - 8:30pm<br />
May 28 Andrew Nemr and Yacouba Sissoko 7:00 - 8:30pm<br />
Location: Metropolitan Community United Methodist Church, NE Corner of 126th Street and Madison Avenue, enter on 126th<br />
FREE For more information: 212-348-8300<br />
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council<br />
Cinema, Circus &<br />
Spaghetti<br />
Sexmob<br />
(The Royal Potato Family)<br />
by Kurt Gottschalk<br />
No Morphine, No Lilies<br />
Allison Miller’s<br />
Boom Tic Boom<br />
(The Royal Potato Family)<br />
In 1981, producer Hal Wilner pulled together a tribute<br />
album to composer Nino Rota, the man who scored<br />
most of Federico Fellini’s films. It kicked off a series of<br />
multi-artist tribute albums Rota would inspire, which<br />
in turn arguably gave birth to a burgeoning tribute<br />
compilation cottage industry.<br />
Steven Bernstein thanks Wilner in the notes to his<br />
own Rota tribute Cinema, Circus & Spaghetti, crediting<br />
his longtime friend for “opening [his] mind” to Rota’s<br />
music. And with some of the Downtown contingent (if<br />
not Bernstein himself) present on Wilner’s album,<br />
comparisons are inevitable, despite the decades<br />
between them. But Bernstein has made a very different<br />
record, one perhaps less about reinventing the<br />
compositions than about reigniting the vibrancy of the<br />
movies for which they were made.<br />
Bernstein is a strong trumpeter - and here debuts<br />
his ‘hybrid’ valve/slide horn - but one of the rewards<br />
of Sexmob (saxophonist Briggan Krauss, bassist Tony<br />
Scherr, drummer Kenny Wollesen) has always been<br />
Bernstein’s arrangements of other material, finding<br />
new spirit in Prince, Sly Stone, Martin Denny and John<br />
Barry, abetted by an ensemble equally at home with<br />
jazz, funk and cinematic music. In Sexmob’s able<br />
hands, the disc remains a band album (as opposed to<br />
Wilner’s wonderful assemblage). Like Louis Armstrong<br />
making Fats Waller his own, the band works through<br />
12 themes from Juliet of the Spirits, Amarcord, La Dolce<br />
Vita, La Strada and Spirits of the Dead, making set pieces<br />
like audio Technicolor. After 17 years, Sexmob moves<br />
with a group consciousness; such singularity lets both<br />
the composer and the arranger shine.<br />
Bernstein guests on two tracks on his labelmate<br />
drummer Allison Miller’s striking No Morphine, No<br />
Lilies, her strong band Boom Tic Boom (pianist Myra<br />
Melford, violinist Jenny Scheinman, bassist Todd<br />
Sickafoose) also complemented by trumpeter Ara<br />
Anderson, cellist Erik Friedlander and singer Rachel<br />
Friedman. Miller is a smart composer and works her<br />
band in a nicely understated manner. Her drums are<br />
rarely out front, but the music proceeds with a<br />
drummer’s sensibility nevertheless, crafting different<br />
rhythms with different parts of the group and laying<br />
them on top of each other, still letting everything fall<br />
together in an easy manner (one might use the word<br />
‘smooth’ were it not so inflammatory). That strategy is<br />
underscored by the bold and sprightly unison trumpet/<br />
violin lines of “The Itch” or, alternately, on the album’s<br />
lone vocal piece, “Once” a slow ballad that could fit<br />
into an Alicia Keys or Esperanza Spalding set. With<br />
simple piano and drum accompaniment and multitracked<br />
vocal harmonies, it’s the most conventional<br />
piece. It does, however, show another aspect to Miller’s<br />
writing. But it’s not all exercise. She says in the notes<br />
that the 11 compositions were written during a period<br />
of personal travails and there’s a pervasive sense of<br />
struggle (and overcoming) to the music.<br />
On both albums, Bernstein and Miller come off as<br />
deeply committed to their projects and both have<br />
bands committed to following them there.<br />
For more information, visit royalpotatofamily.com. Both<br />
these groups are at 92YTribeca May 8th. See Calendar.
Evoke<br />
Stan Killian (Sunnyside)<br />
by Terrell Holmes<br />
Stan Killian couldn’t have chosen a more appropriate<br />
title for his second release as a leader. This fine tenor<br />
player draws inspiration from his adopted home of<br />
New York, reflecting impressions of a place that can be<br />
a cauldron, oasis, madhouse and sanctuary all at once.<br />
Killian starts up by going down low with the cool<br />
sophistication of the subway-inspired “Subterranean<br />
Melody”. Feathery and spirited tenor sets the pace for<br />
Benito Gonzalez’ fiery piano and Mike Moreno’s crisp<br />
guitar lines, as bassist Corcoran Holt and drummer<br />
McClenty Hunter pulse and thrash beneath the<br />
ostinato. The excellent “Echolalic” gives some insight<br />
into Killian’s writing style; this song features his<br />
trademark shifting time signatures, which happen<br />
several times. The band meets the challenge and stays<br />
in tempo throughout with no missteps. “Kirby” has an<br />
infectious height-of-rush-hour charm and is<br />
highlighted by great solos by Killian, Moreno and<br />
Hunter. “Beekman33” and “Observation” are energetic<br />
struts while “Hindu” is a light-stepping delight with a<br />
Latin pedigree. With all of the fast-paced playing on<br />
this album, the poignant title ballad provides a respite,<br />
a pocket of calm amidst the urban frenzy.<br />
Wayne Horvitz<br />
the royal room<br />
collective<br />
music ensemble<br />
May 21st - 26th<br />
THE STONE<br />
avenue C and 2nd street<br />
www.thestonenyc.com<br />
www.waynehorvitz.net<br />
www.theroyalroomseattle.com<br />
Killian is a joy to listen to, a wonderful player<br />
with a singular sound and texture. His tone is mostly<br />
smooth and even-tempered but he can blow with a<br />
streetwise grittiness or soar to the heavens. Killian’s<br />
familiarity with the members of his working band<br />
allows him to compose within their collective and<br />
individual strengths; the band, in turn, knows precisely<br />
what Killian wants and the simpatico results in topnotch<br />
music, which is what makes Evoke such a<br />
rewarding listening experience.<br />
For more information, visit sunnysiderecords.com. This<br />
group is at 55Bar May 14th. See Calendar.<br />
Banned in London<br />
Aruán Ortiz/<br />
Michael Janisch Quintet<br />
(Whirlwind)<br />
by Ken Waxman<br />
Textures and Pulsations<br />
Bob Gluck/<br />
Aruán Ortiz<br />
(Ictus)<br />
Equally dexterous as part of a high-energy combo as<br />
in a cerebral keyboard showcase, these fine CDs<br />
highlight different facets of pianist Aruán Ortiz.<br />
Banned in London is a vigorous quintet date of two<br />
standards, two Ortiz originals and one by co-leader/<br />
bassist Michael Janisch, a London-based American.<br />
The band is filled out by trumpeter Raynald Colom,<br />
veteran alto saxophonist Greg Osby and drummer<br />
Rudy Royston. This live date is unabashedly<br />
straightahead but Janisch still has the courage to begin<br />
the CD’s first track “Precisely Now” with a more-thantwo-minute<br />
bass solo. Ortiz’ originals showcase<br />
different motifs: slithery and sneaky on “The Maestro”<br />
and metronomic and percussive on “Orbiting”. The<br />
first has brassy squeezes from the trumpet on top,<br />
corkscrew sax vibrations in the middle and a bottom<br />
dedicated to Royston’s hard rim shots and blunt<br />
cymbal slaps. A contrapuntal invention, “Orbiting”<br />
moves from mid-range coloration to a protracted final<br />
section where the pianist and drummer trade fours.<br />
The quintet’s version of “Ask Me Now” is<br />
disappointing, lacking the lean power of Monk’s<br />
original but they make up for it with a vibrant take on<br />
“Jitterbug Waltz”. A showcase for Osby, his whorls and<br />
snaky multiphonics create a wholly original variant.<br />
Textures and Pulsations finds Ortiz playing piano<br />
and computer alongside Bob Gluck’s piano and Moog<br />
synthesizer on eight instant compositions. Gluck and<br />
Ortiz appear more comfortable balancing the acoustic<br />
and electronic by the second half of the recital. Before<br />
that, the outstanding track is “Red”, where interplay<br />
between Ortiz’ staccato keyboard melodies and<br />
vibraharp-like pops from Gluck’s synthesizer sound<br />
like Sun Ra and Walt Dickerson. From then on the<br />
cohesion keeps improving, with some tracks more<br />
electronic and some more acoustic. “Interludio”<br />
highlights an array of references in turn; with pulses<br />
that could come from a rock guitar at the top, the two<br />
keyboardists next get into a tremolo duet with the<br />
power and interactivity of a boogie-woogie piano<br />
team. In contrast, aviary-like processed yelps and<br />
whistles get equal time with the pianos on “Green”.<br />
Ortiz’ keyboard command is aptly demonstrated<br />
here. With such fine playing, he may soon be the<br />
subject of his composition “The Maestro”.<br />
For more information, visit whirlwindrecordings.com and<br />
ictusrecords.com. Ortiz is at Metropolitan Room May 11th<br />
and The Jazz Gallery May 16th. See Calendar.<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 19
Oye!!! (Live in Puerto Rico)<br />
Miguel Zenón & The Rhythm Collective (Miel Music)<br />
by David R. Adler<br />
For years alto saxophonist Miguel Zenón has made<br />
quartet albums with the brilliant pianist Luis Perdomo<br />
as a central focus. Zenón’s music, therefore, has always<br />
been thick with harmony. But intermittently for several<br />
years, Zenón has explored another sound with his<br />
Rhythm Collective, a piano-less quartet with electric<br />
bassist Aldemar Valentin, drummer Tony Escapa and<br />
percussionist Reynaldo De Jesús. Oye!!! captures them<br />
in their native Puerto Rico in 2011.<br />
There’s an intimate vibe to the recording, with<br />
charged-up applause and bandmember introductions<br />
- in Spanish, over a fast groove - at the start and finish.<br />
The disc preserves the live acoustic imperfections yet<br />
still manages a high sound quality. Valentin sounds a<br />
tad far away and yet he’s a monster on every track,<br />
playing liquid solo lines and highly inventive doublestop<br />
work, hugging every turn. Escapa and De Jesús,<br />
too, are unstoppable. The subtle textural differences in<br />
their setups come across beautifully on disc.<br />
Zenón has worked hard to bring jazz and Puerto<br />
Rican folkloric idioms into contact. The Rhythm<br />
Collective, which toured six African countries with<br />
help from the State Department in 2003, has a different<br />
ROBERT HURST<br />
A monster of an album...<br />
Highly Recommended”<br />
20 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
but related take on global cross-pollination. “JOS<br />
Nigeria”, a Zenón original with a bouncy optimistic<br />
feel, has an explicitly African connection. Tito Puente’s<br />
“Oye Como Va” gets stretched and pulled apart, at one<br />
point inspiring Zenón to quote Wayne Shorter’s “Juju”.<br />
Silvio Rodriguez’ “El Necio” is more faithful, though it<br />
still sparks furious off-the-page improvisation.<br />
The band plays with gut-level energy but nails<br />
every note, every displaced accent. In the precise<br />
staccato hits of “Hypnotized” (slower and partly<br />
rubato, inspired by Paul Motian), or the crisply<br />
articulated bass pattern of the fast burner “Double<br />
Edge”, Zenón advances his own adaptations of<br />
traditional rhythmic forms, again proving himself one<br />
of the most distinctive artists on the scene.<br />
For more information, visit miguelzenon.com. Zenón is at<br />
Village Vanguard May 14th-19th. See Calendar.<br />
Soul Duo<br />
Shirley Scott/Clark Terry (Impulse-Passion Jazz)<br />
by George Kanzler<br />
Throughout the ‘60s, trumpeter Clark Terry had a<br />
high profile: as a featured member of The Tonight Show<br />
band, with the quintet he co-led with Bob Brookmeyer,<br />
jazz big band recordings he made with Quincy Jones<br />
ALL-STAR CAST FEATURING<br />
Branford Marsalis<br />
Robert Glasper<br />
Bennie Maupin<br />
Marcus Belgrave<br />
Jeff “Tain” Watts<br />
Adam Rudolph<br />
BoB a Palindrome” is<br />
exceptional... and everyone<br />
is firing on all cylinders…”<br />
MARK STRYKER- DETROIT FREE PRESS<br />
…Hurst’s inspired compositions<br />
and first-rate production values<br />
make this one of the highlights<br />
of the 2013 season."<br />
STEVE BRYANT- AllAboutJazz.com<br />
DAVE SUMNER’S JAZZ PICKS- emusic.com<br />
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and others and occasional guest returns to the Duke<br />
Ellington Orchestra, where he had spent most of the<br />
‘50s as a star sideman. This mid ‘60s one-off recording<br />
date with organist Shirley Scott, an inspired idea of<br />
producer Bob Thiele, is a rare instance of Terry in an<br />
organ combo setting. It clocks in at 37 minutes: either<br />
there were no extra takes from the date, or Passion Jazz<br />
didn’t have access to them.<br />
Despite the title, this is no standard soul jazz<br />
outing. Unlike many of her contemporaries on the<br />
organ, Scott did not play with the typical chugging,<br />
percolating, hard-rolling sound and didn’t even carry<br />
the basslines - Bob Cranshaw or George Duvivier are<br />
on string bass here - and her touch was comparatively<br />
light. Mickey Roker, a frequent Scott and Terry<br />
collaborator, is the drummer. Terry was at the height of<br />
his powers, with a quicksilver wit and a personal<br />
sound so distinctive it was instantly recognizable. He<br />
could mine a cornucopia of tones and timbres from his<br />
horn, commanding its complete range from the depths<br />
to the stratosphere. His solos here flit, dart and jab like<br />
a hummingbird in flight and often proceed in passages<br />
suggestive of the subtleties and nuances of speech -<br />
through choked, squeezed and smeared notes.<br />
The program - four Scott originals, two by Terry<br />
plus two standards - is bright and infectious, from the<br />
opening title blues, Terry manipulating his horn with<br />
plunger effects, intimate growls and piercing wails, to<br />
the closer, Irving Berlin’s “Heat Wave”, equipped with<br />
a shuffle beat and prancing muted trumpet. The vibe<br />
throughout is joyous, a feeling reflected literally in a<br />
central track: “This Little Light of Mine”.<br />
For more information, visit twitter.com/PassionMusicLtd.<br />
Terry is celebrated at A Great Night in Harlem May 17th at<br />
the Apollo Theater. See Calendar.<br />
Live<br />
at Flushing Town Hall<br />
QUEENS JAZZ ORCHESTRA<br />
Fiesta MOJO<br />
Directed by Jimmy Heath<br />
ORdeR tickets tOday!<br />
(718) 463-7700 x222 flushingtownhall.org<br />
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY 11354<br />
This program is supported by National Endowment for the Arts; New<br />
York State Council on the Arts, a State agency; New York City Department<br />
of Cultural Affairs; Bloomberg Philanthropies; Fan Fox and Leslie R.<br />
Samuels Foundation; Paul Ash and Nobuko Cobi Narita; and Macy’s.<br />
satuRday, May 25, 2013, 8:00 PM<br />
$40/$32 Members/$20 Students;<br />
Package: $120/$100 Members<br />
(Reserved Table for 2, Wine & Snacks)<br />
the Queens Jazz Orchestra (QJO, a program of<br />
FCCA), celebrates the musical genius of adderley,<br />
Jacquet, Basie & ellington, all historic jazz legends<br />
who lived in Queens & are seen on FCCA’s Queens<br />
Jazz trail Map © . Fiesta MOJO is a rare Gillespie<br />
piece arranged by Jimmy Heath for the QJO.
Show Me The Way (To Get Out Of This World)<br />
Stephanie Nakasian (Capri)<br />
by Marcia Hillman<br />
After a several-year absence from recording, vocalist<br />
Stephanie Nakasian returns to take us on a musical<br />
journey via 15 familiar and not-so-familiar standards<br />
about love lost and found. Her travelling companions<br />
are pianist Harris Simon’s trio with bassist Chris<br />
Brydge (Nakasian’s fellow faculty members at The<br />
College of William & Mary) and drummer Billy<br />
Williams. This CD was prompted by a series of wellreceived<br />
live performances.<br />
Nakasian’s vocal abilities are well captured in this<br />
album. Possessing an instrument of many colors,<br />
perfect diction, ability to swing and scat, inventive<br />
phrasing and respect for the lyric, she approaches each<br />
song as a unique story. She begins appropriately with<br />
“Lonesome Road”, doing an out-of-tempo chorus<br />
followed by a faster turn at scatting, sounding so much<br />
like Ella Fitzgerald that it brings one up short. Her<br />
scatting ability also shows up on other cuts, such as<br />
Horace Silver’s “Nica’s Dream” and “The End Of A<br />
Love Affair”, on which the Fitzgerald influence is also<br />
palpable. An interesting treatment is given to the Wolf-<br />
Landesman classic “Spring Can Really Hang You Up<br />
the Most”, where a series of tempo changes are<br />
New Audiences<br />
& Absolutely Live<br />
in association with the<br />
present<br />
&<br />
featuring Steve Gadd<br />
David Bob<br />
employed to emphasize the narrative. There is<br />
uncommon humor displayed in Van Morrison’s<br />
“Things Are Getting Tougher Than Tough”, done as an<br />
uptempo blues, Nakasian getting to growl the lyric<br />
and then imitate a muted trombone.<br />
Since these performers have been working<br />
together steadily, there is a wonderful chemistry. Each<br />
player supports Nakasian’s vocal efforts, but their<br />
individual voices are heard not only in solos, but also<br />
as a true partnership. Simon’s solos are inventive in<br />
their phrasing and his technique is superb while<br />
Brydge is solid as a rock and lyrical in all of his solos.<br />
Williams lays down solid swing throughout and his<br />
most impressive moment is a call-and-response section<br />
with Nakasian on Dave Frishberg’s “Zanzibar”.<br />
Listeners will have to take this journey more than<br />
once to enjoy and appreciate the talents of Nakasian<br />
and her companions fully.<br />
For more information, visit caprirecords.com. Nakasian is at<br />
Jazz at Kitano May 17th-18th. See Calendar.<br />
Fig Tree<br />
Deborah Latz (June Moon Prod.)<br />
by Andrew Vélez<br />
Fig Tree opens with Irving Berlin’s “Blue Skies”, but<br />
World Premiere<br />
SANBORN JAMES<br />
THURSDAY JUNE 6 | 8 PM<br />
123 West 43rd Street | www.the-townhall-nyc.org<br />
Ticketmaster.com or 800.745.3000<br />
Town Hall Box Office 212.840.2824<br />
Photo: Hollis King<br />
not in the usual, merely jaunty interpretation. Acid<br />
jazz in feel, it foreshadows that this third solo outing<br />
from Deborah Latz is definitely not going to be business<br />
as usual. Possessed of a range as wide as her clear<br />
soprano is lovely, Latz’ take on “Blue Skies” is a swift,<br />
danceable mix, which includes scatting and extended<br />
hums. Totally rocking in company with jazz veterans<br />
Jon Davis (piano), John Hart (acoustic and electric<br />
guitars), Ray Parker (bass) and Willard Dyson (drums),<br />
there is happy certainty to Latz’ singing.<br />
Nowhere is that more evident than when she tears<br />
loose in homage to Alberta Hunter with “I’m Having A<br />
Good Time”. Of course Latz’ voice is totally different<br />
from the late blues great, but when it comes to blowing<br />
the roof of the joint, they are totally sisters in the life<br />
spirit.<br />
If Latz sways irresistibly with Brazilian gems like<br />
“Eluxo” and “Corcovado” (“Quiet Nights”), she is no<br />
less adept with an American songbook classic like<br />
George and Ira Gershwin’s “”S’Wonderful”. With each<br />
“marvelous” and “wonderful”, her light touch as she<br />
pauses becomes a moment of self-discovery. Here<br />
Hart’s guitar provides the most sympathetic of<br />
accompaniment.<br />
The title song of the set is one of a quartet of her<br />
originals, a whimsical delight, evoking happy<br />
comparison to the vocalese gems of yore from Lambert,<br />
Hendricks and Ross in its musical savvy. The closer is<br />
a Latz-Hart duo on Henry Mancini-Johnny Mercer’s<br />
familiar “Moon River”. As lucid as it is breathtaking, it<br />
is music of the sort that happens when the best<br />
companions get together. That’s how this Fig Tree is<br />
throughout.<br />
For more information, visit deborahlatz.com. This project is<br />
at Somethin’ Jazz Club May 18th. See Calendar.<br />
KAISEI<br />
PAUL VAN KEMENADE | AKI TAKASE |<br />
HAN BENNINK |<br />
FUGARA<br />
MARKUS STOCKHAUSEN | MARKKU<br />
OUNASKARI | STEVKO BUSCH |<br />
PAUL VAN KEMENADE<br />
RAY ANDERSON | HAN BENNINK |<br />
ERNST GLERUM |<br />
PAUL VAN KEMENADE<br />
STEVKO BUSCH |<br />
PAUL VAN KEMENADE<br />
THREE HORNS AND A BASS<br />
MAHIEU | BOUDESTEIjN | VERPLOEGEN |<br />
VAN KEMENADE<br />
BOOKINGS<br />
www.paulvankemenade.com<br />
photo: Stef Mennens and Geert Maciejewski<br />
BOOKINGS<br />
www.galleryoftones.com<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 21
22 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Eponymous<br />
Federico Ughi Quartet (FMR)<br />
by Marc Medwin<br />
Given the diversity of this group’s collective<br />
background, the many nods toward tradition are<br />
almost surprising. It isn’t that drummer Federico Ughi,<br />
altoist David Schnug, cornetist Kirk Knuffke and<br />
bassist Max Johnson aren’t steeped in the jazz tradition;<br />
their credentials are well established and they have<br />
developed long-standing collaborative projects in<br />
various formations and contexts in and around jazz.<br />
The fact is, however, that they also embrace many<br />
others, from bluegrass to art rock and much in between,<br />
though subtlety of form and reference seems to be the<br />
path trod on every track of this quartet’s debut.<br />
The most overtly non-’jazz’ offering here is<br />
“Wearing a Wire?”, with its smart and soulfully driven<br />
rhythms, courtesy of Ughi, supporting a heavily<br />
accented unison melody. Knuffke’s solo gradually<br />
morphs from blues to something on the order of<br />
Plugged Nickel-era Miles as the others weave in and<br />
out of funk and noisy free jazz modes. Frequent pauses<br />
and tempo shifts only add to the track’s in-your-face<br />
intrigue, conjuring shades of Ornette Coleman’s later<br />
projects in the process.<br />
The rest of the album draws on Coleman’s work as<br />
well, particularly the jaunty “Technicolor”, sounding<br />
as if it was pulled from one of the Sound Museum<br />
discs, but, of course, none of the music adheres so<br />
strictly to form and structure. The labyrinthine<br />
melodies and drones of “Ange” are closer to the New<br />
York Art Quartet’s brand of musical cinematography<br />
than to anything Coleman waxed as Ughi supports the<br />
constantly shifting structures with expert brushwork.<br />
If one aspect of the disc could be changed, it is the<br />
almost incessant reliance on unisons. On future efforts,<br />
the group would do well to skip right to the bluesy or<br />
pointillistic bits, saving unison passages for special<br />
occasions. That said, these ten compositions,<br />
augmented by Ughi’s polyrhythmic and timbral<br />
facility, Schnug’s unpretentious growls, Knuffke’s<br />
smooth warm tones and Johnson’s flawless arco, add<br />
up to make an excellent first effort.<br />
For more information, visit fmr-records.com. Ughi is at<br />
Ibeam Brooklyn May 18th and 24th with this project. See<br />
Calendar.<br />
Audacity<br />
George Garzone/Frank Tiberi (Stunt/Sundance)<br />
by Stanley Zappa<br />
While there is nothing at all audacious about Audacity,<br />
what’s not to like about saxophonists George Garzone<br />
and Frank Tiberi weaving predictably crafty, intricate<br />
lines atop a rhythm section that never really exceeds<br />
the Jamey Aebersold play-along threshold of rhythm<br />
section persuasion? Should the recording sound stiff,<br />
drummer Jakob Hoyer, though not the solution, is not<br />
the problem. Rasmus Ehlers’ piano solos make one<br />
wonder what happened to his left arm. On “Two<br />
Brothers”, the effect is memorable, like meeting<br />
someone really hot who for some reason doesn’t have<br />
a nose. By “Solar” (track 6), all hotness has been<br />
eclipsed by the harmonic noselessness. Jonas<br />
Westergaard’s bass is unwavering, unflappable and, at<br />
the same time, unremarkable. Fortunately, this is not a<br />
problem in light of the more pressing agenda of<br />
presenting two acknowledged, well ensconced,<br />
thoroughly documented masters once again romping<br />
through the tropes and paying homage to John Coltrane<br />
46 years after his death, at this juncture in their long<br />
and storied careers, in the year of our lord 2013.<br />
“My father died...I was left to support the family<br />
and at 13 I had gigs three nights a week,” says Tiberi<br />
(born 1928) in the liner notes to Audacity. If social<br />
conditions have any effect on one’s musicality, there<br />
won’t be too many Frank Tiberis making their version<br />
of Audacity in the year 2080. His sound, vocabulary<br />
and phrasing come from social realities and economic<br />
conditions long gone. Tiberi’s composition “My Man“<br />
and his solo therein is why he is to be treasured.<br />
Though younger, Garzone also enjoyed that<br />
commercially archetypal time in improvised music so<br />
deftly commodified by the participants. Garzone has<br />
the value add of a career in academia, which he<br />
capitalizes on throughout the recording; those aesthetic<br />
dividends contribute significantly to Audacity’s net<br />
worth. That said, everyone would be the poorer were<br />
Audacity the only recorded statement for anyone<br />
involved.<br />
For more information, visit sundance.dk. Garzone is at The<br />
Stone May 19th with Uri Gurvich and ShapeShifter Lab<br />
May 25th. See Calendar.
People Music<br />
Christian McBride & Inside Straight (Mack Avenue)<br />
by Robert Milburn<br />
In the mid ‘00s, Village Vanguard owner Lorraine<br />
Gordon told bassist Christian McBride that his electric<br />
band was not appropriate for the revered venue. And<br />
so McBride began assembling his acoustic quintet<br />
Inside Straight as per Gordon’s request. People Music<br />
submits to a more traditional format out of necessity,<br />
but avoiding reversion to some disingenuous mean.<br />
The title refers to the bassist’s constant balance<br />
between creative abstraction and visceral crowdpleasing.<br />
In employing saxophonist Steve Wilson and<br />
vibraphonist Warren Wolf (plus pianist Peter Martin<br />
and drummer Carl Allen), the bassist generates this<br />
unique brand of intrigue, which ranges from the<br />
dizzying tenacity of Wolf’s “Gang Gang” to the cool<br />
soulfulness of McBride’s “New Hope’s Angel”. On the<br />
former, bass and piano maintain a driving ostinato<br />
while vibes swoon and explode in exuberance. The<br />
latter, inspired by the untimely death of vocalist<br />
Whitney Houston, has a velvety smoothness with<br />
Wilson’s soprano dialed to a dulcet melodiousness.<br />
Meanwhile, the funky evocations of “Unusual<br />
Suspects” rest somewhere in between.<br />
The opening and penultimate tracks are noticeable<br />
departures from the quintet’s harmonious steadiness.<br />
Here, pianist Christian Sands and drummer Ulysses<br />
Owens, Jr., young McBride trio mates, replace jazz vets<br />
Martin and Allen. While Martin’s caressing fluidity is<br />
subtly substituted for Sands’ soulful facility, the<br />
explosive theatrics of Owens is cast against the veteran<br />
drummer’s assured composure. “Listen To the Heroes<br />
Cry” is particularly demonstrative: Owens erupts in a<br />
flurry of cymbals as Sands’ fleeting lines tense in sultry<br />
provocation. McBride is obviously pleased, his playing<br />
flaring in intensity.<br />
The disc has already received the Gordon stamp of<br />
approval - the band played at the venue in December.<br />
For listeners, People Music is yet another truly swinging<br />
celebration of the bassist’s adept musicality.<br />
For more information, visit mackavenue.com. McBride is at<br />
92nd Street Y May 23rd-24th. See Calendar.<br />
Borderline<br />
Brian Charette (SteepleChase)<br />
by Ken Dryden<br />
Although not the first recording of solo Hammond B3,<br />
it is a rare occurrence. Yet the instrument has more<br />
potential than the piano, given its wide range of sounds<br />
and ability to create a bassline with the pedals.<br />
Brian Charette has been one of the rising stars of<br />
the Hammond B3 and it’s obvious why with this fine<br />
effort. He draws from numerous decades and styles of<br />
music, including jazz standards, pop songs, bop and<br />
bossa novas, varying his approach and keeping most<br />
performances under the five-minute mark.<br />
Charette opens with a fluid, lively interpretation<br />
of Chick Corea’s “Windows”, adeptly varying the<br />
volume as he offers a masterful improvisation. His<br />
punchy take of Duke Ellington’s “C Jam Blues” recalls<br />
the heyday of Jimmy Smith while his rapid-fire attack<br />
in Charlie Parker’s “Donna Lee” also has a slow<br />
interlude focusing on a deliberate left-hand<br />
improvisation. Charette’s dancing footwork and fleet<br />
fingering in “How Deep is the Ocean” brings new life<br />
to this standard while he slows to a crawl for a<br />
sauntering stroll through “Body and Soul” and<br />
“Georgia On My Mind”. It’s little surprise that there’s<br />
some Gershwin as well, including a romping bop<br />
treatment of “I Got Rhythm” and a whimsical setting<br />
of “Embraceable You”. Intimate takes of “Corcovado”<br />
and “The Girl From Ipanema” don’t need a vocalist or<br />
additional instrumentation to convey their messages.<br />
Charette is most impressive with songs one<br />
doesn’t associate with jazz: Hall & Oates’ “Sara Smile”;<br />
Jimmy Webb’s “Up, Up and Away”; Classic 4’s<br />
“Spooky”; Reggie Lucas’ “Borderline” or the James<br />
Bond theme “You Only Live Twice”. In each case, the<br />
organist reveals their potential with thoughtful<br />
interpretations in which he mixes changes in key and<br />
tempo, along with intelligent thematic variations. This<br />
impressive foray into solo Hammond B3 may provoke<br />
fellow players to consider similar projects.<br />
For more information, visit steeplechase.dk. Charette’s<br />
Organ Trio is at ShapeShifter Lab May 24th. See Calendar.<br />
Cross Culture<br />
Joe Lovano Us Five (Blue Note)<br />
by Joel Roberts<br />
Joe Lovano’s third outing with his Us Five quintet<br />
(and his 23rd recording for Blue Note over the past<br />
20-plus years) is another example of the tenor<br />
saxophone titan’s adventurous spirit and ever-restless<br />
nature. His first two dates with the group focused,<br />
respectively, on Lovano originals and radically<br />
reinterpreted versions of Charlie Parker classics. His<br />
new release, as the title implies, incorporates more of a<br />
world-music aesthetic. But the real focus is on<br />
remarkable group interplay.<br />
The lineup once again features pianist James<br />
Weidman, drummers Francisco Mela and Otis Brown<br />
and Esperanza Spalding on bass, though in<br />
acquiescence to Spalding’s busy schedule as a<br />
burgeoning superstar, she’s replaced by Peter Slavov<br />
on a few tracks. West African guitarist Lionel Loueke is<br />
also heard on several numbers, enhancing the album’s<br />
stated boundary-crossing theme. Lovano and Loueke<br />
demonstrate a strong, almost telepathic bond,<br />
particularly on the intense “In a Spin”, which features<br />
a wild turn by Lovano on the aulochrome, a new kind<br />
of polyphonic double soprano saxophone. He’s also<br />
heard on numerous other horns besides his usual tenor,<br />
including the G-mezzo soprano and the tarogato (an<br />
Eastern European folk instrument). And as if the<br />
already formidable two-drum attack of Mela and<br />
Brown isn’t enough, Lovano joins in on percussion on<br />
several tracks, playing things like an Israeli paddle<br />
drum and Nigerian slit drum.<br />
Most of the tunes are wide open and sound more<br />
improvised than thoroughly composed. “Myths and<br />
Legends” is a frenetic free-for-all for all five members<br />
of the core quintet while “PM”, a dedication to the late<br />
drum legend Paul Motian, features some of Lovano’s<br />
most energetic solos. The group’s overall aesthetic,<br />
and Lovano’s approach in general, is perhaps best<br />
represented on the album’s one non-original, the<br />
gorgeous Billy Strayhorn ballad “Star-Crossed Lovers”.<br />
While Lovano plays majestic tenor, channeling past<br />
masters from Ben Webster to John Coltrane, the rhythm<br />
section ventures off into unexpected places, leading<br />
Lovano to respond with some off-kilter, atonal patches.<br />
It’s an example of Lovano’s constant desire to push<br />
jazz forward while remaining wholly devoted to - and<br />
a part of - the tradition.<br />
For more information, visit bluenote.com. Lovano is at<br />
Village Vanguard May 28th-Jun. 2nd. See Calendar.<br />
NEW<br />
236 West 26 Street, Room 804<br />
New York, NY 10001<br />
Monday-Saturday, 10:00-6:00<br />
Tel: 212-675-4480<br />
Fax: 212-675-4504<br />
Email: jazzrecordcenter@verizon.net<br />
Web: jazzrecordcenter.com<br />
LP’s, CD, Videos (DVD/VHS),<br />
Books, Magazines, Posters,<br />
Postcards, T-shirts,<br />
Calendars, Ephemera<br />
Buy, Sell, Trade<br />
Collections bought<br />
and/or appraised<br />
USED<br />
Also carrying specialist labels<br />
e.g. Fresh Sound, Criss Cross,<br />
Ayler, Silkheart, AUM Fidelity,<br />
Nagel Heyer, Eremite, Venus,<br />
Clean Feed, Enja and many more<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 23
The View From Here<br />
Kyle Eastwood (Jazz Village-Harmonia Mundi)<br />
by Tom Greenland<br />
Kyle Eastwood has released 6 albums in his 15 years<br />
as a bassist and bandleader (along with composing and<br />
arranging movie soundtracks), forwarding his own<br />
brand of accessible yet artistically durable jazz. The<br />
View From Here, his latest, boasts a new label and a<br />
cohesive London-based working band of tenor<br />
saxophonist Graeme Blevins, trumpet/flugelhornist<br />
Graeme Flowers, pianist Andrew McCormack and<br />
drummer Martyn Kaine.<br />
The album kicks off with “From Rio to Havana”,<br />
which epitomizes the group’s sound, a catchy unison<br />
melody over a bubbling Latin beat, with blustery solos<br />
from the frontline, producing a sound that finds a<br />
middle ground between the smoothness of<br />
contemporary jazz and the brawn of hardbop. A<br />
Parisian for the past eight years, Eastwood also draws<br />
on the influences of North African, Middle Eastern and<br />
other musics: “Sirocco” opens with flamenco palmas<br />
(hand clapping) outlining a 6/8 rhythm, which shifts<br />
between double and triple accents akin to a flamenco<br />
compás (rhythmic cycle); “The Promise” features a<br />
piquant A minor melody over a Phrygian chord<br />
progression common to flamenco; “Une Nuit au<br />
Sénégal” starts with high double-stops<br />
on electric bass, recalling the shimmering guitars of<br />
Congolese soukous; “Luxor” is a moody modal piece<br />
with hypnotic tom-toming. The band brings these<br />
songs to life with strong soloing, particularly Flowers,<br />
who echoes Freddie Hubbard’s high-note flurries and<br />
clarion calls. Eastwood too is an accomplished soloist,<br />
on both acoustic and electric basses, often expressing<br />
himself in brief but busy outbursts.<br />
Eastwood brought another group to Blue Note for<br />
a weeklong residency last month, shared with Larry<br />
Coryell (& Sons), now with trumpet/flugelhornist<br />
Alex Norris, tenor saxophonist Jason Rigby, pianist<br />
Rick Germanson and drummer Joe Strasser. Launching<br />
his Mar. 26th early set with the CD’s opening track, the<br />
rest of the set drew on Eastwood’s earlier work:<br />
“Samba de Paris” (2009’s Metropolitan), “Tonic” (2011’s<br />
Songs From the Chateau), a cover of Miles Davis’<br />
“Pfrancing” and closing with “Big Noise From<br />
Winettka” (2005’s Paris Blue) - the last a technical<br />
showcase à la Ray Brown, a mentor of Eastwood’s,<br />
who proved a modest but dynamic showman, an agile<br />
accompanist/soloist and a visionary searching for his<br />
voice between the cracks of ‘smooth’ and ‘rough’ jazz.<br />
For more information, visit jazzvillagemusic.com<br />
From Here I See<br />
Ben Wolfe (MAXJAZZ)<br />
by Russ Musto<br />
Best known for his extensive work as a sideman with<br />
artists ranging from Wynton Marsalis and Eric Reed to<br />
24 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Diana Krall and Harry Connick, Jr., bassist Ben Wolfe<br />
has, as importantly, distinguished himself as a noted<br />
composer with his own approach and vision. Seven<br />
discs as a leader thus far present a distinctive melodist<br />
with a gift for creating engaging environments that<br />
emphasize the generally uncomplicated beauty of his<br />
creations.<br />
From Here I See once again demonstrates his talent<br />
in a variety of settings, augmenting his trio of pianist<br />
Orrin Evans and drummer Donald Edwards with tenor<br />
saxophonist JD Allen, trumpeter Wynton Marsalis,<br />
guitarist Russell Malone and soprano saxophonist<br />
Marcus Strickland, often in conjunction with a string<br />
quartet that is heard on 8 of 12 tracks. The mood of the<br />
album moves between straightahead swinging and<br />
stirring balladry, both anchored by Wolfe’s big tone<br />
and steady beat.<br />
Marsalis and Allen stretch out powerfully on the<br />
opener, “The Good Doctor”, a bluesy swinger that<br />
recalls the ‘50s Miles quintet. Malone is heard to great<br />
lyrical effect on the beautiful ballads “Angela” and<br />
“Who’s Lily?”, the former featuring the impeccably<br />
integrated string section that also accompanies<br />
Marsalis, Allen and Strickland on their ballad features<br />
“So Lovely”, “How You Love” and “From Here I See”,<br />
respectively, as well as the trio on the soulful waltz<br />
“Baby Tiger”. On these selections Wolfe utilizes the<br />
strings not simply as backgrounds but as an additional<br />
instrumental voice, sometimes in place of a soloist, at<br />
others as a countermelodic voice, as in the quartetwith-Allen<br />
fragment “Interlude”. When the band does<br />
let loose, as on the jagged line “Mellow As You Please”<br />
and the jaunty outing “Two-Beat Numba” (both with<br />
Allen) and the ominously agitated “12 More” (featuring<br />
Strickland), they swing with unmitigated boldness.<br />
At the CD release at Dizzy’s Club in late March,<br />
the core quartet with Allen was joined by guest<br />
trumpeter Nicholas Payton and the emphasis shifted<br />
towards powerful swing. By the final evening (Mar.<br />
31st) of the four-night engagement the band sounded<br />
as tight as any unit in town. Opening with “The Good<br />
Doctor”, the band established a finger-snapping pulse,<br />
which remained at the heart of its sound throughout<br />
the evening, regardless of tempo, be it wildly swinging<br />
(new composition “Kerbecs vs Vari Ares”), achingly<br />
slow (Allen’s ballad feature “Love Is Near”) or easy<br />
grooving (“Two Beat Numba”). Another new piece,<br />
“Intro To Baby Tiger”, demonstrated Wolfe’s harmonic<br />
ability in an ominous setting, weaving horn lines in a<br />
manner reminiscent of Mingus’ most sophisticated<br />
work and then segueing into the waltzing “Baby<br />
Tiger”. The set concluded with a lugubrious<br />
arrangement of “All The Things You Are”, another<br />
indication of Wolfe’s originality.<br />
For more information, visit maxjazz.com<br />
Invitation<br />
Jerry Costanzo (Daywood Drive)<br />
by Sharon Mizrahi<br />
Jerry Costanzo turns to yet another chapter in the<br />
Great American Songbook with the release of Invitation.<br />
The vocalist brings his friendly ambience to tunes that<br />
are both playful and reflective, crooning away with<br />
silky pizazz.<br />
Pianist Tedd Firth sets the scene with a sparkling<br />
melody that envelops Costanzo’s easygoing sound.<br />
“Don’t Let It Go To Your Head” continuously jolts the<br />
senses awake, as Costanzo knows when to keep the<br />
lyrics curt and when to make his notes resonate. Bassist<br />
Neal Miner’s uptempo cadence complements the<br />
former while Joe Cohn’s breezy guitar harmoniously<br />
twirls with the latter.<br />
“This Is My Night To Dream” gives a glimpse of<br />
the vocalist’s more pensive side. While Firth and<br />
drummer Jonathan Mele craft an upbeat intro,<br />
Costanzo explores the wistful side of romance with a<br />
tinge of melancholy in his voice. He always ends up on<br />
the sweeter side of bittersweet, but the subtly forlorn<br />
texture of his notes reveals a different side of his usual<br />
lighthearted vibe. Costanzo further illustrated his<br />
textural range at The Garage last month, where he<br />
infused the air with effortless joviality. His charming<br />
demeanor in the album took on an added dimension<br />
on stage, evoking the lively big band atmosphere of<br />
decades past on an intimate quartet scale.<br />
A handful of guest artists appear throughout<br />
Invitation, notably trumpeter Brian Pareschi and<br />
vocalist Champian Fulton in “Here’s To The Losers”.<br />
Fulton and Costanzo alternate lyrics before singing in<br />
unison, a move that only emphasizes the natural cheer<br />
in both of their voices. Pareschi forms a bond of his<br />
own with Firth, as the two musicians occasionally flare<br />
up and accent the piece.<br />
Vocalist Giada Valenti’s sultrier approach adds an<br />
element of complexity to the bossa nova tune “Little<br />
Boat (O Barquinho)”. Costanzo reflects on paradise in<br />
a low-pitched hum while Valenti croons in Portuguese.<br />
Cohn coaxes the affair forward with a few light plucks<br />
of guitar. And soon, the vocalists usher listeners to the<br />
next track with a gentle ”Bon voyage”, bringing the<br />
serene piece to a blissful close.<br />
For more information, visit daywooddrive.com
Wednesday, June 12 - 7pm<br />
Afro/Cuban Roots: Milford Graves, David Virelles, Román Díaz, Dezron Douglas,<br />
Román Filiú<br />
Milford Graves Transition TRIO: with D.D. Jackson, Kidd Jordan<br />
Milford Graves NY HeArt Ensemble: with Charles Gayle, William Parker,<br />
Roswell Rudd, Amiri Baraka<br />
Thursday, June 13 - 7pm<br />
Maria Mitchell / Terry Jenoure: Maria Mitchell, Terry Jenoure<br />
Roy Campbell’s Akhenaten Ensemble: Bryan Carrott, Jason Kao Hwang,<br />
Hilliard Greene, Michael Wimberley<br />
Rob Brown U_L Project: Joe McPhee, Miya Masaoka, Mark Helias, Qasim Naqvi<br />
Roscoe Mitchell Trio: Roscoe Mitchell, Henry Grimes, Tani Tabbal<br />
Friday, June 14 - 7pm<br />
Vocal-Ease: Steve Dalachinsky, Connie Crothers<br />
Bern Nix Quartet: Bern Nix, Francois Grillot, Matt Lavelle, Reggie Sylvester<br />
East-West Collective: Didier Petit, Sylvain Kassap, Xu Fengxia, Larry Ochs,<br />
Miya Masaoka<br />
French-American Peace Ensemble: Francois Tusques, Louis Sclavis,<br />
Kidd Jordan, William Parker, Hamid Drake<br />
®<br />
Presents<br />
Saturday, June 15<br />
Afternoon - 2pm<br />
Visionary Youth Band: coT.I.M.E initiative / Jeff Lederer, Jessica Jones<br />
York College Creative Ensemble: CUNY Queens / Tom Zlabinger dir.<br />
Achievement First Middle School Band: Brooklyn / Gene Baker dir.<br />
All Schools (80 young musicians): William Parker dir. with guest artist Hamid Drake<br />
Panel on the French-American exchange of ideas and ideals, past and presentt<br />
Evening - 7pm<br />
www.artsforart.org<br />
Celebrating<br />
MILFORD GRAVES<br />
& Visual Artist<br />
ROBERT JANZ<br />
@ Roulette<br />
509 Atlantic Ave. Brooklyn, NY<br />
Tickets:$30 per day / $20 stu & sen<br />
Festival Pass: $140<br />
Tomas Fujiwara & The Hook Up: Brian Settles, Jonathan Finlayson, Mary Halvorson, Michael Formanek<br />
Davis/Revis/Cyrille: Kris Davis, Eric Revis, Andrew Cyrille<br />
Simmons / Burrell Duo: Sonny Simmons, Dave Burrell<br />
Reggie Workman WORKz: Marilyn Crispell, Odean Pope, Tapan Modak, Pheeroan akLaff<br />
Sunday, June 16 - 3pm<br />
Panel-building real access to Creative Jazz<br />
Film Butch Morris’ Black February by Vipal Monga<br />
Inner City: Migration: Miriam Parker, Hamid Drake, Jo Wood Brown, Robert Janz<br />
Positive Knowledge: Oluyemi Thomas, Ijeoma Thomas, Henry Grimes, Michael Wimberly<br />
Hamiet Bluiett and Friends<br />
Mario Pavone ARC Trio: Mario Pavone, Craig Taborn, Gerald Cleaver<br />
Marshall Allen & McBride’s BASS ROOTS: Christian McBride, Lee Smith, Howard Cooper, Marshall Allen
Haymaker<br />
Noah Preminger (Palmetto)<br />
by Sean O’Connell<br />
Noah Preminger’s official biography is probably the<br />
only one to express a desire to “not get hit in the face”<br />
and mean it literally. His fascination with the pugilist<br />
lifestyle and other physically demanding pursuits<br />
seem to be a large part of his mythology. Thus naming<br />
his most recent album after an all-or-nothing swing of<br />
the fist seems appropriate. The 20-something tenor<br />
saxophonist may not have written any anthems to<br />
replace LL Cool J’s monopoly over heroic ring entrances<br />
and not every tune here renders the listener unconscious<br />
but that’s a good thing.<br />
Preminger’s last album had him in the presence of<br />
a straightahead piano/bass/drums trio, which helped<br />
place his classic tone in a classic setting. Here he is<br />
joined by bassist Matt Pavolka, drummer Colin<br />
Stranahan and guitarist Ben Monder, the latter’s<br />
reverbing creating a modern surface, opening things<br />
up harmonically for the two lead instruments.<br />
The title track, one of seven Preminger<br />
compositions on the album, is a curious juxtaposition<br />
of ground-level intensity from Stranahan and a subtler<br />
melody from Preminger. His horn is patient and<br />
deliberate over the percussive hurricane, gradually<br />
Lou Caputo & Chris White<br />
Interface<br />
A collaboration of two longtime friends<br />
with Don Stein (piano)<br />
Payton Crossley (drums)<br />
Warren Smith (vibraphone)<br />
Leopoldo Fleming (percussion)<br />
Available at CDbaby, Amazon And Itunes<br />
John Ehlis group featuring<br />
Lou Caputo & Chris white<br />
May 10th - Trumpets (Montclair, NJ)<br />
Lou Caputo Quartet<br />
May 12 - The Garage<br />
Loucaputo.com; CaputoJazz@Twitter<br />
26 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
stretching out. Although the album is largely selfpenned,<br />
the lone standard is an unexpected twist, with<br />
Preminger taking the melody of a curly-haired orphan<br />
for a meditative take on “Tomorrow”. It’s a short<br />
performance dwelling entirely on the hopeful melody.<br />
Preminger spends a minute alone, providing a breathy<br />
exploration before the band gently joins him to recite<br />
the popular tune. On “15,000”, Stranahan is a<br />
wonderful bouncing presence with a litany of sounds<br />
and feelings coming from his kit while “Stir My Soul”<br />
gives Pavolka a little chance to stretch out over<br />
Monder’s surf-inflected vibrations.<br />
The resulting album is not nearly as physically<br />
exhausting as one might expect given all the boxing<br />
talk but it is a carefully controlled display of confidence,<br />
allowing timing and patience to dictate when and<br />
where the punches should land.<br />
For more information, visit palmetto-records.com. This<br />
group is at Jazz Standard May 21st-22nd. See Calendar.<br />
Uplift 2: Higher<br />
Monty Alexander (Jazz Legacy Productions)<br />
by Donald Elfman<br />
Jamaican-born Monty Alexander has been a solid and<br />
welcome presence in the jazz world for nearly 50 years.<br />
He beautifully reinvigorates the standard repertoire<br />
and pleases audiences with spirited playing and<br />
infectious stage presence.<br />
Uplift 2 is the follow-up to…well...just plain Uplift<br />
and both sets, recorded at concert halls and jazz clubs<br />
from around the world, celebrate the communicative<br />
spirit that’s come down from legends like Erroll<br />
Garner, Ahmad Jamal and Oscar Peterson and fallen<br />
squarely into Alexander’s two capable hands.<br />
Alexander is fortunate to have John Clayton and<br />
Jeff Hamilton as his rhythm section. They kick in<br />
almost immediately after the pianist’s intro to “Battle<br />
Hymn of the Republic” with a groovy shuffle beat that<br />
urges forward Alexander’s dancing, rolling solo. And<br />
then comes more of the same - or at least similarly<br />
infused - “When The Saints Go Marching In”, which<br />
Alexander turns into a Peterson-like blues jam. The<br />
sensitive playing and propulsive thrust of Clayton<br />
helps make this, the most primal of all the New Orleans<br />
jazz tunes, a knockout blues with Alexander’s deeply<br />
pulsing chords.<br />
On three tracks – “St. Thomas”, “Night Mist<br />
Blues” and “Close Enough For Love” - the rhythm<br />
section changes. Bassist Hassan Shakur and drummer<br />
Frits Landesbergen give an out-of-the ordinary spin to<br />
the Sonny Rollins calypso while the lovely “Close<br />
Enough For Love” is a showcase for the gentler side of<br />
the pianist, as he takes a slow but virtuosic walk<br />
through the emotional Johnny Mandel ballad.<br />
“At the end of the day,” Alexander notes, “It’s<br />
about touching somebody’s heart.” From the uptempo<br />
crowd-pleasers to the more sensitive tunes, that’s<br />
what’s going on throughout Uplift 2.<br />
For more information, visit jazzlegacyproductions.com.<br />
Alexander is at Birdland May 7th-11th. See Calendar.
UK Live 1967, Vol. 1 & 2<br />
Pat Smythe Trio (Jazzhus Disk)<br />
by Clifford Allen<br />
When most people think of the halcyon days of British<br />
jazz, especially with respect to recently unearthed<br />
archival gems, the names that come up are primarily<br />
avant garde. Even as British jazz was defined outside<br />
of the mainstream (especially from the late ‘60s<br />
onward), the country’s postbop traditionalists were<br />
certainly as fiery as their freer countrymen. Players<br />
like saxophonists Ronnie Scott and Tubby Hayes,<br />
brothers Mike and Chris Pyne (trombone and piano,<br />
respectively), drummer Phil Seamen and the outsideleaning<br />
Jamaican altoist Joe Harriott all brought<br />
original voices and a sense of community to the<br />
improvising table. Scottish pianist Pat Smythe (May<br />
1923-May 1983), may be one of the lesser-known UK<br />
boppers but his light touch and rhythmic drive made<br />
him an exacting contrapuntal voice in Harriott’s ‘60s<br />
quintets. Interestingly, Smythe’s estate established a<br />
memorial trust, which helped jump-start the careers of<br />
young British jazz players between 1984-96.<br />
Smythe also backed visiting American<br />
saxophonists including Zoot Sims, Paul Gonsalves (the<br />
superb Boom-Jackie Boom-Chick on Vocalion), Ben<br />
Webster and Stan Getz. Two volumes supporting<br />
visiting tenor saxophonist Eddie “Lockjaw” Davis<br />
were captured live (if a bit lo-fi) in Nottingham in<br />
March 1967. The twosome are joined by bassist Kenny<br />
Napper and drummer Tony Crombie (Smythe’s<br />
working trio) for a set of standards, with Jamaican<br />
saxophonist Harold McNair guesting on a take of<br />
“Walkin’”. Davis was no stranger to UK and<br />
Continental audiences at the time; he was working as<br />
part of the Clarke-Boland Big Band and continuing his<br />
partnership with expatriate Johnny Griffin. This<br />
material was originally slated for issue on a pair of teninch<br />
LPs but has remained unavailable until now.<br />
Davis and Smythe are both full-toned, graceful and<br />
warm improvisers and it’s absolutely stunning to hear<br />
them in bluesy, conversational caresses on “I’ll Never<br />
Be the Same”. In fact, “Jaws” is probably more often<br />
considered a tough soul-jazz bar walker than a complex<br />
romantic, but the latter is on full display here.<br />
A robust and swinging tenor player who first<br />
came to prominence with Count Basie, Davis builds<br />
from fluid lilt to a series of tears through “Days of<br />
Wine and Roses”, albeit not without a sense of<br />
organizational logic and daubs of painterly clarity.<br />
Following the saxophonist’s corker of a solo, Smythe<br />
adroitly skates and conjures ringing, puckered and<br />
intricate harmonies from a somewhat out-of-tune<br />
piano. Napper provides a meaty bulwark of support<br />
while Crombie is dry and chattering; his punctuations<br />
are more often felt than heard on a misty “Body and<br />
Soul”, which ends with a steely, unaccompanied tenor<br />
spot. Following a bright, uptempo “I’ll Remember<br />
April”, in which the cracking and perhaps purposely<br />
uneven rhythm presents an interesting contrast to<br />
Davis’ yoke-tugging velvet and hard blues, McNair<br />
joins on alto for “Walkin’”. Smythe and the saxophonists<br />
work a preachy feel at the beginning, McNair’s bubbly<br />
and incisive post-Parkeriana gloriously chomping at<br />
the bit and nearly ‘free’. Still fresh over 45 years after<br />
being waxed, these two volumes of music are<br />
extraordinary nuggets from the Brit-jazz archives.<br />
For more information, visit downtownmusicgallery.com<br />
New Jersey Performing Arts Center<br />
Dianne Reeves<br />
Christian McBride, Jazz Advisor<br />
Sérgio Mendes Al Jarreau<br />
An Evening with the Jimmy Heath Quartet<br />
at Bethany Baptist Church<br />
Monday, November 4 at 7:00 • FREE<br />
A Celebration of Amiri Baraka’s<br />
“Blues People” at 50<br />
at Newark Museum<br />
Tuesday, November 5 at 7:00 • FREE<br />
A Good Place:<br />
Celebrating Lorraine Gordon and<br />
The Village Vanguard<br />
featuring The Vanguard Jazz Orchestra<br />
and special guests NEA Jazz Master<br />
Barry Harris and Christian McBride,<br />
plus the Anat Cohen Quartet<br />
Hosted by Christian McBride<br />
Thursday, November 7 at 7:30<br />
Christian McBride<br />
Sponsored by Presenting Sponsor<br />
Co-presented by<br />
For tickets and full 2013<br />
TD James Moody Democracy of Jazz Festival<br />
schedule visit njpac.org or call 1-888-GO-NJPAC<br />
November 4-10<br />
Jazz Meets Samba<br />
Sérgio Mendes, Elaine Elias, Lee Ritenour,<br />
Arito and special guest Joe Lovano<br />
Friday, November 8 at 8:00<br />
Sing, Swing, Sing!<br />
with Dianne Reeves, Al Jarreau,<br />
Jeffrey Osborne, George Duke,<br />
Christian McBride Big Band featuring<br />
Melissa Walker, and 2012 Sarah Vaughan<br />
International Jazz Vocal Competition<br />
winner Cyrille Aimée<br />
Saturday, November 9 at 8:00<br />
Portrait of Duke<br />
featuring Vince Giordano and the Nighthawks<br />
Saturday, November 9 at 2:00<br />
Dorthaan’s Place:<br />
The Paquito D’Rivera Quartet<br />
Sunday, November 10 at 11:00 & 1:00<br />
Sarah Vaughan<br />
International Jazz Vocal Competition<br />
Sassy Award<br />
with special guest judges<br />
Al Jarreau, Janis Siegel, and Larry Rosen<br />
Sunday, November 10 at 3:00<br />
Presented in association with<br />
One Center Street, Newark, NJ<br />
NJJazzRecord_6.25x12_moodynjpac.indd 1 4/15/13 8:52 AM<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 27
Chants<br />
Craig Taborn Trio (ECM)<br />
by John Sharpe<br />
For anyone who has witnessed the excitement and<br />
cohesion of pianist Craig Taborn’s trio live, it will be<br />
hard to comprehend the 12-year gap in documentation<br />
since 2001’s Light Made Lighter (Thirsty Ear). One easy<br />
explanation would be the thickness of the Minneapolisnative’s<br />
bulging sideman portfolio, which includes<br />
stints with saxophonists Tim Berne and Chris Potter,<br />
bassist Michael Formanek and trumpeter Tomasz<br />
Stanko, just to pick out some of the most recent<br />
collaborations. Whatever the reason for the hiatus, the<br />
appearance of Chants, following up Taborn’s acclaimed<br />
2011 solo outing and ECM leader debut Avenging<br />
Angel, demands attention.<br />
Retained from the earlier disc, drummer Gerald<br />
Cleaver has been one of Taborn’s closest collaborators<br />
over the decades. Their almost telepathic understanding<br />
forms the bedrock of the loose yet complex interplay so<br />
prevalent here. Even newcomer Thomas Morgan has<br />
filled the bass chair for eight years now and<br />
consequently has firmly carved out his niche in the<br />
ensemble. The band’s strong suit comprises those<br />
dazzling headlong passages of interlocking patterns<br />
that open and close the disc, where Taborn lays down<br />
an insistent substructure with his left hand, embellished<br />
by bass and drums while expounding sparkling<br />
contrapuntal runs with his right.<br />
Elsewhere his themes are often merely sketched,<br />
haikus upon which the ensemble can meditate in<br />
egalitarian exchange. Cleaver revels in elaborate crossrhythms<br />
overlain with asymmetric cymbal coloration<br />
while Morgan is as likely to be the melodic lead as the<br />
pianist. One exception is “Cracking Hearts”, where the<br />
drummer’s rustle and clatter form the central narrative<br />
thread around which piano and bass drape a darkly<br />
brooding lyricism. Only the extended “All True Night/<br />
Future Perfect” contains the limpid piano reverie that<br />
listeners might associate with the ECM sound, but<br />
even here it is transcended by the subsequent galloping<br />
excursion and engaging interaction. Taborn has<br />
fashioned a thoroughly compelling statement, which<br />
gets better on each listen and one that will surely fuel<br />
even more thrills in concert.<br />
For more information, visit ecmrecords.com. This trio is at<br />
Roulette May 6th. See Calendar.<br />
San Sebastian<br />
Ron Carter Golden Striker Trio (In+Out)<br />
by Alex Henderson<br />
In 2003, acoustic bassist Ron Carter joined forces with<br />
pianist Mulgrew Miller and guitarist Russell Malone<br />
and formed the Golden Striker Trio, which recorded an<br />
album for Blue Note. The group’s unusual combination<br />
of instruments (acoustic piano, hollowbody guitar and<br />
upright bass with no drums) was the same combination<br />
28 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
of instruments that the Nat King Cole Trio embraced in<br />
the ‘40s. But unlike Cole’s swing-oriented threesome,<br />
the Golden Striker Trio has favored an introspective,<br />
classical-influenced approach, which has a lot more in<br />
common with the chamber jazz of the Modern Jazz<br />
Quartet (MJQ). In fact, Carter’s trio named itself after<br />
MJQ pianist John Lewis’ “The Golden Striker”, made<br />
famous by MJQ in 1957.<br />
This CD/DVD spotlights a July 2010 appearance<br />
at the Jazzaldia Festival in San Sebastian, Spain, where<br />
Carter, Miller and Malone played for an audience of<br />
more than 2,000 people. The most exuberant moments<br />
come on an inspired performance of “The Golden<br />
Striker”, which isn’t quite as restrained as the MJQ’s<br />
classic recording. Nonetheless, the MJQ influence is<br />
hard to miss and the polish, sophistication and<br />
refinement that the Golden Striker Trio brings to<br />
Carter’s “Candle Light”, the Rodgers-Hart standard<br />
“My Funny Valentine” and two Brazilian jazz<br />
performances (Luiz Bonfá’s “Samba de Orfeu” and<br />
Carter’s “Saudade”) clearly recalls the MJQ’s chamber<br />
jazz performances of the ‘50s-60s. Like the MJQ, the<br />
Golden Striker Trio know how to express their<br />
appreciation of European chamber music while<br />
remaining faithful to the soulful, improvisatory spirit<br />
of classic jazz.<br />
The 55-minute CD and the DVD are the same<br />
material, although the latter contains a laid-back<br />
18-minute performance of Oscar Pettiford’s “Laverne<br />
Walk”. There’s no reason why it had to be omitted<br />
from the CD; it would have fit and makes no sense not<br />
to include it on both discs. But apart from that flaw,<br />
San Sebastian is a rewarding document of the Golden<br />
Striker Trio’s continued collaboration.<br />
For more information, visit inandout-records.com. Carter is<br />
at Tribeca Performing Arts Center May 9th as part of the<br />
Highlights in Jazz Salute to George Wein, Blue Note May<br />
16th and Dizzy’s Club May 28th-Jun. 2nd with Bill<br />
Charlap. See Calendar.<br />
Absolute Zero<br />
Jon Irabagon/Hernani Faustino/Gabriel Ferrandini<br />
(Not Two)<br />
by Stuart Broomer<br />
Jon Irabagon’s membership in Mostly Other People<br />
Do the Killing should testify to the saxophonist’s<br />
unpredictability and considerable flexibility of style,<br />
but it may not quite cover all that he was up to in 2009.<br />
It was the year he made his most conservative CD, The<br />
Observer, for Concord, part of his reward for winning<br />
the 2008 Thelonious Monk Saxophone Competition. It<br />
was a solid mainstream modern session with Kenny<br />
Barron, Rufus Reid and Victor Lewis providing allstar<br />
support. A few months later in Lisbon, Irabagon went<br />
into a recording studio with bassist Hernâni Faustino<br />
and drummer Gabriel Ferrandini and recorded Absolute<br />
Zero, an hour-long set of seven pieces, each attributed<br />
to the three musicians and accordingly sounding like<br />
free improvisation. It’s likely Irabagon’s most<br />
demanding set to date, even when one considers the<br />
78-minute tenor extravaganza Foxy.<br />
Irabagon sticks to his alto here and plays within a<br />
very specific lineage of the instrument in free jazz: the<br />
corrosive. It’s the one that begins with Jackie McLean<br />
(most specifically of Let Freedom Ring vintage, where<br />
the slightly-out-of-tune hard-edged McLean sound is<br />
complemented by the upper register squeal); continues<br />
with Giuseppi Logan and early Charles Tyler; is<br />
complemented by the Sun Ra alto saxophonists Danny<br />
Davis and Marshall Allen; then jumps ahead to a recent<br />
pinnacle with Jean-Luc Guionnet on recordings like<br />
Bird Dies. Irabagon’s notes are often yips and cries and<br />
they’re always bending away from anything that might<br />
suggest concert pitch. The melodies he constructs are<br />
often just a few notes, microscopic, fragmentary<br />
phrases that are repeated and contorted, bending out<br />
of shape in the same gesture that repeats them,<br />
sometimes with circular breathing to keep the process<br />
of disintegration continuing further.<br />
The trio couldn’t be better matched. Faustino and<br />
Ferrandini are capable of an infernal power, since<br />
evidenced by their work in RED Trio and great<br />
invention, apparent particularly in RED Trio<br />
collaborations with John Butcher and Nate Wooley.<br />
From the opening phrases of “States of Matter”, with<br />
Faustino bowing a complementary circular pattern, the<br />
entire movement of the music appears to be going<br />
backwards, as if it must insist from the outset that its<br />
movement will be eccentric or will not be at all. That<br />
sense of insistence may change direction, but it’s<br />
always apparent in one form or another, even when<br />
things slow down to what might be called a ballad<br />
tempo. By the end of it all on “Spacetime”, Irabagon’s<br />
elemental trills and triplet rhythms are still etching<br />
themselves indelibly, the trio delineating a terrain that<br />
is at once oddly toxic and strangely refreshing.<br />
For more information, visit nottwo.com. Irabagon is at<br />
ShapeShifter Lab May 8th with Mostly Other People Do the<br />
Killing, Bar Next Door May 14th, Cornelia Street Café May<br />
16th, Greenwich House Music School May 22nd with Mike<br />
Pride, Somethin’ Jazz Club May 27th with Bob Gingery and<br />
ShapeShifter Lab May 30th with Dave Douglas. See Calendar.
Celebrating 20 Years: Jazz Festival<br />
July 26 Celebration. The Foundation of Jazz.<br />
Luis Perdomo, piano / Luciana Souza: The Book of Chet and Brazilian Duos<br />
July 27 All Day. Expression. The Language of Virtuosity.<br />
Adam Makowicz Trio / Charles Tolliver Big Band / Vijay Iyer /<br />
Benito Gonzalez / Delfeayo Marsalis presents the Uptown Jazz Orchestra<br />
July 28 All Day. Freedom. The Lifeblood of Jazz.<br />
Elio Villafranca & The Jass Syncopators / Lionel Loueke Trio /<br />
Jason Marsalis Vibes Quartet / James Carter Organ Trio / The Genius of<br />
Mingus 1963: 50th Anniversary Concert<br />
Just for Jazz: Great Performances will offer a variety of grilled items such as chicken, burgers and hotdogs, in addition to their sandwiches,<br />
salads and snacks available at the concession stands. (Saturday and Sunday only)<br />
Tickets & Info caramoor.org 914.232.1252
LASZLO GARDONY / CLARITY<br />
SSC 4014<br />
In Stores May 7<br />
LASZLO GARDONY: Piano<br />
“One morning last October I was at my Berklee studio all<br />
by myself. I felt a burst of inspiration so I set up some<br />
mics, turned on a recorder and started playing. I kept<br />
playing for 49 minutes. When I finished, I was happy with<br />
the places I was able to take the music. But at that<br />
moment I put away the recording without listening to it. I<br />
wondered, after waiting a few months, would the music<br />
still speak to me? It did and it was then that I realized I<br />
was listening to my next album.”<br />
Save the date: Saturday, September 28 @ 8 p.m.<br />
Greenwich House / 46 Barrow Street, NYC<br />
ROSE & THE NIGHTINGALE<br />
SPIRIT OF THE GARDEN<br />
SSC 1353<br />
In Stores May 7<br />
JODY REDHAGE: cello and voice<br />
SARA CASWELL: violin & mandolin<br />
LEALA CYR: trumpet & voice<br />
LAILA BIALI: piano & voice<br />
appearing Wednesday, May 8 @<br />
SubCulture / 45 Bleecker Street, NYC<br />
Doors 6:30PM / Show 7:30PM<br />
www.sunnysiderecords.com<br />
eOne Distribution<br />
30 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Eponymous<br />
Iva Bittová (ECM)<br />
by Kurt Gottschalk<br />
Celebrating the release of her new solo CD at Le<br />
Poisson Rouge in late March, violinist/singer Iva<br />
Bittová addressed the audience and, almost by way of<br />
apology, framed what her record is about. “I cannot<br />
promise you any order,” she said at the beginning of<br />
the set, “because I jump from one to another and I<br />
don’t know in advance where I’m going.”<br />
The 12 tracks don’t necessarily seem incomplete<br />
but they are something like touchstones, keys to<br />
Bittová’s enigmatic work. The album opens (as did the<br />
concert) with “Fragment I”, a delicate piece for voice<br />
and kalimba. “Fragment II” is a slight piece centered<br />
on simple bow repetitions but then “Fragment III”<br />
(employing a Gertrude Stein text) has multiple parts<br />
and variations worked into its three and a half minutes.<br />
Later, she uses a Chris Cutler lyric and plays a Joaquin<br />
Rodrigo song, but the album never comes off as<br />
anything but her. What that quality is, however, isn’t<br />
an easy thing to pin down. Bittová’s music can be<br />
charming and haunting. It carries a bohemian feel of<br />
her Czech home and language and can be childlike,<br />
trancelike or mournful. But her own compositions (all<br />
but one here) always come off as deeply personal. On<br />
the album she rarely works in obvious structures but<br />
manages to find paths that seem innate and intuitive.<br />
Live, she played violin melodies so slowly they<br />
almost became drones and sang melodies so quickly<br />
they were almost rants and then flipped the formula.<br />
Bird songs emanated from her strings and her mouth<br />
at different times, almost as if they were incidental,<br />
flying by outside the window. She captivated the<br />
audience in the dark room and commented on how<br />
quiet they were as she played one miniature after<br />
another. But the full house loudly demanded more<br />
when she took a second bow rather than playing more.<br />
She conceded with an upbeat, strictly metered piece,<br />
almost prog in its attack, twirling and moving<br />
backward across the stage as she played and sang, then<br />
exiting with a flurry and a shout.<br />
A compact disc can’t contain all her allure, but her<br />
glow is embedded in the audio, one of her most<br />
evocative - and beautifully recorded - solo efforts.<br />
For more information, visit ecmrecords.com<br />
BabEl<br />
Uri Gurvich (Tzadik)<br />
by Terrell Holmes<br />
In The Bible, the city of Babel was where the<br />
dissemination of languages and scattering of humanity<br />
occurred. The title of alto sax player Uri Gurvich’s<br />
album BabEl references this biblical episode ironically.<br />
The incident at the tower resulted in confusion and<br />
dispersal; Gurvich explores the intertextuality of<br />
different musical languages and cultures on this<br />
outstanding album, dancing on their common ground.<br />
Gurvich’s songs are inspired by Israeli and North<br />
African music but they encompass various styles,<br />
genres and moods. The dynamic “Pyramids” is steeped<br />
in the hardbop tradition; “Nedudim” is fusion-spiced<br />
and has a fierce organ groove of which Jimmy Smith<br />
would be proud and the passion of the John Coltrane<br />
quartet is at the heart of “Valley of the Kings”.<br />
The alto saxophonist and the band can also play<br />
with a heartening tenderness, as evinced by the intense,<br />
brooding and lovely “Alfombra Magica” and the<br />
somber “Hagiga Suite”, a beautiful tribute to victims<br />
of the Holocaust.<br />
The leader also reinterprets and invigorates folk<br />
tunes like the hard-driving “Camelao” and “Scalerica<br />
de Oro”, the latter embodying the album’s spirit most<br />
vividly. This traditional wedding song, with lyrics<br />
sung in Ladino (Spanish Hebrew), gets a nontraditional<br />
reading with a cool rock spin, including<br />
keyboard highlights that mimic guitar riffs.<br />
Gurvich takes this musical excursion with a band<br />
of keyboard player Leo Genovese, bassist Peter Slavov,<br />
drummer Francisco Mela and guest Brahim Fribgane<br />
playing oud and additional percussion. Their collective<br />
musicianship and on-a-dime interplay is fabulous. But<br />
it’s Gurvich’s energetic leadership that is the driving<br />
force throughout BabEl. His alto is multifaceted, light<br />
and clear with an intermittent touch of grittiness. He<br />
can be soaring and joyous on uptempo tunes or<br />
introspective and melancholy on ballads. BabEl is<br />
elemental and atavistic, yet fresh and innovative, a<br />
perfect combination of past and present.<br />
For more information, visit tzadik.com. Gurvich’s BabEl is<br />
at The Stone May 14th-19th with guests Dave Douglas,<br />
Brahim Fribgane and George Garzone. See Calendar.<br />
ENSEMBLES · PRIVATE LESSONS · GROUP CLASSES<br />
Guitar · Voice · Piano · Winds · Percussion · Brass<br />
REGISTRATION NOW OPEN!<br />
LUCY MOSES SCHOOL at Kaufman Music Center<br />
129 W. 67th St. · 212 501 3360<br />
KaufmanMusicCenter.org/LMS
ARTS CENTER<br />
PERFORMING<br />
TK Blue<br />
Rudresh Mahanthappa<br />
Marty Ehrlich<br />
Bird – A World’s Eye View<br />
Latin Bird Friday, May 3<br />
T.K.Blue - Musical Director.<br />
Performers: James Weidman, Essiet Essiet, Winard Harper & Steve Turre. 8:30PM<br />
Birdland: Reminiscing in Tempo: Panel with with NEA Jazz Master Randy Weston.<br />
Moderated by Willard Jenkins. 7PM<br />
Charlie Parker: Timeless Innovation Friday, May 17<br />
Rudresh Mahanthappa - Musical Director.<br />
Performers: Matt Mitchell, François Moutin & Rudy Royston. 8:30PM<br />
Film: Celebrating Bird: The Triumph of Charlie Parker 7PM<br />
2012/13 Season<br />
Our celebrated Lost Jazz Shrines series will delight this year as it highlights the music & historical infl uence of the Birdland Jazz<br />
Club & Charlie Parker through three unique cultural perspectives. The Lost Jazz series is dedicated to bringing legendary NYC jazz<br />
clubs back into the consciousness of the world with a thorough remembrance and celebration.<br />
Concert: 8:30 PM $25 General (students & seniors $15) per show. Panels/Film: 7PM, FREE<br />
“Cartographies of Flight” Friday, May 31<br />
Marty Ehrlich - Musical Director.<br />
Performers: James Zollar, Marc Ribot, Michael Formanek, Nasheet Waits, Erica Hunt & Charles Bernstein.<br />
Conversation: The Impact of Charlie Parker, Panel with TK Blue & Marty Ehrlich. 7PM<br />
Located at 199 Chambers (BMCC Campus) To purchase tickets call (212) 220 - 1460<br />
Order tickets online at www.tribecapac.org Follow us on Facebook & Twitter<br />
FRIDAY • MAY 17, 2013 • 7:30 PM<br />
A GREAT NIGHT IN HARLEM<br />
LIVE AT THE APOLLO<br />
Concert produced by Hal Willner (Saturday Night Live)<br />
Elvis Costello Quincy Jones Paul Shaffer<br />
Jeffrey Wright James Carter Henry Butler<br />
Steven Bernstein & the Kansas City Band<br />
Don Byron Nicholas Payton Ivan Neville<br />
Tribute to Clark Terry Isfar Sarabski Trio<br />
Homage to Claude Nobs Matthew Whitaker<br />
Plus special last-minute jaw-dropping surprises<br />
Tickets: $75, $150, $300, $500, $1,500<br />
www.jazzfoundation.org/Apollo2013<br />
Please donate to save the musicians,<br />
even if you cannot attend!<br />
www.jazzfoundation.org/donate<br />
SAVING JAZZ AND BLUES...<br />
ONE MUSICIAN AT A TIME.
32 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Live at Kerrytown House<br />
Narada Burton Greene (NoBusiness)<br />
by Ken Waxman<br />
A free jazz survivor of the first order, pianist Burton<br />
Greene continues to turn out high-class music into his<br />
70s. Chicago-born, Greene was in New York for the<br />
birth of the so-called New Thing with membership in<br />
the Jazz Composers Guild and a pair of ESP discs as<br />
proof. Part of the wave of players who expatriated to<br />
Europe after 1969, Greene became a pioneer in mixing<br />
jazz improvisation with new age, electronic and<br />
Klezmer music. Yet, as this 11-track live date recorded<br />
in Ann Arbor in 2010 demonstrates, he’s never lost his<br />
pianistic facility. Running through a couple of familiar<br />
themes and a handful of on-the-spot creations, the<br />
pianist highlights influences synthesized to create his<br />
more-than-mature style.<br />
Supple, energetic and never ponderous even when<br />
outlining a ballad, Greene’s playing is compelling and<br />
even droll, especially when he lopes along the keys<br />
during the three “Freebop” variations. Original in<br />
conception, his affinity for Monk’s angular phrasing<br />
and economic style is obvious on tracks like “Little<br />
Song” yet often, as on “Freebop the 6th”, Monkish<br />
singularity gives way to kinetic sequences of highfrequency<br />
syncopation, introducing boogie woogie<br />
and stride inferences. With an unbeatable sense of<br />
pacing, Greene gradually works his key strokes<br />
upwards as if climbing a ladder rung by rung; once at<br />
the top he figuratively dives off, creating unexpected<br />
and animated theme variations as he lands.<br />
Greene’s setlist is studded with surprises and<br />
juxtapositions. Take “Get Through It” and “Space Is<br />
Still The Place”, which follow one another. The tunes<br />
are, respectively, a pseudo-Tin Pan Alley ditty with<br />
heavy accents and a stop-time exercise in how long a<br />
note can be held. The first mutates into a minimalist<br />
sound picture; the second, with its Sun Ra-saluting<br />
title, eventually reveals another jolly, jerky theme.<br />
“Greene Mansions” is the definitive performance<br />
though. Played in free time with intermittent pauses,<br />
the bravura narrative allows him to slap keys with one<br />
hand while exposing subterranean tremolos with the<br />
other. He minutely scrutinizes each tone and note<br />
cluster, referring to the theme only intermittently.<br />
Live at Kerrytown House is a notable recital by a<br />
musician who continues to improvise at the height of<br />
his powers a half-century after his first recording.<br />
For more information, visit nobusinessrecords.com. Greene<br />
is at The Firehouse Space May 19th and Spectrum solo May<br />
22nd. See Calendar.<br />
Marzette Watts & Company<br />
Marzette Watts (ESP-Disk’)<br />
by Stanley Zappa<br />
Set against the incessant downpour of cautious,<br />
commodity jazz wrung from the academy and the<br />
capitulated minders employed therein, Marzette Watts<br />
& Company reminds us that “People everywhere have<br />
been allowed to choose between love and a garbage<br />
disposal unit. Everywhere they have chosen the<br />
garbage disposal unit,” to quote Debord.<br />
There is plenty to love on Marzette Watts &<br />
Company. Sure, someone forgot to proofread the liner<br />
essay and, yes, no one will confuse the fidelity of Karl<br />
Berger’s vibraphone with the recording excellence<br />
availed to the common telephone of today. But that’s<br />
the magic of ESP recordings and this one in particular<br />
- musicality trumps technological fetish.<br />
The rhythm section of bassist Henry Grimes (and<br />
on “Backdrop for Urban Revolution”, Juini Booth),<br />
drummer JC Moses and guitarist Sonny Sharrock set a<br />
commensurate foundation for the compelling<br />
improvisations of Watts (bass clarinet, alto and soprano<br />
saxophone), Byard Lancaster (flute, alto saxophone,<br />
bass clarinet) and Clifford Thornton (trombone, cornet)<br />
- revealing they are more than just sidemen, as history<br />
will attest.<br />
The social conditions surrounding the manufacture<br />
of music in the ‘60s has precious little to do with the<br />
same pursuit from the ‘70s forward. Watts, who died<br />
15 years ago this month, was a founding member of the<br />
Civil Rights Movement’s Student Nonviolent<br />
Coordinating Committee - an organization born of<br />
acute, egregious conditions that received a kind of<br />
attention and affected a consciousness shift that the<br />
Occupy movement has not. Though one must be<br />
cautious in connecting politics and music, there is no<br />
denying a bravery and heroism on Marzette Watts &<br />
Company largely if not entirely absent from the postmodern<br />
twaddle defining ‘Jazz Inc.’ today.<br />
For more information, visit espdisk.com
Older jazz musicians are living<br />
in poverty while jazz club<br />
owners are getting rich.<br />
NYC’s top jazz clubs refuse to contribute to pensions<br />
that would allow jazz artists to retire with dignity.<br />
Hardworking jazz musicians deserve better!<br />
Help us help them.<br />
To sign the petition and learn more, visit:<br />
JusticeforJazzArtists.org
Time Travel<br />
Dave Douglas Quintet (Greenleaf Music)<br />
by Robert Milburn<br />
In describing trumpeter Dave Douglas, the word<br />
‘complicated’ definitely comes to mind. Douglas’<br />
elusive tone mixes deliberately blemished inflection<br />
with vocal-like relatability. The sound is as agreeable<br />
in his brass band, Brass Ecstasy, as it is potent in Sound<br />
Prints, a Wayne Shorter-inspired group co-led by<br />
renowned saxophonist Joe Lovano. Such versatility is<br />
nearly unprecedented.<br />
Case-in-point, his 2012 release Be Still, which<br />
framed traditional hymns against the bucolic sweetness<br />
of vocalist Aoife O’Donovan. On Douglas’ most recent<br />
release, Time Travel, he employs the same quintet, sans<br />
O’Donovan. The disc draws inspiration from the<br />
theory of moving backward and forward in time, as<br />
expressed in David Toomey’s The New Time Travelers,<br />
and attempts to capture that confusion of cause and<br />
effect. The concept is a befitting exposé of the<br />
trumpeter’s amalgamated approach.<br />
Douglas’ eclecticism is best heard on “Law of<br />
Historical Memory”, which fuses classical romanticism<br />
with jazz instrumentation. The song’s depth invokes<br />
the color of a Chopin prelude, with saxophonist Jon<br />
Irabagon providing rich, pastel-like shading beneath<br />
34 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
the track’s crests and valleys while Douglas summons<br />
notes of clarion proportion. This is followed by<br />
“Beware of Doug”, which could very well have been<br />
on Be Still for all its playful folksiness. Here the rhythm<br />
section provides significant depth, inspiring brilliant<br />
soloing all around (of note, the feisty persistence of<br />
drummer Rudy Royston). Furthermore, “Garden State”<br />
features Linda Oh’s driving bass leading Douglas into<br />
an open dialogue of postbop intrigue, his timbre set to<br />
an unvarnished consonance.<br />
Douglas is obviously a student of Miles Davis. On<br />
“Bridge to Nowhere”, the title track and “Little Feet”,<br />
Douglas invokes elements of Davis’ second great<br />
quintet, each bolstered by lingering qualities of<br />
cerebral tension from, say, Nefertiti or Miles Smiles. In<br />
particular, “Bridge to Nowhere” balances between<br />
moments of swing and the feeling of controlled<br />
disintegration, whereby any sense of direction seems<br />
to evaporate into spirited and spontaneous abstraction.<br />
This year, Douglas plans to celebrate his 50th<br />
birthday by touring all 50 states with this group. His<br />
new release and his dynamic new quintet should do<br />
much to foster the image of modern jazz as he travels<br />
the country.<br />
For more information, visit greenleafmusic.com. This group<br />
is at ShapeShifter Lab May 30th. See Calendar.<br />
Eponymous<br />
Kelan Philip Cohran & The Hypnotic Brass Ensemble<br />
(Honest Jon’s)<br />
by John Sharpe<br />
Kelan Philip Cohran and the Hypnotic Brass Ensemble<br />
do exactly what it says on the tin. Built around layers<br />
of brassy riffs, each track develops a mesmerizing<br />
groove, barely interrupted by a series of swinging<br />
solos. Cohran should know all about swing. Now 85<br />
years old, he cut his teeth in pianist Jay McShann’s<br />
legendary hard-driving Kansas City group before<br />
moving to Chicago in the mid ‘50s. There he joined Sun<br />
Ra’s Arkestra, featuring on the early masterpiece<br />
Angels And Demons At Play (Saturn, 1965). When Ra<br />
uprooted to New York City, Cohran stayed put,<br />
becoming a founding member of the Association for<br />
the Advancement of Creative Musicians (AACM). As<br />
well as teaching music in schools and prisons, he also<br />
raised a large family. Eight of them form the Hypnotic<br />
Brass Ensemble.<br />
That might explain the tightness of the band.<br />
Fashioned from darting interlocking lines stacked one<br />
upon the other, the Latin-tinged bounce of<br />
“Cuernavaca” gets proceedings underway at pace.<br />
Though no personnel details are given on the sleeve,<br />
trumpets, sousaphone and trombone are all in<br />
evidence, along with drums, percussion and electric<br />
bass, which help launch the combo into an overdrive<br />
that doesn’t let up until the mid-tempo processional of<br />
“Ancestral”. Another of the unit’s distinguishing traits<br />
becomes prominent here, as the unearthly sound of<br />
Cohran’s bowed zither provides one of the piece’s<br />
incidental flavors. Similarly the odd percussive effects<br />
that echo around the periphery of “Stateville” or the<br />
flourish from the leader’s jangling harp, which opens<br />
“Spin” before a funky bass digs in, signify an unusually<br />
expansive conception. The final “Zincali” rounds off<br />
the album in great style as a brass chorale, at one point<br />
parting to spotlight harumphing tuba in counterpoint<br />
to Cohran’s electrified thumb piano.<br />
In spite of the veteran’s avant garde credentials,<br />
this good-natured studio set, captured in the Windy<br />
City during November 2011, stands as really great<br />
dance music, with the kick-ass rhythms the star. Solos<br />
are short though sweet, but like Cohran’s exotic<br />
instruments, mainly serve to add just one more layer of<br />
interest to the infectious momentum of the well-crafted<br />
tunes. As the liners intimate, the Hypnotic Brass<br />
Ensemble has appeared in festivals around the world<br />
and that would seem the perfect setting in which to<br />
sample their joyful noise.<br />
For more information, visit honestjons.com. The Hypnotic<br />
Brass Ensemble is at Blue Note May 10th. See Calendar.<br />
IN PRINT<br />
Miles Davis: The Complete Illustrated History<br />
(Voyageur Press)<br />
by Clifford Allen<br />
The history of music through visual means -<br />
ephemera and so forth – allows one to glean an<br />
inordinate amount of context that would be<br />
otherwise difficult. A recent entry is Miles Davis: The<br />
Complete Illustrated History, a coffee table book<br />
bringing together rare photographs, poster images,<br />
handbills and album art and related material<br />
alongside often curious and illuminating essays by<br />
Ashley Kahn, Francis Davis, Sonny Rollins, Clark<br />
Terry, George Wein, Bill Cosby and others. These are<br />
woven together with more objectivist historical<br />
writing by Garth Cartwright, none of which provides<br />
particularly new information but it is solid writing<br />
for the neophyte and general interest reader. The<br />
essays are mostly a quick read but some of them do<br />
merit frequent returns - especially those of Davis<br />
and Cosby.<br />
For an illustrated history the images are<br />
interesting and well-chosen; of course, one could<br />
always argue for more detailed archival finds -<br />
letters, contracts, tape boxes, session notes would be<br />
so much icing on the cake - but alongside the oftreproduced<br />
images are rarer images of Miles onstage<br />
in Europe in the early ‘60s or colorfully leading the<br />
Lost Quintet at Ronnie Scott’s in 1969. Doubly<br />
fascinating are the show handbills for such lineups<br />
as the 1972 Ann Arbor Blues and Jazz Festival, Miles<br />
with folksinger Laura Nyro (Fillmore East, 1970) or<br />
three nights opening for the Grateful Dead (Fillmore<br />
West, 1970). Advertisements for Bitches Brew (1969),<br />
Quiet Nights (1962), Martin trumpets and an<br />
attractive BMI ad from 1961 are included, as well as<br />
a diverse range of alternate sleeves for LPs and<br />
singles (as well as those of Jamey Aebersold playalong<br />
records). Of course, Miles’ dress and vibe<br />
throughout his career is a subtext and his style from<br />
the ‘50s-80s could be its own book.<br />
This is a solid and enjoyable tome and while it<br />
may not shed any new scholarship on Miles’ work<br />
and career, that’s not really the point. Rather, it is a<br />
chance to take a gander at some of the contextual<br />
leavings that remain from the Miles Davis era.<br />
For more information, visit voyageurpress.com. Miles<br />
Davis tributes are at Iridium May 23rd-25th and Smoke’s<br />
Miles Davis Festival May 24th-Jun. 30th. See Calendar.
State of Emergency!<br />
Nat Reeves (482 Music)<br />
by Terrell Holmes<br />
From its classic sound and eclectic roster of composers<br />
and tunes to the vintage design of its cover, Nat Reeves’<br />
album State of Emergency! clearly embraces jazz<br />
archetypes. This fine bassist’s pedigree explains his<br />
reverence for the past. Reeves was mentored by Jackie<br />
McLean and has played with musicians ranging from<br />
Jimmy Cobb to Sting. Reeves himself is now a torchbearer<br />
who teaches young musicians; joining him and<br />
pianist Rick Germanson on this album are two of the<br />
bassist’s young charges, drummer Jonathan Barber<br />
and trumpeter Joshua Bruneau.<br />
The long note held by Bruneau on Germanson’s<br />
strutting “Brick’s Blues” is the album’s clarion call.<br />
From there the quartet navigates skillfully among<br />
classics of various colors like “I’ll Close My Eyes”<br />
while Bruneau’s muted trumpet glows on “I Could<br />
Write a Book” and the rhythm section plays a glittering,<br />
excellent version of Henry Mancini’s “Moon River”.<br />
Germanson’s playing is exquisite on Oscar Levant’s<br />
ballad “Blame It on My Youth” and his work on the<br />
electric piano captures the essence of the ‘70s perfectly<br />
on the pop standard “Feel Like Makin’ Love”. Reeves<br />
also includes subtle nods to jazz’ founding fathers:<br />
Bruneau’s coda at the end of “Blame It on My Youth”<br />
has Charlie Parker’s famous sign-off and the band<br />
inserts a quote from “Salt Peanuts” into Blue Mitchell’s<br />
calypso jaunt “Fungii Mama”. As for the leader,<br />
Reeves’ solo on Ron Carter’s “Little Waltz” is virtuosic<br />
and humorous, his bass singing delightfully.<br />
The album’s title refers to the nor’easter that was<br />
moving through Connecticut as the quartet was about<br />
to record. This changed the nature of the project as the<br />
band played tunes - a few of which they hadn’t played<br />
together before - with no rehearsals. Because of these<br />
circumstances a few seams do show (on “Little Waltz”,<br />
for example, it sounds like Bruneau is practicing<br />
scales). Why, then, didn’t they reschedule the session<br />
and wait until the nor’easter passed through? Well,<br />
just as the storm wouldn’t wait, neither would the<br />
music. So, in spite of its foibles, State of Emergency! is,<br />
on two levels, a fine testament to the endurance of jazz.<br />
For more information, visit 482music.com. Reeves is at<br />
Smalls May 24th-25th with Steve Davis. See Calendar.<br />
Right to Swing<br />
(with the DePaul University Jazz Ensemble)<br />
Phil Woods (Jazzed Media)<br />
by Alex Henderson<br />
The majority of albums that Phil Woods has recorded<br />
over the years have been small-group dates, but the<br />
alto saxophone master also enjoys recording with big<br />
bands. On Right to Swing, Woods joins forces with two<br />
units directed by trumpeter Bob Lark at Chicago’s<br />
DePaul University: the Phil Woods Ensemble and the<br />
DePaul University Jazz Ensemble. Lark assembled the<br />
former as a way of paying tribute to both Woods the<br />
saxophonist and the composer and this recording is<br />
made up exclusively of Woods compositions. Woods<br />
revisits and rearranges his five-movement “Rights of<br />
Swing Suite” (originally recorded in 1960 with soloists<br />
like trumpeter Benny Bailey, trombonist Curtis Fuller<br />
and pianist Tommy Flanagan); the 2011 version falls<br />
short of the original but is enjoyable nonetheless. But<br />
when both versions are heard side by side, it is obvious<br />
that Woods (80 when this CD was recorded) hasn’t lost<br />
anything as a player in the intervening decades.<br />
While the “Rights of Swing Suite” takes up around<br />
37 minutes, the disc’s second half is devoted to five<br />
performances with the DePaul Ensemble, ranging from<br />
the exuberant “Pairing Off” and the vibrant “Blues for<br />
Lopes” to the Brazilian-flavored “Casanova”. Woods’<br />
thoughtful “Hank Jones” fondly remembers that<br />
legendary pianist who passed away in 2010.<br />
A long list of DePaul-associated musicians are<br />
featured on Right to Swing, including trumpeters David<br />
Kaiser and Paul Dietrich, tenor saxophonist Sean<br />
Packard, pianist Pete Benson and vibraphonist David<br />
Bugher. But Woods is the dominant voice on a pleasing<br />
album that underscores his myriad talents.<br />
For more information, visit jazzedmedia.com. The DePaul<br />
University Jazz Ensemble is at Saint Peter’s May 5th.<br />
Woods is at Allen Room May 20th with NY Youth<br />
Symphony. See Calendar.<br />
Clean on the Corner<br />
Mike Reed’s People Places & Things (482 Music)<br />
by Ken Waxman<br />
One of Chicago drummer Mike Reed’s many identities<br />
is passionate booster of his hometown’s music –<br />
present, past and future. This fourth CD with the<br />
People Places & Things combo is a milestone in that<br />
regard. He establishes the long-time sophistication of<br />
Second City jazz by blending original lines with ‘50s-<br />
60s classics by saxophonists John Jenkins and Roscoe<br />
Mitchell. The band consists of some of Chicago’s toprated<br />
players: alto saxophonist Greg Ward, tenor<br />
saxophonist Tim Haldeman and bassist Jason Roebke;<br />
with cornetist Josh Berman and pianist Craig Taborn<br />
each added on two different tracks.<br />
Jenkins (1931-93) recorded with heavyweights like<br />
tenor saxophonist Clifford Jordan in the mid ‘50s then<br />
vanished. His “Sharon” is the prototypical hardbop<br />
line, echoing “Hot House” and including gritty reed<br />
bites from the saxes, suggesting Jordan and Jenkins’<br />
work together. Taking on Sonny Clark’s role, Taborn<br />
interpolates a thoroughly modern conception into<br />
solos that are both chromatic and pulsing. A pre-Art<br />
Ensemble of Chicago (AEC) composition, Mitchell’s<br />
“Old” encompasses a blues sensibility and harmonized<br />
vamping from both saxophonists, which climaxes in a<br />
finale of smears and snarls. Affiliated with as many<br />
Chicago bands as Reed, Roebke’s thick pulses and<br />
sturdy flow recall the late AEC bassist Malachi Favors.<br />
His rhythmic sense is such that he brings balance to<br />
kinetic tunes like Reed’s moderato-paced “The Lady<br />
Has a Bomb”. Much of its bent-note power comes from<br />
Haldeman’s flutter-tongued obbligati abutting Ward’s<br />
shrieks and cries.<br />
Berman’s contribution is palpable when his<br />
buttery flutter-tonguing at the beginning and end of<br />
“House of Three Smiles” removes any hint of<br />
experimentation from the exercise, which is a line<br />
recomposed and expanded by Reed from a solo by<br />
vibraphonist Jason Adasiewicz, another Chicago<br />
associate. Berman’s muted horn is also the only soloist<br />
on the final “Warming Down”, a relaxed theme that<br />
composer Reed utilizes as set closer for an<br />
improvisational series he curates in a local club.<br />
As entrepreneurial as any AACMer and with fine<br />
compositional and performing chops, Reed’s work is<br />
another demonstration why Chicago musicians still<br />
maintain a reputation for innovation.<br />
For more information, visit 482music.com. This group is at<br />
Cornelia Street Café May 24th. See Calendar.<br />
ON DVD<br />
Blue Flame (Portrait of a Legend)<br />
Woody Herman (Jazzed Media)<br />
by George Kanzler<br />
Most jazz fans probably think of Duke Ellington or<br />
Count Basie when asked who led a big band for the<br />
longest amount of time. But first place technically<br />
belongs to Woody Herman, born 100 years ago this<br />
month, who led big bands from 1936 until his death<br />
in 1987. This documentary surveys Herman’s full<br />
career with not only film and TV clips of many of his<br />
bands throughout the decades, but also with a vast<br />
array of interviews from his sidemen and arrangers<br />
as well as jazz critics, biographical chroniclers and<br />
fans. It all adds up to an impressive portrait of, and<br />
argument for, the bandleader as a major figure in<br />
jazz history.<br />
A concert by the Thundering Herd in 1976 -<br />
what the documentary calls his “Fusion Era: 1968-<br />
1979” - from an Iowa PBS color TV taping provides<br />
some of the more extended musical takes here,<br />
including an opening “Four Brothers”. The band<br />
uniforms at the time resembled disco duds, with<br />
flared, frilly collars over pastel vests and bellbottoms.<br />
It was a time when the band dabbled in<br />
rock-fusion, yet these clips provide evidence that, as<br />
more than a few talking heads point out, Herman’s<br />
bands always swung.<br />
Hundreds of musicians went through the ranks<br />
of Herman’s bands over the years and a broad<br />
sampling of them appear here, all praising him as a<br />
supportive bandleader; in Nat Pierce’s words: “He<br />
always made it comfortable, as if you were working<br />
with him and not for him.” Another aspect of<br />
Herman’s leadership noted repeatedly was his<br />
ability to edit and shape arrangements. For although<br />
he was not a composer himself, he instinctively<br />
knew how to change charts so that they fit his band<br />
concept perfectly. His acumen as a talent scout is<br />
also praised repeatedly. “If somebody could play<br />
he’d let them go all night long,” says Joe LaBarbera.<br />
Herman himself could play too, and sing. Many<br />
of the clips here - too many, as more of the band’s<br />
soloists could have been featured - spotlight Herman<br />
singing, often blues or novelties (“Caldonia”), as<br />
well as playing clarinet, alto or soprano sax, with<br />
the enthusiasm and sense of joy that his musicians<br />
agreed always emanated from him as a leader.<br />
For more information, visit jazzedmedia.com<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 35
BOXED SET<br />
Ten Freedom Summers<br />
Wadada Leo Smith (Cuneiform)<br />
by Ken Waxman<br />
Striving to capture defining moments in African-<br />
American history, trumpeter Wadada Leo Smith has<br />
written 19 compositions to reflect events of the Civil<br />
Rights era from 1954-64, the summers of the title. In<br />
a gestation period that began in 1977 and consumed<br />
most of his time during a three-year stretch before<br />
this four-CD set was recorded in late 2011, Smith<br />
broadened his focus back to the 1857 Dred Scott case<br />
and forward to September 11th. Interpreted by the<br />
jazz-sophisticated members of his Golden Quartet/<br />
Quintet (GQ) plus the Southwest Chamber Music<br />
(SCM) group, 70-year-old Smith calls the program<br />
“one of my life’s defining works” (and has been<br />
rewarded for it as a 2013 Pulitzer Prize Finalist in<br />
Music). Personal rather than pedantic, the<br />
compositions celebrate defining moments. Although<br />
there are related motifs among them, linkage is more<br />
psychological than sonic. Each composition is<br />
designed to stand on its own.<br />
m Ay 2–5<br />
ann hampton callaway and her<br />
trio—From Sassy to divine: a celebration of<br />
Sarah Vaughan<br />
m Ay 6<br />
temple uniV erS ity jazz band<br />
with Terell Stafford and Christian McBride<br />
m Ay 7–12<br />
juilliard jazz orcheS t r a :<br />
the music of duke ellington<br />
m Ay 13–14<br />
claire martin<br />
with Peter Washington and Steve Wilson<br />
m Ay 15 chick corea festival<br />
edS el gomez cubiS t muS ic band<br />
m Ay 16 chick corea festival<br />
elio V illaF r a n c a :<br />
the music of chick corea<br />
with Charnett Moffett and Joe Locke<br />
m Ay 17–18 chick corea festival<br />
marcuS robertS S olo<br />
alF redo rodrÍguez trio<br />
m Ay 19 chick corea festival<br />
henry cole and the aF r o b e at<br />
collectiV e<br />
RESERVATIONS 212-258-9595 / 9795 jalc.org/dizzys<br />
36 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Smith has stated that Ten Freedom Summers was<br />
inspired by August Wilson’s 10-play Pittsburgh<br />
Cycle, which similarly deals with the 20th Century<br />
Black experience, plus Civil Rights-era jazz<br />
compositions such as John Coltrane’s “Alabama”<br />
and Max Roach’s LP-length We Insist: Freedom Now!<br />
suite. But as a theorist, educator, AACM member<br />
and improviser, the trumpeter created the<br />
compositions here after his own fashion. Very few<br />
are programmatic on their own, for instance.<br />
The closest would probably be “Thurgood<br />
Marshall and Brown v. Board of Education: A Dream<br />
of Equal Education, 1954”. With stentorian beat<br />
promulgated by the military-styled pacing of<br />
drummers Susie Ibarra and Pheeroan akLaff, the<br />
inevitability of the demands for equal education for<br />
all Americans is underlined. Added to this pulse are<br />
scrubbed John Lindberg basslines, tremolo piano<br />
chording from Anthony Davis and the composer’s<br />
brassy grace notes. Piano key clips and R&B-styled<br />
percussion backbeats reminiscent of Julius<br />
Hemphill’s “The Hard Blues” reinforce the theme,<br />
which reaches its climax with a celebratory sequence<br />
that is carefully harmonized as it heralds the<br />
militancy of the following decade.<br />
Davis is a valuable addition to Smith’s team.<br />
With impeccable keyboard finesse, he negotiates<br />
between the two ensembles, minimizing any fissure<br />
that could arise in the mixture of styles. For instance,<br />
on “Little Rock Nine: A Force for Desegregation in<br />
Education, 1957”, it’s Davis’ easy-going arpeggios<br />
that link Larry Kaplan’s recital-like flute passages<br />
and the SCM’s gentle string swells with the GQ’s<br />
freer voicing. During a finale of echoing tones,<br />
Smith’s slurred grace notes cement both factions.<br />
m Ay 20<br />
caleb chapman’S creS cent S u p e r<br />
band/V oodoo orcheS tra & la<br />
onda caribeÑa<br />
m Ay 21–26<br />
bill charlap trio<br />
with Peter Washington and Kenny Washington<br />
m Ay 27<br />
juilliard jazz enS emble<br />
m Ay 28–juNE 2<br />
bill charlap trio<br />
with Ron Carter and Kenny Washington<br />
Although secondary to Smith’s theme, many of<br />
Ten Freedom Summers’ compositions provide new<br />
validity for Third Stream creation. The most notable<br />
instance is “Lyndon B. Johnson’s Great Society and<br />
The Civil Rights Act of 1964”, where, backed by the<br />
SCM, solos are divided between Smith and violinist<br />
Shalini Vijayan. Over the course of 24 minutes,<br />
sensitized glissandi on the violinist’s part are not<br />
only conveyed with an exquisite tone, but during the<br />
finale variations stretched tautly without losing their<br />
warmth. While Smith plays in a congruent fashion<br />
rather than complementing violin passages, his<br />
instant theme-reshaping at times prevents Vijayan’s<br />
variations from moving too far out of sync.<br />
What’s more, the underlying strength of Smith’s<br />
composing is such that even when the SCM plays on<br />
its own, the focus isn’t lost in semi-classical<br />
prettiness. Interpreting “Medgar Evers: A Love-<br />
Voice of a Thousand Years Journey For Liberty and<br />
Justice”, the dirge-like tune Smith initially composed<br />
for violinist Leroy Jenkins, the SCM proves itself<br />
capable of mood-appropriate interpretations. Aided<br />
by Davis’ key fanning, the Jeff von der Schmidtconducted<br />
nonet sustains the melancholy mood with<br />
pizzicato lines divided contrapuntally among harp,<br />
violins and viola. Underneath the undulating strings,<br />
percussionist Lynn Vartan provides a thunder claplike<br />
continuum of kettle drum resonations.<br />
Outsized in more than bulk, this four-CD set<br />
manages to commemorate major achievements in<br />
American race relations, legitimize Third Stream<br />
fusion and confirm Smith’s role as a major composer.<br />
For more information, visit cuneiformrecords.com.<br />
This project is at Roulette May 1st-3rd. See Calendar.
CALENDAR<br />
Wednesday, May 1<br />
êWadada Leo Smith’s Ten Freedom Summers: Golden Quartet with Anthony Davis,<br />
John Lindberg, Pheeroan akLaff; Pacifica Red Coral: Mark Menzies, Mona Tian,<br />
Andrew Macintosh, Ashley Walters, Alison Bjorkedal, Jesse Gilbert<br />
Roulette 8 pm $20<br />
êUndead Music Round Robin Duets: Andrew Bird, Andrew W.K., Bernie Worrell,<br />
DJ Spinna, Don Byron, Dosh, Erik Friedlander, Glenn Kotche, James Chance,<br />
Joe Lovano, Julia Holter, Kim Gordon, Mary Halvorson, Matana Roberts,<br />
Robert Glasper, Roy Hargrove, Thundercat, Vijay Iyer, ?uestlove<br />
Brooklyn Masonic Temple 8 pm $15<br />
êSteve Kuhn Trio with Buster Williams, Joey Baron<br />
Birdland 8:30, 11 pm $30-40<br />
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Michel Camilo Trio with Lincoln Goines, Cliff Almond<br />
Blue Note 8, 10:30 pm $35<br />
• Edward Simon Trio with Scott Colley, Brian Blade<br />
Jazz Standard 7:30, 9:30 pm $20<br />
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner<br />
Dizzy’s Club 7:30, 9:30 pm $40<br />
• Alexander Claffy Group Dizzy’s Club 11 pm $10<br />
êBlack Lamp: Cyro Baptista/Billy Martin; Cyro Baptista, Billy Martin, Amir Ziv<br />
The Stone 8, 10 pm $10<br />
êValery Ponomarev “Our Father Who Art Blakey” Big Band with guest Essiet Essiet<br />
Zinc Bar 8 pm<br />
• Vincent Herring and the Hyuna Park Trio with Peng Ji, Bomi Choi<br />
An Beal Bocht Café 8, 9:30 pm $15<br />
• Adam Birnbaum Quartet with Dayna Stephens, Matt Brewer, Billy Drummond;<br />
Marc Devine with Hassan Shakur, Fukushi Tainaka<br />
Smalls 9:30 pm 12 am $20<br />
• Keystone Korner Presents: Christian Sands<br />
Iridium 8:30, 10:30 pm $25<br />
• Fleurine and Friends with Freddie Bryant<br />
Smoke 7, 9, 10:30 pm<br />
• Mayu Saeki Trio with Aaron Goldberg, Matt Penman<br />
Jazz at Kitano 8, 10 pm $10<br />
• Roy Nathanson Collective with Curtis Fowlkes, Sam Bardfeld, Jerome Harris;<br />
OWL Trio: Orlando Le Fleming, Will Vinson, Lage Lund<br />
SEEDS 8:30, 10 pm<br />
• Messaoud Kheniche: Meta, Thomas Enhco, Dan Pugach, Francois Moutin;<br />
Leo Genovese Trio with Justin Purtill, Bob Gullotti<br />
ShapeShifter Lab 7, 9 pm $10<br />
• Petros Klampanis’ Contextual with Gilad Hekselman, Jean-Michel Pilc, John Hadfield,<br />
Maria Im, Maria Manousaki, Matt Sinno, Yoed Nir<br />
Cornelia Street Café 8:30 pm $10<br />
• Matt Holman’s Diversion Ensemble with Michael McGinnis, Nate Radley,<br />
Christopher Hoffman, Ziv Ravitz Barbès 8 pm $10<br />
• Allan Rubinstein Trio; Groover Trio<br />
Fat Cat 7, 9 pm<br />
• Isaac Darche Group with Glenn Zaleski, Phil Donkin, Greg Ritchie;<br />
Water Esc: Ehud Ettun, Tal Gur, Haruka Yabuno, Natti Blankett<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Roos Plaatsman Tomi Jazz 8 pm $10<br />
• Marc Devine Trio The Garage 7 pm<br />
• David Kardas Shrine 6 pm<br />
• Cecilia Coleman Big Band Saint Peter’s 1 pm $10<br />
Thursday, May 2<br />
êKenny Barron/Dave Holland Duo 92nd Street Y 7:30 pm $40<br />
Cobi Narita Presents<br />
EVERY SATURDAY IN MAY (EXCEPT MAY 11), 1-6 PM<br />
OPEN MIC-JAM SESSIONS + FILMS AT ZEB’S<br />
Open Mic/Jam Sessions for Singers, Tap Dancers, Instrumentalists<br />
hosted by Frank Owens from 3 to 6 pm,<br />
preceded at 1 pm by films, shown by Walter Taylor,<br />
celebrating Black musicians, entertainers and movie stars from the old days.<br />
A wonderful afternoon. Admission: $10<br />
SATURDAY, MAY 11, 8 PM<br />
FIFTH ANNUAL QUEENS TAP EXTRAVAGANZA<br />
Featured artists: Dormesha Sumbry Edwards; Jason Samuels Smith; Omar Edwards;<br />
Baakari Wilder; Michelle Dorrance, Andrew Nemr, and many more!<br />
Nobuko Cobi Narita & Paul Ash, co-Presenter & Producer; Michela Marino Lerman,<br />
Artistic Director; Frank Owens, Music Director; Traci Mann & Al Heyward, co-producers.<br />
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY - $20/$15 Members/$10 Students with ID -<br />
For tickets, call 718/463-7700, ext 222<br />
SATURDAY, MAY 4, 8 PM<br />
SHIRL CARTER AND FRIENDS AT ZEB’S<br />
An Attitude Called The Blues - 4 Distinctive Vocalists Performing Jazz on The Rocks,<br />
SHIRL CARTER, DOR GREEN, STEPHEN FULLER and JIM MALLOY<br />
With The Frank Owens Trio<br />
Frank Owens, Music Director & piano; Paul West, bass; Greg Bufford, drums<br />
$15; students, seniors, Open Mic members $10.<br />
SATURDAY, MAY 18, 7:30 PM<br />
AN EVENING WITH ANGELINE BUTLER AT ZEB’S<br />
Come and enjoy ANGELINE BUTLER. Hear her songs, her treasured stories, and see Video Clips at 7 p.m.<br />
With Angeline will be Naoko Ono, piano/synthesizer;<br />
Joan Ashley, percussion (djembe and conga); Andrew “Tex” Allen, trumpet; Amy Madden, bass.<br />
$15; students, seniors, Open Mic members $10.<br />
Artist Contact: (877) 760-7538<br />
ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd flOOR walk-up<br />
cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010<br />
38 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,<br />
Danny Sadownick Jazz Standard 7:30, 9:30 pm $25<br />
• Cyro Baptista, Edgar de Almeida, Ronaldo “China” Andrade, Gil Oliveira, Tiago Silva,<br />
Fernando Saci; Cyro Baptista and Banquet of the Spirits with Brian Marsella,<br />
Shanir Blumenkranz, Tim Keiper The Stone 8, 10 pm $10<br />
êMicroscopic Septet: Phillip Johnston, Joel Forrester, Don Davis, Mike Hashim,<br />
Dave Sewelson, David Hofstra, Richard Dworkin<br />
Spectrum 10 pm $20<br />
ê40Twenty: Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza;<br />
Jesse Stacken Quartet with Tony Malaby, Sean Conly, Ted Poor<br />
Cornelia Street Café 8:30, 10 pm $10<br />
• Theo Bleckmann solo; Martin Dosh with Jeremy Ylvisaker, Alan Hampton, Mike Bloch,<br />
Pete Hale ShapeShifter Lab 8, 9 pm $15<br />
• Bryn Roberts Group with Seamus Blake, Orlando Le Fleming, Johnathan Blake<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Yuki Shigeno Quartet with Don Friedman, Harvie S, Shinnosuke Takahashi<br />
Jazz at Kitano 8, 10 pm $10<br />
• Matthew Fries Trio with Phil Palombi, Keith Hall; Carlos Abadie Quintet<br />
Smalls 9:30 pm 12 am $20<br />
• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am<br />
• Shayna Dulberger Quartet with Yoni Kretzmer, Chris Welcome, Carlo Costa<br />
Caffe Vivaldi 9:30 pm<br />
• Dan Blake, Devin Drobka, Kenji Herbert<br />
The Firehouse Space 8 pm $10<br />
• Dave Allen Trio with Matt Clohesy, Colin Stranahan<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Jazz Country: Amy Cervini, Jesse Lewis, Matt Aronoff<br />
55Bar 7 pm<br />
• The Gypsy Jazz Quintet; Saul Rubin<br />
Fat Cat 7, 10 pm<br />
• Yuhan Su Metropolitan Room 11:30 pm $20<br />
• Jill McManus/Boots Maleson Sofia’s 7 pm<br />
• Christian Finger Band with Jon Gordon, David Berkman, Adam Armstrong;<br />
Cristian Mendoza Quartet with Francisco Lelo De Larrea, Edward Perez, Alex Kautz<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Renaud Penant Trio Cleopatra’s Needle 7 pm<br />
êWadada Leo Smith’s Ten Freedom Summers: Golden Quartet with Anthony Davis,<br />
John Lindberg, Pheeroan akLaff; Pacifica Red Coral: Mark Menzies, Mona Tian,<br />
Andrew Macintosh, Ashley Walters, Alison Bjorkedal, Jesse Gilbert<br />
Roulette 8 pm $20<br />
êSteve Kuhn Trio with Buster Williams, Joey Baron<br />
Birdland 8:30, 11 pm $30-40<br />
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Michel Camilo Trio with Lincoln Goines, Cliff Almond<br />
Blue Note 8, 10:30 pm $35<br />
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner<br />
Dizzy’s Club 7:30, 9:30 pm $40<br />
• Alexander Claffy Group Dizzy’s Club 11 pm $10<br />
• Champian Fulton Quartet The Garage 6 pm<br />
• City College Annual Jazz Festival Aaron Davis Hall 12, 7 pm<br />
Friday, May 3<br />
• Musica Nueva 6: Arturo O’Farrill and the Afro Latin Jazz Orchestra with Christina Pato,<br />
Antonio Lizana, Ximo Tebar Symphony Space Peter Jay Sharp Theatre 8 pm $20<br />
• Lost Jazz Shrines - Bird – A World’s Eye View: TK Blue with James Weidman,<br />
Essiet Essiet, Winard Harper, Steve Turre<br />
Tribeca Performing Arts Center 8:30 pm $25<br />
• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />
Smoke 7, 9, 10:30 pm $35<br />
• Joel Press Quartet; Jimmy Green Quartet; Tyler Mitchell<br />
Smalls 7:30, 10:30 pm 1 am $20<br />
• The Young Lions: Cyro Baptista, Brian Marsella, Jason Fraticelli, John Lee;<br />
Cyro Baptista and Beat the Donkey The Stone 8, 10 pm $10<br />
êEllery Eskelin Quartet with Jacob Sacks, Brad Jones, Tyshawn Sorey<br />
Cornelia Street Café 9, 10:30 pm $15<br />
êDerek Bailey Tribute Band: Chris Cochrane, Marco Cappelli, Anders Nilsson,<br />
Andrea Centazzo JACK 8 pm $10<br />
• Guy Klucevsek/Todd Reynolds Barbès 8 pm $10<br />
êEJ Strickland Quintet with Marcus Strickland, Godwin Louis, Benito Gonzalez,<br />
Luques Curtis Jazz at Kitano 8, 10 pm $25<br />
• Justin Brown Quartet with Sam Harris, Matt Stevens, Tim Lefebvre<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Steve Dalachinsky/Carver Audain; Tomas Fujiwara, Ingrid Laubrock, Joshua Abrams;<br />
James Brandon Lewis Trio with Luke Stewart, Dominic Fragman<br />
Clemente Soto Velez 7:30, 8:30, 9:30 pm $11-22<br />
• Roy Assaf Trio Rubin Museum 7 pm $20<br />
• Lil Phillips Jazz 966 8, 10 pm $15<br />
• Big Eyed Rabbit: Ross Martin, Max Johnson, Jeff Davis<br />
Ibeam Brooklyn 8:30, 10 pm $10<br />
• Dan Cray Trio +1 with Joe Martin, Billy Drummond, Noah Preminger<br />
Brooklyn Conservatory of Music 8 pm $10<br />
• Jared Gold/Dave Gibson Band Fat Cat 10:30 pm<br />
• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Perreira<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Azande Cummings Metropolitan Room 11:30 pm $20<br />
• Alison Wedding; Emily Wolf Project with Satish Robertson, Leah Gough-Cooper,<br />
Andrew Baird, Jason Yeager, Danny Weller, Matt Rousseau;<br />
Rubens Salles Mantica Quintet Somethin’ Jazz Club 7, 9, 11 pm $10-12<br />
• Tom Blatt Trio Tomi Jazz 9 pm $10<br />
• Steve Elmer Trio Cleopatra’s Needle 8 pm<br />
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,<br />
Danny Sadownick Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
êD’Istante3: Giancarlo Mazzù, Blaise Siwula, Luciano Troja<br />
University of the Streets 8 pm $10<br />
• Aaron Parks solo; Martin Dosh with Aaron Parks, Chris Morrissey, Jeremy Ylvisaker<br />
ShapeShifter Lab 8, 9 pm $15<br />
êWadada Leo Smith’s Ten Freedom Summers: Golden Quartet with Anthony Davis,<br />
John Lindberg, Pheeroan akLaff; Pacifica Red Coral: Mark Menzies, Mona Tian,<br />
Andrew Macintosh, Ashley Walters, Alison Bjorkedal, Jesse Gilbert; Flux Quartet:<br />
Tom Chiu, Conrad Harris, Max Mendel, Felix Fan<br />
Roulette 8 pm $20<br />
êSteve Kuhn Trio with Buster Williams, Joey Baron<br />
Birdland 8:30, 11 pm $30-40<br />
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Michel Camilo Trio with Lincoln Goines, Cliff Almond<br />
Blue Note 8, 10:30 pm $35<br />
• Marko Djordjevic’s Sveti with Bobby Avey, Tivon Pennicott, Peter Slavov<br />
Blue Note 12:30 am $15<br />
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner<br />
Dizzy’s Club 7:30, 9:30 pm $40<br />
• Alexander Claffy Group Dizzy’s Club 11 pm $20<br />
• Ben Benack Quartet; Dre Barnes Project<br />
The Garage 6, 10:45 pm<br />
• City College Annual Jazz Festival Aaron Davis Hall 12, 7 pm
Saturday, May 4<br />
êCyro Baptista and Banquet of the Spirits Plus Beat the Donkey<br />
The Stone 8, 10 pm $10<br />
• Mary Halvorson/Stephan Crump Cornelia Street Café 9, 10:30 pm $15<br />
êGowanus Jazz Fest: La Sombra De Su Sombra: Roxana Amed/Frank Carlberg with<br />
guest Christine Correa; Noah Preminger/Frank Kimbrough Duo<br />
Douglass Street Music Collective 8:30, 10 pm $15<br />
• Gene Bertoncini with Ike Sturm and guest Dominick Farinacci<br />
Ginny’s Supper Club 7:30, 10 pm $20<br />
• Jay Rodriguez Quartet with Brandee Younger, Melissa Slocum, Swiss Chris<br />
St. Augustine’s Church 7:30 pm $20<br />
êGreg Abate Quartet with Don Friedman, Harvie S, Steve Williams<br />
Jazz at Kitano 8, 10 pm $25<br />
• Yoshiko Chuma/Rob Brown; Jason Jordan/Daniel Levin; Rob Brown/Daniel Levin Duo;<br />
Nemesis: Lewis “Flip” Barnes, Ted Daniel, Matt Lavelle, Asim Barnes<br />
Clemente Soto Velez 7:30, 8:30, 9:30 pm $11-22<br />
• Robert Rutledge Sistas’ Place 9, 10:30 pm $25<br />
• The Relative Quartet: Chet Doxas, John Stetch, Michael Bates, Owen Howard<br />
Brooklyn Conservatory of Music 8 pm $10<br />
êStephen Gauci Quintet with Kirk Knuffke, Art Bailey, Michael Bisio, Nathan Ellman-Bell;<br />
Elena Camerin, Khabu Young, Michael Bisio<br />
The Firehouse Space 8, 9:30 pm $10<br />
• James Hall and 1,000 Rooms with Evan Mazunik, Ronen Itzik;<br />
Nadje Noordhuis/James Shipp Ibeam Brooklyn 8:30, 9:30 pm $10<br />
• Kyle Wilson Quartet; Jon De Lucia Group with Greg Ruggiero, Chris Tordini,<br />
Tommy Crane Sycamore 9, 10 pm<br />
• Rick Stone Trio with Harvie S, Tom Pollard<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Alex Hoffman; Raphael D’Lugoff Fat Cat 7, 10 pm<br />
• Shirl Carter and Friends with Dor Green, Stephen Fuller, Jim Malloy, Frank Owens Trio<br />
Zeb’s 8 pm $15<br />
• Daniel Meron Group Metropolitan Room 11:30 pm $20<br />
• Brad Whiteley/Michael Eaton; Jussi Reijonen’s un with Utar Artun, Bruno Raberg,<br />
Tareq Rantisi, Sergio Martinez; Fauré-Play: Louise Rogers, Mark Kross, Jamie Baum;<br />
James Robbins Quintet Somethin’ Jazz Club 5, 7, 9, 11 pm $10<br />
• Mamiko Taira Trio Tomi Jazz 8 pm $10<br />
• Justin Lees Trio Cleopatra’s Needle 8 pm<br />
• Musica Nueva 6: Arturo O’Farrill and the Afro Latin Jazz Orchestra with Christina Pato,<br />
Antonio Lizana, Ximo Tebar Symphony Space Peter Jay Sharp Theatre 8 pm $20<br />
• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />
Smoke 7, 9, 10:30 pm $35<br />
• Joey Cavaseno Quartet Duke Ellington Tribute; Jimmy Green Group; Stacy Dillard,<br />
Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20<br />
• Justin Brown Quartet with Sam Harris, Matt Stevens, Tim Lefebvre<br />
The Jazz Gallery 9, 10:30 pm $20<br />
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,<br />
Danny Sadownick Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
• Shane Endsley, Todd Sickafoose, Ben Perowsky; Martin Dosh with Andrew Bird,<br />
Jeremy Ylvisaker, Todd Sickafoose ShapeShifter Lab 8, 9 pm $15<br />
êSteve Kuhn Trio with Buster Williams, Joey Baron<br />
Birdland 8:30, 11 pm $30-40<br />
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Michel Camilo Trio with Lincoln Goines, Cliff Almond<br />
Blue Note 8, 10:30 pm $35<br />
• Amanda Ruzza with Mamiko Watanabe, Alex Nolan, Chris Stover, Ben Flocks,<br />
Mauricio Zottarelli Blue Note 12:30 am $10<br />
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner<br />
Dizzy’s Club 7:30, 9:30 pm $45<br />
• Alexander Claffy Group Dizzy’s Club 11 pm $20<br />
FRESH SOUND NEW TALENT PRESENTS<br />
CD RELEASE CONCERT!<br />
SMALLS JAZZ CLUB<br />
183W 10th St. NEW YORK, NY 10014<br />
Sunday, May 5<br />
êCyro Baptista/Ikue Mori; Cyro Baptista and Banquet of the Spirits with Brian Marsella,<br />
Shanir Blumenkranz, Tim Keiper The Stone 8, 10 pm $10<br />
• Ceramic Dog: Marc Ribot, Shahzad Ismaily, Ches Smith<br />
Le Poisson Rouge 8 pm $18<br />
êArcanus: Brian Groder, Michael Bisio, Andrea Centazzo; Jonah Rosenberg with<br />
Blaise Siwula, Aleks Karjaka, Martha Cargo, Emma Alabaster<br />
The Firehouse Space 8, 9:30 pm $10<br />
• Oguri/Adam Rudolph; Noah Preminger’s Kindred Spirits; Nick Sanders Trio with<br />
Henry Fraser, Connor Baker ShapeShifter Lab 7, 8, 9:30 pm $10<br />
• Motions: Chris Dingman, Kaoru Watanabe, Tim Keiper, Matt Kilmer<br />
Cornelia Street Café 8:30 pm $10<br />
êMara Rosenbloom Quartet with Darius Jones, Sean Conly, Nick Anderson;<br />
Chris Flory/John Cohn Duo; Tuomo Uusitalo Trio<br />
Smalls 4:30, 7:30, 11:30 pm $20<br />
• Ehud Asherie Trio Fat Cat 9 pm<br />
• Peter Mazza Trio with Misha Tsiganov, Thomson Kneeland<br />
Bar Next Door 8, 10 pm $10<br />
• String of Pearls: Sue Halloran, Jeanne O’Connor, Holli Ross<br />
Metropolitan Room 7 pm $20<br />
• Max Alper solo; Flin van Hemmen solo; Nick Gianni/Chizuru Tanaka<br />
ABC No-Rio 7 pm $5<br />
• Noah MacNeil Trio with Bob Edinger, Yoshiki Yamada; Stefania Carati Quartet with<br />
Antonello Parisi, Tina Lama, Enrico Solano; Alex DeZenzo Trio with Dave Lowenthal,<br />
David Cornejo Somethin’ Jazz Club 5, 7, 9 pm $10<br />
• Shrine Big Band Shrine 8 pm<br />
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,<br />
Danny Sadownick Jazz Standard 7:30, 9:30 pm $25<br />
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Michel Camilo Trio with Lincoln Goines, Cliff Almond<br />
Blue Note 8, 10:30 pm $35<br />
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner<br />
Dizzy’s Club 7:30, 9:30 pm $40<br />
• Michael Lytle; Dominic Fragman Downtown Music Gallery 6 pm<br />
• DePaul University Jazz Ensemble Saint Peter’s 5 pm<br />
• Combo Nuvo: David Schroeder, Rich Shemaria, Lenny Pickett, Brad Shepik,<br />
Mike Richmond, John Hadfield and guest Paul McCandless<br />
Blue Note 12:30, 2:30 pm $29.50<br />
• Zak Sherzad/Daniel Carter; William Parker<br />
Clemente Soto Velez Cultural Center 2, 3 pm $11-16<br />
• Lezlie Harrison Trio with Saul Rubin, Kevin Hailey<br />
North Square Lounge 12:30, 2 pm<br />
• Mayu Seiki; David Coss Quartet The Garage 11:30 am 7 pm<br />
Monday, May 6<br />
êCraig Taborn Trio with Thomas Morgan, Gerald Cleaver Trio<br />
Roulette 8 pm $15<br />
êJimmy Heath/Antonio Hart Ginny’s Supper Club 8 pm $10<br />
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25<br />
• NYU Jazz Orchestra Blue Note 8, 10:30 pm $15<br />
• Temple University Jazz Band with Terrell Stafford<br />
Dizzy’s Club 7:30, 9:30 pm $30<br />
• Adam Rudolph’s GO: Organic Orchestra; Eric Divito Group with Jake Saslow,<br />
Danile Foose, Nadav Snir-Zelniker ShapeShifter Lab 8, 10 pm $10-15<br />
• David Amram & Co. with Kevin Twigg, John De Witt, Adam Amram<br />
Cornelia Street Café 8:30 pm $10<br />
• Newman Taylor Baker/Marvin Sewell; Andrea Wolper IP with Eri Yamamoto,<br />
Ken Filiano; Areni Agbabian solo Clemente Soto Velez 7:30, 8:30, 9:30 pm $11-22<br />
MARA<br />
ROSENBLOOM<br />
QUARTET<br />
“Songs from the Ground”<br />
MARA ROSENBLOOM<br />
PIANO & COMPOSITION<br />
DARIUS JONES<br />
ALTO SAXOPHONE<br />
SEAN CONLY<br />
BASS<br />
NICK ANDERSON<br />
DRUMS<br />
“Rosenbloom renews the trite formulas of jazz with sparkling compositions<br />
that are both lyrically contemplative and rhythmically<br />
pulsating...This quartet plays music that renders believable the<br />
future of jazz.” —ALL ABOUT JAZZ<br />
“‘Beautiful’...that’s perhaps the best word for composer/pianist Mara<br />
Rosenbloom’s music, from her sinuous melodies to her rhythmic poise<br />
to her exquisitely harmonized everything.” —BALTIMORE CITY PAPER<br />
“Mara Rosenbloom has a musical vision.” —KENNY WERNER<br />
SUNDAY, MAY 5th · 4:30-7:00PM (2 SETS)<br />
FSNT 418<br />
available on<br />
freshsoundrecords.com<br />
Amazon and iTunes<br />
êGene Bertoncini solo; Ari Hoenig Group with Shai Maestro, Johannes Weidenmuller;<br />
Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20<br />
• Sean Smith Trio with John Hart, Russell Meissner<br />
55Bar 7 pm<br />
• Westminster Trio: Jeremy Udden, Garth Stevenson, Harris Eisenstadt;<br />
Bomb X: Nicolas Letman-Burtinovic, Tyshawn Sorey, Art Hirahara, Samuel Blais<br />
Sycamore 8:30, 9:30 pm<br />
• Harold O’Neal; Paris Wright Quintet<br />
Fat Cat 6, 9 pm<br />
• Dida Pelled Trio with Tal Ronen, Joe Strasser<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Cecilia Coleman Quintet with Dave Smith, Peter Brainin, Tim Givens, Chris Benham;<br />
Druckmittel: Franceso Fratini, Matt Heath, Nitzan Gavrieli, Richard Moore, Florian Hoesl<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Yoo Sun Nam Trio Tomi Jazz 8 pm $10<br />
• John Lester “Jazz?” Quartet with Joel Frahm, Michael Wolff, Tim Bulkley<br />
Zinc Bar 7 pm $10<br />
• Antoine Cara Shrine 7 pm<br />
• Howard Williams Jazz Orchestra The Garage 7 pm<br />
Tuesday, May 7<br />
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êSnakeoil: Tim Berne, Oscar Noriega, Ches Smith, Matt Mitchell<br />
The Stone 8, 10 pm $10<br />
êFred Hersch/Anat Cohen Jazz Standard 7:30, 9:30 pm $25<br />
• Monty Alexander Harlem Kingston Express<br />
Birdland 8:30, 11 pm $30-40<br />
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35<br />
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10<br />
• Jack Jeffers and the New York Classics with Antoinette Montague<br />
Zinc Bar 8, 10 pm<br />
• Janis Siegel 54 Below 7, 9 pm $25-35<br />
• Take 6 Blue Note 8, 10:30 pm $45<br />
• Rosemary George and Group NYC Baha’i Center 8, 9:30 pm $15<br />
• Paul West/Rashaan Carter Ginny’s Supper Club 7:30 pm $10<br />
• Lakecia Benjamin and Soul Squad Showman’s 8:30, 10, 11:30 pm<br />
êMax Esquivel Quintet with Arthur Hnatek, Martha Kato, Francesco Geminiani,<br />
Jean-Lou Treboux, Ingrid Jensen; Joe Fiedler’s Big Sackbut with Josh Roseman,<br />
Curtis Hasselbring, Marcus Rojas ShapeShifter Lab 7, 8:15 pm $10<br />
êRyan Keberle and Catharsis with Ingrid Jensen, Jorge Roeder, Eric Doob<br />
Lang Hall 8 pm<br />
• Spike Wilner Trio; The Smalls Legacy Band: Josh Evans, Frank Lacy, Stacy Dillard,<br />
Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends<br />
Smalls 7:30, 10 pm 12:30 am $20<br />
• Greg Skaff Trio with Ugonna Okegwo, Ralph Peterson<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Saul Rubin; Willie Martinez Y La Familia Sextet<br />
Fat Cat 7, 9 pm<br />
• Jeremy Siskind Jazz at Kitano 8 pm<br />
• Ben Winkelman Trio with Sam Anning, Ben Wanderwal<br />
Terraza 7 9:30 pm<br />
• Nick Grinder Quintet; Dark Square: Matt Vashlishan, Matt Panayides,<br />
David Caldwell-Mason, Eddy Khaimovich, Arthur Vint<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Greg Merritt Tomi Jazz 8 pm $10<br />
• Roman Rofalski Shrine 6 pm<br />
• The Legacy Trio with David Coss The Garage 6 pm<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 39
COLIN STETSON<br />
NEW HISTORY WARFARE VOL.3:<br />
TO SEE MORE LIGHT<br />
ALBUM OUT APRIL 30 • 2x180gLP / CD / DL<br />
IN CONCERT<br />
MAY 08 • (LE) POISSON ROUGE<br />
MATANA ROBERTS<br />
COIN COIN CHAPTER ONE:<br />
GENS DE COULEUR LIBRES<br />
ALBUM OUT NOW • 2x10” / CD / DL<br />
COIN COIN CHAPTER TWO - COMING THIS FALL!<br />
MATANA ROBERTS QUARTET<br />
JUNE 15 • JAZZ GALLERY<br />
CONSTELLATION CSTRECORDS.COM<br />
experimental, liberation, agit-prop, progressive, immersive,<br />
avant-jazz, new folk, punk-rock & heavy music of all sorts<br />
40 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Wednesday, May 8<br />
êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen;<br />
Allison Miller’s Boom Tic Boom 92YTribeca 8 pm $12<br />
êColin Stetson solo; Rafiq Bhatia Le Poisson Rouge 8 pm $15<br />
êBeat Masters: Cyro Baptista, Billy Martin, Amir Ziv<br />
New School Arnhold Hall 8 pm $10<br />
êJunior Mance/Christian Sands Ginny’s Supper Club 8 pm $10<br />
• Bill Easley Trio Showman’s 8:30, 10, 11:30 pm<br />
êMostly Other People Do the Killing: Peter Evans, Jon Irabagon, Dave Taylor,<br />
Brandon Seabrook, Ron Stabinsky, Moppa Elliott, Mike Pride; Gene Ess and<br />
Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland, Ari Hoenig<br />
ShapeShifter Lab 8, 9:30 pm $10<br />
êRaphael D’lugoff; Harold Mabern Trio<br />
Fat Cat 7, 9 pm<br />
• Molly Ringwald Iridium 8, 10 pm $35<br />
• Jamire Williams’ ERIMAJ; Fabian Almazan with Camila Meza, Megan Gould,<br />
Tomoko Omura, Karen Waltuch, Noah Hoffeld, Linda Oh, Henry Cole<br />
Harlem Stage Gatehouse 7:30 pm $10<br />
• Music of Our Peers: Jonathan Finlayson, Roman Filiu, Ohad Talmor, Matt Stevens,<br />
Michael Bates Barbès 8 pm $10<br />
• Jeremy Manasia Trio with Borak Mori, Jason Brown<br />
Jazz at Kitano 8, 10 pm $10<br />
• Nate Radley Quartet with Loren Stillman, Matt Pavolka, Ted Poor<br />
Cornelia Street Café 8:30 pm $10<br />
• Ed Cherry Trio with Corcoran Holt, Chris Beck; Benjamin Drazen Trio with<br />
Brian Charette, Darrell Green Smalls 9:30 pm 12 am $20<br />
• Dave Chamberlain Band of Bones Zinc Bar 7 pm $10<br />
• Michael Gallant Trio with Jordan Scannella, Chris Infusino and guest Oz Noy<br />
The Bitter End 9 pm $8<br />
• Maria Neckham; Rose & the Nightingale: Jody Redhage, Leala Cyr, Sara Caswell,<br />
Laila Biali Culture Project 7:30, 9 pm $15<br />
• Ayako Shirasaki Trio with Noriko Ueda, Quincy Davis; Edward Perez Trio with<br />
Nitzan Gavrieli Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Roos Plaatsman Tomi Jazz 8 pm $10<br />
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êSnakeoil: Tim Berne, Oscar Noriega, Ches Smith, Matt Mitchell<br />
The Stone 8, 10 pm $10<br />
êFred Hersch/Donny McCaslin Jazz Standard 7:30, 9:30 pm $25<br />
• Chris Washburne and SYOTOS Smoke 7, 9, 10:30 pm<br />
• Monty Alexander Harlem Kingston Express<br />
Birdland 8:30, 11 pm $30-40<br />
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35<br />
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10<br />
• Take 6 Blue Note 8, 10:30 pm $45<br />
• Josh Lawrence Quartet The Garage 6 pm<br />
• Elijah Shiffer Shrine 6 pm<br />
• Matt Fries Trio Saint Peter’s 1 pm $10<br />
Thursday, May 9<br />
êHighlights in Jazz: Salute to George Wein with Ron Carter, Anat Cohen,<br />
Wycliffe Gordon, Jay Leonhart, Lew Tabackin, Kenny Washington<br />
Tribeca Performing Arts Center 8 pm $40<br />
êInterpretations: Marty Ehrlich solo and with Jennifer Choi, Cornelius Dufallo,<br />
Lev Zhurbin, Alex Waterman: For Living Lovers: Brandon Ross/Stomu Takeishi with<br />
guests JT Lewis, Stephanie Richards<br />
Roulette 8 pm $15<br />
êFor The Love of Abbey: Marc Cary Trio with Rashaan Carter, Sameer Gupta<br />
Harlem Stage Gatehouse 7:30 pm $10<br />
• Stephane Wrembel Trio with Roy Williams, Dave Speranza<br />
Joe’s Pub 9:30 pm $22<br />
• Pascal’s Triangle: Pascal Le Boeuf, Linda Oh, Justin Brown<br />
The Jazz Gallery 9, 10:30 pm $25<br />
• Takeshi Asai Trio with Daniel Ori, Rob Garcia<br />
Jazz at Kitano 8, 10 pm $10<br />
• Patience Higgins Sugar Hill Quartet<br />
Showman’s 8:30, 10, 11:30 pm<br />
• Yotam Silberstein Trio with Barak Mori, Jochen Rueckert<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Steve Ash Trio; Greg Glassman Quintet<br />
Fat Cat 7, 10 pm<br />
• Melissa Aldana and The Crash Trio with Pablo Menares, Francisco Mela; Emmet Cohen<br />
Smalls 9:30 pm 12 am $20<br />
• Ryan Ferreira The Firehouse Space 8 pm $10<br />
• Florencia Gonzalez Candombe Project<br />
Terraza 7 9:30 pm<br />
• Matt Heister Trio with Casey Dodd, Jeong Park; Tomoko Omura Quintet<br />
Somethin’ Jazz Club 7, 9 pm $7-10<br />
• Fukushi Tainaka Trio Cleopatra’s Needle 7 pm<br />
• Molly Ringwald Iridium 8, 10 pm $35<br />
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êSnakeoil: Tim Berne, Oscar Noriega, Ches Smith, Matt Mitchell<br />
The Stone 8, 10 pm $10<br />
• Fred Hersch/Greg Osby Jazz Standard 7:30, 9:30 pm $25<br />
• Monty Alexander Harlem Kingston Express<br />
Birdland 8:30, 11 pm $30-40<br />
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35<br />
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10<br />
• Take 6 Blue Note 8, 10:30 pm $45<br />
• George Weldon Trio The Garage 6 pm<br />
• Omar Haddad Shrine 6 pm<br />
Friday, May 10<br />
êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi<br />
Jazz at Kitano 8, 10 pm $25<br />
êKris Davis Trio with John Hébert, Tom Rainey<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Winard Harper Group;<br />
Lawrence Leathers Smalls 7:30, 10:30 pm 1 am $20<br />
êJacob Sacks Quartet with Ellery Eskelin, Michael Formanek, Dan Weiss<br />
Cornelia Street Café 9, 10:30 pm $15<br />
êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka<br />
Iridium 8:30, 10:30 pm $30<br />
êThe Dilated Pupils: Tim Berne, David Torn, Craig Taborn, Ches Smith, Ryan Ferreira<br />
The Stone 8, 10 pm $10<br />
êHelen Sung Quintet with Seamus Blake, Brandon Lee, Dezron Douglas,<br />
Donald Edwards Smoke 7, 9, 10:30 pm $35<br />
• Tribute to the Baby Grand: Lezlie Harrison<br />
Apollo Music Café 10 pm<br />
• Doris Spears Showman’s 9, 11 pm<br />
êEast Meets West Guitar Trio: John Stowell, Gene Bertoncini, Paul Meyers<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Christopher Davidson Quartet; Teri Roiger with Frank Kimbrough, John Menegon,<br />
Steve Williams; Peter Apfelbum with Natalie Cressman, Jill Ryan, Will Bernard,<br />
Barney McAll, Willard Dyson ShapeShifter Lab 7, 8:15, 9:30 pm $8-12<br />
êThe Four Bags: Sean Moran, Mike McGinnis, Jacob Garchik, Brian Drye<br />
Brooklyn Conservatory of Music 8 pm $10<br />
• Kenny Gates Jazz 966 8, 10 pm $15<br />
• Ogni Suono Saxophone Duet: Noa Even/Phil Pierick; New Thread Saxophone Quartet:<br />
Geoffrey Landman, Kristen McKeon, Justin Marks, Erin Rogers<br />
The Firehouse Space 8, 9 pm $10<br />
• Aryeh Kobrinsky; David Schnug Trio with Will McEvoy, Kate Pittman;<br />
Alan Bjorklund’s Smirk with Jeremy Viner, Travis Reuter, Greg Chudzik, Tyshawn Sorey<br />
ZirZamin 9:30 pm<br />
• Champian Fulton Quartet; Myron Walden’s Countryfied<br />
Fat Cat 6, 10:30 pm<br />
• Devin Bing and The Secret Service Metropolitan Room 7 pm $20<br />
• Simona De Rosa Trio with Marco Di Gennaro; Somethin’ Vocal with Matt Baker Trio;<br />
Billy White Group Somethin’ Jazz Club 7, 9, 11 pm $10-12<br />
• Tom Talitsch Duo Tomi Jazz 9 pm $10<br />
• Seth Myers Trio Cleopatra’s Needle 8 pm<br />
• Maya Yalav Gour Quartet; Kevin Dorn and the BIG 72<br />
The Garage 6, 10:45 pm<br />
êFor The Love of Abbey: Marc Cary with Kiyem Aday Ali, Maggie Brown,<br />
Pyeng Threadgill, Imani Uzuri Harlem Stage Gatehouse 7:30 pm $10<br />
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êFred Hersch with Esperanza Spalding, Richie Barshay<br />
Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
• Monty Alexander Harlem Kingston Express<br />
Birdland 8:30, 11 pm $30-40<br />
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35<br />
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10<br />
• Take 6 Blue Note 8, 10:30 pm $45<br />
êHypnotic Brass Ensemble Blue Note 12:30 am $15<br />
• Rafi Malkiel with Itai Kriss, Jack Glottman, Panagiotis Andreou, Ziv Ravitz<br />
92nd Street Y Weill Art Gallery 2 pm<br />
Saturday, May 11<br />
êGowanus Jazz Fest: Tivoli Trio: Frank Carlberg, Pascal Niggenkemper, Michael Sarin;<br />
Roswell Rudd with Tivoli Trio Douglass Street Music Collective 8:30, 10 pm $15<br />
êThe Great Jazz Women Of The Apollo: Geri Allen and Friends with Timeline Tap Quartet,<br />
Dianne Reeves, Lizz Wright, Terri Lyne Carrington, Tia Fuller, Karen Malina White,<br />
Marvin Sewell, Dormeshia Sumbry-Edwards, Afro Blue<br />
Apollo Theater 3, 8 pm<br />
êTim Berne 7 with Dan Weiss, Ches Smith, Michael Formanek, Ryan Ferreira,<br />
Oscar Noriega, Matt Mitchell The Stone 8, 10 pm $10<br />
êBen Allison Plays Jim Hall with Steve Cardenas, Ted Nash<br />
Cornelia Street Café 9, 10:30 pm $15<br />
• Mel Davis Showman’s 9, 11 pm<br />
êAruán Ortiz and The Afro Cuban Experience with Hans Glawischnig, Francisco Mela,<br />
Mauricio Herrera Metropolitan Room 11:30 pm $20<br />
• Freddie Bryant Trio with Patrice Blanchard, Willard Dyson<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Steven Kroon Latin Jazz Sextet BAMCafé 9 pm<br />
• Todd Herbert Quintet; Carlos Abadie Quintet<br />
Fat Cat 7, 10 pm<br />
• Magos Herrera; Sofia Rei Joe’s Pub 7 pm $20<br />
• Vanessa Rubin Sistas’ Place 9, 10:30 pm $25<br />
• MIVOS Quartet plays WORKS Brooklyn Conservatory of Music 8 pm $15<br />
• The Project: Tom Blatt, Andy O’Neil, Charles Ramsey, Michele Smith<br />
Ibeam Brooklyn 8:30 pm $10<br />
• Carol Sudhalter Astoria Big Band with guest Frank Senior<br />
Sunnyside Reformed Church 7 pm<br />
êBarry Wallenstein Medicine Show Theater 7:30 pm<br />
• Swingadelic Swing 46 8:30 pm<br />
• Emanuele Tozzi with Lorenzo Tozz, Jason Vitelli, Bob Borress; E.S.P.: Matthew Vacanti,<br />
John Magnante, Bill D’Agostion; Nick Brust/Adam Horowitz Quintet with<br />
Matthew Sheens, James Quinlan, Dani Danor; Mind Open: Andrew Ahr, Chris Covais,<br />
Dave Pellegrino, Hugo Lopez Somethin’ Jazz Club 5, 7, 9, 11 pm $10<br />
• Ayumi Ishito Tomi Jazz 8 pm $10<br />
• Richard Benetar Quartet Cleopatra’s Needle 8 pm<br />
êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi<br />
Jazz at Kitano 8, 10 pm $25<br />
êKris Davis Trio with John Hébert, Tom Rainey<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Richie Vitale Quintet with Clifford Barbaro; Winard Harper Group; Philip Harper<br />
Smalls 7:30, 10:30 pm 1 am $20<br />
êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka<br />
Iridium 8:30, 10:30 pm $30<br />
êHelen Sung Quintet with Seamus Blake, Brandon Lee, Dezron Douglas,<br />
Donald Edwards Smoke 7, 9, 10:30 pm $35<br />
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êFred Hersch with Esperanza Spalding, Richie Barshay<br />
Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
• Monty Alexander Harlem Kingston Express<br />
Birdland 8:30, 11 pm $30-40<br />
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $45<br />
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10<br />
• Take 6 Blue Note 8, 10:30 pm $45<br />
• Calling All Forces: Andrew Drury solo; Ras Moshe Unit with Anders Nilsson,<br />
Ratzo Harris, Andrew Drury; Exposed Blues Duo: Fay Victor/Anders Nilsson;<br />
Katie Bull Group with Jeff Lederer, Landon Knoblock, Joe Fonda, Deric Dickens and<br />
guest Kevin Fitzgerald Burke JACK 6 pm<br />
• Roz Corral Quartet with Deanna Witkowski, Orlando Le Fleming, Steve Williams<br />
55Bar 6 pm<br />
• Brooks Hartell Trio; Virginia Mayhew Quartet<br />
The Garage 6:15, 10:45 pm<br />
êDave Brubeck Celebration Cathedral of St. John the Divine 4 pm<br />
Sunday, May 12<br />
êDecay: Tim Berne, Ryan Ferreira, Michael Formanek, Ches Smith<br />
The Stone 8, 10 pm $10<br />
• Dan Blake/Leo Genovese Quartet with Dmitry Ishenko, Jeff Williams<br />
The Backroom 9:30 pm<br />
• Carlos Avila, Rebekah Durham, Amy Kang; Ehud Asherie Trio; Ai Murakami Trio<br />
Smalls 5, 7:30, 11:30 pm $20<br />
• JD Walter and Orrin Evans Quartet with Marvin Sewell, Mark Helias, Nasheet Waits<br />
Smoke 7, 9, 10:30 pm<br />
• Oscar Penas with Moto Fukushima, Richie Barshay<br />
Bar Next Door 8, 10 pm $10<br />
• Terry Waldo’s Gotham City; Fat Cat Big Band<br />
Fat Cat 6, 8:30 pm<br />
• Isaac Darche Group with Will Vinson, Glenn Zaleski, Desmond White, Kenneth Salters<br />
ShapeShifter Lab 8:15, 9:30 pm $5<br />
• Jostein Gulbrandsen Quartet with Megumi Yonezawa, Phil Palombi, Brain Fishler;<br />
Heleen Schuttevaer Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Broc Hempel, Sam Trapchak, Christian Coleman with guest Jacob Varmus<br />
Dominie’s Astoria 9 pm<br />
• Brian Abbott’s Biased Scientists; Luke Schwartz Ensemble; John Sarantos<br />
ABC No-Rio 7 pm $5<br />
• Martha Lorin; Lauren White and the Quinn Johnson Trio<br />
Metropolitan Room 2, 7 pm $20<br />
• Charles Brewer Trio Shrine 8 pm<br />
• Swingadelic Swing 46 8:30 pm<br />
• Lou Caputo Quartet; David Coss Quartet<br />
The Garage 11:30 am 7 pm<br />
êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka<br />
Iridium 8:30, 10:30 pm $30<br />
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Fred Hersch/Lionel Loueke Jazz Standard 7:30, 9:30 pm $25<br />
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35<br />
• Take 6 Blue Note 8, 10:30 pm $45<br />
• Joe Fonda’s Old Bottle New Wine with Carlo Morena, Michelle Salgarello<br />
Saint Peter’s 5 pm<br />
• Aaron Diehl Trio with guest Cecile McLorin Salvant<br />
Abyssinian Baptist Church 4 pm $20<br />
• Judy Wexler Blue Note 12:30, 2:30 pm $29.50<br />
• Alexis Cole Trio with Paul Meyers, Paul Beaudry<br />
North Square Lounge 12:30, 2 pm
Monday, May 13<br />
êGil Evans Birthday Celebration: Gil Evans Orchestra with guests<br />
Highline Ballroom 8 pm $25-35<br />
êMingus Dynasty Jazz Standard 7:30, 9:30 pm $25<br />
êRutgers Faculty Jazz Septet and University Jazz Ensemble with Stanley Cowell,<br />
Ralph Bowen, Conrad Herwig, Joe Magnarelli, Vic Juris, Kenny Davis, Victor Lewis<br />
Blue Note 8, 10:30 pm $15<br />
• Claire Martin with Steve Wilson, Nikolaj Hess, Peter Washington, Matt Wilson<br />
Dizzy’s Club 7:30, 9:30 pm $30<br />
• Mimi Fox; Martin Taylor Iridium 8, 10 pm $30<br />
• John Zorn Improv Night; Dr. Rosenberg with Jeff Zeigler, James Ilgenfritz<br />
The Stone 8, 10 pm $10-25<br />
êDan Tepfer/Ben Wendel Duo; Ari Hoenig Group with Jonathan Kreisberg, Will Vinson,<br />
Danton Boller; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20<br />
• Rob Brown Quartet with Kenny Warren, Peter Bitenc, JP Carletti; Max Johnson Trio<br />
with Kirk Knuffke, Ziv Ravitz Sycamore 8:30, 9:30 pm<br />
• Quentin Angus Quintet with Will Vinson, Kevin Hays, Orlando Le Fleming,<br />
Kenneth Salters; Matthew Sheens Group with Sara Serpa, Orlando Le Fleming,<br />
Rogério Boccato, Colin Stranahan ShapeShifter Lab 8:30 pm $10<br />
• Idan Santhaus Jazz Orchestra Tea Lounge 9, 10:30 pm<br />
êSean Ali/Pascal Niggenkemper Cameo Gallery 8 pm<br />
êNed Goold Quartet Fat Cat 9 pm<br />
• Daniela Schaechter Trio with Michael O’Brien, Brian Fishler<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• NY Youth Symphony Big Band The Garage 7 pm<br />
• SkyFloor: Mao Sone, Edmar Colon, Mike Bono, Takafumi Suenaga, Jonny Chapman,<br />
Hironori Suzuki; Maria Alejandra Rodriguez<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Benjamin Servenay Trio Tomi Jazz 8 pm $10<br />
Tuesday, May 14<br />
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,<br />
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,<br />
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,<br />
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,<br />
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,<br />
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp<br />
Jazz Standard 7:30, 9:30 pm $25<br />
êUri Gurvich and BabEl with Leo Genovese, Peter Slavov, Francisco Mela and guest<br />
Dave Douglas The Stone 8, 10 pm $10<br />
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno and<br />
guest Joyce Birdland 8:30, 11 pm $30-40<br />
• Fabrizio Sotti with Tony Grey, Mino Cinelu and guests M1, RES, Claudia Acuña,<br />
Isabella Lundgren Blue Note 8, 10:30 pm $25<br />
êSing! Sing! Sing! The 75th Anniversary of Benny Goodman’s Historic Carnegie Hall<br />
Concert: Ken Peplowski, Jay Leonhart, Ehud Asherie, Willie Jones III<br />
54 Below 7, 9 pm $25-35<br />
• Antoinette Montague Quintet NYC Baha’i Center 8, 9:30 pm $15<br />
• Jaimeo Brown’s Transcendence with JD Allen, Chris Sholar, Falu<br />
Drom 9:30 pm<br />
• Stan Killian Evoke Quintet with Mike Moreno, Benito Gonzales, Corcoran Holt,<br />
McClenty Hunter 55Bar 7 pm<br />
• Joe Fonda’s Old Bottle New Wine with Carlo Morena, Michelle Salgarello<br />
The Loft at 100 Greene Street 6th floor 7 pm<br />
• Jon Irabagon Trio with Sean Wayland, Shawn Baltazor<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Tineke Postma with Marc Van Roon, Fras Van Der Hoeven, Martijn Vink;<br />
Matt Geraghty Project with Misha Tsiganov, Richard Padron, Adriano Santos<br />
ShapeShifter Lab 8:15, 9:30 pm $10<br />
• Vince Ector’s Organatomy with Kyle Koehler, Yotam Silberstein, Bruce Williams<br />
Smoke 7, 9, 10:30 pm<br />
• Ben Holmes, Curtis Hasselbring, Marcus Rojas, Vinnie Sperrazza<br />
Barbès 7 pm $10<br />
• Luce Trio: Jon De Lucia, Ryan Ferreira, Chris Tordini<br />
Korzo 10:30 pm<br />
• Aubrey Johnson with Tomoko Omura, Michael Thomas, Chris Ziemba, Matt Aronoff,<br />
Jeremy Noller; Tammy Scheffer with Tomoko Omura, Davy Mooney<br />
Cornelia Street Café 8:30, 10:30 pm $10<br />
• Saul Rubin; Peter Brainin Fat Cat 7, 9 pm<br />
• Bryan and the Aardvarks: Fabian Almazan, Chris Dingman, Jesse Lewis,<br />
Bryan Copeland, Joe Nero Culture Project 7:30 pm<br />
• Spike Wilner Trio; The Smalls Legacy Band: Josh Evans, Frank Lacy, Stacy Dillard,<br />
Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends<br />
Smalls 7:30, 10 pm 12:30 am $20<br />
• Jeremy Siskind Jazz at Kitano 8 pm<br />
• Morrie Louden Group with Andrew Gould, Eitan Kenner, Brad Koegel<br />
Somethin’ Jazz Club 7 pm $10<br />
• Kevin Wang Trio Tomi Jazz 8 pm $10<br />
• Claire Martin with Steve Wilson, Nikolaj Hess, Peter Washington, Matt Wilson<br />
Dizzy’s Club 7:30, 9:30 pm $30<br />
• Jordan Petta Quintet Dizzy’s Club 11 pm $10<br />
• Eyal Vilner Quartet The Garage 6 pm<br />
Wednesday, May 15<br />
êChick Corea Festival: Edsel Gomez Cubist Music Band with Don Byron, Craig Handy,<br />
Sherman Irby, Stefan Livestro, Bruce Cox<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Jordan Petta Quintet Dizzy’s Club 11 pm $10<br />
êMichael Carvin Experience Iridium 8, 10 pm $30<br />
• Tribute to Bobby Short: Michael Feinstein, Tedd Firth, Andy Farber, Paula West,<br />
T. Oliver Reed, Barbara Carroll Allen Room 7 pm $55-65<br />
• Paloma Trio: Tony Malaby, Ben Monder, Nasheet Waits<br />
Barbès 8 pm $10<br />
• Bennett Paster Quintet with Tim Armacost, Alex Norris, Gregory Ryan, Willard Dyson Jr.<br />
Jazz at Kitano 8, 10 pm $10<br />
• Nikolaj Hess Quartet with Marc Mommaas, Tony Scherr, Kenny Wollesen<br />
Cornelia Street Café 8:30 pm $10<br />
• Doug Weiss Group; Nick Sanders Trio with Henry Fraser, Connor Baker<br />
Smalls 9:30 pm 12 am $20<br />
• Emmet Cohen Quartet Smoke 7, 9, 10:30 pm<br />
• Heavy Merge: Jason Rigby, Russ Lossing, Jeff Davis; Brad Shepik/Tom Beckham<br />
SEEDS 8:30, 10 pm<br />
• Raphael D’lugoff; Don Hahn Fat Cat 7, 9 pm<br />
• Vocal Summit: Beat Kaestli, Elisabeth Lohninger, Eliane Amherd, Dylan Pramuk,<br />
Vicki Burns; Kenny Shanker with Mike Eckroth, Yoshi Waki, Brian Fishler<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Andy Martinek Trio Tomi Jazz 8 pm $10<br />
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,<br />
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,<br />
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,<br />
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,<br />
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,<br />
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp<br />
Jazz Standard 7:30, 9:30 pm $25<br />
êUri Gurvich and BabEl with Leo Genovese, Peter Slavov, Francisco Mela<br />
The Stone 8, 10 pm $10<br />
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno<br />
and guest Joyce Birdland 8:30, 11 pm $30-40<br />
• Fabrizio Sotti with Tony Grey, Mino Cinelu and guests M1, RES, Claudia Acuña,<br />
Isabella Lundgren Blue Note 8, 10:30 pm $25<br />
• Nick Moran Trio The Garage 6 pm<br />
• Bob Dorough, Mary Foster Conklin, Giacomo Gates, Ronny Whyte, Boots Maleson,<br />
David Silliman Saint Peter’s 1 pm $10<br />
Thursday, May 16<br />
êChick Corea with Jazz at Lincoln Center Orchestra<br />
Rose Hall 8 pm $30-120<br />
• Ron Carter Trio with Russell Malone, Donald Vega<br />
Blue Note 8, 10:30 pm $45<br />
êKenny Garrett Iridium 8, 10 pm $35<br />
êChick Corea Festival: Elio Villafranca Group with Charnett Moffett, Joe Locke<br />
Dizzy’s Club 9:30, 11:30 pm $40<br />
• Jordan Petta Quintet Dizzy’s Club 12:30 am $10<br />
êJon Irabagon Trio with Mark Helias, Barry Altschul<br />
Cornelia Street Café 8:30 pm $10<br />
• Duane Eubanks Group; Carlos Abadie Quintet<br />
Smalls 9:30 pm 12 am $20<br />
êCuban Pak Collective: Roman Filiu, Rez Abbasi, Aruán Ortiz, Mike Sarin<br />
The Jazz Gallery 9, 10:30 pm $15<br />
• Karl Berger Orchestra; Carolina Brandes with Sean Nowell, Isamu Mcgregor,<br />
Bryan Ladd, Dave Pettirossi ShapeShifter Lab 8:15, 9:30 pm $10-15<br />
• Jennifer Leitham Trio with Deanna Witkowski, Scott Latzky<br />
Jazz at Kitano 8, 10 pm $10<br />
• Billy Kaye Quintet; Theo Hill Fat Cat 7, 10 pm<br />
• Asaf Kehati Trio with Ehud Ettun, Colin Stranahan<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Terry Cade Quartet with Bob Rodriguez, Ratzo Harris, Victor Jones;<br />
Troy Roberts Quartet with Konrad Paszkudzki, Eric England, Dag Markhus<br />
Somethin’ Jazz Club 7, 11 pm $10-12<br />
• Masami Ishikawa Organ Trio Cleopatra’s Needle 7 pm<br />
• Tribute to Bobby Short: Michael Feinstein, Tedd Firth, Andy Farber, Paula West,<br />
T. Oliver Reed, Barbara Carroll Allen Room 7, 9 pm $55-65<br />
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,<br />
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,<br />
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,<br />
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,<br />
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,<br />
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp<br />
Jazz Standard 7:30, 9:30 pm $25<br />
êUri Gurvich and BabEl with Leo Genovese, Peter Slavov, Francisco Mela and guest<br />
Brahim Fribgane The Stone 8, 10 pm $10<br />
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno<br />
and guest Joyce Birdland 8:30, 11 pm $30-40<br />
• Rick Stone Trio The Garage 6 pm<br />
Friday, May 17<br />
êA Great Night in Harlem: Quincy Jones, Jeffrey Wright, James Carter, Henry Butler,<br />
Steven Bernstein and the Kansas City Band, Don Byron, Nicholas Payton, Ivan Neville,<br />
Isfar Sarabski Trio Apollo Theater 7:30 pm $75-1,000<br />
êWill Calhoun Trio with Charnett Moffet, Marc Cary and guest Donald Harrison<br />
Blue Note 8, 10:30 pm $35<br />
êChick Corea Festival: Marcus Roberts solo; Alfredo Rodriguez Trio<br />
Dizzy’s Club 7:30, 10 pm $40<br />
• Jordan Petta Quintet Dizzy’s Club 11:30 pm $20<br />
êFriends of Chick Corea - Musicians of the Future: Gadi Lehavi and Beka Gochiashvili<br />
with Wallace Roney, John Patitucci, Marcus Gilmore<br />
Allen Room 7:30, 9:30 pm $55-65<br />
êLost Jazz Shrines - Bird – A World’s Eye View: Rudresh Mahanthappa with<br />
Matt Mitchell, François Moutin, Rudy Royston<br />
Tribeca Performing Arts Center 8:30 pm $25<br />
• Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza<br />
Cornelia Street Café 9, 10:30 pm $15<br />
• One For All: Eric Alexander, Steve Davis, Jeremy Pelt, David Hazeltine, David Williams,<br />
Joe Farnsworth Smoke 7, 9, 10:30 pm $35<br />
• Stephanie Nakasian/Hod O’Brien Generations with Veronica O’Brien, Daryl Johns,<br />
Evan Sherman Jazz at Kitano 8, 10 pm $25<br />
• Eva Cortez with Romain Collin, Mike Moreno, Luques Curtis, John Davis;<br />
Tim Green Group; Jeremy Manasia Smalls 7:30, 10:30 pm 1 am $20<br />
• Reggie Young Band with Garnet Walters, Jason Patterson; Mike Pope Elect-Tette<br />
Experience; Tyrone Birkett Group ShapeShifter Lab 8, 9:30 pm $10<br />
êLage Lund 4 with Glenn Zaleski, Orlando Le Fleming, Johnathan Blake<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Ben Monder Trio with Drew Gress, Ted Poor<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Jared Gold Fat Cat 1:30 am<br />
• Jeff King Jazz 966 8, 10 pm $15<br />
• Zach Layton The Firehouse Space 8 pm $10<br />
• Terry Vakirtzoglou; Rose Ellis Somethin’ Jazz Club 7, 9 pm $10<br />
• Kayo Hiraki Tomi Jazz 9 pm $10<br />
• Justin Wert Trio Cleopatra’s Needle 8 pm<br />
êChick Corea with Jazz at Lincoln Center Orchestra<br />
Rose Hall 8 pm $30-120<br />
êKenny Garrett Iridium 8, 10 pm $35<br />
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,<br />
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,<br />
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,<br />
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,<br />
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,<br />
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp<br />
Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
êTrio BabEl: Brahim Fribgane, Uri Gurvich, Tim Keiper<br />
The Stone 8, 10 pm $10<br />
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno<br />
and guest Joyce Birdland 8:30, 11 pm $30-40<br />
• Kyle Hernandez Quartet The Garage 6:15 pm<br />
Saturday, May 18<br />
• Harish Raghavan with Logan Richardson, Charles Altura, Taylor Eigsti<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Deborah Latz’ Fig Tree with Jon Davis, John Hart, Ray Parker, Willard Dyson;<br />
Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, John Lenis, Yutaka Uchida;<br />
James Robbins Quintet Somethin’ Jazz Club 7, 9, 11 pm $10-15<br />
• Etienne Charles Quintet Ginny’s Supper Club 7:30, 10 pm $20<br />
• Daniel Carter, Will Arvo, Federico Ughi<br />
Ibeam Brooklyn 8:30 pm $10<br />
• The Black Butterflies: Karl Berger, Mercedes Figueroas, Tony Larokko, Fred Berryhill,<br />
Bopa “King” Carre, Nick Gianni, Rick Bottari, Kenny Wolleson<br />
Brecht Forum 8 pm $20<br />
• Richard Padron; George Burton Fat Cat 7, 10 pm<br />
• Ed MacEachen Trio with Geoffrey Morrow, Joey Bracchitta<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Angeline Butler with Naoko Ono, Joan Ashley, Andrew “Tex” Allen, Amy Madden<br />
Zeb’s 8 pm $15<br />
• Kelvyn Bell Quartet Sistas’ Place 9, 10:30 pm $25<br />
• Youngjoo Song Trio Cleopatra’s Needle 8 pm<br />
êWill Calhoun Trio with Charnett Moffet, Marc Cary and guests Donald Harrison,<br />
Nicholas Payton Blue Note 8, 10:30 pm $35<br />
• Ron Jackson Band with Don Braden, Greg Lewis, Otis Brown III<br />
Blue Note 12:30 am $10<br />
êChick Corea Festival: Marcus Roberts solo; Alfredo Rodriguez Trio<br />
Dizzy’s Club 7:30, 10 pm $45<br />
• Jordan Petta Quintet Dizzy’s Club 11:30 pm $20<br />
êFriends of Chick Corea - Musicians of the Future: Gadi Lehavi and Beka Gochiashvili<br />
with Wallace Roney, John Patitucci, Marcus Gilmore<br />
Allen Room 7:30, 9:30 pm $55-65<br />
• Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza<br />
Cornelia Street Café 9, 10:30 pm $15<br />
• One For All: Eric Alexander, Steve Davis, Jeremy Pelt, David Hazeltine, David Williams,<br />
Joe Farnsworth Smoke 7, 9, 10:30 pm $35<br />
• Stephanie Nakasian/Hod O’Brien Generations with Veronica O’Brien, Daryl Johns,<br />
Evan Sherman Jazz at Kitano 8, 10 pm $25<br />
• Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, Eliot Zigmund;<br />
Tim Green Group; Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal<br />
Smalls 7:30, 10:30 pm 1 am $20<br />
êChick Corea with Jazz at Lincoln Center Orchestra<br />
Rose Hall 8 pm $30-120<br />
êKenny Garrett Iridium 8, 10 pm $35<br />
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,<br />
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,<br />
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,<br />
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,<br />
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,<br />
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp<br />
Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
êUri Gurvich and BabEl with Leo Genovese, Aidan Carroll, Eric Doob and guest<br />
Brahim Fribgane The Stone 8, 10 pm $10<br />
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno and<br />
guest Joyce Birdland 8:30, 11 pm $30-40<br />
• Larry Newcomb Trio; Mark Marino Trio<br />
The Garage 12, 6:15 pm<br />
DEBORAH LATZ<br />
FIG TREE out on May 7, 2013 on June Moon Productions<br />
JMP 30304 / Photo ©Todd Weinstein<br />
“Deborah is a beautiful singer and a great talent.<br />
Fig Tree is wonderful. Really wonderful!”<br />
— Sheila Jordan, 2012 NEA Jazz Master<br />
Fig Tree features Jon Davis, piano; John Hart, guitars;<br />
Ray Parker, bass; Willard Dyson, drums and special guests:<br />
Peter Apfelbaum, saxes, flutes, percussion and Abdoulaye<br />
Diabate, vox on ‘She Was’<br />
RELEASE GIGS:<br />
SOMETHIN’ JAZZ CLUB<br />
Saturday, May 18 / 7pm<br />
Deborah Latz, vox<br />
Jon Davis, piano<br />
John Hart, guitar<br />
Ray Parker, bass<br />
Willard Dyson, drums<br />
Reservations (212) 371-7657<br />
iTunes/Amazon.com/CD Baby<br />
Pre-release sales start April 23<br />
www.deborahlatz.com<br />
A wide-ranging and ambitious<br />
album — a beautiful voice<br />
moving from intimate to<br />
raucous to otherworldly —<br />
backed by a remarkable set<br />
of players — acid jazz,<br />
spellbinding ballads, songs in<br />
Portuguese and Greek.<br />
BAR NEXT DOOR<br />
Monday, June 10 /<br />
8:30 & 10:30pm<br />
Deborah Latz, vox<br />
Jon Davis, keyboard<br />
Ray Parker, bass<br />
Reservations (212) 529-5945<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 41
JAZZ at KITANO<br />
Music • Restaurant • Bar<br />
“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD<br />
LIVE JAZZ EVERY<br />
WEDNESDAY - SATURDAY<br />
$10 WED./THUR + $15 Minimum/Set.<br />
$25 FRI./SAT. + $15 Minimum/Set<br />
2 SETS 8:00 PM & 10:00 PM<br />
JAZZ BRUNCH EVERY SUNDAY<br />
TONY MIDDLETON TRIO<br />
11 AM - 2 PM • GREAT BUFFET - $35<br />
OPEN JAM SESSION MONDAY NIGHTS<br />
8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG<br />
YOUNG PIANIST SHOWCASE • 8 PM - 11 PM<br />
MAY 7, 14, 21 & 28 - JEREMY SISKIND<br />
WED. MAY 1<br />
MAYU SAEKI TRIO<br />
MAYU SAEKI, AARON GOLDBERG<br />
MATT PENMAN<br />
$10 COVER + $15 MINIMUM<br />
THURS. MAY 2<br />
YUKI SHIGENO QUARTET<br />
YUKI SHIGENA, DON FRIEDMAN<br />
HARVIE S, SHINNOSUKE TAKAHASI<br />
$10 COVER + $15 MINIMUM<br />
FRI. MAY 3<br />
E.J. STRICKLAND QUINTET<br />
E.J. STRICKLAND, MARCUS STRICKLAND<br />
GODWIN LOUIS, BENITO GONZALEZ, LUQUES CURTIS<br />
$25 COVER + $15 MINIMUM<br />
SAT. MAY 4<br />
GREG ABATE QUARTET<br />
GREG ABATE, DON FRIEDMAN<br />
HARVIE S, STEVE WILLIAMS<br />
$25 COVER + $15 MINIMUM<br />
WED. MAY 8<br />
JEREMY MANASIA TRIO<br />
JEREMY MANASIA, BARAK MORI, JASON BROWN<br />
$10 COVER + $15 MINIMUM<br />
THURS. MAY 9<br />
TAKESHI ASAI TRIO<br />
TAKESHI ASAI, DANIEL ORI, ROB GARCIA<br />
$10 COVER + $15 MINIMUM<br />
FRI. & SAT. MAY 10 & 11<br />
DON FRIEDMAN QUARTET<br />
DON FRIEDMAN, TIM ARMACOST<br />
PHIL PALOMBI, SHINNOSUKE TAKAHASI<br />
$25 COVER + $15 MINIMUM<br />
WED. MAY 15<br />
BENNETT PASTER QUINTET<br />
CD RELEASE EVENT<br />
“RELENTLESS PURSUIT OF THE BEAUTIFUL”<br />
BENNETT PASTER, TIM ARMACOST<br />
ALEX P. NORRIS, GREGORY RYAN, WILLARD DYSON JR.<br />
$10 COVER + $15 MINIMUM<br />
THURS. MAY 16<br />
JENNIFER LEITHAM TRIO<br />
JENNIFER LEITHAM, DEANNA WITKOWSKI, SCOTT LATZKY<br />
$10 COVER + $15 MINIMUM<br />
FRI. & SAT. MAY 17 & 18<br />
STEPHANIE NAKASIAN<br />
& HOD O'BRIEN GENERATIONS<br />
STEPHANIE NAKASIAN, VERONICA O'BRIEN<br />
HOD O'BRIEN, DARYL JOHNS, EVAN SHERMAN<br />
$25 COVER + $15 MINIMUM<br />
WED. MAY 22<br />
JAZZMEIA HORN QUARTET<br />
JAZZMEIA HORN, CHRIS PATTISHALL<br />
RUSSELL HALL, KYLE POOLE<br />
$10 COVER + $15 MINIMUM<br />
THURS. MAY 23<br />
BILLY TEST TRIO<br />
BILLY TEST, BORIS KOZLOV, TIM HORNER<br />
$10 COVER + $15 MINIMUM<br />
FRI. MAY 24<br />
TED NASH QUARTET<br />
TED NASH, RON HORTON<br />
PAUL SIKIVIE, ULYSSES OWENS<br />
$25 COVER + $15 MINIMUM<br />
SAT. MAY 25<br />
RONNY WHYTE TRIO<br />
RONNY WHYTE, BOOTS MALESON, TBA - DRUMS<br />
$25 COVER + $15 MINIMUM<br />
WED. MAY 29<br />
EMMA LARSSON QUARTET<br />
EMMA LARSSON, XAVIER DAVIS<br />
MARCOS VARELA, JEROME JENNINGS<br />
$10 COVER + $15 MINIMUM<br />
THURS. MAY 30<br />
ANGELA DAVIS QUARTET<br />
CD RELEASE EVENT “THE ART OF THE MELODY”<br />
ANGELA DAVIS, CHRIS ZIEMBA<br />
PHIL KUEHN, RAJIV JAYAWEERA<br />
$10 COVER + $15 MINIMUM<br />
FRI. & SAT. MAY 31 & JUNE 1<br />
MIKE DIRUBBO QUINTET<br />
MIKE DI RUBBO, STEVE DAVIS<br />
BRIAN CHARETTE, DWAYNE BURNO, JOE FARNSWORTH<br />
$25.00 COVER + $15.00 MINIMUM<br />
RESERVATIONS - 212-885-7119<br />
VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork<br />
www.kitano.com • email: jazz@kitano.com ò 66 Park Avenue @ 38th St.<br />
42 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
Sunday, May 19<br />
êBurton Greene Trio with Adam Lane, Lou Grassi<br />
The Firehouse Space 8 pm $10<br />
êChick Corea Festival: Henry Cole and the Afrobeat Collective<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Steven Lugerner with Stephanie Richards, Glenn Zaleski, Matt Wilson<br />
Cornelia Street Café 8:30 pm $10<br />
• Tribute to Jayne Cortez: Mariposa/Ras Moshe; Bern Nix Trio; Patricia Spears Jones/<br />
Jason Kao Hwang; Bill Cole’s Untempered Ensemble with Warren Smith, Joe Daley,<br />
Althea SullyCole, Shayna Dulberger, Lisette Santiago, Ras Moshe<br />
Brecht Forum 4 pm<br />
• David Ullman Trio with Gary Wang, Vinnie Sperrazza<br />
Bar Next Door 8, 10 pm $10<br />
• John Merrill Trio; Lezlie Harrison Duo; Ned Goold Trio<br />
Smalls 4:30, 7:30, 11:30 pm $20<br />
• Terry Waldo; Alexi David Fat Cat 6, 9 pm<br />
• Alysa Haas with Jeffrey Klitz, Paul Beaudry, Tony Jefferson; Abbe Buck<br />
Metropolitan Room 7, 9:30 pm $20<br />
• Benjamin Drazen Sarnecki Project ShapeShifter Lab 8:15, 9:30 pm $10<br />
• La Voz de Tres: Mike Eckroth, Jason Ennis, Natalia Bernal<br />
Terraza 7 9:30 pm<br />
• Hiroko Kanna Quartet with Nori Ochiai, John Lenis, Kentato Nakayama<br />
Somethin’ Jazz Club 7 pm $10-12<br />
• Ras Chemash Lamed with Sarah Slonim, Tyler Mitchell, Bernard Linnette<br />
University of the Streets 7 pm $20<br />
• John Wriggle Orchestra Shrine 8 pm<br />
êWill Calhoun Trio with Charnett Moffet, Marc Cary and guests Donald Harrison,<br />
Nicholas Payton Blue Note 8, 10:30 pm $35<br />
êKenny Garrett Iridium 8, 10 pm $35<br />
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,<br />
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,<br />
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,<br />
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,<br />
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,<br />
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp<br />
Jazz Standard 7:30, 9:30 pm $25<br />
êUri Gurvich and BabEl with Leo Genovese, Aidan Carroll, Eric Doob and guest<br />
George Garzone The Stone 8, 10 pm $10<br />
• Dorian Devins Trio with Lou Rainone, Tom Hubbard<br />
Amelie NY 6 pm<br />
• Arturo O’Farrill Saint Peter’s 5 pm<br />
• Perez Perez Jazz 3 pm $20<br />
• Juilliard Jazz Brunch Blue Note 12:30, 2:30 pm $29.50<br />
• Roz Corral Trio with Dave Stryker, Chris Berger<br />
North Square Lounge 12:30, 2 pm<br />
• Alex Layne; David Coss Quartet The Garage 11:30 am 7 pm<br />
Monday, May 20<br />
êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25<br />
• Caleb Chapman’s Crescent Superband, Voodoo Orchestra and La Onda Caribeña with<br />
guest Wycliffe Gordon Dizzy’s Club 7:30, 9:30 pm $35<br />
• New York Youth Symphony with guest Phil Woods<br />
Allen Room 7:30 pm $20<br />
êGeorge Braith Fat Cat 9 pm<br />
• Adam Rudolph’s GO: Organic Orchestra<br />
ShapeShifter Lab 8 pm $15<br />
êIngrid Laudbrock/Tom Rainey; Daniel Levin Quartet with Russ Lossing, Max Johnson,<br />
JP Carletti Sycamore 8:30, 9:30 pm<br />
• Charles Downs Centipede with Michael Moss, Ras Moshe, Pascal Niggenkemper,<br />
Billy Stein; See Something Say Something: Michael Foster, Daniel Carter, Gene Janas,<br />
Eric Silberberg, Marc Edwards JACK 8 pm<br />
• Mike Moreno Group with Justin Brown; Spencer Murphy<br />
Smalls 10 pm 12:30 am $20<br />
• Sean Smith and the DC Connection with Paul Bollenback, Steve Williams<br />
55Bar 7 pm<br />
• Nathan Parker Smith Ensemble Tea Lounge 9, 10:30 pm<br />
• Double Bass, Double Voice: Nancy Harms, Emily Braden, Steve Whipple<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Angela Roberts Zinc Bar 7 pm<br />
• icQk: Bobbie Lee Crow III, Annette Homann, Chris Lijoi, Jon Lijoi, Yuko Yamamura,<br />
Luke Schwartz, Dmitri Moderbacher, Jessie Nelson, Katherine Wright; Dorian Wallace<br />
Big Band Somethin’ Jazz Club 7, 9 pm $10<br />
• Yoo Sun Nam Trio Tomi Jazz 8 pm $10<br />
• Howard Williams Jazz Orchestra; Kenny Shanker Quartet<br />
The Garage 7, 10:30 pm<br />
• Cyrille Aimée Drom 6 pm $50-70<br />
Tuesday, May 21<br />
êBarry Harris Trio with Ray Drummond, Leroy Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,<br />
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,<br />
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle<br />
The Stone 8, 10 pm $10<br />
• Noah Preminger Quartet with Ben Monder, Matt Pavolka, Colin Stranahan and<br />
guest Alison Wedding Jazz Standard 7:30, 9:30 pm $20<br />
• Bill Charlap Trio with Peter Washington, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Brian McKnight and The Duke Ellington Orchestra<br />
Blue Note 8, 10:30 pm $65<br />
• Jane Monheit Birdland 8:30, 11 pm $30-40<br />
• Mike Longo’s NY State of the Art Jazz Ensemble with Ira Hawkins<br />
NYC Baha’i Center 8, 9:30 pm $15<br />
• Karrin Allyson Quartet 54 Below 7, 9 pm $25-35<br />
êMichael Ray, Knoel Scott, Bruce Edwards, Tyler Mitchell, Craig Holiday Haynes<br />
Drom 8 pm $15<br />
• Voice Box: Jo Lawry/Matt Aronoff; Yoon Sun Choi/Jacob Sacks<br />
Cornelia Street Café 8:30, 10 pm $10<br />
• Aural Dystopia: Chris Pitsiokos Group; Joe Merolla/Sandy Ewen; Ron Anderson,<br />
Stuart Popejoy, Michael Evans; Weasel Walter Group<br />
JACK 8 pm<br />
• Carol Morgan Trio with John Merrill, Corin Stigall<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Spike Wilner Trio; The Smalls Legacy Band: Josh Evans, Frank Lacy, Stacy Dillard,<br />
Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends<br />
Smalls 7:30, 10 pm 12:30 am $20<br />
• Saul Rubin; Nu D’Lux Fat Cat 7, 9 pm<br />
• Jeremy Siskind Jazz at Kitano 8 pm<br />
êLarry Corban with Harvie S, Steve Williams; Matthew Garrison’s CodeName with<br />
Mike Finoia, Nick Consul, George Delancey, Ryan Cavan<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Greg Merritt Tomi Jazz 8 pm $10<br />
• Eve Sicular Metropolitan Klezmer Stephen Wise Free Synagogue 7:30 pm $15<br />
• Nue Jazz Project The Garage 6 pm<br />
• Asako Takasaki; Jaclyn Rese Shrine 6, 9 pm<br />
Wednesday, May 22<br />
êMike Pride’s From Bacteria to Boys with Jon Irabagon, Alexis Marcelo, Peter Bitenc<br />
and guest Jonathan Moritz Greenwich House Music School 8 pm $15<br />
êBurton Greene solo Spectrum 7 pm<br />
êShoko Nagai/Satoshi Takeishi ShapeShifter Lab 8 pm $10<br />
• Taylor Eigsti with Harish Raghavan, Nate Smith; Glenn Zaleski with Noah Preminger,<br />
Matt Clohesy, Colin Stranahan Smalls 9:30 pm 12 am $20<br />
êRaphael D’lugoff; Sheryl Bailey Quartet with Jim Ridl, Andy McKee, Joe Strasser<br />
Fat Cat 7, 9 pm<br />
• Will McEvoy’s Mutasm with Brad Henkel, Nathaniel Morgan, Patrick Breiner,<br />
Dustin Carlson, Cody Brown Barbès 8 pm $10<br />
• Jazzmeia Horn Quartet with Chris Pattishall, Russell Hall, Kyle Poole<br />
Jazz at Kitano 8, 10 pm $10<br />
• Tyler Mitchell Quintet Smoke 7, 9, 10:30 pm<br />
• The Hot Sardines Joe’s Pub 9:30 pm $15<br />
• Matt Parker with Julio Monterrey, Josh Mease, Jesse Elder, Alan Hampton,<br />
Reggie Quinerly Cornelia Street Café 8:30 pm $10<br />
• Trismegistus: Joe Moffett, Ben Gerstein, Sean Ali, Devin Gray<br />
Douglass Street Music Collective 8 pm $10<br />
• Noah Garabedian with Evan Hughs, Kenny Warren, Curtis MacDonald, Kyle Wilson,<br />
Raffi Garabedian; Maria Grand Trio SEEDS 8:30, 10 pm<br />
• Syoko with Toru Yamashito Trio Somethin’ Jazz Club 7, 9 pm $10<br />
• Jon Di Fiore Trio Tomi Jazz 8 pm $10<br />
• Stan Killian Jam The Backroom 11:30 pm<br />
êBarry Harris Trio with Ray Drummond, Leroy Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• The Westerlies: Zubin Hensler, Riley Mulherkar, Andy Clausen, Willem de Koch;<br />
Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,<br />
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,<br />
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle<br />
The Stone 8, 10 pm $10<br />
• Noah Preminger Quartet with Ben Monder, Matt Pavolka, Colin Stranahan and<br />
guest Alison Wedding Jazz Standard 7:30, 9:30 pm $20<br />
• Bill Charlap Trio with Peter Washington, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Brian McKnight and The Duke Ellington Orchestra<br />
Blue Note 8, 10:30 pm $65<br />
• Jane Monheit Birdland 8:30, 11 pm $30-40<br />
• John Raymond Quartet The Garage 6 pm<br />
• Akiko Tsuruga Saint Peter’s 1 pm $10<br />
Thursday, May 23<br />
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.<br />
Jazz Standard 7:30, 9:30 pm $30<br />
• Miles Davis Festival: Randy Brecker and Steve Smith<br />
Iridium 8, 10 pm $35<br />
• Jason Yeager/Andrew Mulherkar Cornelia Street Café 6 pm<br />
êOpen Loose: Mark Helias, Tony Malaby, Tom Rainey<br />
Cornelia Street Café 8:30 pm $10<br />
• Nat Adderley Jr. Quartet with Don Braden, Kenny Davis, Vince Ector<br />
Ginny’s Supper Club 7:30, 10 pm $20<br />
• Carlo DeRosa’s Cross Fade with Mark Shim, Luis Perdomo, Rudy Royston;<br />
Dave Allen Quartet with John O’Gallagher, Drew Gress, Mark Ferber<br />
ShapeShifter Lab 8:30, 9:30 pm $10<br />
• Billy Test Trio with Boris Kozlov, Tim Horner<br />
Jazz at Kitano 8, 10 pm $10<br />
• Taylor Eigsti Trio with Larry Grenadier, Kendrick Scott; Emmet Cohen<br />
Smalls 9:30 pm 12 am $20<br />
• Nils Weinhold Quintet with Adam Larson, Fabian Almazan, Bastian Weinhold<br />
The Jazz Gallery 9, 10:30 pm $15<br />
• Grant Stewart; Point Of Departure Fat Cat 7, 10 pm<br />
• Patrick Cornelius Trio with Jared Gold, Ulysses Owens<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Trystero: David Kulma, Dorian Wallace, Carl Limbacher, Max Maples, Diane Skerbec,<br />
Roberto Meza; New York Bakery Connection: Antonello Parisi, Joseph Han, Luiz Ebert<br />
and guest Bob Franceschini Somethin’ Jazz Club 9, 11 pm $10-15<br />
• Yuko Ito Trio Tomi Jazz 9 pm $10<br />
• Matt Baker Trio Cleopatra’s Needle 7 pm<br />
êBarry Harris Trio with Ray Drummond, Leroy Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,<br />
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,<br />
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle;<br />
Wayne Horvitz and Sweeter Than the Day with Geoff Harper, Eric Eagle<br />
The Stone 8, 10 pm $10<br />
• Bill Charlap Trio with Peter Washington, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Brian McKnight and The Duke Ellington Orchestra<br />
Blue Note 8, 10:30 pm $65<br />
• Sally Night with Jon Davis, Dezron Douglas, Steve Williams<br />
Birdland 6 pm $20<br />
• Jane Monheit Birdland 8:30, 11 pm $30-40<br />
• Dylan Meek Trio The Garage 6 pm<br />
êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr.<br />
92nd Street Y 10, 11:15 am<br />
Friday, May 24<br />
êMiles Davis Festival: Jimmy Cobb Kind of Blue Sextet with Javon Jackson,<br />
Justin Robinson, Eddie Henderson, Mike LeDonne, Buster Williams<br />
Smoke 7, 9, 10:30 pm $35<br />
êMike Reed’s People, Places & Things with Greg Ward, Tim Haldeman, Jason Roebke<br />
Cornelia Street Café 9, 10:30 pm $15<br />
êTed Nash Quartet with Ron Horton; Ulysses Owens<br />
Jazz at Kitano 8, 10 pm $25<br />
êRalph Alessi and This Against That with Tony Malaby, Andy Milne, Drew Gress,<br />
Mark Ferber The Jazz Gallery 9, 10:30 pm $20<br />
• Tad Shull Quartet; Steve Davis Sextet with Mike DiRubbo, Josh Bruneau, Larry Willis,<br />
Nat Reeves, Billy Williams Smalls 7:30, 10:30 pm 1 am $20<br />
êBrian Charette Organ Trio with Will Bernard, Jordan Young; Cory Henry<br />
ShapeShifter Lab 8:15, 9:30 pm $10<br />
• Federico Ughi Quartet with Dave Schnug, Kirk Knuffke, Dan Fabricatore<br />
Ibeam Brooklyn 8:30 pm $10<br />
• Nick Moran Trio with Brad Whiteley, Chris Benham<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Underground Horns Nublu 11:45 pm<br />
• Ben Solomon; Diallo House Fat Cat 6, 10:30 pm<br />
• Banda Magda Joe’s Pub 9:30 pm $18<br />
• Rob Schwimmer solo Bargemusic 8 pm $25<br />
• Mack Goldsbury Quartet with Herb Robertson, Erik Unsworth, Lou Grassi<br />
The Firehouse Space 8 pm $10<br />
• Ricardo St. Louis/Ken Simon Jazz 966 8, 10 pm $15<br />
• Hye-Jeung with Nitzan Gavrieli, Filip Novosel, Yoshiki Yamada, Zan Tetickovic;<br />
Somethin’ Vocal with Matt Baker Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Tomoyasu Ikuta Tomi Jazz 9 pm $10<br />
• Dona Carter Quartet Cleopatra’s Needle 8 pm<br />
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.<br />
Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
• Miles Davis Festival: Randy Brecker and Steve Smith<br />
Iridium 8, 10 pm $35<br />
êBarry Harris Trio with Ray Drummond, Leroy Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,<br />
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,<br />
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle; The Westerlies:<br />
Zubin Hensler, Riley Mulherkar, Andy Clausen, Willem de Koch<br />
The Stone 8, 10 pm $10<br />
• Bill Charlap Trio with Peter Washington, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• The Duke Ellington Orchestra Blue Note 8, 10:30 pm $45<br />
• Michael Feinberg Quintet with Dayna Stephens, Tivon Pennicott, Jean-Michel Pilc,<br />
Ian Froman Blue Note 12:30 am $10<br />
• Jane Monheit Birdland 8:30, 11 pm $30-40<br />
• Joel Perry Trio; Kevin Dorn and the BIG 72<br />
The Garage 6, 10:45 pm<br />
êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr.<br />
92nd Street Y 10, 11:15 am
Saturday, May 25<br />
êMark Soskin Trio with Jerome Harris, Satoshi Takeishi; Jeff Galindo/Marc Phaneuf<br />
Quartet with John Lockwood, Bob Gullotti and guest George Garzone;<br />
The Fringe: George Garzone, John Lockwood, Bob Gullotti<br />
ShapeShifter Lab 7, 8:15, 9:30 pm $10<br />
êQueens Jazz Orchestra led by Jimmy Heath<br />
Flushing Town Hall 8 pm $40<br />
• Kurt Rosenwinkel solo Le Poisson Rouge 7:30 pm $25<br />
• Jay Hoggard Ginny’s Supper Club 7:30, 10 pm $20<br />
• Dan Weiss Trio with Eivind Opsvik, Jacob Sacks<br />
Cornelia Street Café 9, 10:30 pm $15<br />
• Ronny Whyte Trio with Boots Maleson<br />
Jazz at Kitano 8, 10 pm $25<br />
• Leif Arntzen Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis and<br />
with EMEFE Nublu 10 pm $10<br />
êSam Newsome solo; Roberta Piket solo; Billy Mintz solo<br />
Ibeam Brooklyn 8 pm $10<br />
• Vanderlei Pereira’s Blindfold Test Fat Cat 7 pm<br />
• Adriano Santos Trio with Richard Padron, Eduardo Belo<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Danny Jonokuchi Metropolitan Room 11:30 pm $20<br />
• Louis Armstrong Tribute: “Hot Lips” Joey Morant and Catfish Stew<br />
Lucille’s at BB King’s Blues Bar 8 pm $20<br />
• Brad Clymer Trio; Brett Sandler Trio with Peter Longofono, Adam Pin<br />
Somethin’ Jazz Club 7, 9 pm $7-10<br />
• Daniel Bennett Group; Wafoo Tomi Jazz 8, 11 pm $10<br />
• Ray Blue Quartet Cleopatra’s Needle 8 pm<br />
êMiles Davis Festival: Jimmy Cobb Kind of Blue Sextet with Javon Jackson,<br />
Justin Robinson, Eddie Henderson, Mike LeDonne, Buster Williams<br />
Smoke 7, 9, 10:30 pm $35<br />
êRalph Alessi and This Against That with Tony Malaby, Andy Milne, Drew Gress,<br />
Mark Ferber The Jazz Gallery 9, 10:30 pm $20<br />
• Chris Byars Quintet; Steve Davis Sextet with Mike DiRubbo, Josh Bruneau, Larry Willis,<br />
Nat Reeves, Billy Williams; Philip Harper<br />
Smalls 7:30, 10:30 pm 1 am $20<br />
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.<br />
Jazz Standard 7:30, 9:30, 11:30 pm $30<br />
• Miles Davis Festival: Randy Brecker and Steve Smith<br />
Iridium 8, 10 pm $35<br />
êBarry Harris Trio with Ray Drummond, Leroy Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Wayne Horvitz and Sweeter Than the Day with Geoff Harper, Eric Eagle; Wayne Horvitz<br />
and the Royal Room Collective Music Ensemble with Steve O’Brien,<br />
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,<br />
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle<br />
The Stone 8, 10 pm $10<br />
• Bill Charlap Trio with Peter Washington, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $45<br />
• The Duke Ellington Orchestra Blue Note 8, 10:30 pm $45<br />
• Jane Monheit Birdland 8:30, 11 pm $30-40<br />
• Marsha Heydt Quartet; Champian Fulton Quartet; Virginia Mayhew Quartet<br />
The Garage 12, 6, 10:15 pm<br />
Sunday, May 26<br />
• Keystone Korner Presents: Neal Smith Quintet with Renee Rosnes, Steve Nelson,<br />
Billy Pierce, Joe Sanders Iridium 8, 10 pm $35<br />
• Ben Meigners Group; Yaala Ballin Duo; Smalls Family Jam Session<br />
Smalls 4:30, 7:30, 11:30 pm $20<br />
• Benjamim Taubkin/Rogério Boccato Cornelia Street Café 8:30 pm $10<br />
HARVIE S<br />
STEVE<br />
WILLIAMS STEVE<br />
Live at<br />
May 21<br />
2013<br />
S<br />
WILLIAMS<br />
Somethin’<br />
Jazz Club<br />
7:00 - 8:45pm<br />
212 E. 52nd St. 3Fl.<br />
(btw/ 2nd & 3rd Ave.)<br />
New York, NY 10022<br />
212 - 371 - 7657<br />
$12 Cover Charge<br />
“ THE CIRCLE STARTS HERE ”<br />
On Sale Now<br />
www.larrycorban.com<br />
With<br />
• Peter Mazza Trio with Misha Tsiganov, Marco Panascia<br />
Bar Next Door 8, 10 pm $10<br />
• Swingadelic Swing 46 8:30 pm<br />
• Joe Benjamin and a Mighty Handful; Florencia Gonzalez Candombe Project with<br />
Kerry Mackillop, Michael Boscarino, Martin Giorgieff, Mariana Iranzi, Franco Pinna<br />
Somethin’ Jazz Club 7, 9 pm $10<br />
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.<br />
Jazz Standard 7:30, 9:30 pm $30<br />
êBarry Harris Trio with Ray Drummond, Leroy Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,<br />
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,<br />
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle<br />
The Stone 8, 10 pm $10<br />
• Bill Charlap Trio with Peter Washington, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• The Duke Ellington Orchestra Blue Note 8, 10:30 pm $45<br />
• Jesse Dulman/Jason Candler; Shayna Dulberger/Yoni Kretzmer<br />
Downtown Music Gallery 6, 7 pm<br />
• Ehud Asherie Trio Fat Cat 6 pm<br />
• Tony Jefferson Saint Peter’s 5 pm<br />
• Amy Cervini’s Jazz Kids! 55Bar 2 pm $5<br />
• Michika Fukumori Trio Blue Note 12:30, 2:30 pm $29.50<br />
• Roz Corral Trio with Yotam Silberstein, Boris Kozlov<br />
North Square Lounge 12:30, 2 pm<br />
• Iris Ornig; David Coss Quartet The Garage 11:30 am 7 pm<br />
Monday, May 27<br />
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25<br />
êOrrin Evans Blue Note 8, 10:30 pm $15<br />
• Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $35<br />
• Hans Glawischnig Trio; Bernstein Quartet with Donald Vega, Dezron Douglas,<br />
Billy Drummond; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20<br />
êEvind Opsvik solo; JP Carletti Trio with Tony Malaby, Chris Hoffman<br />
Sycamore 8:30, 9:30 pm<br />
• Mike Fahie Jazz Orchestra Tea Lounge 9, 10:30 pm<br />
• Dorian Devins Trio with Lou Rainone, Tom Hubbard<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Marvin Parks Zinc Bar 7 pm<br />
• Lottie and the Manatee: Lottie Prenevost, Peter van Reesema, James Alexander,<br />
Corey Critchfield, Michael Koss, Kaci Friss; Bob Gingery Group with Jon Irabagon,<br />
Mike Baggetta, Mark Ferber Somethin’ Jazz Club 7, 9 pm $7-12<br />
• Antonello Parisi Trio Tomi Jazz 8 pm $10<br />
• Eyal Vilner Big Band The Garage 7 pm<br />
Tuesday, May 28<br />
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,<br />
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,<br />
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,<br />
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,<br />
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson<br />
Blue Note 8, 10:30 pm $35<br />
• Eliane Elias Birdland 8:30, 11 pm $30-40<br />
• Bill Charlap Trio with Ron Carter, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen<br />
54 Below 7, 9:30 pm $85-95<br />
êRicardo Gallo’s Tierra De Nadie with Ray Anderson, Dan Blake, Mark Helias,<br />
Pheeroan akLaff, Satoshi Takeishi ShapeShifter Lab 8:15 pm $15<br />
• Max Johnson Trio with Kirk Knuffke, Ziv Ravitz<br />
Korzo 9 pm<br />
• Kristin Andreassen with Stephanie Coleman, Jacob Silver, Robin MacMillan<br />
Cornelia Street Café 8:30 pm $10<br />
• Nobuki Takamen Trio with Daniel Foose, Yutaka Uchida<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Saul Rubin; Itai Kriss All-Stars Fat Cat 7, 9 pm<br />
• Spike Wilner Trio; Seamus Blake Group; Kyle Poole and Friends<br />
Smalls 7:30, 10 pm 12:30 am $20<br />
• Jeremy Siskind Jazz at Kitano 8 pm<br />
• Elaine Watts/Susan Watts Band Stephen Wise Free Synagogue 7:30 pm $15<br />
• Michael Blanco Quintet with John Ellis, Jonathan Kreisberg, Adam Birnbaum,<br />
Colin Stranahan; Axel’s Axiom: Axel Schwintzer, Aaron Henry, Aurelien Budynek,<br />
Evan Gregor, Marko Djordjevic Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Kevin Wang Trio Tomi Jazz 8 pm $10<br />
• Paul Francis Trio The Garage 7 pm<br />
• The New York Bakery Connection Shrine 6 pm<br />
Wednesday, May 29<br />
• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly,<br />
Kendrick Scott Jazz Standard 7:30, 9:30 pm $30<br />
êKeystone Korner Presents: Marcus Strickland Quartet with David Bryant, Ben Williams,<br />
EJ Strickland Iridium 8, 10 pm $30<br />
êGerald Cleaver Black Host with Darius Jones, Cooper Moore, Brandon Seabrook,<br />
Pascal Niggenkemper SEEDS 8:30 pm<br />
êBrooklyn Jazz Underground Festival: Owen Howard’s Drum Lore with Adam Kolker,<br />
John O’Gallagher, Frank Carlberg, Aidan O’Donnell; Tammy Scheffer Sextet with<br />
John O’Gallagher, Dan Pratt, Chris Ziemba, Daniel Foose, Ronen Itzik; Rob Garcia 4<br />
with Noah Preminger, Joe Martin Smalls 9:30 pm $20<br />
êChris Lightcap’s Bigmouth with Chris Cheek, Tony Malaby, Craig Taborn, Ches Smith<br />
Cornelia Street Café 8:30 pm $10<br />
• Andrew Lafkas with Barry Weisblat, Adam Diller, Tucker Dulin, Karen Waltuch,<br />
Jason Brogan, Ron Stabinsky, Leif Sundstrom, Sean Meehan<br />
Roulette 8 pm $15<br />
• Dan Arcamone, Sean Nowell, Rich Zurkowski, Marko Djordjevic; Dan Willis And<br />
The Velvet Gentlemen with Pete McCann, Ron Oswanski, Kermit Driscoll,<br />
John Hollenbeck ShapeShifter Lab 8:15, 9:30 pm $8-10<br />
• Noah Garabedian, Jacob Sacks, Vinnie Sperrazza and guest<br />
Barbès 8 pm $10<br />
• Emma Larsson Quartet with Xavier Davis, Marcos Varela, Jerome Jennings<br />
Jazz at Kitano 8, 10 pm $10<br />
êCharlie Kohlhase’s Saxophone Support Group; Roman Rofalski Trio<br />
Douglass Street Music Collective 8 pm<br />
• Donald Malloy Ginny’s Supper Club 7:30, 10 pm $20<br />
• Radam Schwartz Trio Fat Cat 9 pm<br />
• Paula Jaakkola with Saku Nousiainen, Stephen Purcell; Ece Goksu Quintet with<br />
Uri Gurvich, Can Cankaya, Scott Colberg, Arthur Vint<br />
Somethin’ Jazz Club 7, 9 pm $10-12<br />
• Miki Yamanaka Duo Tomi Jazz 8 pm $10<br />
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,<br />
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,<br />
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,<br />
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,<br />
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson<br />
Blue Note 8, 10:30 pm $35<br />
• Eliane Elias Birdland 8:30, 11 pm $30-40<br />
• Bill Charlap Trio with Ron Carter, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen<br />
54 Below 7, 9:30 pm $85-95<br />
• Joe Farnsworth Quartet with Josh Evans, David Kikoski, Dwayne Burno<br />
Smoke 7, 9, 10:30 pm<br />
• Rob Edwards Quartet The Garage 6 pm<br />
• Chris Gines, Ronny Whyte, Boots Maleson<br />
Saint Peter’s 1 pm $10<br />
Wed, May 1 PETROS KLAMPANIS’ CONTEXTUAL 8:30PM<br />
Gilad Hekselman, Jean-Michel Pilc, John Hadfield, Maria Im,<br />
Maria Manousaki, Matt Sinno, Yoed Nir<br />
Thu, May 2 40TWENTY 8:30PM<br />
Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza<br />
JESSE STACKEN QUARTET 10PM<br />
Tony Malaby, Sean Conly, Ted Poor<br />
Fri, May 3 ELLERY ESKELIN QUARTET 9PM & 10:30PM<br />
Jacob Sacks, Brad Jones, Tyshawn Sorey<br />
Sat, May 4 SECRET KEEPER 9PM & 10:30PM<br />
Mary Halvorson, Stephan Crump<br />
Sun, May 5 MOTIONS 8:30PM<br />
Chris Dingman, Kaoru Watanabe, Tim Keiper, Matt Kilmer<br />
Mon, May 6 AMRAM & CO 8:30PM<br />
David Amram, Kevin Twigg, John de Witt, Adam Amram<br />
Wed, May 8 NATE RADLEY QUARTET 8:30PM<br />
Loren Stilman, Matt Pavolka, Ted Poor<br />
Fri, May 10 JACOB SACKS QUARTET 9PM & 10:30PM<br />
Ellery Eskelin, Michael Formanek, Dan Weiss<br />
Sat, May 11 BEN ALLISON PLAYS<br />
THE MUSIC OF JIM HALL 9PM & 10:30PM<br />
Steve Cardenas, Ted Nash<br />
Tue, May 14 VOXIFY: AUBREY JOHNSON 8:30PM<br />
Tomoko Omura, Michael Thomas, Chris Ziemba,<br />
Matt Aronoff, Jeremy Noller<br />
VOXIFY: TAMMY SCHEFFER 10:30PM<br />
Tomoko Omura, Davy Mooney<br />
Nicky Schrire, host<br />
Wed, May 15 NIKOLAJ HESS QUARTET -<br />
CD RELEASE: TRIO 8:30PM<br />
Marc Mommaas, Tony Scherr, Kenny Wollesen<br />
Thu, May 16 JON IRABAGON TRIO 8:30PM<br />
Mark Helias, Barry Altschul<br />
Fri, May 17 HUSH POINT WITH JOHN MCNEIL & JEREMY UDDEN -<br />
Sat, May 18 CD RELEASE PARTY 9PM & 10:30PM<br />
Aryeh Kobrinski, Vinnie Sperrazza<br />
Sun, May 19 STEVEN LUGERNER -<br />
CD RELEASE: FOR WE HAVE HEARD 8:30PM<br />
Stephanie Richards, Glenn Zaleski, Matt Wilson<br />
Tue, May 21 VOICE BOX: JO LAWRY 8:30PM<br />
Matt Aronoff<br />
VOICE BOX: YOON SUN CHOI/JACOB SACKS DUO 10PM<br />
Sara Serpa, Host<br />
Wed, May 22 MATT PARKER -<br />
CD RELEASE: WORLDS PUT TOGETHER 8:30PM<br />
Julio Monterrey, Josh Mease, Jesse Elder,<br />
Jimmy Sutherland, Alan Hampton, Reggie Quinerly<br />
Thu, May 23 JASON YEAGER AND ANDREW MULHERKAR DUO:<br />
THE MUSIC OF STRAYHORN AND ELLINGTON 6PM<br />
OPEN LOOSE 8:30PM<br />
Mark Helias, Tony Malaby, Tom Rainey<br />
Fri, May 24 MIKE REED’S PEOPLE, PLACES & THINGS<br />
9PM & 10:30PM<br />
Greg Ward, Tim Haldeman, Jason Roebke<br />
Sat, May 25 DAN WEISS TRIO 9PM & 10:30PM<br />
Eivind Opsvik, Jacob Sacks<br />
Sun, May 26 NEW BRAZILIAN PERSPECTIVES:<br />
BENJAMIM TAUBKIN 8:30PM<br />
Rogério Boccato; Billy Newman, host.<br />
Tue, May 28 BOTH SIDES NOW: KRISTIN ANDREASSEN 8:30PM<br />
Stephanie Coleman, Jacob Silver, Robin MacMillan<br />
Talia Billig, host<br />
Wed, May 29 CHRIS LIGHTCAP - BIGMOUTH 8:30PM<br />
Thu, May 30 Chris Cheek, Tony Malaby, Craig Taborn, Ches Smith<br />
Fri, May 31 DAVE LIEBMAN QUINTET 9PM & 10:30PM<br />
Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 43
Thursday, May 30<br />
êMicroscopic Septet: Phillip Johnston, Joel Forrester, Don Davis, Mike Hashim,<br />
Dave Sewelson, David Hofstra, Richard Dworkin<br />
Joe’s Pub 7:30 pm $20<br />
êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Chris Tordini, Johnathan Blake<br />
ShapeShifter Lab 7 pm $15<br />
• Jerome Sabbagh Quartet with Adam Rogers, Joe Martin, Ted Poor<br />
The Jazz Gallery 9, 10:30 pm $15<br />
• Curtis Macdonald Quartet with David Virelles, Harish Raghavan, Adam Jackson,<br />
Greenwich House Music School 8 pm $12<br />
• Angela Davis Quartet with Chris Ziemba, Phil Kuehn, Rajiv Jayaweera<br />
Jazz at Kitano 8, 10 pm $10<br />
• Miche Braden and The RLJ Trio with Rudi Mwongozi, Larry Johnson, Jim Hankins<br />
Ginny’s Supper Club 7:30, 10 pm $20<br />
• Adam Larson Trio with Desmond White, Matt Wilson<br />
Bar Next Door 8:30, 10:30 pm $10<br />
• Jimmy Alexander Quartet; Spirtrio Fat Cat 7, 10 pm<br />
• William Stanton; Jochem van Dijk solo<br />
Ibeam Brooklyn 8:30, 9:30 pm $10<br />
• Jake Henry/Sean Ali The Backroom 8 pm<br />
• Morrie Louden Group with Andrew Gould, Eitan Kenner, Brad Koegel;<br />
Tim Lancaster Group with Mike DiRubbo, Tim Hagans, Pat Bianchi;<br />
Will Macirowski Quintet with John Petrucelli, Suzan Veneman, Tucker Flythe,<br />
Victor Lewis Somethin’ Jazz Club 7, 9, 11 pm $10-12<br />
• Yoshiko Iwata Trio Cleopatra’s Needle 7 pm<br />
• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly,<br />
Kendrick Scott Jazz Standard 7:30, 9:30 pm $30<br />
êGerald Cleaver Black Host with Darius Jones, Cooper Moore, Brandon Seabrook,<br />
Pascal Niggenkemper SEEDS 8:30 pm<br />
• Brooklyn Jazz Underground Festival: David Smith Quintet with Dan Pratt, Nate Radley,<br />
Gary Wang, Greg Ritchie; David Cook Trio with Matt Clohesy, Ross Pederson;<br />
Adam Kolker Quartet with David Cook, Jeremy Stratton, Owen Howard<br />
Smalls 9:30 pm $20<br />
êChris Lightcap’s Bigmouth with Chris Cheek, Tony Malaby, Craig Taborn, Ches Smith<br />
Cornelia Street Café 8:30 pm $10<br />
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,<br />
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,<br />
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,<br />
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,<br />
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson<br />
Blue Note 8, 10:30 pm $35<br />
êGeorge Braith Quartet with Harold Mabern, Reggie Workman, Jeff ‘Tain’ Watts<br />
Birdland 6 pm $30<br />
• Eliane Elias Birdland 8:30, 11 pm $30-40<br />
• Bill Charlap Trio with Ron Carter, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen<br />
54 Below 7, 9:30 pm $85-95<br />
• Carl Bartlett Jr. Trio The Garage 6 pm<br />
Friday, May 31<br />
êLost Jazz Shrines - Bird – A World’s Eye View: Marty Ehrlich with James Zollar,<br />
Marc Ribot, Michael Formanek, Nasheet Waits, Erica Hunt, Charles Bernstein<br />
Tribeca Performing Arts Center 8:30 pm $25<br />
êKeystone Korner Presents: Paquito D’Rivera Havana Nights<br />
Iridium 8, 10 pm $30<br />
êDave Liebman Quintet with Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz<br />
Cornelia Street Café 9, 10:30 pm $15<br />
êFrank Kimbrough/Scott Robinson Greenwich House Music School 8 pm $15<br />
êMiles Davis Festival: Eddie Henderson Quintet with Wayne Escoffery, Dave Kikoski,<br />
Doug Weiss, Carl Allen Smoke 7, 9, 10:30 pm $35<br />
• Jonathan Finlayson and Sicilian Defense<br />
The Jazz Gallery 9, 10:30 pm $20<br />
• Rinde Eckert/Ned Rothenberg with guest Adam Matta<br />
Roulette 8 pm $15<br />
• Mike DiRubbo Quintet with Steve Davis, Brian Charette<br />
Jazz at Kitano 8, 10 pm $25<br />
• Steve Ash Trio; Emilio Solla Group Smalls 7:30, 10:30 pm $20<br />
• Dave Stryker Trio with Jared Gold, McClenty Hunter<br />
Bar Next Door 7:30, 9:30, 11:30 pm $10<br />
• Solid Goold Quartet; Point of Departure<br />
Fat Cat 6, 10:30 pm<br />
• Jazzmeia Horn Quartet Metropolitan Room 11:30 pm $20<br />
• Buyu Ambroise BAMCafé 9 pm<br />
• Andrea Wolper’s IP with Diane Moser, Ken Filiano; Gene Ess and Fractal Attraction with<br />
Thana Alexa, Adam Birnbaum, Thomson Kneeland, Mark Ferber<br />
Ibeam Brooklyn 8:30, 9:30 pm $10<br />
• Jacob Varmus’ Terminal Stillness with Pete McCann; Hashem Assadullahi,<br />
Broc Hempel, Sam Trapchak, Christian Coleman<br />
Steinway Reformed Church 8 pm $10<br />
• Lonnie Youngblood Jazz 966 8, 10 pm $15<br />
• Household Tales: William Lea, David Redbranch, Elise Reynard, Sean Ali, Tim Shortle<br />
Sidewalk Café 7 pm<br />
• Fredrick Levore; Terry Vakirtzoglou Quartet; John Petrucelli Quartet with Peter Park,<br />
Will Macirowski, Gusten Rudolph Somethin’ Jazz Club 7, 9, 11 pm $10<br />
• Takeshi Asai Duo Tomi Jazz 9 pm $10<br />
• Alex Layne Trio Cleopatra’s Needle 8 pm<br />
• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly,<br />
Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35<br />
êGerald Cleaver Black Host with Darius Jones, Cooper Moore, Brandon Seabrook,<br />
Pascal Niggenkemper SEEDS 8:30 pm<br />
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,<br />
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams<br />
Village Vanguard 8:30, 10:30 pm $25<br />
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,<br />
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,<br />
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,<br />
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson<br />
Blue Note 8, 10:30 pm $35<br />
• Sparkplug: Beau Sasser, Bill Carbone, David Davis, Jamemurrell Stanley<br />
Blue Note 12:30 am $10<br />
• Eliane Elias Birdland 8:30, 11 pm $30-40<br />
• Bill Charlap Trio with Ron Carter, Kenny Washington<br />
Dizzy’s Club 7:30, 9:30 pm $35<br />
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen<br />
54 Below 7, 9:30 pm $85-95<br />
• Kendra Shank, John Stowell, Rogério Boccato<br />
55Bar 6 pm<br />
• The Anderson Brothers; Jason Prover and the Sneak Thievery Orchestra<br />
The Garage 6, 10:45 pm<br />
44 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
REGULAR ENGAGEMENTS<br />
MONDAYS<br />
• Tom Abbott Big Bang Big Band Swing 46 8:30 pm<br />
• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am<br />
• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125<br />
• Bryan Beninghove’s Hangmen ZirZamin 9:30 pm<br />
• Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm<br />
• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm<br />
• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm<br />
• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm<br />
• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)<br />
• Joel Forrester solo Brandy Library 8 pm<br />
• George Gee Swing Orchestra Gospel Uptown 8 pm<br />
• Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE)<br />
• Grove Street Stompers Arthur’s Tavern 7 pm<br />
• JFA Jazz Jam Local 802 7 pm<br />
• Jam Session with Jim Pryor Cleopatra’s Needle 8 pm<br />
• Les Paul Trio with guests Iridium 8, 10 pm $35<br />
• Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm<br />
• Stan Rubin All-Stars Charley O’s 8:30 pm<br />
• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30<br />
• Diego Voglino Jam Session The Village Lantern 9:30 pm<br />
• Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm)<br />
TUESDAYS<br />
• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)<br />
• Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI)<br />
• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm<br />
• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN)<br />
• George Gee Swing Orchestra Swing 46 8:30 pm<br />
• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT)<br />
• Art Hirahara Trio Arturo’s 8 pm<br />
• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm<br />
• Sandy Jordan and Larry Luger Trio Notaro 8 pm<br />
• Mike LeDonne Quartet; Mike DiRubbo B3-3 Smoke 7, 9, 10:30, 11:30 pm<br />
• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm<br />
• Annie Ross The Metropolitan Room 9:30 pm $25<br />
• Jam Session Cleopatra’s Needle 8 pm<br />
• Diego Voglino Jam Session The Fifth Estate 10 pm<br />
WEDNESDAYS<br />
• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm<br />
• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm<br />
• Brianna Thomas Quartet Smoke 11:30 pm<br />
• Walter Fischbacher Trio Water Street Restaurant 8 pm<br />
• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm<br />
• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm<br />
• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12<br />
• Guillaume Laurent Trio Bar Tabac 7 pm<br />
• Jake K. Leckie Trio Kif Bistro 8 pm<br />
• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI)<br />
• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm<br />
• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)<br />
• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm<br />
• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM)<br />
• Alex Obert’s Hollow Bones Via Della Pace 10 pm<br />
• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20<br />
• Saul Rubin Vocalist Series Zeb’s 8 pm $10<br />
• Stan Rubin Orchestra Swing 46 8:30 pm<br />
• David Schnug Papa’s Gino’s Restaurant 8:30 pm<br />
• Alex Terrier Trio Antibes Bistro 7:30 pm<br />
• Justin Wert/Corcoran Holt Benoit 7 pm<br />
• Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm<br />
• Bill Wurtzel Duo Velour Lounge 6:30 pm<br />
THURSDAYS<br />
• Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm<br />
• Jason Campbell Trio Perk’s 8 pm<br />
• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)<br />
• Eric DiVito The Flatiron Room 8 pm<br />
• Gregory Generet Smoke 7, 9, 10:30 pm<br />
• Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15<br />
• Jazz Open Mic Perk’s 8 pm<br />
• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm<br />
• Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10<br />
• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)<br />
FRIDAYS<br />
• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm<br />
• Deep Pedestrian Sintir 8 pm<br />
• Charles Downs’ Centipede The Complete Music Studio 7 pm<br />
• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm<br />
• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10<br />
• Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm<br />
• Tommy Igoe Birdland Big Band Birdland 5 pm $25<br />
• Sandy Jordan and Friends ABC Chinese Restaurant 8 pm<br />
• Kengo Nakamura Trio Club A Steakhouse 11 pm<br />
• Brian Newman Quartet Duane Park 10:30 pm<br />
• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)<br />
• Richard Russo Quartet Capital Grille 6:30 pm<br />
• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT)<br />
• Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)<br />
• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT)<br />
• Rakiem Walker Project Shrine 6 pm<br />
SATURDAYS<br />
• Cyrille Aimee The Cupping Room 8:30 pm<br />
• Avalon Jazz Quartet Matisse 8 pm<br />
• Candy Shop Boys Duane Park 8, 10:30 pm<br />
• Jesse Elder/Greg RuggieroRothmann’s 6 pm<br />
• Joel Forrester solo Indian Road Café 11 am<br />
• Guillaume Laurent/Luke Franco Casaville 1 pm<br />
• Johnny O’Neal Smoke 11:45 pm<br />
• Frank Owens Open Mic Zeb’s 1 pm<br />
• Skye Jazz Trio Jack 8:30 pm<br />
• Michelle Walker/Nick Russo Anyway Café 9 pm<br />
• Bill Wurtzel Duo Henry’s 12 pm<br />
SUNDAYS<br />
• Avalon Jazz Quartet The Lambs Club 11 am<br />
• Birdland Jazz Party Birdland 6 pm $25<br />
• Marc Devine Trio TGIFriday’s 6 pm<br />
• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm<br />
• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm<br />
• Sean Fitzpatrick and Friends Ra Café 1 pm<br />
• Joel Forrester solo Grace Gospel Church 11 am<br />
• Nancy Goudinaki’s Trio Kellari Taverna 12 pm<br />
• Enrico Granafei solo Sora Lella 7 pm<br />
• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm<br />
• Annette St. John; Roxy Coss Smoke 11:30 am :30 pm<br />
• Bob Kindred Group Café Loup 12:30 pm<br />
• Peter Leitch Duo Walker’s 8 pm<br />
• Alexander McCabe Trio CJ Cullens Tavern 5 pm<br />
• Junior Mance Trio Café Loup 6:30 pm<br />
• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30<br />
• Lu Reid Jam Session Shrine 4 pm<br />
• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm<br />
• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm<br />
• Sara Serpa/André Matos Pão Restaurant 2 pm<br />
• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm<br />
• Cidinho Teixeira Zinc Bar 10, 11:30 1 am<br />
• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm<br />
• Brian Woodruff Jam Blackbird’s 9 pm
CLUB DIRECTORY<br />
• 54 Below 254 West 54th Street<br />
(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue<br />
www.54below.com<br />
• 55Bar 55 Christopher Street (212-929-9883)<br />
Subway: 1 to Christopher Street www.55bar.com<br />
• 92nd Street Y and Weill Art Gallery Lexington Avenue at 92nd Street<br />
(212-415-5500) Subway: 6 to 96th Street www.92y.org<br />
• 92YTribeca 200 Hudson Street<br />
(212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org<br />
• ABC Chinese Restaurant 34 Pell Street<br />
(212-346-9890) Subway: J to Chambers Street<br />
• ABC No-Rio 156 Rivington Street (212-254-3697)<br />
Subway: J,M,Z to Delancey Street www.abcnorio.org<br />
• Aaron Davis Hall 133rd Street and Convent Avenue<br />
(212-650-7100) Subway: 1 to 137th Street/City College<br />
www.aarondavishall.org<br />
• Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street<br />
(212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org<br />
• Allen Room Broadway at 60th Street, 5th floor (212-258-9800)<br />
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org<br />
• Amelie NY 22 W. 8th Street (212-533-2962)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.ameliewinebar.com<br />
• American Folk Art Museum 45 W 53rd Street (212-265-1040)<br />
Subway: E to 53rd Street www.folkartmuseum.org<br />
• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street<br />
www.LindasJazzNights.com<br />
• Antibes Bistro 112 Suffolk Street (212-533-6088)<br />
Subway: J, Z to Essex Street www.antibesbistro.com<br />
• Anyway Café 34 E. 2nd Street (212-533-3412)<br />
Subway: F to Second Avenue<br />
• Apollo Theater & Music Café 253 W. 125th Street (212-531-5305)<br />
Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org<br />
• Ardesia Wine Bar 510 W. 52nd Street<br />
(212-247-9191) Subway: C to 50th Street www.ardesia-ny.com<br />
• Arthur’s Tavern 57 Grove Street (212-675-6879)<br />
Subway: 1 to Christopher Street www.arthurstavernnyc.com<br />
• Arturo’s 106 W. Houston Street (at Thompson Street)<br />
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street<br />
• Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue<br />
• BB King’s Blues Bar 237 W. 42nd Street<br />
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square<br />
www.bbkingblues.com<br />
• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn<br />
(718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5<br />
to Atlantic Avenue www.bam.org<br />
• Bflat 277 Church Street (between Franklin and White Streets)<br />
Subway: 1, 2 to Franklin Streets<br />
• The Backroom 627 5th Avenue (718-768-0131)<br />
Subway: D, N, R to Prospect Avenue www.freddysbar.com<br />
• Bar Next Door 129 MacDougal Street (212-529-5945)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com<br />
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)<br />
Subway: F to 7th Avenue www.barbesbrooklyn.com<br />
• Bargemusic Fulton Ferry Landing<br />
(718-624-4061) Subway: F to York Street, A, C to High Street<br />
www.bargemusic.org<br />
• Benoit 60 W. 55th Street<br />
Subway: F to 57th Street, N, Q, R,W to 57th Street<br />
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)<br />
(212-281-0777) Subway: 2, 3 to 125th Street<br />
• Birdland 315 W. 44th Street (212-581-3080)<br />
Subway: A, C, E, to 42nd Street www.birdlandjazz.com<br />
• The Bitter End 147 Bleecker Street between Thompson and LaGuardia<br />
Subway: A, B, C, D, E, F, V to W. 4th Street<br />
• Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue<br />
www.facebook.com/bizarrebushwick<br />
• Blackbird’s 41-19 30th Avenue (718-943-6898)<br />
Subway: R to Steinway Street www.blackbirdsbar.com<br />
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com<br />
• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and<br />
Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com<br />
• Brandy Library 25 N. Moore Street<br />
(212-226-5545) Subway: 1 to Franklin Street<br />
• Brecht Forum 451 W. Street (212-242-4201)<br />
Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org<br />
• Brooklyn Center for the Performing Arts 2900 Campus Road<br />
Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.com<br />
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn<br />
Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org<br />
• Brooklyn Masonic Temple 317 Clermont Avenue<br />
(718-638-1256) Subway: G to Clinton-Washington Avenues<br />
• CJ Cullens Tavern 4340 White Plains Road, Bronx<br />
Subway: 2 to Nereid Avenue/238th Street<br />
• Café Carlyle 35 E. 76th Street (212-744-1600)<br />
Subway: 6 to 77th Street www.thecarlyle.com<br />
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues<br />
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com<br />
• Caffe Vivaldi 32 Jones Street<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com<br />
• Cameo Gallery 93 N. 6th Street<br />
Subway: L to Bedford Avenue Campos Plaza Playground East 13th Street<br />
between Avenues B and C Subway: L to 1st Avenue<br />
• Capital Grille 120 Broadway<br />
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com<br />
• Casaville 633 Second Avenue<br />
(212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com<br />
• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace<br />
(212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com<br />
• The Cathedral of St. John the Divine 1047 Amsterdam Avenue<br />
(212 316-7490) Subway: 1 to 110th Street www.stjohndivine.org<br />
• Charley O’s 1611 Broadway at 49th Street (212-246-1960)<br />
Subway: N, R, W to 49th Street<br />
• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484)<br />
Subway: C to Clinton-Washington Avenues www.bistrolola.com<br />
• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250)<br />
Subway: C to Lafayette Avenue www.chezoskar.com<br />
• Clemente Soto Velez Cultural Center 107 Suffolk Street<br />
Subway: F, J, M, Z to Delancey Street www.csvcenter.org<br />
• Cleopatra’s Needle 2485 Broadway (212-769-6969)<br />
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com<br />
• Club A Steakhouse 240 E. 58th Street (212-618-4190)<br />
Subway: 4, 5, 6 to 59th Street www.clubasteak.com<br />
• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue<br />
• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn<br />
(718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com<br />
• Cornelia Street Café 29 Cornelia Street (212-989-9319)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com<br />
• The Counting Room 44 Berry Street (718-599-1860)<br />
Subway: L to Bedford Avenue www.thecountingroombk.com<br />
• Creole 2167 3rd Avenue at 118th Street<br />
(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com<br />
• Culture Project 45 Bleecker Street<br />
(212-925-1806) Subway: 6 to Bleecker Street www.cultureproject.org<br />
• The Cupping Room 359 West Broadway between Broome and Grand Street<br />
(212-925-2898) Subway: A, C, E to Canal Street<br />
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)<br />
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org<br />
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue<br />
• Douglass Street Music Collective 295 Douglass Street<br />
Subway: R to Union Street www.295douglass.org<br />
• Downtown Music Gallery 13 Monroe Street<br />
(212-473-0043) Subway: F to East Broadway<br />
www.downtownmusicgallery.com<br />
• Drom 85 Avenue A (212-777-1157)<br />
Subway: F to Second Avenue www.dromnyc.com<br />
• Duane Park 157 Duane Street (212-732-5555)<br />
Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com<br />
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)<br />
Subway: C, E to Spring Street www.earinn.com<br />
• Eats Restaurant 1055 Lexington Avenue<br />
(212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com<br />
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)<br />
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org<br />
• The Fifth Estate 506 5th Avenue, Brooklyn<br />
(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com<br />
• The Firehouse Space 246 Frost Street<br />
Subway: L to Graham Avenue www.thefirehousespace.org<br />
• The Flatiron Room 37 West 26th Street<br />
(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com<br />
• Flushing Town Hall 137-35 Northern Boulevard<br />
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org<br />
• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn<br />
(718-625-9339) Subway: G to Fulton Street<br />
• The Garage 99 Seventh Avenue South (212-645-0600)<br />
Subway: 1 to Christopher Street www.garagerest.com<br />
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard<br />
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com<br />
• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard<br />
(212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com<br />
• Grace Gospel Church 589 E. 164th Street<br />
(718-328-0166) Subway: 2, 5 to Prospect Avenue<br />
• Greenwich House Music School 46 Barrow Street<br />
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org<br />
• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street<br />
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org<br />
• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street<br />
• Highline Ballroom 431 W 16th Street<br />
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com<br />
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues<br />
Subway: F to 4th Avenue www.ibeambrooklyn.com<br />
• Indian Road Café 600 W. 218th Street @ Indian Road<br />
(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com<br />
• Iridium 1650 Broadway at 51st Street (212-582-2121)<br />
Subway: 1,2 to 50th Street www.theiridium.com<br />
• JACK 505 Waverly Avenue<br />
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org<br />
• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street<br />
• Jazz 966 966 Fulton Street<br />
(718-638-6910) Subway: C to Clinton Street www.jazz966.com<br />
• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)<br />
Subway: 4, 5, 6 to Grand Central www.kitano.com<br />
• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)<br />
Subway: N, R to 28th Street www.jazzgallery.org<br />
• Jazz Museum in Harlem 104 E.126th Street (212-348-8300)<br />
Subway: 6 to 125th Street www.jazzmuseuminharlem.org<br />
• Jazz Standard 116 E. 27th between Park and Lexington Avenue<br />
(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net<br />
• Joe G’s 244 W. 56th Street (212-765-3160)<br />
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle<br />
• Joe’s Pub 425 Lafayette Street (212-539-8770)<br />
Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com<br />
• Kellari Taverna 19 W. 44th Street (212-221-0144)<br />
Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us<br />
• Knickerbocker Bar & Grill 33 University Place (212-228-8490)<br />
Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com<br />
• Korzo 667 5th Avenue, Brooklyn (718-285-9425)<br />
Subway: R to Prospect Avenue www.korzorestaurant.com<br />
• The Lambs Club 132 W. 44th Street<br />
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com<br />
• Lang Hall, Hunter College East 68th Street between Park and Lexington<br />
Avenues (212-772-4448) Subway: 6 to 68th Street<br />
www.kayeplayhouse.hunter.cuny.edu<br />
• Le Poisson Rouge 158 Bleecker Street (212-228-4854)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com<br />
• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues<br />
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org<br />
• The Loft at 100 Greene Street 6th floor Subway: N, R to Prince Street<br />
• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114)<br />
Subway: 1 to 145th Street www.londelsrestaurant.com<br />
• L’ybane 709 8th Avenue (212-582-2012)<br />
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com<br />
• McDonald’s 160 Broadway between Maiden Lane and Liberty Street<br />
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com<br />
• Matisse 924 Second Avenue<br />
(212-546-9300) Subway: 6 to 51st Street www.matissenyc.com<br />
• Medicine Show Theatre 549 W. 52nd Street, 3rd Floor (212-262-4216)<br />
Subway: C, E to 50th Street www.medicineshowtheatre.org<br />
• Metropolitan Room 34 W. 22nd Street (212-206-0440)<br />
Subway: N, R to 23rd Street www.metropolitanroom.com<br />
• MIST - My Image Studios 40 West 116th Street<br />
Subway: 2, 3 to 116th Street<br />
• NYC Baha’i Center 53 E. 11th Street (212-222-5159)<br />
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org<br />
• New School Arnhold Hall 55 West 13th Street<br />
(212-229-5600) Subway: F, V to 14th Street www.newschool.edu<br />
• Nino’s Tuscany 117 W. 58th Street (212-757-8630)<br />
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com<br />
• North Square Lounge 103 Waverly Place (212-254-1200)<br />
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com<br />
• Notaro Second Avenue between 34th & 35th Streets (212-686-3400)<br />
Subway: 6 to 33rd Street<br />
• Nublu 62 Avenue C between 4th and 5th Streets<br />
(212-979-9925) Subway: F, M to Second Avenue www.nublu.net<br />
• Pão Restaurant 322 Spring Street<br />
(212-334-5464) Subway: C, E to Spring Street www.paonewyork.com<br />
• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and<br />
160th Streets (212-781-6595) Subway: C to 155th Street<br />
www.parlorentertainment.com<br />
• Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway<br />
• The Players Club 16 Gramercy Park South<br />
(212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org<br />
• The Plaza Hotel Rose Club Fifth Avenue at Central Park South<br />
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com<br />
• Rockwood Music Hall 196 Allen Street (212-477-4155)<br />
Subway: F, M to Second Avenue www.rockwoodmusichall.com<br />
• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800)<br />
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org<br />
• Roulette 509 Atlantic Avenue<br />
(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org<br />
• Rubin Museum 150 W. 17th Street (212-620-5000)<br />
Subway: A, C, E to 14th Street www.rmanyc.org<br />
• St. Augustine’s Church 290 Henry Street<br />
(212-673-5300) Subway: F to East Broadway www.staugnyc.org<br />
• Saint Peter’s Church 619 Lexington Avenue at 54th Street<br />
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org<br />
• San Martin Restaurant 143 E. 49 Street between Lexington and Park<br />
Avenues (212-832-0888) Subway: 6 to 51st Street<br />
• Sapphire NYC 333 E. 60th Street (212-421-3600)<br />
Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com<br />
• SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza<br />
www.seedsbrooklyn.org<br />
• ShapeShifter Lab 18 Whitwell Place<br />
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com<br />
• Showman’s 375 W. 125th Street at Morningside) (212-864-8941)<br />
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com<br />
• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)<br />
Subway: B, 2, 3 to 135th Street www.shrinenyc.com<br />
• Sidewalk Café 94 Avenue A at E. 6th Street Subway: 6 to Astor Place<br />
• Sintir 424 E. 9th Street between Avenue A and First Avenue<br />
(212-477-4333) Subway: 6 to Astor Place<br />
• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn<br />
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org<br />
• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)<br />
Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com<br />
• Smoke 2751 Broadway between 105th and 106th Streets<br />
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com<br />
• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street<br />
• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657)<br />
Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street<br />
www.somethinjazz.com/ny<br />
• Sora Lella 300 Spring Street (212-366-4749)<br />
Subway: C, E to Spring Street www.soralellanyc.com<br />
• Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue<br />
• Steinway Reformed Church 21-65 41 Street at Ditmars Boulevard<br />
Subway: N to Ditmars Blvd-Astoria<br />
• Stephen Wise Free Synagogue 30 W. 68th Street<br />
(212-877-4050) Subway: 1 to 66th Street www.swfs.org<br />
• The Stone Avenue C and 2nd Street<br />
Subway: F to Second Avenue www.thestonenyc.com<br />
• Sunnyside Reformed Church 48-03 Skillman Avenue (718-426-5997)<br />
Subway: 7 to 52nd Street www.sunnysidenyc.rcachurches.org<br />
• Swing 46 349 W. 46th Street (646-322-4051)<br />
Subway: A, C, E to 42nd Street www.swing46.com<br />
• Sycamore 1118 Cortelyou Road (347-240-5850)<br />
Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com<br />
• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharp Theatre<br />
& Bar Thalia 2537 Broadway at 95th Street (212-864-5400)<br />
Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org<br />
• Tagine 537 9th Ave. between 39th and 40th Streets<br />
(212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street<br />
• Tea Lounge 837 Union Street, Brooklyn (718-789-2762)<br />
Subway: N, R to Union Street www.tealoungeNY.com<br />
• Terraza 7 40-19 Gleane Street<br />
(718-803-9602) Subway: 7 to 82nd Street/Jackson Heights<br />
www.terrazacafe.com<br />
• Tomi Jazz 239 E. 53rd Street<br />
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com<br />
• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460)<br />
Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org<br />
• University of the Streets 130 E. 7th Street<br />
(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org<br />
• Velour Lounge 297 10th Avenue<br />
(212-279-9707) Subway: C, E to 23rd Street www.velournyc.com<br />
• Via Della Pace 48 E. 7th Street and Second Avenue<br />
(212-253-5803) Subway: 6 to Astor Place<br />
• The Village Lantern 167 Bleecker Street<br />
(212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street<br />
• The Village Trattoria 135 W. 3rd Street (212-598-0011)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com<br />
• Village Vanguard 178 Seventh Avenue South at 11th Street<br />
(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com<br />
• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens<br />
(718-721-3010) Subway: N to Ditmars Blvd-Astoria<br />
• Walker’s 16 North Moore Street (212-941-0142)<br />
Subway: A, C, E to Canal Street<br />
• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)<br />
Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com<br />
• Water Street Restaurant 66 Water Street (718-625-9352)<br />
Subway: F to York Street, A, C to High Street<br />
• Williamsburg Music Center 367 Bedford Avenue<br />
(718-384-1654) Subway: L to Bedford Avenue<br />
• Zeb’s 223 W. 28th Street<br />
212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com<br />
• Zinc Bar 82 W. 3rd Street (212-477-8337)<br />
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com<br />
• ZirZamin 90 West Houston Street<br />
(646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street<br />
www.zirzaminnyc.com<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 45
46 May 2013 | THE NEW YORK CITY JAZZ RECORD<br />
(INTERVIEW CONTINUED FROM PAGE 6)<br />
“Okayyy.” [laughs] And we played the head down and<br />
there’s the horn solo and piano solo and then there’s<br />
this kind of improvisational duo happening with Ron<br />
and myself. Which is so interesting, because I didn’t<br />
know where Ron was gonna go. I didn’t feel like he<br />
was pulling me anywhere either. And he had these<br />
kind of dynamic things he was doing - he was sliding<br />
up and down the bass. It really was an interesting<br />
conversation. It was a first take. It was a very<br />
challenging moment because of the emotional side of<br />
you. As a drummer, you’re saying - well, for me, I<br />
speak for myself - I was thinking, “Okay, this is the<br />
moment when this explosion happens.” And actually,<br />
it turned out being like a painting at the end of the day.<br />
There were these kind of strange curves and lines and<br />
colors being added as we were playing it. And he plays<br />
the melody kind of at the very end, which is my cue<br />
that we were done. [laughs].<br />
TNYCJR: Many jazz drummers are holding back but<br />
you really play the drums in a jazz setting.<br />
WC: Well, first of all, thanks. I don’t know what to say<br />
about that. I agree with you in some aspects, because if<br />
I go listen to Tony Williams’ records and I listen to Art<br />
Blakey’s records and I listen to Joe Chambers’ records,<br />
I listen to Jack DeJohnette’s records, they’re playing,<br />
man. They’re playing out. Tony is bashing. That McCoy<br />
Tyner Supertrios double-album where one side is Jack<br />
and the other side is Tony, those guys sound like they<br />
have boxing gloves on. That was just so inspiring to<br />
me. To the point where, in those days, if Tony was on a<br />
record, I went to get it. Didn’t matter who [else] was on<br />
it. If Jack was on the record, I went to get it. If Blakey<br />
put out something, a remaster or something, I went to<br />
get it. There’s nothing to talk about, because I knew I<br />
wasn’t gonna be let down. I can’t explain, because I<br />
feel that way about everything, what you just stated.<br />
Even pop music. I feel it’s become quite homogenized<br />
in a way. I’m not judging any other drummer or any<br />
other bass player. I just don’t hear and want to play<br />
music that way. I’m still inspired by all of those great<br />
drummers and composers and if that’s the thing that’s<br />
gonna fuel my rocket, then that’s the kind of fuel that<br />
I’m gonna use. But I in no way feel like I need to pull<br />
back on the levers in any way, shape or form. It’s a<br />
drum set for God’s sake. I think it’s an instrument that<br />
should piss you off. It should get too loud sometimes.<br />
[If] you gotta put your fingers in your ears for eight<br />
bars, so what? That’s life. That’s what it should be. It<br />
should be that kind of roller coaster ride. It should be<br />
moments of you playing with brushes and you can’t<br />
hear it. There should be moments when you’re not<br />
quite sure where the time is. There should be moments<br />
of total surprise. Like, “Wow, that’s a beautiful sound.”<br />
Mallets, playing with your fingers, whatever it is. To<br />
me, the instrument represents life. And life is more<br />
than A to Z. There’s a lot of other things out there. v<br />
For more information, visit willcalhoun.com. Calhoun is at<br />
Blue Note May 17th-19th. See Calendar.<br />
Recommended Listening:<br />
• Will Calhoun - Housework (8mm Musik, 1994)<br />
• Wayne Shorter - High Life (Verve, 1995)<br />
• Will Calhoun - Live at the Blue Note (Half Note, 1999)<br />
• Santi Debriano - Artistic License (Savant, 2000)<br />
• Will Calhoun - Native Lands (Half Note, 2005)<br />
• Will Calhoun - Life in This World<br />
(Motéma Music, 2013)<br />
(LABEL CONTINUED FROM PAGE 12)<br />
drummer Jerome Cooper hadn’t played together in 25<br />
years when they returned with the Pi Recordings<br />
release And Now…. But Mutable had already taken up<br />
the torch by reissuing their 1975 album The Psyche and<br />
later putting out a recording of a 2005 concert the<br />
group gave in Poland. The recent download release<br />
Counterparts was recorded live in Italy a few months<br />
after the Poland concert and is the final concert the<br />
group ever played.<br />
Buckner acknowledged that the recording quality<br />
of Counterparts isn’t quite up to par with the Poland<br />
recording, released as Beyond the Boundary of Time<br />
(although as an archival release it’s hardly subpar). But<br />
he says he is dedicated to the group and in fact has<br />
recorded with both Cooper and Jenkins. “I love the<br />
Revolutionary Ensemble. I’m friends with Jerome and<br />
I worked with Leroy. I loved Leroy and I thought<br />
somebody should do it.”<br />
That, in a nutshell, might be Buckner’s modus<br />
operandi: he does things because he thinks somebody<br />
should. With regards to the 1750 Arch and<br />
Interpretations concert series he said, “Most of my<br />
time is spent being a singer but I felt these things are<br />
important to do. In both cases I started the concert<br />
series because I thought there was a need for the kind<br />
of music I wanted to present.” Likewise, regarding the<br />
two labels, he explained, “I wanted to be able to put<br />
out those things that were of interest to me that were<br />
not of interest to labels that were interested in me. I<br />
want in general to trust the music of composers with a<br />
jazz formation who are doing things that you wouldn’t<br />
necessarily do in a club.<br />
“You can’t be consistent,” he added. “I can say I’m<br />
doing this but if I hear something I really like, why<br />
wouldn’t I do it?” v<br />
For more information, visit mutablemusic.com. Interpretations<br />
is at Roulette May 9th. See Calendar.
KENNY BALL - The British trumpeter had one of the longest-running trad-jazz bands in England,<br />
part of a scene that included Acker Bilk and Chris Barber. Ball’s Jazzmen, which still has original<br />
member John Bennett and later included Ball’s son Keith on vocals, began in 1961 and had many<br />
charting songs. Ball died Mar. 7th at 82.<br />
GEORGE BARROW - The baritone saxophonist featured on many important jazz albums in a<br />
career that began in the early ‘50s. Among them were Charles Mingus’ Moods of Mingus, Oliver<br />
Nelson’s The Blues and the Abstract Truth and Clifford Thornton’s The Gardens of Harlem, as well as<br />
appearances with Kenny Clarke, Clark Terry, Frank Wess, a long association with David Amram<br />
and later Warren Smith. Barrow died Mar. 20th at 91.<br />
EDWARD BLAND - The composer produced the important 1959 documentary Cry of Jazz. His only<br />
film, interspersing live jazz footage and scenes of the inner city life, it explored racial relations and<br />
was quite controversial. Later he did arrangements for various jazz artists and had his works<br />
performed by symphony orchestras. Bland died Mar. 14th at 86.<br />
RUNE CARLSSON - The Swedish drummer played with many visiting Americans, most notably<br />
Dexter Gordon, fellow Swedes like Eje Thelin and was part of the quintet on Krzysztof Komeda’s<br />
monumental Astigmatic album from 1965. Later in his career, Carlsson stepped out from behind his<br />
drumkit to become a singer. Carlsson died Mar. 9th at 72.<br />
BARBARA DONALD - The trumpeter and former wife of saxophonist Sonny Simmons appeared<br />
on his albums in the ‘60s-70s. After their divorce in 1980, she made two albums as a leader for<br />
Cadence Jazz Records but occasionally reunited for concerts with Simmons before poor health<br />
ended her career after 1992. Donald died Mar. 23rd at 71.<br />
STEVE ELLINGTON - Some of the drummer’s earliest credits came as part of Sam Rivers’ groups<br />
in the ‘60s-70s. His discographical entries in the ‘80s were almost nonexistent but the ‘90s found<br />
Ellington working extensively with pianist Hal Galper. Ellington died Mar. 22nd at 71.<br />
May 1<br />
Ira Sullivan b.1931<br />
†Shirley Horn 1934-2005<br />
Carlos Ward b.1940<br />
James Newton b.1953<br />
Kevin Hays b.1968<br />
Ambrose Akinmusire b.1982<br />
May 2<br />
†Pat Smyth 1923-83<br />
†Richard “Groove” Holmes<br />
1931-91<br />
Eddy Louiss b.1941<br />
Mickey Bass b.1943<br />
Keith Ganz b.1972<br />
May 3<br />
†John Lewis 1920-2001<br />
†Jimmy Cleveland 1926-2008<br />
Jymie Merritt b.1926<br />
Johnny Fischer b.1930<br />
John Alexander b.1948<br />
Larry Ochs b.1949<br />
Guillermo E. Brown b.1974<br />
Matt Bauder b.1976<br />
Alexander Hawkins b.1981<br />
May 4<br />
†Sonny Payne 1926-79<br />
†Maynard Ferguson 1928-2006<br />
Warren Smith b.1932<br />
Don Friedman b.1935<br />
Ron Carter b.1937<br />
Chuck Folds b.1938<br />
Rudresh Mahanthappa b.1971<br />
Jeremiah Cymerman b.1980<br />
May 5<br />
Kidd Jordan b.1935<br />
Stanley Cowell b.1941<br />
Jack Walrath b.1946<br />
Pablo Aslan b.1962<br />
Live in Zurich 2.5.1950<br />
Duke Ellington Orchestra (TCB)<br />
May 2nd, 1950<br />
That Duke Ellington could spend the<br />
vast majority of his career leading a<br />
big band is one of the wonders of<br />
nature. This live date from the Zurich<br />
Kongresshaus features a variety of<br />
tenured sidemen: drummer Sonny<br />
Greer had been with the band for over<br />
25 years but second drummer Butch<br />
Ballard was brand new. Ellington<br />
stalwarts like Johnny Hodges, Harry<br />
Carney, Russell Procope, Ray Nance,<br />
vocalist Kay Davis and Billy<br />
Strayhorn, spelling Ellington on piano<br />
for part of the set, work out on a<br />
program typical of the late ‘40s era.<br />
May 6<br />
†Freddy Randall 1921-99<br />
†Denny Wright 1924-92<br />
Isla Eckinger b.1939<br />
Paul Dunmall b.1953<br />
May 7<br />
†Yank Porter 1895-1944<br />
†Pete Jacobs 1899-1952<br />
†Leon Abbey 1900-75<br />
†Edward Inge 1906-88<br />
†Herbie Steward 1926-2003<br />
Arthur Blythe b.1940<br />
Michael Formanek b.1958<br />
May 8<br />
†Red Nichols 1905-65<br />
†Mary Lou Williams 1910-81<br />
†Jerry Rusch 1943-2003<br />
Keith Jarrett b.1945<br />
Jon-Erik Kellso b.1964<br />
Meinrad Kneer b.1970<br />
May 9<br />
†George Simon 1912-2001<br />
†Dick Morrissey 1940-2000<br />
Dennis Chambers b.1959<br />
Ricardo Gallo b.1978<br />
May 10<br />
†Pee Wee Hunt 1907-79<br />
†Al Hendrickson 1920-2007<br />
†Mel Lewis 1929-90<br />
George Golla b.1935<br />
†Julius Wechter 1935-99<br />
Mike Melvoin b.1937<br />
Jimmy Ponder b.1946<br />
Ahmed Abdullah b.1947<br />
†Hans Reichel 1949-2011<br />
Alex Foster b.1953<br />
Philip Harper b.1965<br />
Jasper Hoiby b.1977<br />
May 11<br />
†King Oliver 1885-1938<br />
†JC Higginbotham 1906-73<br />
†Oscar Valdambrini 1924-97<br />
John Coppola b.1929<br />
Dick Garcia b.1931<br />
†Freddie Roach 1931-80<br />
Carla Bley b.1938<br />
Ralph Humphrey b.1944<br />
Mikkel Ploug b.1978<br />
May 12<br />
†Marshall Royal 1912-95<br />
†Don DeMichael 1928-82<br />
Gary Peacock b.1935<br />
Klaus Doldinger b.1936<br />
Trevor Tompkins b.1941<br />
May 13<br />
†Maxine Sullivan 1911-87<br />
†Gil Evans 1912-88<br />
†Red Garland 1923-84<br />
Creed Taylor b.1929<br />
†Erick Moseholm 1930-2012<br />
John Engels b.1935<br />
Gregoire Maret b.1975<br />
May 14<br />
†Sidney Bechet 1897-1959<br />
†Zutty Singleton 1898-1975<br />
†Skip Martin 1916-76<br />
Al Porcino b.1925<br />
Jack Bruce b.1943<br />
Virginia Mayhew b.1959<br />
Frank Basile b.1978<br />
May 15<br />
†Ellis Larkins 1923-2002<br />
Karin Krog b.1937<br />
Oscar Castro-Neves b.1940<br />
Omer Klein b.1982<br />
Grace Kelly b.1992<br />
Voices<br />
Manfred Schoof (CBS)<br />
May 2nd, 1966<br />
This is the first album under<br />
trumpeter Manfred Schoof’s name,<br />
recorded with the quintet of Gerd<br />
Dudek, Alexander von Schlippenbach,<br />
Buschi Niebergall and Jaki Liebezeit.<br />
The group came out of Gunter<br />
Hampel’s 1965 quintet and made a<br />
few recordings after this one,<br />
swallowed into Schlippenbach’s<br />
Globe Unity Orchestra by the end of<br />
the year. The title track is a group<br />
improvisation while the remaining<br />
five tunes are either collaborations or<br />
Schlippenbach tunes, some of the<br />
earliest true European jazz.<br />
IN MEMORIAM<br />
by Andrey Henkin<br />
BIRTHDAYS<br />
May 16<br />
†Woody Herman 1913-87<br />
†Eddie Bert 1922-2012<br />
†Betty Carter 1930-98<br />
Billy Cobham b.1944<br />
May 17<br />
†Paul Quinichette 1916-83<br />
†Dewey Redman 1931-2006<br />
†David Izenzon 1932-79<br />
†Jackie McLean 1932-2006<br />
Michiel Braam b.1964<br />
May 18<br />
†Joe Turner 1911-85<br />
†Kai Winding 1922-83<br />
Jim McNeely b.1949<br />
Weasel Walter b.1972<br />
May 19<br />
Cecil McBee b.1935<br />
Sonny Fortune b.1939<br />
Richard Teitelbaum b.1939<br />
Henry Butler b.1949<br />
Michael Blake b.1964<br />
May 20<br />
Tommy Gumina b.1931<br />
Louis Smith b.1931<br />
†Bob Florence 1932-2008<br />
Charles Davis b.1933<br />
†Rufus Harley 1936-2006<br />
Victor Lewis b.1950<br />
Ralph Peterson b.1962<br />
Sheryl Bailey b.1966<br />
Benjamin Duboc b.1969<br />
May 21<br />
†Fats Waller 1904-43<br />
†Tommy Bryant 1930-82<br />
Marc Ribot b.1954<br />
Lewis “Flip” Barnes b.1955<br />
ON THIS DAY<br />
by Andrey Henkin<br />
Open Road<br />
Sadao Watanabe (CBS-Sony)<br />
May 2nd, 1973<br />
One of Japan’s most famous jazz<br />
musicians, saxophonist Sadao<br />
Watanabe has been a consistent<br />
recording artist since his 1961 debut.<br />
American listeners may know his<br />
bossa nova albums or various<br />
collaborations with American<br />
musicians starting in the mid ‘60s.<br />
Open Road is a live date from Tokyo’s<br />
Hibiya Kohkaido with Watanabe’s<br />
band of the period, a four-horn<br />
frontline and rhythm section with<br />
percussion, plus strings, playing a<br />
13-tune program of Watanabe’s<br />
originals.<br />
TERRY LIGHTFOOT - The clarinetist was a part of the ‘50s British trad-jazz revival, leading his<br />
own groups and performing with Acker Bilk, Chris Barber and Kenny Ball, though he would leave<br />
and return to music to be a pub owner throughout his career. Lightfoot died Mar. 15th at 77.<br />
HUGH MCCRACKEN - The session guitarist has hundreds of credits in the rock and pop world<br />
since the early ‘60s but also dipped his feet quite regularly into the jazz pond, appearing on albums<br />
by Lou Donaldson, Ron Carter, Rahsaan Roland Kirk and others. McCracken died Mar. 28th at 61.<br />
MELVIN RHYNE - One of the legends of the Hammond B3 organ, Rhyne played with Wes<br />
Montgomery, his fellow Indianapolitan, in the ‘50s-60s for the guitarist’s Riverside sessions, having<br />
begun his career in the mid ‘50s with Roland Kirk. He had one album under his own name in 1960.<br />
After a decades-long absence, Rhyne returned to music in the ‘90s, recording regularly as a leader.<br />
Rhyne died Mar. 5th at 76.<br />
BEBO VALDÉS - Father of pianist Chucho, the elder Valdés was also a pianist and led big bands<br />
during Cuba’s “Golden Age”, helping innovate Latin jazz as well as composing for Celia Cruz.<br />
Spurred on after an appearance in the documentary Calle 54, he is most known for his late-career<br />
work, which netted him several Grammy awards. Valdés died Mar. 22nd at 94.<br />
FRAN WARREN - The vocalist, born Frances Wolfe, had an unsuccessful audition for Duke<br />
Ellington at age 16 but went on to sing with the ‘40s bands of Billy Eckstine (who gave her her stage<br />
name), Charlie Barnet and Claude Thornhill as well as performing on Broadway and acting in<br />
movies. Warren died Mar. 4th on her 87th birthday.<br />
DEREK WATKINS - The British big band trumpeter worked with large ensembles on both sides of<br />
the Atlantic, under such leaders as John Dankworth and Count Basie, starting in the ‘50s. He was<br />
also a regular performer with pop acts like Frank Sinatra and Barbra Streisand. His greatest claim to<br />
fame, however, may be his soundtrack work, including every James Bond film. Watkins died Mar.<br />
22nd at 68.<br />
May 22<br />
†Sun Ra 1914-93<br />
†Elek Bacsik 1926-1993<br />
Giuseppi Logan b.1935<br />
Dick Berk b.1939<br />
May 23<br />
†Artie Shaw 1910-2004<br />
†Rosemary Clooney 1928-2002<br />
†Les Spann 1932-89<br />
Daniel Humair b.1938<br />
Marvin Stamm b.1939<br />
Don Moye b.1946<br />
Richie Beirach b.1947<br />
Ken Peplowski b.1959<br />
Darcy James Argue b.1975<br />
May 24<br />
†Frank Signorelli 1901-75<br />
†Herbie Fields 1919-58<br />
Max Bennett b.1928<br />
†Gianni Basso 1931-2009<br />
Michael White b.1933<br />
Archie Shepp b.1937<br />
†Charles Earland 1941-99<br />
Francesco Cafiso b.1989<br />
May 25<br />
Marshall Allen b.1924<br />
†Miles Davis 1926-91<br />
†Piet Noordijk 1932-2011<br />
Gary Foster b.1936<br />
Christof Lauer b.1953<br />
Wallace Roney b.1960<br />
May 26<br />
†Ady Rosner 1910-76<br />
†Shorty Baker 1914-66<br />
†Ziggy Elman 1914-68<br />
†Calvin Jackson 1919-85<br />
†Neil Ardley 1937-2004<br />
David Torn b.1953<br />
May 27<br />
†Albert Nicholas 1900-73<br />
†Jock Carruthers 1910-71<br />
†Bud Shank 1926-2009<br />
Ramsey Lewis b.1935<br />
†Rufus Jones 1936-90<br />
†Niels-Henning Ørsted<br />
Pedersen 1946-2005<br />
Gonzalo Rubalcaba b.1963<br />
May 28<br />
†Andy Kirk 1898-1992<br />
†Al Tinney 1921-2002<br />
†Russ Freeman 1926-2002<br />
Alfred Patterson b.1937<br />
Claudio Roditi b.1946<br />
May 29<br />
Freddie Redd b.1927<br />
†Hilton Ruiz 1952-2006<br />
Jim Snidero b.1958<br />
Lafayette Harris, Jr. b.1963<br />
Wycliffe Gordon b.1967<br />
Sean Jones b.1978<br />
May 30<br />
†Sidney DeParis 1905-67<br />
†Benny Goodman 1909-86<br />
†Pee Wee Erwin 1913-81<br />
†Shake Keane 1927-97<br />
†Harry Beckett 1935-2010<br />
Ann Hampton Callaway b.1959<br />
Juan Pablo Carletti b.1973<br />
Frank Rosaly b.1974<br />
May 31<br />
†Red Holloway 1927-2012<br />
Albert “Tootie ”Heath b.1935<br />
Louis Hayes b.1937<br />
Marty Ehrlich b.1955<br />
Eric Revis b.1967<br />
Christian McBride b.1972<br />
Nummer 12<br />
Manfred Schulze (FMP)<br />
May 2nd, 1985<br />
Manfred Schulze (baritone sax but<br />
also piano, violin and clarinet) was a<br />
relatively obscure member of Berlin’s<br />
avant garde jazz scene, starting out as<br />
a big band player during the mid ‘60s<br />
but moving into more improvisatory<br />
realms in the ‘70s. His Bläser Quintett,<br />
a horn-only group whose most<br />
famous member was trombonist<br />
Johannes Bauer, debuted with this<br />
live album from Wuppertal (though<br />
an earlier recording surfaced last<br />
year). The album is two side-long<br />
improvisations, parts 1 and 2 of the<br />
title track.<br />
PAUL DUNMALL<br />
May 6th, 1953<br />
It is strange to see in<br />
saxophonist/bagpiper Paul<br />
Dunmall’s discography that<br />
the first entry is a 1976 album<br />
with Johnny “Guitar” Watson.<br />
This aberration aside, since<br />
the early ‘80s, Dunmall has<br />
been one of his country’s<br />
fiercest improvisers. He has<br />
been a longtime member of<br />
the London Jazz Composers<br />
Orchestra and the cooperative<br />
group Mujician. He has<br />
collaborated with fellow<br />
British saxophonists like Evan<br />
Parker and Elton Dean and<br />
has had a long partnership<br />
with bassist Paul Rogers.<br />
Apart from albums on<br />
Cuneiform, FMR and SLAM,<br />
much of his recent recorded<br />
output is available through his<br />
own DUNS label, from solo<br />
bagpipe expositions and duos<br />
with Rogers to variously-sized<br />
free jazz encounters. -AH<br />
Last Detail – Live at Café Sting<br />
Detail (Cadence Jazz)<br />
May 2nd, 1994<br />
Detail was an international<br />
improvising ensemble co-led by<br />
Norwegian saxophonist Frode<br />
Gjerstad and British drummer John<br />
Stevens. Their first gigs were in the<br />
early ‘80s with Johnny Dyani on bass.<br />
By the later ‘80s, various guests<br />
performed with the group and Kent<br />
Carter had replaced Dyani (who died<br />
in 1986). The title of this live album,<br />
four improvisations including a solo<br />
drum piece, recorded in Gjerstad’s<br />
native Stavanger, refers to it being the<br />
group’s final recording, Stevens dying<br />
at 54 four months later.<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 47
SMOKE<br />
FEATURED ARTISTS / 7pm, 9pm & 10:30<br />
Friday & Saturday May 3 & 4<br />
ReNee RosNes QuaRtet<br />
Steve Nelson (vibes) • Peter Washington (b) • Lewis Nash (dr)<br />
Friday & Saturday May 10 & 11<br />
HeleN suNg QuiNtet<br />
featuRiNg seamus Blake<br />
Brandon Lee (tr) • Dezron Douglas (b) • Donald Edwards (d)<br />
Friday & Saturday May 17 & 18<br />
oNe foR all sextet<br />
witH JeRemY Pelt<br />
Eric Alexander (tn sax) • Steve Davis (trombone)<br />
David Hazeltine (p) • David Williams (b) • Joe Farnsworth (dr)d)<br />
ONE NIGHT ONLY / 7pm, 9pm & 10:30<br />
Wednesday May 1<br />
fleurine & friends ft freddie Bryant<br />
Wednesday May 8<br />
Chris washburne & sYotos<br />
Wednesday May 15<br />
emmet Cohen Quartet<br />
Wednesday May 22<br />
tyler mitchell<br />
RESIDENCIES / 7pm, 9pm & 10:30<br />
Mondays May 6, 20<br />
Jason marshall Big Band<br />
Monday May 13<br />
Captain Black Big Band<br />
Tuesdays May 7, 21<br />
mike leDonne groover Quartet<br />
Eric Alexander (sax) • Peter Bernstein (g) • Joe Farnsworth (dr)<br />
Tuesday May 14<br />
Vince ector Quartet<br />
” Organatomy” CD Release Event<br />
Thursdays May 2, 9, 16, 23<br />
gregory generet<br />
Sunday May 19<br />
saRon Crenshaw Band<br />
Sunday May 5<br />
milton suggs sextet<br />
Sunday May 12<br />
JD walter<br />
CD Release Event<br />
“BEST JAZZ CLUBS OF THE YEAR 2012”<br />
JAZZ & SUPPER CLUB • HARLEm, nEW YORK<br />
May 24 -June 30<br />
“DREAming in BLUE”<br />
miles DaVis festiVal<br />
2013<br />
Friday & Saturday May 24 & 25<br />
“kiND of Blue”<br />
JimmY CoBB sextet<br />
Javon Jackson (tn sax) • Justin Robinson (alt sax)<br />
Eddie Henderson (tp) Mike LeDonne (p) Buster Williams (b)<br />
Wednesday May 29<br />
Joe faRNswoRtH QuaRtet<br />
ft DaViD kikoski<br />
Josh Evans (tr) • Dwayne Burno (b)<br />
Friday & Saturday May 31 & June 1<br />
“someDaY mY PRiNCe will<br />
Come” eDDie HeNDeRsoN QNt<br />
Wayne Escoffery (tn sax) • Dave Kikoski (p) • Doug Weiss (b)<br />
• Carl Allen (d)<br />
Sunday June 2<br />
tHe Dee DaNiels QuiNtet<br />
tHe miles DaVis soNgBook<br />
Sundays May 26, June 9, 23<br />
allaN HaRRis<br />
miles & BillY eCkstiNe<br />
Wednesday June 5<br />
miles toNes<br />
giaComo gates<br />
CD Release Event<br />
Friday & Saturday June 7 & 8<br />
“miles BeYoND”<br />
laRRY willis QuiNtet ft<br />
BusteR williams & al fosteR<br />
Jeremy Pelt (tr) • Javon Jackson (tn sax)<br />
Wednesday June 12<br />
tHe miCHael Dease QNt<br />
Etienne Charles (tr) • Glenn Zaleski (p) • Linda Oh (b)<br />
Colin Stranahan (d)<br />
Friday & Saturday June 14 & 15<br />
“RememBeRiNg miles<br />
DeweY DaVis”<br />
soNNY foRtuNe QuiNtet<br />
Adilifu Kamau (Charles Sullivan) (tr) • Michael Cochrane (p)<br />
David Williams(b) • Steve Johns (d)<br />
Wednesday June 19<br />
DuaNe euBaNks QuiNtet<br />
ft mulgRew milleR<br />
Abraham Burton (tn sax) • Ameen Saleem (b) • Eric McPherson (d)<br />
Friday & Saturday June 21 & 22<br />
“milestoNes”<br />
fReDDie HeNDRix QNt<br />
Abraham Burton (tn sax) • Orrin Evans (p) •<br />
Corcoran Holt (b) • Eric McPherson (d)<br />
Wednesday June 26<br />
JosH eVaNs sextet<br />
Vincent Herring (alt sax) • Abraham Burton (tr sax)<br />
Orrin Evans (p) • Dezron Douglas (bs) • Chris Beck (d)<br />
Friday & Saturday June 28 & 29<br />
“BitCHes BRew “<br />
leNNY wHite QuiNtet<br />
featuRiNg JeRemY Pelt<br />
Tom Guarna (g) • Theo Bell (keys) • Victor Bailey (b)<br />
Sunday June 30<br />
BRuCe HaRRis QuiNtet<br />
Myron Walden (sax) • Jeb Patton (p) • tba (b) • Pete Van Nostrand (dr)<br />
LATE NIGHT RESIDENCIES<br />
Mon the smoke Jam session<br />
Tue mike DiRubbo B3-3<br />
Wed Brianna thomas Quartet<br />
Thr Jazz meets Hip Hop<br />
Fri Patience Higgins Quartet<br />
Sat Johnny o’Neal & friends<br />
Sun Roxy Coss Quartet<br />
212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE