tnycjr201305

May 2013 | No. 133
WILL
CALHOUN
Your FREE Guide to the NYC Jazz Scene
CHICK COREA
CREATING FREEDOM
•
MIKE
•
STEVE
•
MUTABLE
•
PRIDE WILLIAMS MUSIC
nycjazzrecord.com
EVENT
CALENDAR

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New York@Night
Interview: Will Calhoun
by Brad Farberman
Artist Feature: Mike Pride
by Clifford Allen
On The Cover: Chick Corea
by Suzanne Lorge
Encore: Lest We Forget:
Steve Williams Revolutionary Ensemble
by Marcia Hillman by Andrey Henkin
Megaphone VOXNews
by Kirk Knuffke by Katie Bull
Label Spotlight: Listen Up!:
Mutable Music
by Kurt Gottschalk
Justin Brown & Jon De Lucia
CD Reviews: Steve Kuhn, Andrea Centazzo, Bill Frisell,
Miguel Zénon, Deborah Latz, Christian McBride, Craig Taborn and more
Event Calendar
Club Directory
Miscellany: In Memoriam • Birthdays • On This Day
It is a little strange to think that keyboardist Chick Corea (On The Cover) is in his
70s. He seems ageless, not too far from the mop-haired, mustachioed genius that
came up in the bands of Mongo Santamaria, Herbie Mann, Blue Mitchell and, most
notably, Miles Davis (who never reached septuagenarian status). He is, simply
put, one of the legends and Jazz at Lincoln Center (JALC) celebrates his wideranging
achievements with a multi-night festival in his honor: Corea will join the
JALC Orchestra at Rose Hall for performances from his songbook while the Allen
Room will host Friends of Chick Corea: Musicians of the Future and Dizzy’s Club will
showcase a number of bands fêting his legacy.
While the piano is considered a percussion instrument, our other two features
focus on actual drummers. Will Calhoun (Interview) is best known from the rock
band Living Colour but has tons of impressive jazz credits and a new album on
Motéma Music, which he’ll celebrate this month at Blue Note. And Mike Pride
(Artist Feature), veteran of numerous avant garde jazz and rock bands himself, has
a big month of May, releasing two different projects on AUM Fidelity: a new disc
from his From Bacteria to Boys group, who play Greenwich House Music School
this month, and his Drummer’s Corpse project, including fellow drummers Tyshawn
Sorey, Ches Smith and Bobby Previte.
In the other features, drummer Steve Williams (Encore) honed his skills with
Shirley Horn for decades, experience he will bring to several groups this month.
Legendary chamber jazz group Revolutionary Ensemble (Lest We Forget) is the
beneficiary of a posthumous release on Mutable Music, which also happens to be
our Label Spotlight. And local cornet luminary Kirk Knuffke writes our Megaphone
and performs with a typically diverse range of bands throughout the month.
Of course, there are CD reviews aplenty and an Event Calendar packed full as
the spring thaw segues into the summer burn.
We’ll see you out there...
Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director
On the cover: Chick Corea (Santa Istvan Csaba / www.photo-santa.com)
Corrections: In last month’s Lest We Forget on Borah Bergman, we mistakenly said that
the pianist was influenced by Earl Hines after hearing him on Louis Armstrong’s
“Potato Head Blues”; in fact the song was “West End Blues”.
Submit Letters to the Editor by emailing feedback@nycjazzrecord.com
US Subscription rates: 12 issues, $30 (International: 12 issues, $40)
For subscription assistance, send check, cash or money order to the
address below or email info@nycjazzrecord.com.
The New York City Jazz Record
www.nycjazzrecord.com / twitter: @nycjazzrecord
Managing Editor: Laurence Donohue-Greene
Editorial Director & Production Manager: Andrey Henkin
Staff Writers
David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull,
Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan,
Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie,
Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts,
John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman
Contributing Writers
Duck Baker, George Kanzler, Kirk Knuffke, Suzanne Lorge, Robert Milburn, Stanley Zappa
Contributing Photographers
Bill Bernstein, Santa Istvan Csaba, Scott Friedlander,
Peter Gannushkin, Erika Kapin, Alan Nahigian, Jim Newberry
To Contact:
The New York City Jazz Record
116 Pinehurst Avenue, Ste. J41
New York, NY 10033
United States
Laurence Donohue-Greene: ldgreene@nycjazzrecord.com
Andrey Henkin: ahenkin@nycjazzrecord.com
General Inquiries: info@nycjazzrecord.com
Advertising: advertising@nycjazzrecord.com
Editorial: editorial@nycjazzrecord.com
Calendar: calendar@nycjazzrecord.com
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.
THE NEW YORK CITY JAZZ RECORD | May 2013 3

NEW YORK @ NIGHT
The Hell’s Kitchen Cultural Center, Inc.
Presents:
The Seventh Annual
“Rhythm in the Kitchen”
Music Festival 2013
Wednesday, June 5th
In Collaboration with Harvestworks
7pm - Hans Tammen & Denman Maroney
8pm - Lori Napoleon
9pm - Phillip Stearns
10pm - Peter Edwards
Thursday, June 6th
Hell’s Kitchen Cultural Center, Inc. Benefit
7pm - In Performance Music Workshop directed
by Sean King with guest JD Parran
8:30pm - David Jimenez/Charles Evans Duo
9:30pm - York College Jazz Ensemble
directed by Thomas Zlabinger
10:30pm - Elise Wood /Bruce Edwards
Friday, June 7th
7pm - Eri Yamamoto Trio with
David Ambrosio, Ikuo Takeuchi
8pm - Rob Reddy Ensemble with
Charlie Burnham, John Carlson,
Dom Richards, Guillermo Brown
9pm - Alex Garcia/AfroMantra with
Ole Mathisen, Mike Eckroth, Ariel De La Portilla
10pm - Ernie Hammes Group with
Pierre Alain Goualch, Paul Wiltgen, Jay Anderson
Saturday, June 8th
7pm - Curtis Stewart PUBLIquartet with
Jannina Norpoth, Nick Revel, Amanda Gookin
8pm - Michele Rosewoman with Liberty Ellman
9pm - William Hooker/Strings 3 with
David Soldier and David First
10pm - Joseph C. Phillips, Jr. and Numinous with
Ana Milosavljevic, Maya Bennardo,
Hannah Levinson, Richard Vaudrey
$15/$12 (students & seniors)
The HKCC Benefit on June 6th is $20/$15 (students & seniors)
$25 / 2 Evening Festival Pass - only for purchase on Friday, June 7th
Church for All Nations
417 West 57th Street (9th & 10 Aves) NYC
hkculturalcenter.org
Facebook.com/rhythminthekitchen
contact: dwhook@att.net / abrajazzbra@aol.com
Ministere de la Culture,
de l’Enseignement Superieur
et de la Recherche, Luxembourg
Lux Mux, Luxembourg
4 May 2013 | THE NEW YORK CITY JAZZ RECORD
Photo by Erika Kapin
With the band name Voyager emblazoned on his bass
drum head, drummer Eric Harland appeared at Jazz
Standard (Apr. 13th) and played five powerful
extended numbers straight through, speaking only to
introduce his colleagues at the end: tenor saxophonist
Walter Smith III, guitarist Julian Lage, pianist Taylor
Eigsti and bassist Harish Raghavan. Each of these
mammoth musicians could have played a full solo set
and left the crowd happy, but what they did was a
sequence of unaccompanied virtuoso spots to introduce
or transition the tunes - “Intermezzos”, as Harland
termed them on his 2011 debut Voyager: Live By Night
(Sunnyside). Following a bright and challenging
opener with the provisional title “New Song”, Lage
brought a ragged experimentalism and strategic
effects-pedal tweaking to his intro on “Voyager”.
Raghavan was nimble and deeply expressive as he
segued into the lyrical waltz ballad “Trust the Light”.
Eigsti destroyed at the piano but also brought a cool
and glowing harmony to the band, taking the spotlight
right before the irresistibly soulful “Eclipse”. Smith
battled a little harder to be heard, but he shred the
music to pieces consistently. Harland’s show-stopping
solo before “Play With Me”, the catchy groove-based
finale, might have topped the energy of all previous
intermezzos combined. But Harland doesn’t seek to
dominate: he picks players who can do what he does,
transforming the moment in their own highly personal
way. - David R. Adler
Eric Harland @ Jazz Standard
When trumpeter Wadada Leo Smith and pianist
Angelica Sanchez played duo at Greenwich House
Music School (Apr. 6th), there were zones of deep
concentration and silence, but also an outburst or two
from car horns on the small West Village street just
outside. Smith’s horn, too, shattered the calm, but with
high musical intent and creative control. Three of the
six untitled improvisations began with Smith solo,
commanding the room with triple-fortissimo shouts,
relaxed and poetic legato lines, coarse multiphonic
timbres, breath tones and fast blurry runs. Receiving
all this inspiration from a few feet away, Sanchez
showed a great virtuosic reach, favoring a dark
language with 20th-century echoes. At one point she
strove to drown out the car horns with a dissonant
crescendo, but in quieter moments one could hear her
voice, singing the notes and melodies as they emerged.
Her sparse rubato passages and harp-like string
strumming had a way of bringing out Smith’s lyricism
and introspection. “More” called out one listener after
the fifth piece, but Smith grinned and turned the
request around: “How much more?” Then began the
stormy encore, with rumbling rhythms and patterns
and a huge, long-decaying bass note from the piano as
its final gesture. The rich harmonic bed of this
collaboration sets it apart from Smith’s other recent
duos with Louis Moholo-Moholo, Jack DeJohnette and
others. There will in fact be more: Smith and Sanchez
entered the studio the next day to record. (DA)
The ICP Orchestra’s opening piece at Littlefield (Apr.
13th) could have been called “All The Things They
Are” except it was Monk, not Jerome Kern, under an
arrangement by pianist Misha Mengelberg. But with
the array of fragments they worked through, from
graceful minuets for the horns or strings to momentary,
rousing free jazz to brief and blistering tenor solos
from Tobias Delius to full band swing, it made for a
show of prowess whether or not it was intended that
way. It was the ensemble’s first US tour without
Mengelberg, who co-founded the band some 45 years
ago. “He’s just not up to touring right now, but he’s
with us in spirit,” violinist Mary Oliver told the full
house and few in attendance could have been unaware
of the missing figure at the piano. Along with
Mengelberg and Monk they played Basie and Ellington
as well as compositions and arrangements by
saxophonists Ab Baars and Michael Moore and cellist
Tristan Honsinger and a couple by the late South
African saxophonist Sean Bergin, with whom many of
them worked. From a surgical perspective, the nonet
wasn’t so different without its leader. Mengelberg -
who was never one to play 20 notes where one would
do - wasn’t usually heard so much as felt. His spirit of
playful absurdism, of unhinged bop, was still instilled
in the music forwarded by a talented pool of instant
composers who have all played with him for years, if
not decades - and with hope, in spirit or practice, for
decades to come. - Kurt Gottschalk
ICP Orchestra @ Littlefield
The former New York percussionist Tatsuya Nakatani
- who has taken up residence in Pennsylvania - and
Chicago saxophonist Edward Wilkerson, Jr. stopped
at Clemente Soto Velez Cultural Center (as a part of the
Arts for Art Evolving Music series) Apr. 5th during
their tour playing music for the 2012 Japanese silent
vampire movie Sanguivorous. But, as Nakatani pointed
out, instead of the vampire they had William Parker.
They conjured music with one foot in the Mali jungle,
one in the Australian outback and a third downtown
with Parker on kora and Wilkerson playing didgeridoo.
Nakatani created a sonic bed with delicate blowing
across a handheld cymbal and rigorous crushing of
larger ones against his drumhead. They put another
foot back home in Chicago once Wilkerson pulled out
his tenor, sock in bell, and Parker picked up his bass.
They played midtempo excursions while Nakatani
kept in constant motion with brushes and bowls and
cymbals and gongs. Wilkerson brought a nice constraint
to the free formations, playing in boppish boxes and
well-parsed phrases, faithful as Chicago saxophonists
so often are to the spirit of Gene Ammons while
working the array of hand percussion and small
instruments trademark to a younger generation of
Chicagoans. Announcing the band at the end of the set,
Nakatani laughed, “Usually when free jazz improvisers
play together for the first time, it is OK, then the
second, third time it is good. This was the first time we
played together - it was really pretty good.” (KG)
Peter Gannushkin/DOWNTOWNMUSIC.NET

Photo by Scott Friedlander
One imagines when the quartet Conference Call came
together in New York 15 years ago, the name was a
cheekily oblique reference to group improvisation. But
now that geography has separated the members across
states and continents, the appellation is even more
fitting. The foundation of the group is the remarkable
communication between (now) North Carolina-based
pianist Michael Jefry Stevens and Washington Heights
bassist Joe Fonda - their partnership goes back twice as
long as the quartet in question. At ShapeShifter Lab
(Apr. 3rd), their pairing, particularly in the more quiet
moments, is why one laments modern jazz’ dearth of
longterm relationships. But those quiet moments were
in the minority, no surprise given tenor saxophonist/
bass clarinetist Gebhard Ullmann, now returned to his
native Germany, who evinces shades of both homes in
his playing, especially a unique approach to the bass
clarinet. His “Dreierlei” opened and took up over half
of the set, a complex piece but not stultifyingly so,
demonstrating Conference Call’s two best features:
precisely harnessed energy and immediate and organic
responsiveness. Drummer George Schuller (third in
the chair after Matt Wilson and Han Bennink) drove
the Township jive-like second piece, featuring a classic
tenor tone from Ullmann. Stevens’ “What About the
Future” closed the set in succinct fashion but ended up
being the concert’s highlight, mainly due to some arco
magic from Fonda, who makes everything he plays
look easy. - Andrey Henkin
Conference Call @ ShapeShifter Lab
Seeing Art Lande at Jazz at Kitano (Apr. 10th), it is
hard to reconcile the pianist’s early ECM efforts with
Jan Garbarek or Gary Peacock, dour men of jazz, with
the almost manic cutup slaying the audience while
leading a quartet of Bruce Williamson (reeds), Dean
Johnson (bass) and Tony Moreno (drums). When he
wasn’t reading random snatches of poetry or jumping
up from his piano stool, he was exhorting the assembled
New Yorkers to come by his next gig...back home in
Colorado. For a Wednesday night and an obscure
figure such as Lande, Jazz at Kitano was packed,
mostly with musicians, a testament to Lande the artful
educator. But he wasn’t the only one teaching in a
70-minute set made up of 6 tunes, each oddly either 9
or 12 minutes. Williamson, a collaborator of Lande’s
since the ‘70s when both were based in San Francisco,
was a marvel on alto saxophone, clarinet and bass
clarinet. Johnson and Moreno made up a gooey rhythm
section, delicious like melted chocolate. There were
standards like a slightly fractured take on “St. Thomas”
and the plucky, clarinet-led “Moon River” encore or
Lande originals like “Osloxica” (where Norwegian and
Mexican music meet) or “Pitless”, written for trumpeter
Don Cherry. The opening “Sass” was just that, courtesy
of Johnson’s intro and Lande’s pushing-against-time
solo while “Gallery Cool”, written by Paul Grabowsky,
referenced art in the impressionism of Lande’s insidethe-piano
musings and an elfin quality that could be
subtitled “Evening of a Midtown Faun”. (AH)
Having long ago shunned the word jazz to identify
the sounds he creates - preferring his own neologism
‘autophysiopsychic’, meaning from the physical,
mental and spiritual self - it was not surprising that the
program for Yusef Lateef: Celebrating 75 Years of
Music at Roulette (Apr. 6th) featured an expansive
range of music by the 92-year-old multi-instrumentalist,
little of which could be described with that term he has
historically disdained. The evening’s first half
showcased Lateef the composer, with three pieces -
“String Quartet no. 2 2012”, performed by the Momenta
Quartet; “Trio in December 1998 op. 2 No. 2 (Elan
Vital)” featuring the saxophone trio of JD Parran,
Marty Ehrlich and Allen Won and “Autophysiopsychic
(variations for piano) 2012” with Taka Kigawa - that
while best described as being in the European classical
tradition, still evinced the engaging lyricism and
rhythmic resourcefulness that distinguishes all of
composer’s work. But it was the second portion of the
concert, an hour-long duet between Lateef and
longtime colleague/percussionist Adam Rudolph that
was most rewarding. Seated center stage, the elder
master blew tenor sax, flutes (both bamboo and metal)
and oboe, weaving an intriguing panoply of ethereal
and earthy tones into Rudolph’s percussive array of
polyrhythms to create a bluesy Eastern-tinged sonic
tapestry, made all the more dramatic with the solemn
recitation of Lateef’s two poems “When” and “A
Syllogism”. - Russ Musto
Yusef Lateef & Adam Rudolph @ Roulette
Peter Bernstein kicked off his first set at 54 Below
(Apr. 2nd) with an upbeat “This Could Be The Start Of
Something Big”, a suitably optimistic opener marking
the inaugural night of the WBGO Jazz Series at the
room called “Broadway’s Nightclub”. Following up,
the young-yet-veteran guitarist introduced an easy
grooving “Stairway To The Stars” with a knowing grin
that recognized the ironic relationship between the
song’s title and the subterranean location of the
opulently appointed room where his stellar band of
pianist Harold Mabern, bassist John Webber and
drummer Jimmy Cobb was holding forth for the first
time. Bernstein’s lyrical single-note stylings shined on
the Victor Young classic “Delilah”, contrasting nicely
with Mabern’s fluent harmonically rich solo. The
pianist was featured on his own “Edward Lee”, a
soulful dedication to his old bandleader boss Lee
Morgan, showcasing his powerful parallel octave runs
in conversational tandem with Bernstein’s mellifluous
chording. The addition of guest Frank Wess added a
classic jazz element to the group that seemed
particularly at home in the old-style cabaret
environment of the room. Swinging breezily on “The
Street Where You Live” the saxophonist’s airy tone
recalled the sound of his glory days with Count Basie.
His unaccompanied intro to “How About You”
launched the band into a medium-up tour de force
outing, before bringing things home with a moving
“Never Let Me Go”. (RM)
Photo by Alan Nahigian
WHAT’S NEWS
The nominees for the 2013 Jazz Journalists
Association Awards have been released. We are
pleased to have been nominated for Best Print
Periodical of the Year for the seventh time in the last
eight years. Winners in musical categories will be
announced on the JJA website May 1st. A celebration
for the winners will take place at Blue Note Jun. 19th,
where prizes in journalism/media categories will be
announced. Additionally, the JJA has named its class
of 2013 Jazz Heroes, which includes local activists
Robbin Ahrold, president of Century Media Partners
and past Vice President, Corporate Relations for BMI,
and Karl Berger and Ingrid Sertso, co-founders of
the Creative Music Studio workshops in Woodstock.
For more information, visit JJAJazzAwards.com.
The 2013 Nesuhi Ertegun Jazz Hall of Fame
Inductees have been announced. Based on the
results of a worldwide popular vote, Art Blakey, Lionel
Hampton and Clark Terry will be the 43rd-45th
members inducted and the first since 2010. For more
information, visit jalc.org/learn/online-learning/hall-offame.
Trumpeter Wadada Leo Smith was named a finalist
for the 2013 Pulitzer Prize in Music for his 10 Freedom
Summers, released on Cuneiform Records and
receiving its local premiere at Roulette May 1st-3rd.
The 2013 Essentially Ellington Competition will
take place at Jazz at Lincoln Center’s Rose Hall May
10th-12th. For more information, visit jalc.org/learn/
teachers-students/essentially-ellington.
The late trombonist Albert Mangelsdorff is to be
celebrated in his native Frankfurt, Germany by the
naming of a small pond in the city in his honor.
Mangelsdorff apparently visited the pond daily and
was inspired by the many birds who frequented it.
The Library of Congress’ National Recording
Registry, recordings that “are culturally, historically, or
aesthetically important, and/or inform or reflect life in
the United States” has added the following to its list:
“Begin the Beguine” - Artie Shaw & His Orchestra
(1938); Descargas: Cuban Jam Session in Miniature -
Cachao Y Su Ritmo Caliente (1957); The Shape of
Jazz to Come - Ornette Coleman (1959) and The
Audience with Betty Carter - Betty Carter (1980). For
more information, visit loc.gov/rr/record/nrpb/registry.
Jazz at Lincoln Center has acquired the collection of
Frank Driggs, including a massive archive of
photographs, posters, sheet music, records and
personal papers. Driggs was a longtime jazz record
executive for Columbia and later RCA Victor. For more
information, visit jalc.org.
The film The Girls in the Band, a documentary on
female jazz instrumentalists from the ‘30s onwards,
will receive its theatrical premiere at Lincoln Center’s
Walter Reade Theater May 10th followed by a week
run at the Francesca Beale Theater, May 10th-16th.
For more information, visit thegirlsintheband.com.
Clarinetist Anat Cohen is the recipient of the 2013
Paul Acket Award, given annually by the North Sea
Jazz Festival (and named for its founder) to artists
“deserving wider recognition for their extraordinary
musicianship.” For more information, visit
northseajazz.com.
Submit news to info@nycjazzrecord.com
THE NEW YORK CITY JAZZ RECORD | May 2013 5

Photo by Bill Bernstein
INTERVIEW
Drummer Will Calhoun’s playing is vivid. It’s clear and
forceful; you always know he’s there. So when big names
need a big beat, they call Calhoun; in addition to his many
years as the fire underneath rock band Living Colour, the
Bronx-based Calhoun has laid it down for Pharoah Sanders,
Wayne Shorter, rapper Yasiin Bey (when he was still known
as Mos Def) and Malian vocalist Oumou Sangare. In
between Living Colour dates last month, Calhoun spoke to
The New York City Jazz Record about his wide-ranging
fifth jazz album as a leader, Life in This World.
The New York City Jazz Record: I really like the new
album title.
Will Calhoun: There’s a lot of things going on in my
career and what I’m doing. How I’m experiencing
myself as an artist. I’m kind of pigeonholed a little bit
in the press for being a rock guy, [because I was]
introduced to the industry by Living Colour. But Mali
and Africa in general, but mostly Mali and Senegal and
Mauritania and Morocco are places where I’ve studied
and researched music. And that music has influenced
me a great deal in playing everything. So Life in This
World really is an experience of the world that I’m in
and putting it, sort of, in a jazz narrative with this
record. I wanted to bring my Bronx history: hip-hop -
whether folks hear it in there or not - drum-and-bass,
reggae, growing up in a Caribbean community. My
first professional gig, at the age of 19, with Harry
Belafonte. What that experience was like. Working
with Harry and working with unbelievable South
African musicians. That was my first contact, really,
with musicians from Africa. And that was my first
experience with each singer or musician being able to
play at least eight instruments. So Life in This World is
where I am now and the experiences that I’ve had.
TNYCJR: “Naima”, uniquely, gets a Brazilian groove.
WC: Very well stated. It’s a baiao. I wanted to try
something not on the kit. I’m very influenced by that
country. Less samba and more from maracatu. More
the north, more in the Bahia and the Recife area. But
still, yes, I’m a huge fan of that culture and the country
and of course if you’re a drummer or an acoustic guitar
player that country can become paradise for you as a
musician. But yeah, it is a Brazilian influence, that is
correct. I love all of [John] Coltrane’s music. “Naima”,
to me, just has such a universal melody to it. Whether
you’re playing straightahead jazz, or with hand drums,
or in the choir. I’ve heard it done many ways, with
many different types of musicians and I wanted to put
a little bit of a Brazilian twist on it and feel, without
insulting [Coltrane’s] music.
TNYCJR: And am I hearing some Latin stuff also on
[Thelonious Monk’s] “Evidence”?
WC: That six that I’m playing there is Malian actually.
6 May 2013 | THE NEW YORK CITY JAZZ RECORD
Will
Calhoun
by Brad Farberman
And it’s interesting when you go to some of these
rhythms, because a lot of the cascaras and a lot of the
claves and these things that left the continent and went
to Central and South America actually come from a lot
of these areas of Mali, of Senegal. I was with a Dogon
family for a little while. I was just out in the bush and
I stopped at this place to eat and this guy had a very
old, crusty boombox and he put this cassette in and the
drums destroyed me. And I was like, “What is that?”
He said, “Oh, it’s just old Dogon music.” It was taped
over, like, an Earth, Wind & Fire or Jackson 5 tape - I
don’t know how he got the tape, but he obviously
taped over it - but the drumming was insane. And on
this cassette, you hear these kinds of claves, these
kinds of cascara patterns and I was asking him how old
these patterns were in the culture. They were laughing
at me, ’cause I liked all the old stuff. I liked the hunter’s
music. All the things that aren’t popular, that are only
played for a certain purpose. So they kinda got a kick
out of me diggin’ that stuff. ’Cause you have to be
initiated to play that music. So that was the attraction.
But that six, it does sound very Latin, but historically
it’s coming from a Manding style.
TNYCJR: It’s so interesting how all these rhythms and
all these different musical elements get dispersed
around the world.
WC: Yeah, yeah, yeah. I wish I had the time and the
money to really get a team together and a film crew
and a whole plane full of people and go over and really
start to comb through this stuff at that level. But my
sort of smaller level has just been so amazing to
experience. Older balafon players telling me why [Jimi
Hendrix’] Band of Gypsys meant more to them than
the Experience band. And I’m saying, “Well, what’s the
reason?” and they started to play me Manding music
that sounded so much like what Jimi was doing with
the Band of Gypsys that they thought Jimi was trying
to get to that. And then who knows with Jimi; maybe
he was! [laughs] But this 80-something-year-old man
played me so many traditional songs that sounded like
“Power of Soul” and sounded like “Machine Gun”. Of
course not exactly like the same licks, but if you hear
the movements in the music, it’s spine-tingling to have
that experience and then go back and listen to [Hendrix]
and realize, “Whoa, there’s a relationship there,
whether Jimi realized it or not.”
TNYCJR: Ron Carter appears on two tracks from Life
in This World. “Etcetera”, in particular, I felt was really
spontaneous-sounding.
WC: First of all, it was an honor. Second of all, I’ve
done a few jingles with Ron. He won’t remember it,
because Ron was such a professional. He used to just
come in and read the music down and leave. [laughs]
He won’t remember me playing on most of the jingles
we did together; I was just happy to be in the same
room with Ron. But yeah, Ron’s a master. When you
hear that sound, it just brings you back.
The “Etcetera” thing was interesting because I
love this track and on Wayne Shorter’s original version,
Joe Chambers is playing drums and there’s a solo in
the section after the piano and saxophone solo. And I
was just talking down the arrangement and Ron, he
didn’t want any music before this recording, he didn’t
want to hear anything, he just said, “I’ll just come and
do it.” I said, “Okay, fine.” He showed up, we talked
about it and I said, “Well, you know, there’s a solo, it’s
an open drum solo.” And he said, “You know, I think I
wanna play with you in that section”. And I said,
(CONTINUED ON PAGE 46)
Nikolaj Hess
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keNNy WolleseN
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release coNcerT WiTH GuesT Marc MoMMaas
May 15TH aT 8.30 pM & 10.30 pM
corNelia sTreeT cafe
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Photo by Jim Newberry
ARTIST FEATURE
Great art, or even much good art, often comes from
strife. Whether socio-political, personal, internal or
external, it is important to creation. Of course too much
can be made of the psychological or social complexities
that resulted in the work of Jackson Pollock or Francisco
Goya, in the face of their art’s ability to stand on its
own without the crutch of torment. Jazz and improvised
music too has a deep connection to social and personal
complexities, an intertwined series of challenges to
survival that begat and beset musicians from Charlie
Parker to Cecil Taylor. While coming out of a different
milieu (“a white farm boy from Maine” as he tells it),
drummer Mike Pride has certainly developed his art
from personal difficulties that have resulted in as much
celebration as pain.
In 2005, shortly after leaving his job as a working
drummer in the well-regarded punk band MDC
(Millions of Dead Cops, et al) and seeing a couple of
his personal musical projects dissipate, his Park Slope
apartment suffered a catastrophic electrical fire,
leaving him and his wife temporarily homeless and
destroying nearly all of their belongings as well as
killing the family cat. Pride’s response to this was
creative: “I decided to have this thing called Drummer’s
Corpse that could be super dark and when people
want me to play rock shows now I don’t show up with
a rock band anymore. What to do next? Fill up the
room with drummers and go nuts. I wanted to have an
installation rather than a rock band and that has
continued for going on eight years.” Extant only in a
few live clips until now, the Drummer’s Corpse record,
just out on AUM Fidelity, features Pride on drums,
organ, vocals, nose flute and percussion, joined by
Tyshawn Sorey, Ches Smith, Bobby Previte, Oran
Canfield, Russell Greenberg and John McLellan on
drums and gongs, Chris Welcome on guitar and
performance artists Marissa Perel and Fritz Welch on
voice and percussion.
The cast has changed with each performance,
though Welch and Canfield have been constants. As a
performative installation it’s not easy to translate to
record, but Pride has made adjustments. It is scored
and mapped out to an exacting degree with ‘Cage-ian’
vocal parts and what Pride calls “Messianic chords”
written for organ and guitar. “Catharsis is the goal;
you have six chords and each chord is held for five
minutes. That’s when the shifts happen. Live every
drummer starts when a female performance artist
comes up and makes uncomfortable eye contact and
that’s when they start improvising. I start the clock and
there’s three minutes of that.” What one hears is what
was recorded with only a few studio tweaks and
imperceptible superimpositions - and yet as cathartic
as the music is, it’s quite spacious and flows in a
number of affecting directions. The recording was
funded by a Kickstarter campaign that exceeded its
goal, bringing in enough to pay the artists a good
hourly wage and ensure that it was mastered in a clear
and sympathetic fashion. While Pride intended to
Mike
Pride
by Clifford Allen
release it himself, events transpired that might give the
music a larger audience. “I thought Tzadik was
interested and was kind of thrown off when that didn’t
happen, so I thought why not put this out on a label
with some business behind it rather than have another
record on my own label, because as far as I’m
concerned, this is one of the heaviest records I’ve ever
heard. Why not have people beyond the 120 or 130 that
supported it via Kickstarter be made aware? It just
seemed to make sense and it was good that it could be
offset by the new Bacteria to Boys record. They’re both
joyful, but coming from completely different places.”
The latter disc, Birthing Days, is being released
concurrently on AUM Fidelity and features Pride’s
working group From Bacteria to Boys with pianist
Alexis Marcelo, bassist Peter Bitenc and saxophonist
Jon Irabagon (two tracks feature tenor saxophonist
Jonathan Moritz and bass clarinetist Jason Stein). The
third record under this moniker, the group’s name
comes from String Theory. “It was a documentary that
I was watching and the closing line referred to ‘…the
evolution of man from bacteria to boys.’ I wrote that
down and it remained something I’d wanted to use for
years. It’s a ridiculous name - any time I meet someone
who recognizes the String Theory reference, they think
it’s the best name ever. I thought the name was
interesting and it fit how the music was written,
especially the trio music that I wrote for [alto
saxophonist] Darius [Jones] and Evan [Lipson, bassist
– both featured in earlier incarnations of the group]. It
was cellular material that grew and got bigger and
created this kind of architectural mass of sound.”
Pride’s name has cropped up with increasing
regularity over the last eight or ten years; while punk
and noise were (and remain) in his blood, he can be
heard in settings with Jon Irabagon, guitarist Joe
Morris, organist Jamie Saft, bassist William Parker,
guitarist Mick Barr and trumpeter Peter Evans (to
name just a few). A big-toned, harmonically-minded
and economical drummer, “Milford Graves was the
reason I moved to New York – I was a huge fan of his,
despite never having seen him play. I became his
understudy. We immediately hit it off and I studied off
and on until at a fundraiser at Tonic, where he had me
come up and do a duet with him at the end of his solo
performance. He had me up on his shoulders and I
would lean over and play his drums. He had me play
solo on his kit while he went out into the audience and
sang. It was really deep and we didn’t talk for a year
after that. He said, ‘Mike is one of my best students
and this was his best lesson.’” A Graves connection
might seem surprising for a drummer who is dedicated
to specific forms and their ability to enact cathartic and
cellular actualities, but as Pride spins it, “my whole
thing is a sort of ‘Grand Unification’ [referencing a
Graves solo recording] of everything I’m into.” v
For more information, visit mikepride.com. Pride’s From
Bacteria to Boys is at Greenwich House Music School May
22nd. He is also at ShapeShifter Lab May 8th with Mostly
Other People Do the Killing. See Calendar.
Recommended Listening:
• Mike Pride - Scrambler (Not Two, 2002)
• Jason Stein Locksmith Isidore - A Calculus of Loss
(Clean Feed, 2006)
• Jon Irabagon - I Don’t Hear Nothin’ But The Blues
(with Mike Pride) (Loyal Label, 2008)
• Mike Pride’s From Bacteria to Boys -
Betweenwhile (AUM Fidelity, 2010)
• Yoni Kretzmer 2Bass Quartet - Weight
(OutNow, 2011)
• Mike Pride - Birthing Days (AUM Fidelity, 2012)
CECILIA COLEMAN
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THE NEW YORK CITY JAZZ RECORD | May 2013 7

ON THE COVER
In accepting one of two Grammys this past February
for his work with vibraphonist Gary Burton on Hot
House (Concord), pianist Chick Corea gave an
impromptu salute to musicians everywhere. “I know
that we all have the same intention, which is to bring
pleasure and beauty to people around the world,” he
said. This intention continues to motivate Corea well
into his fourth decade as a solo artist and bandleader:
Corea, now 72, tours relentlessly throughout the US
and abroad, performing in all manner of venues, with
all manner of musicians. This month that touring
brings him to New York City for a festival in his honor
at Jazz at Lincoln Center (JALC).
Corea and JALC Artistic Director Wynton Marsalis
have known each other for years - with a total of almost
30 Grammys between them, the pianist and trumpeter
are two of the most prolific jazz players around - but
they hadn’t worked together until 2011, when Marsalis
invited Corea to play three nights at JALC’s Rose Hall.
Marsalis wrote some arrangements of Corea’s tunes,
Corea rehearsed for a bit with the JALC Orchestra and
the resultant performances transformed their
relationship from one of mutual admiration to one of
powerful collaboration. Corea and Marsalis agreed
that they’d have to do it again.
This time Marsalis added two nights to the run
and asked Corea to curate the performances on the
other stages at JALC, all of which would be booked
with prominent players who’d been brought up on
Corea’s music. “I had to look the word [curate] up in
the dictionary,” joked Corea, who agreed to select the
participating musicians. When the plan took form it
looked like this: Corea would perform Marsalis’
arrangements of Corea’s compositions with the JALC
Orchestra for three evenings in Rose Hall; five
bandleaders hand-picked by Corea would play across
five evenings in Dizzy’s Club and two of Corea’s
young protégés would play with some more
experienced instrumentalists in a program called
“Friends of Chick Corea: Musicians of the Future” in
the Allen Room. The visiting ensembles would perform
their own Corea-inspired works along with
arrangements of one or two Corea tunes.
Corea, who’s produced a staggering array of
traditional jazz, fusion, avant garde and symphonic
compositions over the last nearly 50 years, took a
decidedly hands-off approach to the repertoire for the
festival. “I didn’t want to have to choose the material
for the artists to perform,” Corea asserted. “These
young musicians are in a thorough mode of creativity…
and I didn’t want to interrupt it by saying ‘do this, do
that.’ The idea was that each group might choose a
Chick Corea tune that they might like to play. Even if
they all chose the same tune they’d play incredibly
different renditions. [But] they’re making choices
pretty far afield from what would be considered the
standard tunes, like ‘Spain’.”
Corea’s willingness to grant the participants so
much creative autonomy reflects the appreciation he
feels for the next generation of musicians. He admires
their confidence, he says, their technical brilliance,
CHICK COREA
CREATING FREEDOM
by Suzanne Lorge
their expressiveness. “What’s coming out [of these
musicians] is so uninhibited that it bubbles with light,”
he says. “…That freedom to create…that’s something
that every artist, no matter what his age, strives for all
the time.”
Of course, the artists involved might well say that
the very qualities that Corea admires in them are part
of his legacy to the jazz world. “His music, virtuosic
skill, incredible compositional skills - how do you even
talk about it?” asks pianist Edsel Gomez, who opens
the lineup at Dizzy’s Club with his Cubist Music Band.
Puerto Rican-born Gomez first met Corea in the mid
‘80s, when Corea was visiting Berklee School of Music
in Boston and selected Gomez, a student then, to play
in his band. “He influences everybody. He’s influenced
everything I do, even [music] that has nothing to do
with jazz.”
Outside the US Corea’s influence on young
musicians was no less pronounced - even in Cuba,
where jazz was banned during the ‘80s-90s. Bandleader
Elio Villafranca was studying percussion and classical
composition in a state-run program in Havana during
those years, sometimes spending half of his monthly
income on the black-market cassettes he needed to
make copies of Corea’s albums. “It was a conscious
decision, [to be] hungry that month, but then we would
listen to really great music,” Villafranca says. “That’s
what Chick is to me. That moment when you have to
make a choice, whether you really want to be a
musician, to make that sacrifice…to get where you
want to go.” Villafranca and Corea didn’t meet in
person until three years ago, the same year that
Villafranca received a Grammy nomination for Best
Latin Jazz album. Corea had come to hear him and his
septet, the Jass Syncopators, at Dizzy’s Club and after
the gig the two pianists chatted late into the night.
The youngest participants in the Festival are piano
prodigies Gadi Lehavi from Israel and Beka
Gochiashvili from Tbilisi, Georgia, both of whom just
turned 17. Corea had first heard of the gifted teenagers
from other musicians: drummer Lenny White told
Corea about the 11-year-old Gochiashvili in 2007, two
years before the pianist became the youngest winner of
the Montreux Jazz Competition, and saxophonist Ravi
Coltrane had met Lehavi during a trip to Israel in 2009
and passed one of his recordings on to Corea. Corea
struck up a mentorship with each of the boys, offering
them performing advice and helping to launch their
international careers. Both have visited Corea’s Florida
home and recorded duets with him there. Especially
helpful, says Lehavi, has been Corea’s guidance on
composing. “Chick told me to write something every
day and not worry so much, to have fun,” he says. “He
wants people to have their own voice come out
naturally.” Lehavi will play some of his mentored
compositions in the Allen Room gig, where both of the
young artists will perform with Grammy-winning
bassist John Patitucci, trumpeter Wallace Roney and
drummer Marcus Gilmore.
For his three days of performances with the JALC
Orchestra, Corea says that Marsalis is revising some
existing arrangements of Corea’s work and preparing
some new charts; though he can’t confirm the specifics,
Corea reports that Marsalis called an extra day of
rehearsal in May to work through the new material.
“And I’m going to bring in some ideas,” Corea says,
adding, “I wish I’d have had time to write something
brand new myself, but I’ve been on the road touring so
constantly these past six months that I haven’t had the
chance.”
Corea admits that touring cuts into the time that
he’d like to devote to new projects. To address this lack
Corea has formed his own band - The Vigil, a quintet
that mixes electric and acoustic instruments in a
distinctly different jazz sound. “I’ve been wanting to
do this [group] for five, six, seven years,” says Corea,
“because there’s a part of my musical output that I was
missing, which is writing, composing, arranging and
putting it all together. Having a band like [The Vigil] is
like having a palette to explore ideas of how to present
music.”
Corea and The Vigil - bassist Hadrien Feraud,
guitarist Charles Altura, saxophonist Tim Garland and
drummer Marcus Gilmore - have already started
performing in the US and after the JALC Festival,
Corea will tour with them throughout Europe and Asia
during the summer and early fall. In addition to his
Vigil performances, Corea has multiple bookings with
bassist Stanley Clarke and banjo player Béla Fleck,
some solo gigs and one-offs with pianist Herbie
Hancock and vocalist Bobby McFerrin scheduled for
the latter part of 2013; all told, by the time Corea wraps
up The Vigil tour he will have spent the better part of a
year on the road.
Corea has controls in place to manage the
arduousness of touring - he wants to be at his best on
stage. The important thing, after all, is fulfilling the
intention that he mentioned in his Grammy speech.
“I like it when someone in an audience will be able to
feel…the joy we get out of making music on stage,” he
says. “That’s why I love live performance. The
message…of most musicians and artists is the
freedom…to be. It shouldn’t be underestimated how
important that is.”v
For more information, visit chickcorea.com. Corea is at Rose
Hall May 16th-18th with the JALC Orchestra. The Chick
Corea Festival is at Allen Room May 17th-18th and Dizzy’s
Club May 15th-19th. See calendar.
Recommended Listening:
• Chick Corea - Now He Sings, Now He Sobs
(Solid State-Blue Note, 1968)
• Miles Davis - Live in Europe 1969: The Bootleg Series
(Legacy Recordings, 1969)
• Gary Burton/Chick Corea - Crystal Silence
(ECM, 1972)
• Chick Corea - Remembering Bud Powell (Stretch, 1997)
• Chick Corea - Rendezvous in New York
(Stretch-Concord, 2001)
• Chick Corea/Eddie Gomez/Paul Motian -
Further Explorations (Concord, 2010)
THE NEW YORK CITY JAZZ RECORD | May 2013 9
Santa Istvan Csaba / www.photo-santa.com

ENCORE
Steve Williams
by Marcia Hillman
There are drummers
who are timekeepers
and then there are
drummers who go
beyond and play the
melody on their drums
as well as keeping the
beat going. Steve Williams belongs to the latter class.
Born in 1956, Williams grew up in Washington, DC
and started playing drums at about 8 or 9 years of age.
Williams recalls, “My father played all kinds of music
around the house. For some reason, the drum was the
first instrument that made my ears perk up. And when
my father played Philly Joe Jones,” he continues, “I
realized that drums could play both melody and
rhythm.” After high school, Williams went on to the
University of Miami and continued his music education
in the jazz department there, working locally at nights
with fellow schoolmates Carmen and Curtis Lundy
and Bobby Watson. It was while he was in Miami that
he joined Monty Alexander’s band and started to
travel internationally. After the Lundys moved to New
York in 1978, Williams decided to try his luck in the Big
Apple. In New York he studied with drummer Billy
Hart and performed with such artists as Clifford
Jordan, Tex Allen and Charles Davis. After some time,
Williams returned to Washington to continue building
his reputation the old fashioned way - on the job. At
that time he played a lot with visiting musicians that
he had met in New York, including Milt Jackson,
Freddie Hubbard, Joe Williams, Eddie Henderson,
Larry Willis, Mulgrew Miller and John Hicks.
And then in 1980, the next step in Williams’
musical education began – one that lasted for the next
25 years of his life. Shirley Horn was looking for a
drummer to replace Hart in her trio and came to hear
Williams play on a gig. “I think she liked me because
she felt she could work with me and teach me what I
needed to know to work with her,” he comments.
LEST WE FORGET
Revolutionary Ensemble
by Andrey Henkin
Unlike “Hardest Working Man in Show Business”
James Brown, “Greatest Show on Earth” Ringling Bros.
and Barnum & Bailey Circus or other self-adhered
honorifics, Revolutionary Ensemble, the trio of
violinist Leroy Jenkins, bassist Sirone (né Norris Jones)
and drummer/keyboardist Jerome Cooper, deserved
their name. Expertly knitting together the disparate
threads of avant garde jazz, Third Stream and primal
blues, the group would spearhead the genre known as
“Chamber Jazz” (wherein strings took the role
traditionally held by brass and/or reed instruments in
small groups) and inspire entire swathes of modern
American and European jazz.
Jenkins and Cooper were both from Chicago while
Sirone was born in Atlanta. The former two spent time
in Europe during the late ‘60s, participating in sessions
with other American expatriates like Anthony Braxton,
Alan Silva and Archie Shepp while Sirone was busy
with Gato Barbieri, Marion Brown and Dave Burrell.
Jenkins, Sirone and original (and short-tenured)
drummer Frank Clayton came together in New York
City as Revolutionary Ensemble in 1971, an odd period
in jazz history, where (not-so) New Thing, fusion and
soul jazz eyed each other’s scenes warily. Cooper came
10 May 2013 | THE NEW YORK CITY JAZZ RECORD
Pierre Sprey, owner of Mapleshade Records remembers
the night: “It was at a club called One Step Down in
Washington, DC. I knew Shirley well and she asked me
to come and listen to this drummer... Steve is a very
creative drummer and I thought he could be perfect
with Shirley.” This meeting also marked the beginning
of a strong friendship and association between Sprey
and Williams. “Over the years, Steve has become a sort
of resident drummer at Mapleshade Records, appearing
as sideman on a number of albums and working with
Larry Willis.” Williams can be heard on Kendra Shank’s
first CD for Mapleshade, Afterglow, co-produced by
Horn. Shank says, “I was thrilled to have Steve on the
date... I was doing a lot of slow ballads, which Steve
plays so masterfully.”
Horn was able to keep the same personnel together
in a working trio (with bassist Charles Ables) for the
next quarter-century, which afforded Williams steady
work and the opportunity to play on bandstands all
over the world. This also gave Williams the chance to
play and/or record with Miles Davis, Toots Thielemans,
Ron Carter, Branford and Wynton Marsalis and Carmen
McRae. One of Williams’ fondest memories is of
playing on McRae’s last recording (Sarah: Dedicated To
You) with Horn on piano and Ables. “It was the
relationship between Shirley and Carmen and their
talking about Sarah. It was like the three of them were
in the room,” he states.
Working with Horn provided Williams with the
major portion of his musical education. Horn’s slow
singing of ballads tailored his brushwork. “I had to
learn to make a wide figure eight on the snare in order
to keep with her timing. I learned to listen to know
when to play the fills. I found it fascinating to play
slow. You just have to tell your body and your mind to
slow down,” he relates. Talking about Horn, Williams
goes on, “My time on the road with her was very
precious. On the road, she became a mother figure, a
sister, a teacher, a best friend and almost like a love.”
Williams worked with Horn and Ables until their
deaths (Horn in 2005 and Ables a few years before
hers). Since then he has been working as leader with
his own quintet and as sideman with other musicians.
He also continues working with vocalists such as Teri
on board by the time of the group’s first album,
Vietnam, recorded at Greenwich Village’s Peace Church
in March 1972 and one of the late period ESP-Disk’
albums. The group worked steadily during the ‘70s,
releasing four more albums for four different labels:
Manhattan Cycles (India Navigation) came from a New
Year’s Eve performance of the Wadada Leo Smithpenned
title track in the titular borough; The Psyche
(RE: Records, 1975), also waxed in New York, was the
first disc to include tunes from each member; The
People’s Republic could be called the group’s major
label debut, recorded over three days in Burbank, CA
in December 1975 and released by A&M/Horizon; and
the eponymous Enja album from August 1977
documented a set from the swanky Moosham Castle in
Salzburgerland, Austria.
It is unclear whether the group split up over
anything more substantial than normal attrition.
Jenkins went on to record frequently as a leader. Sirone
joined Cecil Taylor’s 1978 Unit and later the cooperative
group Phalanx (and released two obscure sessions
under his own name) before settling permanently in
Europe. Cooper added more instruments to his arsenal
and split time between his own projects and sideman
work.
The group may have been consigned to history, its
influence felt solely through its excellent recordings
and heirs, but on May 30th, 2004, over a quartercentury
after their last performances and in the wake
Roiger who says of him, “Steve creates this tapestry of
sound. He listens so well to the song right with me and
never overplays. He always knows where the beat is
and his sense of swing is pure joy!” v
For more information visit abrushfire.com. Williams is at Jazz at
Kitano May 4th with Greg Abate, ShapeShifter Lab May 10th
with Teri Roiger, 55Bar May 11th with Roz Corral, 55Bar May
20th with Sean Smith, Somethin’ Jazz Club May 21st with
Larry Corban, Birdland May 23rd with Sally Knight and Village
Vanguard May 28th-Jun. 2nd with Joe Lovano. See Calendar.
Recommended Listening:
• Shirley Horn - I Thought About You (Verve, 1987)
• Carmen McRae - Sarah - Dedicated To You
(RCA Novus, 1990)
• Toots Thielemans - For My Lady (with the Shirley Horn
Trio) (EmArcy, 1991)
• Thurman Green - Dance of the Night Creatures
(Mapleshade, 1994)
• Shirley Horn - The Main Ingredient (Verve, 1995)
• Steve Williams - New Incentive (Elabeth, 2005)
of Mutable Music making The Psyche the first of their
albums to be available on CD, Jenkins, Sirone and
Cooper gave a transcendent reunion performance at
that year’s Vision Festival. Still adept and, more
importantly, still relevant, the reformed group went
into the studio a few weeks later to record And Now...
for Pi Recordings. In 2008 Mutable released a May 2005
concert from Warsaw, Poland as Beyond the Boundary of
Time and just this year put out Counterparts, the group’s
final concert, from Genoa, Italy in late 2005.
Jenkins passed away in 2007 and Sirone followed
two years later, ending any hope that Revolutionary
Ensemble would be as active in the Aughts as it was in
the ‘70s. But advanced jazz listeners can be happy one
of the most revolutionary ensembles in jazz history got
a second, well-deserved go-around. v
Recommended Listening:
• Revolutionary Ensemble - Vietnam (ESP-Disk’, 1972)
• Revolutionary Ensemble - Manhattan Cycles
(India Navigation, 1972)
• Revolutionary Ensemble - The Psyche
(RE: Records-Mutable Music, 1975)
• Revolutionary Ensemble - The People’s Republic
(A&M/Horizon, 1975)
• Revolutionary Ensemble - And Now...
(Pi Recordings, 2004)
• Revolutionary Ensemble - Counterparts
(Mutable Music, 2005)

MEGAPHONE
Cornet and Lineage:
Ron and Butch
by Kirk Knuffke
I play the cornet and so have my two biggest musical
influences. I got my first cornet when I was 13 years
old and I still have it, a funky Olds Recording that I
played for years. I had to switch to trumpet when I
joined the orchestra in high school and I stayed on it
until I was 29. But I always kept the round mellow
cornet sound in my head. Now I get a lot of questions
like: What is that? Why do you play cornet instead of
trumpet? What’s the difference between the two, etc?
I was first attracted to the instrument when I saw
it and other cornets at the store. They came in all
shapes and sizes and were very individual. There was
never really a standard model and there was a lot of
experimentation. And it’s precisely individuality and
experimentation that drew me to music!
You can go your own way on any instrument but I
am also attracted to the whole idea of playing cornet
because it is different from trumpet. Four years ago I
made the permanent switch back to cornet and
followed the sound in my head. I had the strength and
opportunity to do this thanks to two amazing
influences who always did their own thing: Ron Miles
and Butch Morris.
When I started hanging around Ron I was 17. He
and I have become close over the years and I now have
the great honor of playing his cornet, a truly beautiful
and unique horn made by Dave Monette. When I
played it the first time a whole new sound opened up
and it felt like home. I learned and still learn so much
from Ron and he never told me how to play. He did
show the way by his own playing. This was perfect for
me, because when I was young the reason I didn’t want
regular trumpet lessons or to go to college was because
I didn’t want anyone telling me how to do it. Music
was my sanctuary, a place where I could go and be
myself. I would ask Ron questions and sometimes he
would just say, “After you play for a while you’ll figure
VOXNEWS
These Two are One
by Katie Bull
A flock of birds lift off of a branch at the exact same
second and fly in unison. It’s beautiful. Instinctive
sensitivity sparks a reflex response and away the birds
venture, gliding together. Perhaps the birds fly in a
common mind space as well. The shared impulse
between a singer and an instrumentalist is like the
flight of birds - sonic receptivity in motion.
Pianist Geri Allen has an exquisite way with giving
and receiving. Her masterful exchanges with vocalists
Lizz Wright and Dianne Reeves will be featured in the
Harlem Jazz Shrines’ “Celebrating Great Jazz Women
of the Apollo” (May 11th), which also includes
drummer/vocalist Terri Lyne Carrington. Wright
sings with an easy strength and richness of unmasked
tone that is movingly unembellished while Reeves, an
icon herself, sounds sourced from singer’s heaven.
Also part of the Harlem Jazz Shrines festival, pianist
Marc Cary’s tribute to Abbey Lincoln at Harlem Stage
Gatehouse (May 10th) will showcase a wide lineup of
vocalists including one of Lincoln’s best protégés,
Maggie Brown, whose gutsy voice is full of deep and
robust resonance. Like Lincoln, Brown conveys the
persona of a grounded and earthy woman. Cary was
Lincoln’s long-time pianist, working with her in total
it out” and he was right! He also introduced me to the
music of Steve Lacy and Lee Konitz, among many
others. He told me not to copy other people but to look
for the things that may have informed their ideas in
order to construct my own. Ron taught me being a jazz
musician is about individuality and proficiency. You
will get hired because you are you, not by what
instrument you play. And you have to have good time!
The idea of lineage and influence can seem
overwhelming, but it is precisely men like these that
make lineage not overwhelming at all. And I mean
trumpet, cornet, or any instrument. When you create
your own space there is always room for you. If you try
to force yourself into someone else’s space or only play
on a “style level”, as Ornette calls it, then you might
not fit. Just like the cornet, there is no standard model
in jazz and improvised music. Listening to the great
individualists always gives me strength and confidence,
especially self-taught musicians and guys from the
Swing Era: Pee Wee Russell, Red Allen, Rex Stewart,
etc.
Which brings us to Butch Morris, another cornetist
and a true innovator of modern music. When I started
working with Butch I was still playing trumpet and he
told me I would end up a cornet player again. Butch
believed there was something truly special about the
cornet specifically and, of course, when Butch played
cornet he made it special.
Butch showed me how to make music in a way no
one else ever did. He answered the questions: What is
music? What makes music work? What does music
need at any given moment to make more of an impact?
Butch separated the building blocks of music and dealt
with them one at a time: sound, idea, duration, line,
repetition... He also allowed great freedom for the
improvisers in his ensembles but we had to give
something to the music - that was the key word: Give!
Sometimes instead of showing me a sign to make an
entrance he would lean in and whisper, “Give me your
baddest shit!” But if he felt like we weren’t giving the
band something, we would get cut out immediately.
Everything you did had to have musical interest and a
place to build to. Information should always be for the
collective good.
simpatico. You can bet all the singers at the tribute will
explore the same synergy with Cary.
Louise Rogers is a naturally swinging vocalist
who has been on the scene for years. In advance tracks
from her recent recording date, Rogers’ soulfully
assured tone synchronizes with pianist Mark Kross
and flutist Jamie Baum in a buoyantly lyrical tribute to
the French composer Gabriel Fauré. The trio will offer
this fresh music at Somethin’ Jazz Club (May 4th).
Also at Somethin’ (May 18th), another solidly in-thepocket
singer, Deborah Latz, will celebrate the release
of Fig Tree (June Moon). Bluesy at heart, Latz sings in a
versatile range of styles from swing to bossa. Latz’
playful humor and radiating warmth will surely
permeate the night.
For more heat, travel to the Brazil side of sound
and make May your Birdland month. The club’s
Bossabrasil Festival features two remarkable Brazilian
veterans: vocalist/guitarists Dori Caymmi and Joyce
Moreno (May 14th-18th). Their supremely intricate
weaving of voices and guitars creates a very fine
musical fabric. Their shared heritage is evident and
they play with a relaxed and joyous nature.
Speaking of heritage, an absolutely extraordinary
first-time issue is available this month: Tony Bennett
with pianist Dave Brubeck’s quartet! You will not
believe the recording quality on Bennett/Brubeck – The
White House Sessions, Live 1962 (Legacy Recordings).
This album is a national treasure. Bennett’s voice is
Thank you, Butch and Ron - two amazing teachers
that teach by example, who taught me that along with
being yourself you have to be good and you have to
give. v
For more information, visit kirkknuffke.com. Knuffke is at
The Firehouse Space May 4th with Stephen Gauci,
92YTribeca May 8th with Allison Miller, Sycamore May
13th and Korzo May 28th, both with Max Johnson, and
Ibeam Brooklyn May 24th with Federico Ughi. See Calendar.
Originally from Colorado, cornetist/composer Kirk Knuffke
has been based in New York City since 2005. Knuffke played
in four projects conducted by the late Butch Morris,
generating three CDs and a film soundtrack, and is currently
a member of the Matt Wilson Quartet, Mark Helias Quartet,
Merger with Andrew D’Angelo, Ideal Bread, Bizingas and
Jeff Davis Band, among others. A largely self-taught
musician, Knuffke also studied improvisation with Ornette
Coleman, Art Lande and Ron Miles. Knuffke has released
eight CDs as a leader or co-leader for Clean Feed,
SteepleChase, No Business, NotTwo and other labels.
charged with 10,000 watts of energy. An equally
charged Brubeck meets Bennett’s energy and sends it
right back. Note that on May 11th there is a Brubeck
tribute at the Church of St. John the Divine.
History moves us towards some very important
CD releases representing the best of unified impulse in
the spoken world realm. Barry Wallenstein’s fantastic
new recording Lucky These Days (Cadence Jazz)
presents a wholly evolved artist. Wallenstein has been
a major force in the jazz and spoken word world for
over 50 years and the convergence of the two realms
doesn’t get any more satisfyingly entrained than on
this recording. We are all lucky to have Wallenstein. He
will be celebrating his CD release at Medicine Show
Theater (May 11th).
Radical veteran poet and spoken wordist Jane
Grenier B.’s collaboration with husband/bassist Albey
Balgochian - Tragically Hip, available as an electronic
download (Zenbeatz.com) - includes a printed book of
Grenier’s poems with themes that span from earth to
cosmos. Drenched in a beat-cool sound while delivering
an understated yet electrically charged energy, the
album is a sonic hologram of a politically happening
poetry club.
To quote the Greek poet and philosopher Ovid:
“We two are one. We two form a Multitude.” This
month some particularly fine singer-instrumental
oneness is taking place in New York City and the
listening multitude are invited to fly along. v
THE NEW YORK CITY JAZZ RECORD | May 2013 11

LABEL SPOTLIGHT
Mutable Music
by Kurt Gottschalk
Singer Thomas Buckner has seen his sideline career as
a producer of events and recordings through a number
of changes over some 40 years and has been responsible
for a number of remarkable recordings, spanning
baroque to contemporary classical, jazz and improvised
music and the realms between. He’s shifted from a
focus on local musicians and composers as director of
the 1750 Arch record label and performance series in
Los Angeles to an international focus with the Mutable
Music label and Interpretations concert series in New
York. And not incidentally, he has worked as a singer
with many of the artists he has presented.
He has gone from working in the somewhat
traditional world of classical music in Los Angeles to
the grayer and sometimes more challenging spheres of
improvisation and new music. And, perhaps less by
his own choice, he has seen his job as record label
director through LPs, CDs and now digital downloads.
In October of last year, Buckner announced that
Mutable would be going the route of Internet releases,
with CD-Rs available for sale but no more proper CDs
being pressed.
“We’ve had low sales of CDs,” Buckner said. “The
only part of our business that has grown is the
downloads. Sales for CDs has been very low except for
artists who take them on the road and sell them to their
following. We’re not making CDs but we are making
Beyond the Boundary of Time
Revolutionary Ensemble
LISTEN UP!
Spectrum
Abrams/Mitchell
Born in Richmond, CA, JUSTIN BROWN is dazzling
audiences around the world with his unique style and
musical sensibility. He was the Second Place winner in
the 2012 Thelonious Monk International Jazz Drums
Competition. Determined to be suitable for any musical
style, at 29 he is a regular member of the Gerald
Clayton Trio, Ambrose Akinmusire Quintet and has
performed and toured with notable artists like Kenny
Garrett, Vijay Iyer, Yosvany Terry, Gretchen Parlato,
Esperanza Spalding and Terence Blanchard.
Teachers: Wilson Brooks, Darrell Green, Howard
Wiley, Geechi Taylor, Yosvany Terry, Christian McBride.
Influences: Tony Williams, J.Dilla, Georgia Anne
Muldrow, Reggie Watts, African music, Gospel.
Current Projects: I’m in the process of recording to
release videos and a solo EP.
By Day: Practicing, writing and striving to have a
higher level of consciousness.
I knew I wanted to be a musician when... I was tall
enough to reach the hi-hat pedal. Drummers who
started off as toddlers know what I mean.
Dream Band: At this point of my life my live band
would be a configuration of Fabian Almazan, Robert
Glasper or David Bryant on Fender Rhodes; Burniss
Travis, Stephen Bruner, Derrick Hodge or Joe Sanders
12 May 2013 | THE NEW YORK CITY JAZZ RECORD
CD-Rs for each record we put out. We’re only making
50 at a time but the idea is when an order comes in
we’ll make them as needed.”
Mutable’s first digital releases - perhaps
unsurprisingly - hold close to his own aesthetic as a
performer, including titles by saxophone great Roscoe
Mitchell, the legendary jazz trio Revolutionary
Ensemble, new music electronicist/composer Richard
Teitelbaum and his own recording of compositions by
Earl Howard and JD Parran, plus an improvisation by
Howard and himself.
It can be hard for digital releases to get the attention
of reviewers and the listening public. Buckner himself
said that he has concerns. “We have a lot of musicians
who are very active,” he said, “but absolutely I’m
worried about it.” If one of the new releases will
manage to get critics and fans to overlook the lack of a
physical product in stores, it’s likely Not Yet, Mitchell’s
new and richly diverse release.
Mutable released one of Mitchell’s most remarkable
albums outside his venerable Art Ensemble of Chicago.
The 2004 triple-CD set Solo 3 (one of six Mutable titles
Mitchell has appeared on) contains - as the title would
imply - a variety of solo performances, running
through the saxophone family, at times multi-tracked,
and a full disc of percussion pieces.
Not Yet is an entirely different affair, putting
Mitchell the composer in the spotlight. It does begin, in
a sense, where Solo 3 ended, with a percussion piece,
but this time played by the fantastic William Winant. It
continues on with a piano/saxophone duo, a string
quartet, a piece for Buckner with chamber orchestra
on bass; Ambrose Akinmusire on trumpet; Lionel
Loueke, Charles Altura or Matthew Stevens on guitar
and Mark Shim on wind controller.
Did you know? I played bass and organ in church for
a year when I was 16.
For more information, visit twitter.com/drumbrownie.
Brown is at The Jazz Gallery May 3rd-4th as a leader, May
9th with Pascal Le Boeuf and Smalls May 20th with Mike
Moreno. See Calendar.
Justin Brown
A Magical Approach
Jerome Cooper
Jon De Lucia
JON DE LUCIA is a Brooklyn-based saxophonist and
composer. Predominantly a student of jazz, he also has
a deep interest in the folkloric music and instruments
of Cuba, Japan, Ireland and Italy, having performed on
a variety of ethnic flutes, drums and stringed
instruments. Recently he has explored early music
with his ensemble the Luce Trio, while playing
straightahead swing regularly and focusing on
and two arrangements of Mitchell’s often revisited
study “Nonaah”, one for chamber orchestra and the
other played by James Fei’s saxophone quartet.
Mitchell has had other releases featuring his
composed works on such labels as Lovely Music, Ltd.
and Rogue Art. And like those labels, Mutable isn’t
fixed on set ideas of style and pigeonholes into which
artists fit.
“A lot of the work I do is composed,” Mitchell
said. “It’s all become blurred. The word that never
goes away is ‘improvisation’. That’s the new thing, but
it’s a big thing. I always advise my students to study
composition and improvisation at the same time.
[Making the CD] was a great opportunity for me
because Mills College offered to do a night of my
compositions. For me it’s an honor to get a night like
that documented. I’m honored that people would think
I could have a CD like this.”
Mitchell’s association with Buckner goes back to
the 1750 Arch days and, in fact, some of the singer’s
finest recordings have been of Mitchell’s compositions.
Mitchell said he supports Mutable’s shift to a digital
format. “I think it’s a great move,” he said. “All the
technology moves so fast, it’s hard for me to keep up. I
mean, I’m 72 years old. I came up on 78 records. But
Mutable is a great label. When you take a look at the
whole history of it, it’s enormous, the work that they’ve
done, all the way back to 1750.”
Another name Buckner has shown a dedication to
in the world of jazz is the Revolutionary Ensemble.
The trio of violinist Leroy Jenkins, bassist Sirone and
(CONTINUED ON PAGE 46)
Counterparts
Revolutionary Ensemble
teaching.
Not Yet: Six Compositions
Roscoe Mitchell
Teachers: Lee Konitz, George Garzone, Greg Osby, Joe
Lovano, Shannon LeClaire and many more!
Influences: JS Bach, Lee Konitz, Paul Desmond, Jimmy
Giuffre, Steve Coleman, David Bowie.
Current Projects: Jon De Lucia Group with guitarist
Greg Ruggiero, bassist Chris Tordini and drummer
Tommy Crane; Luce Trio with guitarist Ryan Ferreira
and Chris Tordini; Background Music with saxophonist
Kyle Wilson, bassist Aidan O’Donnell and drummer
Mark Farnsworth; Duo Project with drummer Flin van
Hemmen.
By Day: Teaching, selling wine, practicing music and
Tai Chi.
I knew I wanted to be a musician when... I got together
and practiced with a small group of friends in 5th
grade and we all ended up going to Berklee College of
Music.
Dream Band: Ted Brown, Leroy Vinnegar, Paul Motian.
Did you know? I cure meats and make sausages and
various cheeses.
For more information, visit jondelucia.com. Lucia is at
Sycamore May 4th and Korzo May 14th. See Calendar.

CD REVIEWS
HUSH POINT
SSC 1358
In Stores May 21
HUSH POINT is:
JOHN McNEIL: trumpet / JEREMY UDDEN: alto sax
ARYEH KOBRINSKY: bass / VINNIE SPERRAZZA: drums
Fortunately, you can still find bands who invest the time
to evolve as a unit. Trumpeter John McNeil and saxophonist
Jeremy Udden established Hush Point as a group
that does just that. Also including bassist Aryeh Kobrinsky
and drummer Vinnie Sperrazza, Hush Point is a working
and rehearsing ensemble, and on their new self-titled
album, Hush Point, the group shows a cohesiveness of
concept that is only achieved through hours of practice,
performance and experimentation.
Release gig on May 18 and 19 (Fri. & Sat.) @
Cornelia Street Café / 29 Cornelia Street, NYC
JOEY CALDERAZZO TRIO
LIVE
SSC 1368
In Stores May 21
JOEY CALDERAZZO: piano
ORLANDO Le FLEMING: bass / DONALD EDWARDS: drums
For over two decades, pianist Joey Calderazzo has been
unassumingly, yet assuredly, impressing listeners with his
informed and refined playing. Using elements of style from
his musical heroes as a springboard, the pianist has developed
his own take on the tradition, which he happily shares
on this new album, recorded during a performance at Daly
Jazz in Missoula, Montana.
www.sunnysiderecords.com
eOne Distribution
14 May 2013 | THE NEW YORK CITY JAZZ RECORD
Who Am I?
Cecilia Coleman (Pandakat)
by Sean O’Connell
It is unclear whom the title of pianist/arranger/
composer Cecilia Coleman’s big band release is
addressing. Is she asking herself? The listener? Do we
ask ourselves? Coleman made a name for herself as a
performer and teacher in Southern California before
making her way east; the high school yearbook-like
collage on the cover proudly boasts the city of Long
Beach but this album was recorded in Brooklyn.
The field of big band arranging is no stranger to
women. From Mary Lou Williams to Melba Liston to
Maria Schneider, there has been a great tradition of
musical minds combining the disparate instrumentation
of a big band into a formidable and swinging unit.
Although it is almost entirely irrelevant to the sound
on the album, it is interesting to note that Coleman is
the only woman involved in her own big band. Maybe
that’s because of scheduling, the makeup of her social
circle or just a coincidence. That discussion opens up a
whole can of worms that someone else can tackle for
their thesis. We’re just here to listen.
Coleman has produced nine arrangements (eight
of them original tunes) for this release, showcasing an
ability to pilot a large ensemble from her piano bench.
Opener “Ode to A Tip Jar” is a straightahead swinger
that puts piano up front for a little bit before the full
band kicks in with shades of Monk’s “In Walked Bud”
and soprano saxophonist Peter Brainin gets a chance to
stretch out. The lone standard, “East of the Sun”, gets a
very straightforward reading with vocalist David Coss
offering up an inoffensive croon.
Baritone saxophonist Keith Bishop’s low honk is a
pleasant presence throughout the album, especially
when anchoring the funkier “Hope” and album-closing
title track. Coleman has a smooth swinging touch
writing for a large ensemble but unfortunately doesn’t
take much of a solo spotlight on the album. Hopefully
for her next release she can pen some features for
herself and fully show off her wide range of abilities.
For more information, visit ceciliacolemanbigband.com.
This group is at Saint Peter’s May 1st. See Calendar.
Life’s Magic
Steve Kuhn Trio (Black Hawk-Sunnyside)
by Donald Elfman
This reissue of a 1986 live Steve Kuhn set from the
Village Vanguard is a stunning demonstration of the
pianist’s abilities. With intelligence, passion, wit and
more, Kuhn has fashioned a brilliant set of music that
underlines the power of his trio with bassist Ron Carter
and drummer Al Foster and builds a narrative the
completion of which is an artistic marvel.
Kuhn, Carter and Foster are an ideal trio: each
player deftly and supportively complements the work
of the others. Kuhn’s ideas are fluid and both delicately
crafted and spontaneously generated while Carter
plays with grace, melodic and harmonic richness and a
sense of forward motion. And Foster has power but
knows how to use it; he is propulsive and dynamic but
sensitive to the needs of every musical moment.
The selection of tunes and the progression they
form is exceptional: three strikingly different Kuhn
originals; a glorious take on Fats Waller’s “Jitterbug
Waltz”; “Yesterday’s Gardenias”, a popular tune for
Glenn Miller and his Orchestra; the ballad favorite
“Never Let Me Go”; a rare Hoagy Carmichael number,
“Little Old Lady”, and the Romberg-Hammerstein
chestnut “Softly as in a Morning Sunrise”.
Kuhn has great technique and his choice of the
Carmichael tune as an opener gets the set off to a
dynamic start, the trio in powerhouse mode but never
losing the charm of the original melody. The most
dazzling interpretation is of “Jitterbug Waltz”,
beginning ever so delicately with Kuhn lightly tickling
the famous theme. Carter is up first as a soloist and he
is both dextrous and ever so soulful, Kuhn then slowly
barrels in with a sense of old jazz world and blues.
The originals are just as compelling, none more
than “Ulla/Trance”, which opens as a melancholy
waltz and morphs into something darker, a kind of
trance in which the time becomes more hypnotic. And,
speaking of hypnotic, “Mr. Calypso Kuhn” grows in
power and pulse, with Carter and Foster laying down
a moveable carpet of island groove.
Life’s Magic is one of the finest live recordings
made at the Vanguard - and consider what constitutes
that list - retaining, to quote Kuhn, its “freshness and
vitality”, almost 30 years later.
For more information, visit sunnysiderecords.com. Kuhn is
at Birdland May 1st-4th. See Calendar.
RECOMMENDED
NEW RELEASES
• JD Allen - Grace (Savant)
• Steve Coleman and Five Elements -
Functional Arrhythmias (Pi)
• Kris Davis - Capricorn Climber (Clean Feed)
• Jason Mears Electric Quintet -
Book of Changes: Part I (Prefecture)
• O’Farrill Brothers Band - Sensing Flight (ZoHo)
• Thiefs - Eponymous (Melamine Harmonique)
David Adler, New York@Night Columnist
• Benoît Delbecq/Fred Hersch Double Trio -
Fun House (Songlines)
• Tommy Flanagan/Jaki Byard - The Magic of 2
(Live at Keystone Korner) (Resonance)
• Bo Jacobsen - Free Spirit (Embla Music)
• Roscoe Mitchell - Duets (Wide Hive)
• New York Art Quartet - Call It Art (Boxed Set)
(Triple Point)
• Scott Robinson - Creative Music for 3 Bass Saxophones
(ScienSonic)
Laurence Donohue-Greene
Managing Editor, The New York City Jazz Record
• Long Story Short (curated by Peter Brötzmann) (Trost)
• Robert Morgenthaler - Bone Art (Unit Records)
• Sexmob - Cinema, Circus & Spaghetti (Plays Fellini:
The Music of Nino Rota (The Royal Potato Family)
• Colin Stetson - New History Warfare Vol. 3:
To See More Light (Constellation)
• François Tusques - L’etang Change (mais les poissons
sont toujours là) (Improvising Beings)
• Miguel Zenón & The Rhythm Collective -
OYE!!! Live in Puerto Rico (Miel Music)
Andrey Henkin
Editorial Director, The New York City Jazz Record

Ache & Flutter
Shayna Dulberger Quartet (Empty Room Music)
by Clifford Allen
With an inordinate amount of history at one’s
fingertips, it’s often hard to imagine where a modern
musician may ‘start’, but creative figures somehow do
so and continue on path through combining spirit,
drive and necessary homework. Bassist Shayna
Dulberger has studied such masters as William Parker,
Peter Kowald and Wilbur Ware; increasingly visible on
the free music underground over the past near-decade,
Ache & Flutter is her second disc as a leader (though the
first was for unaccompanied bass/electronics).
Leading a quartet with guitarist Chris Welcome,
tenor saxophonist Yoni Kretzmer and drummer Carlo
Costa, the music on Ache & Flutter has been in gestation
since the group’s 2011 formation, if not longer. One
notices Dulberger’s playing immediately - simply put,
she’s a monster. With the propulsiveness of Parker, the
painterly rigor and energy of Kowald and the tone of
Ware, Dulberger is an extraordinary soloist steeped in
tradition and often placed forward in the mix. 4 of the
disc’s 11 pieces are, in fact, solo bass performances.
Following the a cappella “Whim”, “Heart Like a
Rabbit” opens with a slinky guitar-bass duet, soon
adding Costa’s microfilamental tap and Kretzmer’s
throaty and florid lines. Welcome’s guitar work is all
over with respect to the beat and as Kretzmer digs in
his heels, the rhythm section becomes subtly scattered.
“Doorways” is maddeningly lickety-split,
Kretzmer untying knots into searing snatches of Albert
Ayler, Clifford Jordan and Sam Rivers. Welcome is
unruly and consistently surprising; his solo section
begins lushly, though he quickly splays out into wiry
and scumbled shifts, leading into Costa’s airy piles.
Following the tugging solo pizzicato of “The
Spontaneous Combustion of Shayna Dulberger”,
which almost acts as a closer to the record’s first half,
“Cookie Cutter” presents martial reach and unsettled
footfalls unspooled into Welcome’s jittery twang and
gummy volume-pedal action. Dedicated to the late
Frank Lowe, “Lowed” is chunky and skirling, saying a
lot in a shade over three minutes, while “Crestfallen”
adds pitch-bending electronics to the quartet’s jagged
crovus. Ache & Flutter is a fine step in Dulberger’s
opus, presenting muscular and sensitive group and
solo music aware of its place in the continuum.
For more information, visit shaynadulberger.com. This
group is at Caffe Vivaldi May 2nd. See Calendar.
Super Eight
Secret Keeper (Intakt)
by John Sharpe
Sometimes you just have to put aside your
preconceptions. Such is the case with Super Eight, the
debut album from the twosome of guitarist Mary
Halvorson and bassist Stephan Crump under the
moniker Secret Keeper. This is not the Halvorson of the
lopsided songs for quintet showcased on last year’s
Bending Bridges (Firehouse 12) or the ferocious
improviser of her tenure in the various agglomerations
of saxophone iconoclast Anthony Braxton. Nor does
Crump provide the energetic incitement that propels
pianist Vijay Iyer’s tightly focused trio. Instead what
we get is a sequence of 14 intimate string duets in
which the two principals trade sounds in a completely
unselfconscious and non-hierarchical setting.
Halvorson deploys her usual staggering litany of
effects, even twisting notes to evoke a sitar on the
opening “Moom Song”. Crump contrasts and
complements, equally adept at wielding a bow to
extract eerie drones as plucking deeply resonant pedal
points. Both eschew obvious displays of virtuosity but
nonetheless draw a wide range of textures from their
respective axes. They combine responsively to create
pieces that evolve following their own inner logic,
based on intuition and timbral juxtaposition rather
than any preordained structure.
Five tracks clock in at less than a minute while
only two breast the five-minute marker. The shorter
numbers conjure a self-contained mood, varying from
perky “Ciclical” to abrasive “Aquarub”, while the
longer cuts allow for greater development of ideas and
stand out as a result. Pick of the bunch are the mercurial
“Toothsea”, which contains a notable passage of catchy
buoyancy amid its nine-minute span, and the dynamic
bite of the concluding “Secret Keeper”.
Ultimately, however, the set comes across as a
series of enigmatic private conversations, which only
fitfully engage, most notably on the more expansive
cuts. Hopefully these successes will act as a pointer for
more inclusive encounters on their next meeting.
For more information, visit intaktrec.ch. This duo is at
Cornelia Street Café May 4th. See Calendar.
Family Tree
Oregon (Sunnyside)
by Alex Henderson
Most of the groups that contributed to fusion’s vitality
during the ‘70s are long gone. Oregon, however, is a
rare example of a fusion-oriented outfit from that era
that has been continuously active. The band’s new
album features three of the four founding members:
Paul McCandless (soprano sax, oboe, bass clarinet,
flute), Ralph Towner (classical guitar, acoustic piano,
synthesizers) and Glen Moore (acoustic bass). The
fourth, drummer/percussionist Mark Walker, is a 1996
arrival.
Oregon has always played by its own rules, using
both electric and acoustic instruments, unlike
traditional jazz or fusion units. While Family Tree has a
lighter, folk-influenced approach than one might
expect from fusion, that doesn’t mean that the album
lacks depth or substance. Quite the contrary.
Memorable selections include the mysterious “The
Hexagram”, impressionistic “Mirror Pond” and
probing “Jurassic”.
World cultures continue to be a source of
inspiration for Oregon, and Towner specifically, who
incorporates elements of Indian music on “Bibo Babo”,
Middle Eastern aesthetics on “Creeper” and sounds of
the Caribbean on the good-natured “Carnival Express”.
Towner wrote 7 of the 12 pieces here, with McCandless
and Moore contributing a song each, along with a pair
of group compositions. Of the latter, “Max Alert” finds
Oregon briefly detouring into avant garde territory but
in a subtle way reminiscent of such Association for the
Advancement of Creative Musicians composers as
Roscoe Mitchell or Muhal Richard Abrams. The piece
is an interesting departure from the melodic fusion
that otherwise dominates this release.
Although not quite in a class with Oregon’s best
‘70s output, Family Tree demonstrates that these
fusion/world jazz survivors are still quite capable of
delivering solid and inspired albums.
For more information, visit camjazz.com. Paul McCandless
is at Blue Note May 5th with Combo Nuvo. See Calendar.
UNEARTHED GEM
BigBands Live
Duke Ellington Orchestra (JazzHaus Musik)
by Duck Baker
Presumably, many readers will have heard
something about the JazzHaus Musik label’s
archival series, including “BigBands Live”, of which
this is the second release. We are told that these are
being drawn from a vast body of previously
unreleased music recorded for German radio, some
of which dates back to the late ‘40s, and that the
sound quality is superior. The last is certainly true,
but much of what is on this CD, taken from a March
1967 gig, has seen the light of day previously, albeit
on a little remembered LP on the English label Jazz
Band (Live at Stuttgart, Vol. 1; Vol. 2 never appeared,
however). If memory serves, the sound quality for
this CD release is better than the original LP.
In any case, this is an exciting document of
Ellington’s late ‘60s working band, with an emphasis
on material of then-recent coinage. For many
listeners, the only very familiar tunes after the brief
statement of the theme are likely to be two Billy
Strayhorn masterpieces, “Johnny Come Lately” and
“Freakish Lights”, which is much better known as
“Blood Count” (“Freakish Lights” was a working
title). In fact, the inclusion of this Johnny Hodges
showcase will be one of the most significant things
about this release for hardcore fans, as Ellington
retired it after the definitive recording later in 1967
on And His Mother Called Him Bill and only a handful
of other live versions have been released. Other
titles that late-period Ellington fans will know are
“Tutti for Cootie”, a staple feature for Cootie
Williams after the trumpeter’s return to the fold in
1962, and “Le Plus Belle Africaine”, which entered
the book in 1966 and stayed until the end.
The balance of the material will only be familiar
to those who have studied this period, which was
certainly a strong one (the 2004 Storyville release,
The Jaywalker, features many of these tunes). The
Duke never rested and he and all his featured
soloists (also including Harry Carney, Lawrence
Brown and Paul Gonsalves) sound happy and
inspired on this excellent and easily recommended
release.
For more information, visit jazzhaus-label.com. Ellington
tributes are at Dizzy’s Club May 7th-12th and Blue Note
May 21st-26th. See Calendar.
THE NEW YORK CITY JAZZ RECORD | May 2013 15

GLOBE UNITY: ITALY
Sin Fronteras Actis Dato Quartet (Leo)
If Not (omaggio a Mario Schiano)
Progetto Guzman (Terre Sommerse)
Untitled #28 Fabrizio Sferra Quartet (Jando Music)
by Tom Greenland
Jazz, first introduced to Milanese audiences in the
early 20th century, was later adopted and adapted
by local musicians, with strong scenes emerging in
Milan, Rome, Sicily, Perugia (home of the Umbria
Jazz Festival) and elsewhere.
Integral to Italian new jazz for 40 years, multireedist
Carlo Actis Dato maintains his ebullient
humor on Sin Fronteras, a quartet release with
soprano/alto saxist Beppe Di Filippo, bassist Matteo
Ravizza and drummer Daniele Bertone. The alloriginal
date sustains a Carnevale-esque atmosphere
through danceable beats, catchy unison melodies
and raucous soloing, spurred by group chanting,
whistling and scatting. Favoring baritone sax (with
occasional tenor and bass clarinet), Dato’s style
blends inside and outside playing, delivered in a
slightly husky tone, complemented by Di Filippo’s
higher-pitched melismatic lines. Bertone combines
standard drumkit and hand percussion on Middle
Eastern and South American rhythms, which meld
with Dato’s Middle Eastern melodies and Phrygian
harmonies in a distinctively Mediterranean style.
If Not, an homage organized by author Paola
Carradori to the late Mario Schiano, a father figure
of Italian free jazz, combines the trios of trumpeter
Angelo Olivieri (with bassist Silvia Bolognesi and
drummer Marco Ariano) and tenor/soprano
saxophonist Alípio C. Neto (with bassist Roberto
Raciti and drummer Ermanno Baron), with guest
appearances by soprano saxist Eugenio Colombo,
trombonist Giancarlo Schiaffini and others. The
repertoire includes Schiano’s “If Not Ecstatic We
Refund” (both studio and live versions), “Sud” and
“Song” (which ends with a recording of Schiano
singing in a slurry, Louis Armstrong style), plus
standard covers and free improvisations. Olivieri
and Neto prove dynamic leaders and the free
improvisations show remarkable transparency, no
easy task with multiple bassists and drummers.
Drummer Fabrizio Sferra leads his quartet of
reedman Dan Kinzelman, pianist Giovanni Guidi
and bassist Joe Rehmer on Untitled #28, a collection
of hummable tunes over floating rhythms, which
are easily accessible yet open-minded. Like the late
Paul Motian, Sferra leads by following, preferring
the role of facilitator and colorist to that of
timekeeper, giving this project a truly collaborative
feel. Most of his songs are grounded in tonal
harmony, with an almost hymn-like quality, though
the key centers tend to shift in unpredictable ways.
Sferra’s unobtrusive, virtually subliminal playing
accomplishes more through innuendo than overt
emphasis while Kinzelman’s tenor sax (with several
clarinet cameos) and Guidi’s tinkling arpeggios add
to the Sunday afternoon ambiance of the set.
For more information, visit leorecords.com,
terresommerse.it and jandomusic.com
16 May 2013 | THE NEW YORK CITY JAZZ RECORD
Bridges
Andrea Centazzo/Akira Sakata/Kiyoto Fujiwara (Ictus)
Halcyon Days, The Complete Recording Vol. 2
Andrea Centazzo/LaDonna Smith/Davey Williams (Ictus)
In A Rainy Day
Andrea Centazzo/Roberto Ottaviano (Ictus)
The Battle Andrea Centazzo Invasion Orchestra (Ictus)
by Robert Iannapollo
Italian born/American resident, percussionist Andrea
Centazzo has a massive discography at over 100
recordings, with his Ictus record label, founded in
1976, releasing many of them. He’s recorded albums
with the finest of European and American improvisers;
a short list would include Steve Lacy, John Carter,
ROVA Saxophone Quartet, Derek Bailey, Evan Parker,
Lol Coxhill…the list is extensive. Although a master
free improviser, he’s also a composer, having done
orchestral and chamber compositions. And he’s not
averse to playing mainstream and fusion when the
muse moves him. These four albums are among the
most recent editions released on Ictus and show
Centazzo still forging ahead at a creative pitch after 40
years.
Centazzo’s peripatetic nature has seen him
establishing musical relationships all over the globe.
Bridges finds Centazzo collaborating with two of
Japan’s most august improvisers, saxophonist Akira
Sakata and bassist Kiyoto Fujiwara, in a 2012 concert
from Milan. Sakata was one of the earliest Japanese
saxophonists to embrace free jazz, part of pianist
Yosuke Yamashita’s trio for much of the ‘70s. And he
has kept his music fresh by collaborating with
contemporary players like Jim O’Rourke and D.J.
Krush. On Bridges his alto voice is the most dominant,
coming from the Charlie Parker-through-Jimmy Lyons
lineage, and Centazzo and Fujiwara keep a busy
accompaniment to Sakata’s flights, spurring him on to
some truly frenetic sequences. Although everything
here is improvised, “Bridge #5“ toys with “Stella By
Starlight” but taken to some pretty far-flung places.
While the performance is quite good, the sound of the
disc is a bit too ‘live’ and at 32 minutes, a little bit
chintzy with playing time.
Centazzo’s journeys have even taken him to such
unexpected places as Tuscaloosa, AL, meeting up with
the improvising duo of violinist/violist LaDonna
Smith and guitarist Davey Williams. They first
collaborated in 1979 and their meetings have resulted
in several albums. Halcyon Days stems from recordings
that date back to a concert in Venice in April 1979.
Generally, the instrumentation skews this music
toward the treble range; Centazzo’s mini-moog is his
only electronic element and that reinforces it. This
sounds like music of discovery and there’s an almost
giddy quality that is attractive. Centazzo patters away
while Smith scrabbles and scrapes and Williams
wrenches all sorts of sound from his guitar and banjo.
The music runs the sonic spectrum from delicate
textures to all-out barrage. There’s an obvious
connection among these three and the music flows
with natural ease.
In A Rainy Day finds Centazzo in a duo with
countryman soprano saxophonist Roberto Ottaviano.
The latter leans towards music with a more melodic
character and Centazzo adjusts his playing accordingly,
his percussion much more textural and reliant on an
electronics and keyboard setup. At times the music
tends towards the ambient (“In A Balinese Garden”,
where the kat mallet sounds like a gamelan instrument)
but Ottaviano can ratchet up the energy level and he
proves a good match for Centazzo’s free jazz chops. “A
Kind Of Duke’s Blue” opens up with a percussive reed
squall, which, despite the freneticism, clearly draws on
“Take the ‘A’ Train”, going through several changes
before concluding with a repeated sample of the song’s
famous piano intro. This is a studio recording from
2012 with a lot of overdubbing and while some of the
electronic work is a little clunky, in general, this is a
satisfying set of duets that shows both musicians’
range.
The Battle is the most elaborate of these releases,
consisting of a 2012 performance at The Stone by
Centazzo’s 13-member strong Invasion Orchestra.
Consisting of Italian and American musicians, it is a
well-stacked ensemble including Dato, Ottaviano,
trumpeters Dave Ballou and Guido Mazzon, pianist
Umberto Petrin and co-drummer Gino Robair. The
compositions are multi-faceted, make good use of the
instrumentation and are long and involved (the
shortest is eight minutes). They tend to go into
unexpected areas; for example, the title track has a
brass chorale inserted at the midway point that leads
into simultaneous solos from the reed section. Most
players are featured but trombonist Giancarlo
Schiaffini’s plunger extravaganza at the beginning of
“The Victory” stands out.
For more information, visit ictusrecords.com. Centazzo is at
JACK May 3rd and The Firehouse Space May 5th. See
Calendar.
May 7th
Rosemary George and Group
May 14th
Antoinette Montague and Group
May 21st
Mike Longo’s 17 piece NY
State of the Art Jazz Ensemble
with Ira Hawkins
New York Baha’i Center
53 E. 11th Street
(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night

Silent Comedy
Bill Frisell (Tzadik)
by Stuart Broomer
2012 was the centenary of the births of two central
figures in American music, John Cage and Woody
Guthrie, and a document that got wide circulation was
a 1947 letter from Guthrie in which the folk singer and
songwriter praised Cage’s early prepared piano music.
One of the places the letter turned up was guitarist Bill
Frisell’s website, a singularly appropriate spot, for
there are few musicians whose aesthetic regularly
includes heartland melodies and electronics.
Frisell’s first solo CD, Ghost Town from 2000,
mixed various instruments and loops, improvisations
and traditional songs. His current solo outing, Silent
Comedy, foregoes any familiar melodies and focuses on
what sound like largely improvised pieces. Frisell
builds each work out of loops and contrasts, picking
up a brief motif, repeating it, mutating it electronically
and layering it into an ongoing pattern. One is
conscious here of the electronic musician, a man who’s
using his guitar as a source for sounds to be
reconfigured by a medley of pedals - loops, delays,
sustains, ring-modulators - that will transform a sound
or a phrase. But one is also aware of Frisell the film
composer, alert to nuance, continuity and mood.
Occasionally you’ll get a ghost phrase, a barely
amplified folk motif or a wail that’s characteristic rock
guitar (on the ironically titled “Lullaby”), a hint of
some other chapter in Frisell’s musical odyssey, but
that too is liable to become part of something else.
There’s a piece here called “Proof” that has some of the
openness and sudden unexpected phrases of Cage’s
early sonatas while “Ice Cave” possesses all the austere
architecture and unexpected grandeur of its subject.
“John Goldfarb, Please Come Home”, at nine minutes
something of an epic, is particularly witty and
cinematic.
What comes through here strongest is Frisell’s
mindfulness. He’s an explorer, but also a musician who
ultimately values coherence and a certain musical
grace. More than one of the year’s most interesting
guitar records, this is genuinely arresting music.
For more information, visit tzadik.com. Frisell is at Village
Vanguard May 7th-12th. See Calendar.
Creative Music for 3 Bass Saxophones
Scott Robinson (ScienSonic)
New History Warfare Vol. 3: To See More Light
Colin Stetson (Constellation)
As If There Was A Tomorrow
Andreas Kaling (JazzHausMusik)
by Jeff Stockton
Musicians performing on the bass saxophone have to
avoid becoming a novelty act. The instrument is
sufficiently large and unwieldy that playing it becomes
as much of an effort in physicality as it does in breath
control. The saxists under consideration here each
approach this challenge in slightly different ways.
On Creative Music for 3 Bass Saxophones, its chief
composer Scott Robinson enlists a couple of veterans
of unusual horns and creative improvisation, Vinny
Golia and JD Parran, along with percussionist Warren
Smith. Recorded live in 2011 at the Rubin Museum of
Art in Manhattan, the band engages one another in
brief conversational entwinings, notes surfacing and
submerging like whales coming up for air, then going
back underwater to sing their songs. For the majority
of the program, the band concentrates on abstraction:
susurrations, long tones, percussive accents. It’s not
until nearly the very end where the three mighty
sounds join together as one, giving some indication of
what they are capable.
To See More Light is Volume 3 in Colin Stetson’s
series of solo sax performances called New History
Warfare. A couple of years ago Volume 2, Judges, made
quite an impression with indie audiences. With a
remarkable system of all-over body mic’ing, circular
breathing techniques, vocalizations and unorthodox
fingerings, Stetson manages to create music that ranges
from tranquil repose to harrowing intensity. The pops
and clicks of the keys are amplified. Humming roars
and screams like animal sounds. And while the
previous volume concentrated on the bass sax and
soothing tones of Laurie Anderson, this one expands
the sonic palette to include alto and tenor and Bon
Iver’s Justin Vernon handles the vocal atmospherics.
The inclusion of these higher pitches heightens the
music’s intensity, making To See More Light a gripping
listening experience, but not at all an easy one. No one
makes music like Stetson.
Except, it seems, German saxist Andreas Kaling,
who claims, as Stetson does, that all songs are played
“live, without loops or overdubs”. But where Stetson’s
music can be nerve-wracking, Kaling’s is less
challenging and easier to enjoy but still an achievement.
Kaling wheezes and puffs and hums along with
himself, but with a mastery and attention to dynamics
that keep As If There Was A Tomorrow compelling.
Thanks to the structure, compositional logic and
momentum of the performances and with nothing
clocking in much over five minutes, nothing overstays
its welcome. From a purely technical perspective, the
sounds Kaling is able to conjure are mind-blowing and
inexplicable. He often sounds like a foghorn warning
incoming ships and then like a ship blowing its answer
back. That he can do so to serve the purpose of each
song makes this recording not only impressive to think
about, but also to hear. Not to be missed.
For more information, visit sciensonic.net, cstrecords.com and
jazzhausmusik.de. Robinson is at Greenwich House Music School
May 31st. Stetson is at Le Poisson Rouge May 8th. See Calendar.
J a ZZ a T LinC o L n CenT er
M ay
J une
25 yearS oF J a ZZ
May 15 / 7 PM | May 16 / 7 PM & 9PM
a TribuT e T o b obby ShorT
Michael Feinstein leads an all-star cast featuring
saxophonist Andy Farber and vocalists
Paula West, T. Oliver Reid, and Barbara Carroll
ChiC k Corea Festival
May 16–18 / 8 PM
ChiC k Corea
Jazz at Lincoln Center Orchestra with Wynton
Marsalis and featured artist Chick Corea
ChiC k Corea Festival
May 17–18 / 7:30 PM & 9:30PM
FriendS oF ChiC k C o r e a :
MuS i C ianS oF T he FuT ure
Pianists Gadi Lehavi and Beka Gochiashvili,
bassist John Patitucci, drummer Marcus Gilmore,
with trumpeter Wallace Roney
June 12 / 7 PM | June 13 / 7 PM & 9PM
Swinging wiT h
T he b ig b andS
Michael Feinstein hosts Wynton Marsalis
and Vince Giordano’s Nighthawks with
vocalists Nellie McKay, Connie Evingson,
and Sachal Vasandani
T h
boX o FFi C e Broadway at 60
C enT erC harge 212-721-6500
jalc.org
Preferred Card of
Jazz at Lincoln Center
Lead Corporate Sponsor
chick corea
Photo by Frank Stewart
THE NEW YORK CITY JAZZ RECORD | May 2013 17

$18 ADVANCE $20 AT DOOR
9/20: Roy Eaton
18 May 2013 | THE NEW YORK CITY JAZZ RECORD
visitors center:
OPEN M-F 10 AM - 4 PM
104 E. 126th Street, #2D, New York, NY 10035
(Take the 2/3/4/5/6 train)
WWW.JMIH.ORG
THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS
Harlem Speaks
A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ
5/15 Portraits of Harlem Poetry Slam Competition - Theme: Harlem
5/29 Portraits Pianist of Harlem Poetry Slam Competition Bandleader
- Theme: Jazz
9/27: George Gee
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
Jazz for Curious Listeners
Tuesdays 7:00 - 8:30 p.m.
Free classes celebrating Harlem and its legacy. Attend any individual class.
Catching up with Christian
Host: Christian McBride
5/14: Location: Maysles Cinema (343 Lenox Avenue between 127th 128th) Donation Suggested
5/21: Location: Metropolitan Community United Methodist Church,
NE Corner of 126th Street and Madison Avenue, enter on 126th FREE
For more information: 212-348-8300
May 3 - Roy Assaf Trio
TICKETS: www.rmanyc.org/harleminthehimalayas
Parallax Conversation Series: The Spectrum of Storytelling
May 7 Kewulay Kamara and Melvin Reeves 7:00 - 8:30pm
May 28 Andrew Nemr and Yacouba Sissoko 7:00 - 8:30pm
Location: Metropolitan Community United Methodist Church, NE Corner of 126th Street and Madison Avenue, enter on 126th
FREE For more information: 212-348-8300
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
Cinema, Circus &
Spaghetti
Sexmob
(The Royal Potato Family)
by Kurt Gottschalk
No Morphine, No Lilies
Allison Miller’s
Boom Tic Boom
(The Royal Potato Family)
In 1981, producer Hal Wilner pulled together a tribute
album to composer Nino Rota, the man who scored
most of Federico Fellini’s films. It kicked off a series of
multi-artist tribute albums Rota would inspire, which
in turn arguably gave birth to a burgeoning tribute
compilation cottage industry.
Steven Bernstein thanks Wilner in the notes to his
own Rota tribute Cinema, Circus & Spaghetti, crediting
his longtime friend for “opening [his] mind” to Rota’s
music. And with some of the Downtown contingent (if
not Bernstein himself) present on Wilner’s album,
comparisons are inevitable, despite the decades
between them. But Bernstein has made a very different
record, one perhaps less about reinventing the
compositions than about reigniting the vibrancy of the
movies for which they were made.
Bernstein is a strong trumpeter - and here debuts
his ‘hybrid’ valve/slide horn - but one of the rewards
of Sexmob (saxophonist Briggan Krauss, bassist Tony
Scherr, drummer Kenny Wollesen) has always been
Bernstein’s arrangements of other material, finding
new spirit in Prince, Sly Stone, Martin Denny and John
Barry, abetted by an ensemble equally at home with
jazz, funk and cinematic music. In Sexmob’s able
hands, the disc remains a band album (as opposed to
Wilner’s wonderful assemblage). Like Louis Armstrong
making Fats Waller his own, the band works through
12 themes from Juliet of the Spirits, Amarcord, La Dolce
Vita, La Strada and Spirits of the Dead, making set pieces
like audio Technicolor. After 17 years, Sexmob moves
with a group consciousness; such singularity lets both
the composer and the arranger shine.
Bernstein guests on two tracks on his labelmate
drummer Allison Miller’s striking No Morphine, No
Lilies, her strong band Boom Tic Boom (pianist Myra
Melford, violinist Jenny Scheinman, bassist Todd
Sickafoose) also complemented by trumpeter Ara
Anderson, cellist Erik Friedlander and singer Rachel
Friedman. Miller is a smart composer and works her
band in a nicely understated manner. Her drums are
rarely out front, but the music proceeds with a
drummer’s sensibility nevertheless, crafting different
rhythms with different parts of the group and laying
them on top of each other, still letting everything fall
together in an easy manner (one might use the word
‘smooth’ were it not so inflammatory). That strategy is
underscored by the bold and sprightly unison trumpet/
violin lines of “The Itch” or, alternately, on the album’s
lone vocal piece, “Once” a slow ballad that could fit
into an Alicia Keys or Esperanza Spalding set. With
simple piano and drum accompaniment and multitracked
vocal harmonies, it’s the most conventional
piece. It does, however, show another aspect to Miller’s
writing. But it’s not all exercise. She says in the notes
that the 11 compositions were written during a period
of personal travails and there’s a pervasive sense of
struggle (and overcoming) to the music.
On both albums, Bernstein and Miller come off as
deeply committed to their projects and both have
bands committed to following them there.
For more information, visit royalpotatofamily.com. Both
these groups are at 92YTribeca May 8th. See Calendar.

Evoke
Stan Killian (Sunnyside)
by Terrell Holmes
Stan Killian couldn’t have chosen a more appropriate
title for his second release as a leader. This fine tenor
player draws inspiration from his adopted home of
New York, reflecting impressions of a place that can be
a cauldron, oasis, madhouse and sanctuary all at once.
Killian starts up by going down low with the cool
sophistication of the subway-inspired “Subterranean
Melody”. Feathery and spirited tenor sets the pace for
Benito Gonzalez’ fiery piano and Mike Moreno’s crisp
guitar lines, as bassist Corcoran Holt and drummer
McClenty Hunter pulse and thrash beneath the
ostinato. The excellent “Echolalic” gives some insight
into Killian’s writing style; this song features his
trademark shifting time signatures, which happen
several times. The band meets the challenge and stays
in tempo throughout with no missteps. “Kirby” has an
infectious height-of-rush-hour charm and is
highlighted by great solos by Killian, Moreno and
Hunter. “Beekman33” and “Observation” are energetic
struts while “Hindu” is a light-stepping delight with a
Latin pedigree. With all of the fast-paced playing on
this album, the poignant title ballad provides a respite,
a pocket of calm amidst the urban frenzy.
Wayne Horvitz
the royal room
collective
music ensemble
May 21st - 26th
THE STONE
avenue C and 2nd street
www.thestonenyc.com
www.waynehorvitz.net
www.theroyalroomseattle.com
Killian is a joy to listen to, a wonderful player
with a singular sound and texture. His tone is mostly
smooth and even-tempered but he can blow with a
streetwise grittiness or soar to the heavens. Killian’s
familiarity with the members of his working band
allows him to compose within their collective and
individual strengths; the band, in turn, knows precisely
what Killian wants and the simpatico results in topnotch
music, which is what makes Evoke such a
rewarding listening experience.
For more information, visit sunnysiderecords.com. This
group is at 55Bar May 14th. See Calendar.
Banned in London
Aruán Ortiz/
Michael Janisch Quintet
(Whirlwind)
by Ken Waxman
Textures and Pulsations
Bob Gluck/
Aruán Ortiz
(Ictus)
Equally dexterous as part of a high-energy combo as
in a cerebral keyboard showcase, these fine CDs
highlight different facets of pianist Aruán Ortiz.
Banned in London is a vigorous quintet date of two
standards, two Ortiz originals and one by co-leader/
bassist Michael Janisch, a London-based American.
The band is filled out by trumpeter Raynald Colom,
veteran alto saxophonist Greg Osby and drummer
Rudy Royston. This live date is unabashedly
straightahead but Janisch still has the courage to begin
the CD’s first track “Precisely Now” with a more-thantwo-minute
bass solo. Ortiz’ originals showcase
different motifs: slithery and sneaky on “The Maestro”
and metronomic and percussive on “Orbiting”. The
first has brassy squeezes from the trumpet on top,
corkscrew sax vibrations in the middle and a bottom
dedicated to Royston’s hard rim shots and blunt
cymbal slaps. A contrapuntal invention, “Orbiting”
moves from mid-range coloration to a protracted final
section where the pianist and drummer trade fours.
The quintet’s version of “Ask Me Now” is
disappointing, lacking the lean power of Monk’s
original but they make up for it with a vibrant take on
“Jitterbug Waltz”. A showcase for Osby, his whorls and
snaky multiphonics create a wholly original variant.
Textures and Pulsations finds Ortiz playing piano
and computer alongside Bob Gluck’s piano and Moog
synthesizer on eight instant compositions. Gluck and
Ortiz appear more comfortable balancing the acoustic
and electronic by the second half of the recital. Before
that, the outstanding track is “Red”, where interplay
between Ortiz’ staccato keyboard melodies and
vibraharp-like pops from Gluck’s synthesizer sound
like Sun Ra and Walt Dickerson. From then on the
cohesion keeps improving, with some tracks more
electronic and some more acoustic. “Interludio”
highlights an array of references in turn; with pulses
that could come from a rock guitar at the top, the two
keyboardists next get into a tremolo duet with the
power and interactivity of a boogie-woogie piano
team. In contrast, aviary-like processed yelps and
whistles get equal time with the pianos on “Green”.
Ortiz’ keyboard command is aptly demonstrated
here. With such fine playing, he may soon be the
subject of his composition “The Maestro”.
For more information, visit whirlwindrecordings.com and
ictusrecords.com. Ortiz is at Metropolitan Room May 11th
and The Jazz Gallery May 16th. See Calendar.
THE NEW YORK CITY JAZZ RECORD | May 2013 19

Oye!!! (Live in Puerto Rico)
Miguel Zenón & The Rhythm Collective (Miel Music)
by David R. Adler
For years alto saxophonist Miguel Zenón has made
quartet albums with the brilliant pianist Luis Perdomo
as a central focus. Zenón’s music, therefore, has always
been thick with harmony. But intermittently for several
years, Zenón has explored another sound with his
Rhythm Collective, a piano-less quartet with electric
bassist Aldemar Valentin, drummer Tony Escapa and
percussionist Reynaldo De Jesús. Oye!!! captures them
in their native Puerto Rico in 2011.
There’s an intimate vibe to the recording, with
charged-up applause and bandmember introductions
- in Spanish, over a fast groove - at the start and finish.
The disc preserves the live acoustic imperfections yet
still manages a high sound quality. Valentin sounds a
tad far away and yet he’s a monster on every track,
playing liquid solo lines and highly inventive doublestop
work, hugging every turn. Escapa and De Jesús,
too, are unstoppable. The subtle textural differences in
their setups come across beautifully on disc.
Zenón has worked hard to bring jazz and Puerto
Rican folkloric idioms into contact. The Rhythm
Collective, which toured six African countries with
help from the State Department in 2003, has a different
ROBERT HURST
A monster of an album...
Highly Recommended”
20 May 2013 | THE NEW YORK CITY JAZZ RECORD
but related take on global cross-pollination. “JOS
Nigeria”, a Zenón original with a bouncy optimistic
feel, has an explicitly African connection. Tito Puente’s
“Oye Como Va” gets stretched and pulled apart, at one
point inspiring Zenón to quote Wayne Shorter’s “Juju”.
Silvio Rodriguez’ “El Necio” is more faithful, though it
still sparks furious off-the-page improvisation.
The band plays with gut-level energy but nails
every note, every displaced accent. In the precise
staccato hits of “Hypnotized” (slower and partly
rubato, inspired by Paul Motian), or the crisply
articulated bass pattern of the fast burner “Double
Edge”, Zenón advances his own adaptations of
traditional rhythmic forms, again proving himself one
of the most distinctive artists on the scene.
For more information, visit miguelzenon.com. Zenón is at
Village Vanguard May 14th-19th. See Calendar.
Soul Duo
Shirley Scott/Clark Terry (Impulse-Passion Jazz)
by George Kanzler
Throughout the ‘60s, trumpeter Clark Terry had a
high profile: as a featured member of The Tonight Show
band, with the quintet he co-led with Bob Brookmeyer,
jazz big band recordings he made with Quincy Jones
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and others and occasional guest returns to the Duke
Ellington Orchestra, where he had spent most of the
‘50s as a star sideman. This mid ‘60s one-off recording
date with organist Shirley Scott, an inspired idea of
producer Bob Thiele, is a rare instance of Terry in an
organ combo setting. It clocks in at 37 minutes: either
there were no extra takes from the date, or Passion Jazz
didn’t have access to them.
Despite the title, this is no standard soul jazz
outing. Unlike many of her contemporaries on the
organ, Scott did not play with the typical chugging,
percolating, hard-rolling sound and didn’t even carry
the basslines - Bob Cranshaw or George Duvivier are
on string bass here - and her touch was comparatively
light. Mickey Roker, a frequent Scott and Terry
collaborator, is the drummer. Terry was at the height of
his powers, with a quicksilver wit and a personal
sound so distinctive it was instantly recognizable. He
could mine a cornucopia of tones and timbres from his
horn, commanding its complete range from the depths
to the stratosphere. His solos here flit, dart and jab like
a hummingbird in flight and often proceed in passages
suggestive of the subtleties and nuances of speech -
through choked, squeezed and smeared notes.
The program - four Scott originals, two by Terry
plus two standards - is bright and infectious, from the
opening title blues, Terry manipulating his horn with
plunger effects, intimate growls and piercing wails, to
the closer, Irving Berlin’s “Heat Wave”, equipped with
a shuffle beat and prancing muted trumpet. The vibe
throughout is joyous, a feeling reflected literally in a
central track: “This Little Light of Mine”.
For more information, visit twitter.com/PassionMusicLtd.
Terry is celebrated at A Great Night in Harlem May 17th at
the Apollo Theater. See Calendar.
Live
at Flushing Town Hall
QUEENS JAZZ ORCHESTRA
Fiesta MOJO
Directed by Jimmy Heath
ORdeR tickets tOday!
(718) 463-7700 x222 flushingtownhall.org
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY 11354
This program is supported by National Endowment for the Arts; New
York State Council on the Arts, a State agency; New York City Department
of Cultural Affairs; Bloomberg Philanthropies; Fan Fox and Leslie R.
Samuels Foundation; Paul Ash and Nobuko Cobi Narita; and Macy’s.
satuRday, May 25, 2013, 8:00 PM
$40/$32 Members/$20 Students;
Package: $120/$100 Members
(Reserved Table for 2, Wine & Snacks)
the Queens Jazz Orchestra (QJO, a program of
FCCA), celebrates the musical genius of adderley,
Jacquet, Basie & ellington, all historic jazz legends
who lived in Queens & are seen on FCCA’s Queens
Jazz trail Map © . Fiesta MOJO is a rare Gillespie
piece arranged by Jimmy Heath for the QJO.

Show Me The Way (To Get Out Of This World)
Stephanie Nakasian (Capri)
by Marcia Hillman
After a several-year absence from recording, vocalist
Stephanie Nakasian returns to take us on a musical
journey via 15 familiar and not-so-familiar standards
about love lost and found. Her travelling companions
are pianist Harris Simon’s trio with bassist Chris
Brydge (Nakasian’s fellow faculty members at The
College of William & Mary) and drummer Billy
Williams. This CD was prompted by a series of wellreceived
live performances.
Nakasian’s vocal abilities are well captured in this
album. Possessing an instrument of many colors,
perfect diction, ability to swing and scat, inventive
phrasing and respect for the lyric, she approaches each
song as a unique story. She begins appropriately with
“Lonesome Road”, doing an out-of-tempo chorus
followed by a faster turn at scatting, sounding so much
like Ella Fitzgerald that it brings one up short. Her
scatting ability also shows up on other cuts, such as
Horace Silver’s “Nica’s Dream” and “The End Of A
Love Affair”, on which the Fitzgerald influence is also
palpable. An interesting treatment is given to the Wolf-
Landesman classic “Spring Can Really Hang You Up
the Most”, where a series of tempo changes are
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employed to emphasize the narrative. There is
uncommon humor displayed in Van Morrison’s
“Things Are Getting Tougher Than Tough”, done as an
uptempo blues, Nakasian getting to growl the lyric
and then imitate a muted trombone.
Since these performers have been working
together steadily, there is a wonderful chemistry. Each
player supports Nakasian’s vocal efforts, but their
individual voices are heard not only in solos, but also
as a true partnership. Simon’s solos are inventive in
their phrasing and his technique is superb while
Brydge is solid as a rock and lyrical in all of his solos.
Williams lays down solid swing throughout and his
most impressive moment is a call-and-response section
with Nakasian on Dave Frishberg’s “Zanzibar”.
Listeners will have to take this journey more than
once to enjoy and appreciate the talents of Nakasian
and her companions fully.
For more information, visit caprirecords.com. Nakasian is at
Jazz at Kitano May 17th-18th. See Calendar.
Fig Tree
Deborah Latz (June Moon Prod.)
by Andrew Vélez
Fig Tree opens with Irving Berlin’s “Blue Skies”, but
World Premiere
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not in the usual, merely jaunty interpretation. Acid
jazz in feel, it foreshadows that this third solo outing
from Deborah Latz is definitely not going to be business
as usual. Possessed of a range as wide as her clear
soprano is lovely, Latz’ take on “Blue Skies” is a swift,
danceable mix, which includes scatting and extended
hums. Totally rocking in company with jazz veterans
Jon Davis (piano), John Hart (acoustic and electric
guitars), Ray Parker (bass) and Willard Dyson (drums),
there is happy certainty to Latz’ singing.
Nowhere is that more evident than when she tears
loose in homage to Alberta Hunter with “I’m Having A
Good Time”. Of course Latz’ voice is totally different
from the late blues great, but when it comes to blowing
the roof of the joint, they are totally sisters in the life
spirit.
If Latz sways irresistibly with Brazilian gems like
“Eluxo” and “Corcovado” (“Quiet Nights”), she is no
less adept with an American songbook classic like
George and Ira Gershwin’s “”S’Wonderful”. With each
“marvelous” and “wonderful”, her light touch as she
pauses becomes a moment of self-discovery. Here
Hart’s guitar provides the most sympathetic of
accompaniment.
The title song of the set is one of a quartet of her
originals, a whimsical delight, evoking happy
comparison to the vocalese gems of yore from Lambert,
Hendricks and Ross in its musical savvy. The closer is
a Latz-Hart duo on Henry Mancini-Johnny Mercer’s
familiar “Moon River”. As lucid as it is breathtaking, it
is music of the sort that happens when the best
companions get together. That’s how this Fig Tree is
throughout.
For more information, visit deborahlatz.com. This project is
at Somethin’ Jazz Club May 18th. See Calendar.
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THE NEW YORK CITY JAZZ RECORD | May 2013 21

22 May 2013 | THE NEW YORK CITY JAZZ RECORD
Eponymous
Federico Ughi Quartet (FMR)
by Marc Medwin
Given the diversity of this group’s collective
background, the many nods toward tradition are
almost surprising. It isn’t that drummer Federico Ughi,
altoist David Schnug, cornetist Kirk Knuffke and
bassist Max Johnson aren’t steeped in the jazz tradition;
their credentials are well established and they have
developed long-standing collaborative projects in
various formations and contexts in and around jazz.
The fact is, however, that they also embrace many
others, from bluegrass to art rock and much in between,
though subtlety of form and reference seems to be the
path trod on every track of this quartet’s debut.
The most overtly non-’jazz’ offering here is
“Wearing a Wire?”, with its smart and soulfully driven
rhythms, courtesy of Ughi, supporting a heavily
accented unison melody. Knuffke’s solo gradually
morphs from blues to something on the order of
Plugged Nickel-era Miles as the others weave in and
out of funk and noisy free jazz modes. Frequent pauses
and tempo shifts only add to the track’s in-your-face
intrigue, conjuring shades of Ornette Coleman’s later
projects in the process.
The rest of the album draws on Coleman’s work as
well, particularly the jaunty “Technicolor”, sounding
as if it was pulled from one of the Sound Museum
discs, but, of course, none of the music adheres so
strictly to form and structure. The labyrinthine
melodies and drones of “Ange” are closer to the New
York Art Quartet’s brand of musical cinematography
than to anything Coleman waxed as Ughi supports the
constantly shifting structures with expert brushwork.
If one aspect of the disc could be changed, it is the
almost incessant reliance on unisons. On future efforts,
the group would do well to skip right to the bluesy or
pointillistic bits, saving unison passages for special
occasions. That said, these ten compositions,
augmented by Ughi’s polyrhythmic and timbral
facility, Schnug’s unpretentious growls, Knuffke’s
smooth warm tones and Johnson’s flawless arco, add
up to make an excellent first effort.
For more information, visit fmr-records.com. Ughi is at
Ibeam Brooklyn May 18th and 24th with this project. See
Calendar.
Audacity
George Garzone/Frank Tiberi (Stunt/Sundance)
by Stanley Zappa
While there is nothing at all audacious about Audacity,
what’s not to like about saxophonists George Garzone
and Frank Tiberi weaving predictably crafty, intricate
lines atop a rhythm section that never really exceeds
the Jamey Aebersold play-along threshold of rhythm
section persuasion? Should the recording sound stiff,
drummer Jakob Hoyer, though not the solution, is not
the problem. Rasmus Ehlers’ piano solos make one
wonder what happened to his left arm. On “Two
Brothers”, the effect is memorable, like meeting
someone really hot who for some reason doesn’t have
a nose. By “Solar” (track 6), all hotness has been
eclipsed by the harmonic noselessness. Jonas
Westergaard’s bass is unwavering, unflappable and, at
the same time, unremarkable. Fortunately, this is not a
problem in light of the more pressing agenda of
presenting two acknowledged, well ensconced,
thoroughly documented masters once again romping
through the tropes and paying homage to John Coltrane
46 years after his death, at this juncture in their long
and storied careers, in the year of our lord 2013.
“My father died...I was left to support the family
and at 13 I had gigs three nights a week,” says Tiberi
(born 1928) in the liner notes to Audacity. If social
conditions have any effect on one’s musicality, there
won’t be too many Frank Tiberis making their version
of Audacity in the year 2080. His sound, vocabulary
and phrasing come from social realities and economic
conditions long gone. Tiberi’s composition “My Man“
and his solo therein is why he is to be treasured.
Though younger, Garzone also enjoyed that
commercially archetypal time in improvised music so
deftly commodified by the participants. Garzone has
the value add of a career in academia, which he
capitalizes on throughout the recording; those aesthetic
dividends contribute significantly to Audacity’s net
worth. That said, everyone would be the poorer were
Audacity the only recorded statement for anyone
involved.
For more information, visit sundance.dk. Garzone is at The
Stone May 19th with Uri Gurvich and ShapeShifter Lab
May 25th. See Calendar.

People Music
Christian McBride & Inside Straight (Mack Avenue)
by Robert Milburn
In the mid ‘00s, Village Vanguard owner Lorraine
Gordon told bassist Christian McBride that his electric
band was not appropriate for the revered venue. And
so McBride began assembling his acoustic quintet
Inside Straight as per Gordon’s request. People Music
submits to a more traditional format out of necessity,
but avoiding reversion to some disingenuous mean.
The title refers to the bassist’s constant balance
between creative abstraction and visceral crowdpleasing.
In employing saxophonist Steve Wilson and
vibraphonist Warren Wolf (plus pianist Peter Martin
and drummer Carl Allen), the bassist generates this
unique brand of intrigue, which ranges from the
dizzying tenacity of Wolf’s “Gang Gang” to the cool
soulfulness of McBride’s “New Hope’s Angel”. On the
former, bass and piano maintain a driving ostinato
while vibes swoon and explode in exuberance. The
latter, inspired by the untimely death of vocalist
Whitney Houston, has a velvety smoothness with
Wilson’s soprano dialed to a dulcet melodiousness.
Meanwhile, the funky evocations of “Unusual
Suspects” rest somewhere in between.
The opening and penultimate tracks are noticeable
departures from the quintet’s harmonious steadiness.
Here, pianist Christian Sands and drummer Ulysses
Owens, Jr., young McBride trio mates, replace jazz vets
Martin and Allen. While Martin’s caressing fluidity is
subtly substituted for Sands’ soulful facility, the
explosive theatrics of Owens is cast against the veteran
drummer’s assured composure. “Listen To the Heroes
Cry” is particularly demonstrative: Owens erupts in a
flurry of cymbals as Sands’ fleeting lines tense in sultry
provocation. McBride is obviously pleased, his playing
flaring in intensity.
The disc has already received the Gordon stamp of
approval - the band played at the venue in December.
For listeners, People Music is yet another truly swinging
celebration of the bassist’s adept musicality.
For more information, visit mackavenue.com. McBride is at
92nd Street Y May 23rd-24th. See Calendar.
Borderline
Brian Charette (SteepleChase)
by Ken Dryden
Although not the first recording of solo Hammond B3,
it is a rare occurrence. Yet the instrument has more
potential than the piano, given its wide range of sounds
and ability to create a bassline with the pedals.
Brian Charette has been one of the rising stars of
the Hammond B3 and it’s obvious why with this fine
effort. He draws from numerous decades and styles of
music, including jazz standards, pop songs, bop and
bossa novas, varying his approach and keeping most
performances under the five-minute mark.
Charette opens with a fluid, lively interpretation
of Chick Corea’s “Windows”, adeptly varying the
volume as he offers a masterful improvisation. His
punchy take of Duke Ellington’s “C Jam Blues” recalls
the heyday of Jimmy Smith while his rapid-fire attack
in Charlie Parker’s “Donna Lee” also has a slow
interlude focusing on a deliberate left-hand
improvisation. Charette’s dancing footwork and fleet
fingering in “How Deep is the Ocean” brings new life
to this standard while he slows to a crawl for a
sauntering stroll through “Body and Soul” and
“Georgia On My Mind”. It’s little surprise that there’s
some Gershwin as well, including a romping bop
treatment of “I Got Rhythm” and a whimsical setting
of “Embraceable You”. Intimate takes of “Corcovado”
and “The Girl From Ipanema” don’t need a vocalist or
additional instrumentation to convey their messages.
Charette is most impressive with songs one
doesn’t associate with jazz: Hall & Oates’ “Sara Smile”;
Jimmy Webb’s “Up, Up and Away”; Classic 4’s
“Spooky”; Reggie Lucas’ “Borderline” or the James
Bond theme “You Only Live Twice”. In each case, the
organist reveals their potential with thoughtful
interpretations in which he mixes changes in key and
tempo, along with intelligent thematic variations. This
impressive foray into solo Hammond B3 may provoke
fellow players to consider similar projects.
For more information, visit steeplechase.dk. Charette’s
Organ Trio is at ShapeShifter Lab May 24th. See Calendar.
Cross Culture
Joe Lovano Us Five (Blue Note)
by Joel Roberts
Joe Lovano’s third outing with his Us Five quintet
(and his 23rd recording for Blue Note over the past
20-plus years) is another example of the tenor
saxophone titan’s adventurous spirit and ever-restless
nature. His first two dates with the group focused,
respectively, on Lovano originals and radically
reinterpreted versions of Charlie Parker classics. His
new release, as the title implies, incorporates more of a
world-music aesthetic. But the real focus is on
remarkable group interplay.
The lineup once again features pianist James
Weidman, drummers Francisco Mela and Otis Brown
and Esperanza Spalding on bass, though in
acquiescence to Spalding’s busy schedule as a
burgeoning superstar, she’s replaced by Peter Slavov
on a few tracks. West African guitarist Lionel Loueke is
also heard on several numbers, enhancing the album’s
stated boundary-crossing theme. Lovano and Loueke
demonstrate a strong, almost telepathic bond,
particularly on the intense “In a Spin”, which features
a wild turn by Lovano on the aulochrome, a new kind
of polyphonic double soprano saxophone. He’s also
heard on numerous other horns besides his usual tenor,
including the G-mezzo soprano and the tarogato (an
Eastern European folk instrument). And as if the
already formidable two-drum attack of Mela and
Brown isn’t enough, Lovano joins in on percussion on
several tracks, playing things like an Israeli paddle
drum and Nigerian slit drum.
Most of the tunes are wide open and sound more
improvised than thoroughly composed. “Myths and
Legends” is a frenetic free-for-all for all five members
of the core quintet while “PM”, a dedication to the late
drum legend Paul Motian, features some of Lovano’s
most energetic solos. The group’s overall aesthetic,
and Lovano’s approach in general, is perhaps best
represented on the album’s one non-original, the
gorgeous Billy Strayhorn ballad “Star-Crossed Lovers”.
While Lovano plays majestic tenor, channeling past
masters from Ben Webster to John Coltrane, the rhythm
section ventures off into unexpected places, leading
Lovano to respond with some off-kilter, atonal patches.
It’s an example of Lovano’s constant desire to push
jazz forward while remaining wholly devoted to - and
a part of - the tradition.
For more information, visit bluenote.com. Lovano is at
Village Vanguard May 28th-Jun. 2nd. See Calendar.
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THE NEW YORK CITY JAZZ RECORD | May 2013 23

The View From Here
Kyle Eastwood (Jazz Village-Harmonia Mundi)
by Tom Greenland
Kyle Eastwood has released 6 albums in his 15 years
as a bassist and bandleader (along with composing and
arranging movie soundtracks), forwarding his own
brand of accessible yet artistically durable jazz. The
View From Here, his latest, boasts a new label and a
cohesive London-based working band of tenor
saxophonist Graeme Blevins, trumpet/flugelhornist
Graeme Flowers, pianist Andrew McCormack and
drummer Martyn Kaine.
The album kicks off with “From Rio to Havana”,
which epitomizes the group’s sound, a catchy unison
melody over a bubbling Latin beat, with blustery solos
from the frontline, producing a sound that finds a
middle ground between the smoothness of
contemporary jazz and the brawn of hardbop. A
Parisian for the past eight years, Eastwood also draws
on the influences of North African, Middle Eastern and
other musics: “Sirocco” opens with flamenco palmas
(hand clapping) outlining a 6/8 rhythm, which shifts
between double and triple accents akin to a flamenco
compás (rhythmic cycle); “The Promise” features a
piquant A minor melody over a Phrygian chord
progression common to flamenco; “Une Nuit au
Sénégal” starts with high double-stops
on electric bass, recalling the shimmering guitars of
Congolese soukous; “Luxor” is a moody modal piece
with hypnotic tom-toming. The band brings these
songs to life with strong soloing, particularly Flowers,
who echoes Freddie Hubbard’s high-note flurries and
clarion calls. Eastwood too is an accomplished soloist,
on both acoustic and electric basses, often expressing
himself in brief but busy outbursts.
Eastwood brought another group to Blue Note for
a weeklong residency last month, shared with Larry
Coryell (& Sons), now with trumpet/flugelhornist
Alex Norris, tenor saxophonist Jason Rigby, pianist
Rick Germanson and drummer Joe Strasser. Launching
his Mar. 26th early set with the CD’s opening track, the
rest of the set drew on Eastwood’s earlier work:
“Samba de Paris” (2009’s Metropolitan), “Tonic” (2011’s
Songs From the Chateau), a cover of Miles Davis’
“Pfrancing” and closing with “Big Noise From
Winettka” (2005’s Paris Blue) - the last a technical
showcase à la Ray Brown, a mentor of Eastwood’s,
who proved a modest but dynamic showman, an agile
accompanist/soloist and a visionary searching for his
voice between the cracks of ‘smooth’ and ‘rough’ jazz.
For more information, visit jazzvillagemusic.com
From Here I See
Ben Wolfe (MAXJAZZ)
by Russ Musto
Best known for his extensive work as a sideman with
artists ranging from Wynton Marsalis and Eric Reed to
24 May 2013 | THE NEW YORK CITY JAZZ RECORD
Diana Krall and Harry Connick, Jr., bassist Ben Wolfe
has, as importantly, distinguished himself as a noted
composer with his own approach and vision. Seven
discs as a leader thus far present a distinctive melodist
with a gift for creating engaging environments that
emphasize the generally uncomplicated beauty of his
creations.
From Here I See once again demonstrates his talent
in a variety of settings, augmenting his trio of pianist
Orrin Evans and drummer Donald Edwards with tenor
saxophonist JD Allen, trumpeter Wynton Marsalis,
guitarist Russell Malone and soprano saxophonist
Marcus Strickland, often in conjunction with a string
quartet that is heard on 8 of 12 tracks. The mood of the
album moves between straightahead swinging and
stirring balladry, both anchored by Wolfe’s big tone
and steady beat.
Marsalis and Allen stretch out powerfully on the
opener, “The Good Doctor”, a bluesy swinger that
recalls the ‘50s Miles quintet. Malone is heard to great
lyrical effect on the beautiful ballads “Angela” and
“Who’s Lily?”, the former featuring the impeccably
integrated string section that also accompanies
Marsalis, Allen and Strickland on their ballad features
“So Lovely”, “How You Love” and “From Here I See”,
respectively, as well as the trio on the soulful waltz
“Baby Tiger”. On these selections Wolfe utilizes the
strings not simply as backgrounds but as an additional
instrumental voice, sometimes in place of a soloist, at
others as a countermelodic voice, as in the quartetwith-Allen
fragment “Interlude”. When the band does
let loose, as on the jagged line “Mellow As You Please”
and the jaunty outing “Two-Beat Numba” (both with
Allen) and the ominously agitated “12 More” (featuring
Strickland), they swing with unmitigated boldness.
At the CD release at Dizzy’s Club in late March,
the core quartet with Allen was joined by guest
trumpeter Nicholas Payton and the emphasis shifted
towards powerful swing. By the final evening (Mar.
31st) of the four-night engagement the band sounded
as tight as any unit in town. Opening with “The Good
Doctor”, the band established a finger-snapping pulse,
which remained at the heart of its sound throughout
the evening, regardless of tempo, be it wildly swinging
(new composition “Kerbecs vs Vari Ares”), achingly
slow (Allen’s ballad feature “Love Is Near”) or easy
grooving (“Two Beat Numba”). Another new piece,
“Intro To Baby Tiger”, demonstrated Wolfe’s harmonic
ability in an ominous setting, weaving horn lines in a
manner reminiscent of Mingus’ most sophisticated
work and then segueing into the waltzing “Baby
Tiger”. The set concluded with a lugubrious
arrangement of “All The Things You Are”, another
indication of Wolfe’s originality.
For more information, visit maxjazz.com
Invitation
Jerry Costanzo (Daywood Drive)
by Sharon Mizrahi
Jerry Costanzo turns to yet another chapter in the
Great American Songbook with the release of Invitation.
The vocalist brings his friendly ambience to tunes that
are both playful and reflective, crooning away with
silky pizazz.
Pianist Tedd Firth sets the scene with a sparkling
melody that envelops Costanzo’s easygoing sound.
“Don’t Let It Go To Your Head” continuously jolts the
senses awake, as Costanzo knows when to keep the
lyrics curt and when to make his notes resonate. Bassist
Neal Miner’s uptempo cadence complements the
former while Joe Cohn’s breezy guitar harmoniously
twirls with the latter.
“This Is My Night To Dream” gives a glimpse of
the vocalist’s more pensive side. While Firth and
drummer Jonathan Mele craft an upbeat intro,
Costanzo explores the wistful side of romance with a
tinge of melancholy in his voice. He always ends up on
the sweeter side of bittersweet, but the subtly forlorn
texture of his notes reveals a different side of his usual
lighthearted vibe. Costanzo further illustrated his
textural range at The Garage last month, where he
infused the air with effortless joviality. His charming
demeanor in the album took on an added dimension
on stage, evoking the lively big band atmosphere of
decades past on an intimate quartet scale.
A handful of guest artists appear throughout
Invitation, notably trumpeter Brian Pareschi and
vocalist Champian Fulton in “Here’s To The Losers”.
Fulton and Costanzo alternate lyrics before singing in
unison, a move that only emphasizes the natural cheer
in both of their voices. Pareschi forms a bond of his
own with Firth, as the two musicians occasionally flare
up and accent the piece.
Vocalist Giada Valenti’s sultrier approach adds an
element of complexity to the bossa nova tune “Little
Boat (O Barquinho)”. Costanzo reflects on paradise in
a low-pitched hum while Valenti croons in Portuguese.
Cohn coaxes the affair forward with a few light plucks
of guitar. And soon, the vocalists usher listeners to the
next track with a gentle ”Bon voyage”, bringing the
serene piece to a blissful close.
For more information, visit daywooddrive.com

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

Haymaker
Noah Preminger (Palmetto)
by Sean O’Connell
Noah Preminger’s official biography is probably the
only one to express a desire to “not get hit in the face”
and mean it literally. His fascination with the pugilist
lifestyle and other physically demanding pursuits
seem to be a large part of his mythology. Thus naming
his most recent album after an all-or-nothing swing of
the fist seems appropriate. The 20-something tenor
saxophonist may not have written any anthems to
replace LL Cool J’s monopoly over heroic ring entrances
and not every tune here renders the listener unconscious
but that’s a good thing.
Preminger’s last album had him in the presence of
a straightahead piano/bass/drums trio, which helped
place his classic tone in a classic setting. Here he is
joined by bassist Matt Pavolka, drummer Colin
Stranahan and guitarist Ben Monder, the latter’s
reverbing creating a modern surface, opening things
up harmonically for the two lead instruments.
The title track, one of seven Preminger
compositions on the album, is a curious juxtaposition
of ground-level intensity from Stranahan and a subtler
melody from Preminger. His horn is patient and
deliberate over the percussive hurricane, gradually
Lou Caputo & Chris White
Interface
A collaboration of two longtime friends
with Don Stein (piano)
Payton Crossley (drums)
Warren Smith (vibraphone)
Leopoldo Fleming (percussion)
Available at CDbaby, Amazon And Itunes
John Ehlis group featuring
Lou Caputo & Chris white
May 10th - Trumpets (Montclair, NJ)
Lou Caputo Quartet
May 12 - The Garage
Loucaputo.com; CaputoJazz@Twitter
26 May 2013 | THE NEW YORK CITY JAZZ RECORD
stretching out. Although the album is largely selfpenned,
the lone standard is an unexpected twist, with
Preminger taking the melody of a curly-haired orphan
for a meditative take on “Tomorrow”. It’s a short
performance dwelling entirely on the hopeful melody.
Preminger spends a minute alone, providing a breathy
exploration before the band gently joins him to recite
the popular tune. On “15,000”, Stranahan is a
wonderful bouncing presence with a litany of sounds
and feelings coming from his kit while “Stir My Soul”
gives Pavolka a little chance to stretch out over
Monder’s surf-inflected vibrations.
The resulting album is not nearly as physically
exhausting as one might expect given all the boxing
talk but it is a carefully controlled display of confidence,
allowing timing and patience to dictate when and
where the punches should land.
For more information, visit palmetto-records.com. This
group is at Jazz Standard May 21st-22nd. See Calendar.
Uplift 2: Higher
Monty Alexander (Jazz Legacy Productions)
by Donald Elfman
Jamaican-born Monty Alexander has been a solid and
welcome presence in the jazz world for nearly 50 years.
He beautifully reinvigorates the standard repertoire
and pleases audiences with spirited playing and
infectious stage presence.
Uplift 2 is the follow-up to…well...just plain Uplift
and both sets, recorded at concert halls and jazz clubs
from around the world, celebrate the communicative
spirit that’s come down from legends like Erroll
Garner, Ahmad Jamal and Oscar Peterson and fallen
squarely into Alexander’s two capable hands.
Alexander is fortunate to have John Clayton and
Jeff Hamilton as his rhythm section. They kick in
almost immediately after the pianist’s intro to “Battle
Hymn of the Republic” with a groovy shuffle beat that
urges forward Alexander’s dancing, rolling solo. And
then comes more of the same - or at least similarly
infused - “When The Saints Go Marching In”, which
Alexander turns into a Peterson-like blues jam. The
sensitive playing and propulsive thrust of Clayton
helps make this, the most primal of all the New Orleans
jazz tunes, a knockout blues with Alexander’s deeply
pulsing chords.
On three tracks – “St. Thomas”, “Night Mist
Blues” and “Close Enough For Love” - the rhythm
section changes. Bassist Hassan Shakur and drummer
Frits Landesbergen give an out-of-the ordinary spin to
the Sonny Rollins calypso while the lovely “Close
Enough For Love” is a showcase for the gentler side of
the pianist, as he takes a slow but virtuosic walk
through the emotional Johnny Mandel ballad.
“At the end of the day,” Alexander notes, “It’s
about touching somebody’s heart.” From the uptempo
crowd-pleasers to the more sensitive tunes, that’s
what’s going on throughout Uplift 2.
For more information, visit jazzlegacyproductions.com.
Alexander is at Birdland May 7th-11th. See Calendar.

UK Live 1967, Vol. 1 & 2
Pat Smythe Trio (Jazzhus Disk)
by Clifford Allen
When most people think of the halcyon days of British
jazz, especially with respect to recently unearthed
archival gems, the names that come up are primarily
avant garde. Even as British jazz was defined outside
of the mainstream (especially from the late ‘60s
onward), the country’s postbop traditionalists were
certainly as fiery as their freer countrymen. Players
like saxophonists Ronnie Scott and Tubby Hayes,
brothers Mike and Chris Pyne (trombone and piano,
respectively), drummer Phil Seamen and the outsideleaning
Jamaican altoist Joe Harriott all brought
original voices and a sense of community to the
improvising table. Scottish pianist Pat Smythe (May
1923-May 1983), may be one of the lesser-known UK
boppers but his light touch and rhythmic drive made
him an exacting contrapuntal voice in Harriott’s ‘60s
quintets. Interestingly, Smythe’s estate established a
memorial trust, which helped jump-start the careers of
young British jazz players between 1984-96.
Smythe also backed visiting American
saxophonists including Zoot Sims, Paul Gonsalves (the
superb Boom-Jackie Boom-Chick on Vocalion), Ben
Webster and Stan Getz. Two volumes supporting
visiting tenor saxophonist Eddie “Lockjaw” Davis
were captured live (if a bit lo-fi) in Nottingham in
March 1967. The twosome are joined by bassist Kenny
Napper and drummer Tony Crombie (Smythe’s
working trio) for a set of standards, with Jamaican
saxophonist Harold McNair guesting on a take of
“Walkin’”. Davis was no stranger to UK and
Continental audiences at the time; he was working as
part of the Clarke-Boland Big Band and continuing his
partnership with expatriate Johnny Griffin. This
material was originally slated for issue on a pair of teninch
LPs but has remained unavailable until now.
Davis and Smythe are both full-toned, graceful and
warm improvisers and it’s absolutely stunning to hear
them in bluesy, conversational caresses on “I’ll Never
Be the Same”. In fact, “Jaws” is probably more often
considered a tough soul-jazz bar walker than a complex
romantic, but the latter is on full display here.
A robust and swinging tenor player who first
came to prominence with Count Basie, Davis builds
from fluid lilt to a series of tears through “Days of
Wine and Roses”, albeit not without a sense of
organizational logic and daubs of painterly clarity.
Following the saxophonist’s corker of a solo, Smythe
adroitly skates and conjures ringing, puckered and
intricate harmonies from a somewhat out-of-tune
piano. Napper provides a meaty bulwark of support
while Crombie is dry and chattering; his punctuations
are more often felt than heard on a misty “Body and
Soul”, which ends with a steely, unaccompanied tenor
spot. Following a bright, uptempo “I’ll Remember
April”, in which the cracking and perhaps purposely
uneven rhythm presents an interesting contrast to
Davis’ yoke-tugging velvet and hard blues, McNair
joins on alto for “Walkin’”. Smythe and the saxophonists
work a preachy feel at the beginning, McNair’s bubbly
and incisive post-Parkeriana gloriously chomping at
the bit and nearly ‘free’. Still fresh over 45 years after
being waxed, these two volumes of music are
extraordinary nuggets from the Brit-jazz archives.
For more information, visit downtownmusicgallery.com
New Jersey Performing Arts Center
Dianne Reeves
Christian McBride, Jazz Advisor
Sérgio Mendes Al Jarreau
An Evening with the Jimmy Heath Quartet
at Bethany Baptist Church
Monday, November 4 at 7:00 • FREE
A Celebration of Amiri Baraka’s
“Blues People” at 50
at Newark Museum
Tuesday, November 5 at 7:00 • FREE
A Good Place:
Celebrating Lorraine Gordon and
The Village Vanguard
featuring The Vanguard Jazz Orchestra
and special guests NEA Jazz Master
Barry Harris and Christian McBride,
plus the Anat Cohen Quartet
Hosted by Christian McBride
Thursday, November 7 at 7:30
Christian McBride
Sponsored by Presenting Sponsor
Co-presented by
For tickets and full 2013
TD James Moody Democracy of Jazz Festival
schedule visit njpac.org or call 1-888-GO-NJPAC
November 4-10
Jazz Meets Samba
Sérgio Mendes, Elaine Elias, Lee Ritenour,
Arito and special guest Joe Lovano
Friday, November 8 at 8:00
Sing, Swing, Sing!
with Dianne Reeves, Al Jarreau,
Jeffrey Osborne, George Duke,
Christian McBride Big Band featuring
Melissa Walker, and 2012 Sarah Vaughan
International Jazz Vocal Competition
winner Cyrille Aimée
Saturday, November 9 at 8:00
Portrait of Duke
featuring Vince Giordano and the Nighthawks
Saturday, November 9 at 2:00
Dorthaan’s Place:
The Paquito D’Rivera Quartet
Sunday, November 10 at 11:00 & 1:00
Sarah Vaughan
International Jazz Vocal Competition
Sassy Award
with special guest judges
Al Jarreau, Janis Siegel, and Larry Rosen
Sunday, November 10 at 3:00
Presented in association with
One Center Street, Newark, NJ
NJJazzRecord_6.25x12_moodynjpac.indd 1 4/15/13 8:52 AM
THE NEW YORK CITY JAZZ RECORD | May 2013 27

Chants
Craig Taborn Trio (ECM)
by John Sharpe
For anyone who has witnessed the excitement and
cohesion of pianist Craig Taborn’s trio live, it will be
hard to comprehend the 12-year gap in documentation
since 2001’s Light Made Lighter (Thirsty Ear). One easy
explanation would be the thickness of the Minneapolisnative’s
bulging sideman portfolio, which includes
stints with saxophonists Tim Berne and Chris Potter,
bassist Michael Formanek and trumpeter Tomasz
Stanko, just to pick out some of the most recent
collaborations. Whatever the reason for the hiatus, the
appearance of Chants, following up Taborn’s acclaimed
2011 solo outing and ECM leader debut Avenging
Angel, demands attention.
Retained from the earlier disc, drummer Gerald
Cleaver has been one of Taborn’s closest collaborators
over the decades. Their almost telepathic understanding
forms the bedrock of the loose yet complex interplay so
prevalent here. Even newcomer Thomas Morgan has
filled the bass chair for eight years now and
consequently has firmly carved out his niche in the
ensemble. The band’s strong suit comprises those
dazzling headlong passages of interlocking patterns
that open and close the disc, where Taborn lays down
an insistent substructure with his left hand, embellished
by bass and drums while expounding sparkling
contrapuntal runs with his right.
Elsewhere his themes are often merely sketched,
haikus upon which the ensemble can meditate in
egalitarian exchange. Cleaver revels in elaborate crossrhythms
overlain with asymmetric cymbal coloration
while Morgan is as likely to be the melodic lead as the
pianist. One exception is “Cracking Hearts”, where the
drummer’s rustle and clatter form the central narrative
thread around which piano and bass drape a darkly
brooding lyricism. Only the extended “All True Night/
Future Perfect” contains the limpid piano reverie that
listeners might associate with the ECM sound, but
even here it is transcended by the subsequent galloping
excursion and engaging interaction. Taborn has
fashioned a thoroughly compelling statement, which
gets better on each listen and one that will surely fuel
even more thrills in concert.
For more information, visit ecmrecords.com. This trio is at
Roulette May 6th. See Calendar.
San Sebastian
Ron Carter Golden Striker Trio (In+Out)
by Alex Henderson
In 2003, acoustic bassist Ron Carter joined forces with
pianist Mulgrew Miller and guitarist Russell Malone
and formed the Golden Striker Trio, which recorded an
album for Blue Note. The group’s unusual combination
of instruments (acoustic piano, hollowbody guitar and
upright bass with no drums) was the same combination
28 May 2013 | THE NEW YORK CITY JAZZ RECORD
of instruments that the Nat King Cole Trio embraced in
the ‘40s. But unlike Cole’s swing-oriented threesome,
the Golden Striker Trio has favored an introspective,
classical-influenced approach, which has a lot more in
common with the chamber jazz of the Modern Jazz
Quartet (MJQ). In fact, Carter’s trio named itself after
MJQ pianist John Lewis’ “The Golden Striker”, made
famous by MJQ in 1957.
This CD/DVD spotlights a July 2010 appearance
at the Jazzaldia Festival in San Sebastian, Spain, where
Carter, Miller and Malone played for an audience of
more than 2,000 people. The most exuberant moments
come on an inspired performance of “The Golden
Striker”, which isn’t quite as restrained as the MJQ’s
classic recording. Nonetheless, the MJQ influence is
hard to miss and the polish, sophistication and
refinement that the Golden Striker Trio brings to
Carter’s “Candle Light”, the Rodgers-Hart standard
“My Funny Valentine” and two Brazilian jazz
performances (Luiz Bonfá’s “Samba de Orfeu” and
Carter’s “Saudade”) clearly recalls the MJQ’s chamber
jazz performances of the ‘50s-60s. Like the MJQ, the
Golden Striker Trio know how to express their
appreciation of European chamber music while
remaining faithful to the soulful, improvisatory spirit
of classic jazz.
The 55-minute CD and the DVD are the same
material, although the latter contains a laid-back
18-minute performance of Oscar Pettiford’s “Laverne
Walk”. There’s no reason why it had to be omitted
from the CD; it would have fit and makes no sense not
to include it on both discs. But apart from that flaw,
San Sebastian is a rewarding document of the Golden
Striker Trio’s continued collaboration.
For more information, visit inandout-records.com. Carter is
at Tribeca Performing Arts Center May 9th as part of the
Highlights in Jazz Salute to George Wein, Blue Note May
16th and Dizzy’s Club May 28th-Jun. 2nd with Bill
Charlap. See Calendar.
Absolute Zero
Jon Irabagon/Hernani Faustino/Gabriel Ferrandini
(Not Two)
by Stuart Broomer
Jon Irabagon’s membership in Mostly Other People
Do the Killing should testify to the saxophonist’s
unpredictability and considerable flexibility of style,
but it may not quite cover all that he was up to in 2009.
It was the year he made his most conservative CD, The
Observer, for Concord, part of his reward for winning
the 2008 Thelonious Monk Saxophone Competition. It
was a solid mainstream modern session with Kenny
Barron, Rufus Reid and Victor Lewis providing allstar
support. A few months later in Lisbon, Irabagon went
into a recording studio with bassist Hernâni Faustino
and drummer Gabriel Ferrandini and recorded Absolute
Zero, an hour-long set of seven pieces, each attributed
to the three musicians and accordingly sounding like
free improvisation. It’s likely Irabagon’s most
demanding set to date, even when one considers the
78-minute tenor extravaganza Foxy.
Irabagon sticks to his alto here and plays within a
very specific lineage of the instrument in free jazz: the
corrosive. It’s the one that begins with Jackie McLean
(most specifically of Let Freedom Ring vintage, where
the slightly-out-of-tune hard-edged McLean sound is
complemented by the upper register squeal); continues
with Giuseppi Logan and early Charles Tyler; is
complemented by the Sun Ra alto saxophonists Danny
Davis and Marshall Allen; then jumps ahead to a recent
pinnacle with Jean-Luc Guionnet on recordings like
Bird Dies. Irabagon’s notes are often yips and cries and
they’re always bending away from anything that might
suggest concert pitch. The melodies he constructs are
often just a few notes, microscopic, fragmentary
phrases that are repeated and contorted, bending out
of shape in the same gesture that repeats them,
sometimes with circular breathing to keep the process
of disintegration continuing further.
The trio couldn’t be better matched. Faustino and
Ferrandini are capable of an infernal power, since
evidenced by their work in RED Trio and great
invention, apparent particularly in RED Trio
collaborations with John Butcher and Nate Wooley.
From the opening phrases of “States of Matter”, with
Faustino bowing a complementary circular pattern, the
entire movement of the music appears to be going
backwards, as if it must insist from the outset that its
movement will be eccentric or will not be at all. That
sense of insistence may change direction, but it’s
always apparent in one form or another, even when
things slow down to what might be called a ballad
tempo. By the end of it all on “Spacetime”, Irabagon’s
elemental trills and triplet rhythms are still etching
themselves indelibly, the trio delineating a terrain that
is at once oddly toxic and strangely refreshing.
For more information, visit nottwo.com. Irabagon is at
ShapeShifter Lab May 8th with Mostly Other People Do the
Killing, Bar Next Door May 14th, Cornelia Street Café May
16th, Greenwich House Music School May 22nd with Mike
Pride, Somethin’ Jazz Club May 27th with Bob Gingery and
ShapeShifter Lab May 30th with Dave Douglas. See Calendar.

Celebrating 20 Years: Jazz Festival
July 26 Celebration. The Foundation of Jazz.
Luis Perdomo, piano / Luciana Souza: The Book of Chet and Brazilian Duos
July 27 All Day. Expression. The Language of Virtuosity.
Adam Makowicz Trio / Charles Tolliver Big Band / Vijay Iyer /
Benito Gonzalez / Delfeayo Marsalis presents the Uptown Jazz Orchestra
July 28 All Day. Freedom. The Lifeblood of Jazz.
Elio Villafranca & The Jass Syncopators / Lionel Loueke Trio /
Jason Marsalis Vibes Quartet / James Carter Organ Trio / The Genius of
Mingus 1963: 50th Anniversary Concert
Just for Jazz: Great Performances will offer a variety of grilled items such as chicken, burgers and hotdogs, in addition to their sandwiches,
salads and snacks available at the concession stands. (Saturday and Sunday only)
Tickets & Info caramoor.org 914.232.1252

LASZLO GARDONY / CLARITY
SSC 4014
In Stores May 7
LASZLO GARDONY: Piano
“One morning last October I was at my Berklee studio all
by myself. I felt a burst of inspiration so I set up some
mics, turned on a recorder and started playing. I kept
playing for 49 minutes. When I finished, I was happy with
the places I was able to take the music. But at that
moment I put away the recording without listening to it. I
wondered, after waiting a few months, would the music
still speak to me? It did and it was then that I realized I
was listening to my next album.”
Save the date: Saturday, September 28 @ 8 p.m.
Greenwich House / 46 Barrow Street, NYC
ROSE & THE NIGHTINGALE
SPIRIT OF THE GARDEN
SSC 1353
In Stores May 7
JODY REDHAGE: cello and voice
SARA CASWELL: violin & mandolin
LEALA CYR: trumpet & voice
LAILA BIALI: piano & voice
appearing Wednesday, May 8 @
SubCulture / 45 Bleecker Street, NYC
Doors 6:30PM / Show 7:30PM
www.sunnysiderecords.com
eOne Distribution
30 May 2013 | THE NEW YORK CITY JAZZ RECORD
Eponymous
Iva Bittová (ECM)
by Kurt Gottschalk
Celebrating the release of her new solo CD at Le
Poisson Rouge in late March, violinist/singer Iva
Bittová addressed the audience and, almost by way of
apology, framed what her record is about. “I cannot
promise you any order,” she said at the beginning of
the set, “because I jump from one to another and I
don’t know in advance where I’m going.”
The 12 tracks don’t necessarily seem incomplete
but they are something like touchstones, keys to
Bittová’s enigmatic work. The album opens (as did the
concert) with “Fragment I”, a delicate piece for voice
and kalimba. “Fragment II” is a slight piece centered
on simple bow repetitions but then “Fragment III”
(employing a Gertrude Stein text) has multiple parts
and variations worked into its three and a half minutes.
Later, she uses a Chris Cutler lyric and plays a Joaquin
Rodrigo song, but the album never comes off as
anything but her. What that quality is, however, isn’t
an easy thing to pin down. Bittová’s music can be
charming and haunting. It carries a bohemian feel of
her Czech home and language and can be childlike,
trancelike or mournful. But her own compositions (all
but one here) always come off as deeply personal. On
the album she rarely works in obvious structures but
manages to find paths that seem innate and intuitive.
Live, she played violin melodies so slowly they
almost became drones and sang melodies so quickly
they were almost rants and then flipped the formula.
Bird songs emanated from her strings and her mouth
at different times, almost as if they were incidental,
flying by outside the window. She captivated the
audience in the dark room and commented on how
quiet they were as she played one miniature after
another. But the full house loudly demanded more
when she took a second bow rather than playing more.
She conceded with an upbeat, strictly metered piece,
almost prog in its attack, twirling and moving
backward across the stage as she played and sang, then
exiting with a flurry and a shout.
A compact disc can’t contain all her allure, but her
glow is embedded in the audio, one of her most
evocative - and beautifully recorded - solo efforts.
For more information, visit ecmrecords.com
BabEl
Uri Gurvich (Tzadik)
by Terrell Holmes
In The Bible, the city of Babel was where the
dissemination of languages and scattering of humanity
occurred. The title of alto sax player Uri Gurvich’s
album BabEl references this biblical episode ironically.
The incident at the tower resulted in confusion and
dispersal; Gurvich explores the intertextuality of
different musical languages and cultures on this
outstanding album, dancing on their common ground.
Gurvich’s songs are inspired by Israeli and North
African music but they encompass various styles,
genres and moods. The dynamic “Pyramids” is steeped
in the hardbop tradition; “Nedudim” is fusion-spiced
and has a fierce organ groove of which Jimmy Smith
would be proud and the passion of the John Coltrane
quartet is at the heart of “Valley of the Kings”.
The alto saxophonist and the band can also play
with a heartening tenderness, as evinced by the intense,
brooding and lovely “Alfombra Magica” and the
somber “Hagiga Suite”, a beautiful tribute to victims
of the Holocaust.
The leader also reinterprets and invigorates folk
tunes like the hard-driving “Camelao” and “Scalerica
de Oro”, the latter embodying the album’s spirit most
vividly. This traditional wedding song, with lyrics
sung in Ladino (Spanish Hebrew), gets a nontraditional
reading with a cool rock spin, including
keyboard highlights that mimic guitar riffs.
Gurvich takes this musical excursion with a band
of keyboard player Leo Genovese, bassist Peter Slavov,
drummer Francisco Mela and guest Brahim Fribgane
playing oud and additional percussion. Their collective
musicianship and on-a-dime interplay is fabulous. But
it’s Gurvich’s energetic leadership that is the driving
force throughout BabEl. His alto is multifaceted, light
and clear with an intermittent touch of grittiness. He
can be soaring and joyous on uptempo tunes or
introspective and melancholy on ballads. BabEl is
elemental and atavistic, yet fresh and innovative, a
perfect combination of past and present.
For more information, visit tzadik.com. Gurvich’s BabEl is
at The Stone May 14th-19th with guests Dave Douglas,
Brahim Fribgane and George Garzone. See Calendar.
ENSEMBLES · PRIVATE LESSONS · GROUP CLASSES
Guitar · Voice · Piano · Winds · Percussion · Brass
REGISTRATION NOW OPEN!
LUCY MOSES SCHOOL at Kaufman Music Center
129 W. 67th St. · 212 501 3360
KaufmanMusicCenter.org/LMS

ARTS CENTER
PERFORMING
TK Blue
Rudresh Mahanthappa
Marty Ehrlich
Bird – A World’s Eye View
Latin Bird Friday, May 3
T.K.Blue - Musical Director.
Performers: James Weidman, Essiet Essiet, Winard Harper & Steve Turre. 8:30PM
Birdland: Reminiscing in Tempo: Panel with with NEA Jazz Master Randy Weston.
Moderated by Willard Jenkins. 7PM
Charlie Parker: Timeless Innovation Friday, May 17
Rudresh Mahanthappa - Musical Director.
Performers: Matt Mitchell, François Moutin & Rudy Royston. 8:30PM
Film: Celebrating Bird: The Triumph of Charlie Parker 7PM
2012/13 Season
Our celebrated Lost Jazz Shrines series will delight this year as it highlights the music & historical infl uence of the Birdland Jazz
Club & Charlie Parker through three unique cultural perspectives. The Lost Jazz series is dedicated to bringing legendary NYC jazz
clubs back into the consciousness of the world with a thorough remembrance and celebration.
Concert: 8:30 PM $25 General (students & seniors $15) per show. Panels/Film: 7PM, FREE
“Cartographies of Flight” Friday, May 31
Marty Ehrlich - Musical Director.
Performers: James Zollar, Marc Ribot, Michael Formanek, Nasheet Waits, Erica Hunt & Charles Bernstein.
Conversation: The Impact of Charlie Parker, Panel with TK Blue & Marty Ehrlich. 7PM
Located at 199 Chambers (BMCC Campus) To purchase tickets call (212) 220 - 1460
Order tickets online at www.tribecapac.org Follow us on Facebook & Twitter
FRIDAY • MAY 17, 2013 • 7:30 PM
A GREAT NIGHT IN HARLEM
LIVE AT THE APOLLO
Concert produced by Hal Willner (Saturday Night Live)
Elvis Costello Quincy Jones Paul Shaffer
Jeffrey Wright James Carter Henry Butler
Steven Bernstein & the Kansas City Band
Don Byron Nicholas Payton Ivan Neville
Tribute to Clark Terry Isfar Sarabski Trio
Homage to Claude Nobs Matthew Whitaker
Plus special last-minute jaw-dropping surprises
Tickets: $75, $150, $300, $500, $1,500
www.jazzfoundation.org/Apollo2013
Please donate to save the musicians,
even if you cannot attend!
www.jazzfoundation.org/donate
SAVING JAZZ AND BLUES...
ONE MUSICIAN AT A TIME.

32 May 2013 | THE NEW YORK CITY JAZZ RECORD
Live at Kerrytown House
Narada Burton Greene (NoBusiness)
by Ken Waxman
A free jazz survivor of the first order, pianist Burton
Greene continues to turn out high-class music into his
70s. Chicago-born, Greene was in New York for the
birth of the so-called New Thing with membership in
the Jazz Composers Guild and a pair of ESP discs as
proof. Part of the wave of players who expatriated to
Europe after 1969, Greene became a pioneer in mixing
jazz improvisation with new age, electronic and
Klezmer music. Yet, as this 11-track live date recorded
in Ann Arbor in 2010 demonstrates, he’s never lost his
pianistic facility. Running through a couple of familiar
themes and a handful of on-the-spot creations, the
pianist highlights influences synthesized to create his
more-than-mature style.
Supple, energetic and never ponderous even when
outlining a ballad, Greene’s playing is compelling and
even droll, especially when he lopes along the keys
during the three “Freebop” variations. Original in
conception, his affinity for Monk’s angular phrasing
and economic style is obvious on tracks like “Little
Song” yet often, as on “Freebop the 6th”, Monkish
singularity gives way to kinetic sequences of highfrequency
syncopation, introducing boogie woogie
and stride inferences. With an unbeatable sense of
pacing, Greene gradually works his key strokes
upwards as if climbing a ladder rung by rung; once at
the top he figuratively dives off, creating unexpected
and animated theme variations as he lands.
Greene’s setlist is studded with surprises and
juxtapositions. Take “Get Through It” and “Space Is
Still The Place”, which follow one another. The tunes
are, respectively, a pseudo-Tin Pan Alley ditty with
heavy accents and a stop-time exercise in how long a
note can be held. The first mutates into a minimalist
sound picture; the second, with its Sun Ra-saluting
title, eventually reveals another jolly, jerky theme.
“Greene Mansions” is the definitive performance
though. Played in free time with intermittent pauses,
the bravura narrative allows him to slap keys with one
hand while exposing subterranean tremolos with the
other. He minutely scrutinizes each tone and note
cluster, referring to the theme only intermittently.
Live at Kerrytown House is a notable recital by a
musician who continues to improvise at the height of
his powers a half-century after his first recording.
For more information, visit nobusinessrecords.com. Greene
is at The Firehouse Space May 19th and Spectrum solo May
22nd. See Calendar.
Marzette Watts & Company
Marzette Watts (ESP-Disk’)
by Stanley Zappa
Set against the incessant downpour of cautious,
commodity jazz wrung from the academy and the
capitulated minders employed therein, Marzette Watts
& Company reminds us that “People everywhere have
been allowed to choose between love and a garbage
disposal unit. Everywhere they have chosen the
garbage disposal unit,” to quote Debord.
There is plenty to love on Marzette Watts &
Company. Sure, someone forgot to proofread the liner
essay and, yes, no one will confuse the fidelity of Karl
Berger’s vibraphone with the recording excellence
availed to the common telephone of today. But that’s
the magic of ESP recordings and this one in particular
- musicality trumps technological fetish.
The rhythm section of bassist Henry Grimes (and
on “Backdrop for Urban Revolution”, Juini Booth),
drummer JC Moses and guitarist Sonny Sharrock set a
commensurate foundation for the compelling
improvisations of Watts (bass clarinet, alto and soprano
saxophone), Byard Lancaster (flute, alto saxophone,
bass clarinet) and Clifford Thornton (trombone, cornet)
- revealing they are more than just sidemen, as history
will attest.
The social conditions surrounding the manufacture
of music in the ‘60s has precious little to do with the
same pursuit from the ‘70s forward. Watts, who died
15 years ago this month, was a founding member of the
Civil Rights Movement’s Student Nonviolent
Coordinating Committee - an organization born of
acute, egregious conditions that received a kind of
attention and affected a consciousness shift that the
Occupy movement has not. Though one must be
cautious in connecting politics and music, there is no
denying a bravery and heroism on Marzette Watts &
Company largely if not entirely absent from the postmodern
twaddle defining ‘Jazz Inc.’ today.
For more information, visit espdisk.com

Older jazz musicians are living
in poverty while jazz club
owners are getting rich.
NYC’s top jazz clubs refuse to contribute to pensions
that would allow jazz artists to retire with dignity.
Hardworking jazz musicians deserve better!
Help us help them.
To sign the petition and learn more, visit:
JusticeforJazzArtists.org

Time Travel
Dave Douglas Quintet (Greenleaf Music)
by Robert Milburn
In describing trumpeter Dave Douglas, the word
‘complicated’ definitely comes to mind. Douglas’
elusive tone mixes deliberately blemished inflection
with vocal-like relatability. The sound is as agreeable
in his brass band, Brass Ecstasy, as it is potent in Sound
Prints, a Wayne Shorter-inspired group co-led by
renowned saxophonist Joe Lovano. Such versatility is
nearly unprecedented.
Case-in-point, his 2012 release Be Still, which
framed traditional hymns against the bucolic sweetness
of vocalist Aoife O’Donovan. On Douglas’ most recent
release, Time Travel, he employs the same quintet, sans
O’Donovan. The disc draws inspiration from the
theory of moving backward and forward in time, as
expressed in David Toomey’s The New Time Travelers,
and attempts to capture that confusion of cause and
effect. The concept is a befitting exposé of the
trumpeter’s amalgamated approach.
Douglas’ eclecticism is best heard on “Law of
Historical Memory”, which fuses classical romanticism
with jazz instrumentation. The song’s depth invokes
the color of a Chopin prelude, with saxophonist Jon
Irabagon providing rich, pastel-like shading beneath
34 May 2013 | THE NEW YORK CITY JAZZ RECORD
the track’s crests and valleys while Douglas summons
notes of clarion proportion. This is followed by
“Beware of Doug”, which could very well have been
on Be Still for all its playful folksiness. Here the rhythm
section provides significant depth, inspiring brilliant
soloing all around (of note, the feisty persistence of
drummer Rudy Royston). Furthermore, “Garden State”
features Linda Oh’s driving bass leading Douglas into
an open dialogue of postbop intrigue, his timbre set to
an unvarnished consonance.
Douglas is obviously a student of Miles Davis. On
“Bridge to Nowhere”, the title track and “Little Feet”,
Douglas invokes elements of Davis’ second great
quintet, each bolstered by lingering qualities of
cerebral tension from, say, Nefertiti or Miles Smiles. In
particular, “Bridge to Nowhere” balances between
moments of swing and the feeling of controlled
disintegration, whereby any sense of direction seems
to evaporate into spirited and spontaneous abstraction.
This year, Douglas plans to celebrate his 50th
birthday by touring all 50 states with this group. His
new release and his dynamic new quintet should do
much to foster the image of modern jazz as he travels
the country.
For more information, visit greenleafmusic.com. This group
is at ShapeShifter Lab May 30th. See Calendar.
Eponymous
Kelan Philip Cohran & The Hypnotic Brass Ensemble
(Honest Jon’s)
by John Sharpe
Kelan Philip Cohran and the Hypnotic Brass Ensemble
do exactly what it says on the tin. Built around layers
of brassy riffs, each track develops a mesmerizing
groove, barely interrupted by a series of swinging
solos. Cohran should know all about swing. Now 85
years old, he cut his teeth in pianist Jay McShann’s
legendary hard-driving Kansas City group before
moving to Chicago in the mid ‘50s. There he joined Sun
Ra’s Arkestra, featuring on the early masterpiece
Angels And Demons At Play (Saturn, 1965). When Ra
uprooted to New York City, Cohran stayed put,
becoming a founding member of the Association for
the Advancement of Creative Musicians (AACM). As
well as teaching music in schools and prisons, he also
raised a large family. Eight of them form the Hypnotic
Brass Ensemble.
That might explain the tightness of the band.
Fashioned from darting interlocking lines stacked one
upon the other, the Latin-tinged bounce of
“Cuernavaca” gets proceedings underway at pace.
Though no personnel details are given on the sleeve,
trumpets, sousaphone and trombone are all in
evidence, along with drums, percussion and electric
bass, which help launch the combo into an overdrive
that doesn’t let up until the mid-tempo processional of
“Ancestral”. Another of the unit’s distinguishing traits
becomes prominent here, as the unearthly sound of
Cohran’s bowed zither provides one of the piece’s
incidental flavors. Similarly the odd percussive effects
that echo around the periphery of “Stateville” or the
flourish from the leader’s jangling harp, which opens
“Spin” before a funky bass digs in, signify an unusually
expansive conception. The final “Zincali” rounds off
the album in great style as a brass chorale, at one point
parting to spotlight harumphing tuba in counterpoint
to Cohran’s electrified thumb piano.
In spite of the veteran’s avant garde credentials,
this good-natured studio set, captured in the Windy
City during November 2011, stands as really great
dance music, with the kick-ass rhythms the star. Solos
are short though sweet, but like Cohran’s exotic
instruments, mainly serve to add just one more layer of
interest to the infectious momentum of the well-crafted
tunes. As the liners intimate, the Hypnotic Brass
Ensemble has appeared in festivals around the world
and that would seem the perfect setting in which to
sample their joyful noise.
For more information, visit honestjons.com. The Hypnotic
Brass Ensemble is at Blue Note May 10th. See Calendar.
IN PRINT
Miles Davis: The Complete Illustrated History
(Voyageur Press)
by Clifford Allen
The history of music through visual means -
ephemera and so forth – allows one to glean an
inordinate amount of context that would be
otherwise difficult. A recent entry is Miles Davis: The
Complete Illustrated History, a coffee table book
bringing together rare photographs, poster images,
handbills and album art and related material
alongside often curious and illuminating essays by
Ashley Kahn, Francis Davis, Sonny Rollins, Clark
Terry, George Wein, Bill Cosby and others. These are
woven together with more objectivist historical
writing by Garth Cartwright, none of which provides
particularly new information but it is solid writing
for the neophyte and general interest reader. The
essays are mostly a quick read but some of them do
merit frequent returns - especially those of Davis
and Cosby.
For an illustrated history the images are
interesting and well-chosen; of course, one could
always argue for more detailed archival finds -
letters, contracts, tape boxes, session notes would be
so much icing on the cake - but alongside the oftreproduced
images are rarer images of Miles onstage
in Europe in the early ‘60s or colorfully leading the
Lost Quintet at Ronnie Scott’s in 1969. Doubly
fascinating are the show handbills for such lineups
as the 1972 Ann Arbor Blues and Jazz Festival, Miles
with folksinger Laura Nyro (Fillmore East, 1970) or
three nights opening for the Grateful Dead (Fillmore
West, 1970). Advertisements for Bitches Brew (1969),
Quiet Nights (1962), Martin trumpets and an
attractive BMI ad from 1961 are included, as well as
a diverse range of alternate sleeves for LPs and
singles (as well as those of Jamey Aebersold playalong
records). Of course, Miles’ dress and vibe
throughout his career is a subtext and his style from
the ‘50s-80s could be its own book.
This is a solid and enjoyable tome and while it
may not shed any new scholarship on Miles’ work
and career, that’s not really the point. Rather, it is a
chance to take a gander at some of the contextual
leavings that remain from the Miles Davis era.
For more information, visit voyageurpress.com. Miles
Davis tributes are at Iridium May 23rd-25th and Smoke’s
Miles Davis Festival May 24th-Jun. 30th. See Calendar.

State of Emergency!
Nat Reeves (482 Music)
by Terrell Holmes
From its classic sound and eclectic roster of composers
and tunes to the vintage design of its cover, Nat Reeves’
album State of Emergency! clearly embraces jazz
archetypes. This fine bassist’s pedigree explains his
reverence for the past. Reeves was mentored by Jackie
McLean and has played with musicians ranging from
Jimmy Cobb to Sting. Reeves himself is now a torchbearer
who teaches young musicians; joining him and
pianist Rick Germanson on this album are two of the
bassist’s young charges, drummer Jonathan Barber
and trumpeter Joshua Bruneau.
The long note held by Bruneau on Germanson’s
strutting “Brick’s Blues” is the album’s clarion call.
From there the quartet navigates skillfully among
classics of various colors like “I’ll Close My Eyes”
while Bruneau’s muted trumpet glows on “I Could
Write a Book” and the rhythm section plays a glittering,
excellent version of Henry Mancini’s “Moon River”.
Germanson’s playing is exquisite on Oscar Levant’s
ballad “Blame It on My Youth” and his work on the
electric piano captures the essence of the ‘70s perfectly
on the pop standard “Feel Like Makin’ Love”. Reeves
also includes subtle nods to jazz’ founding fathers:
Bruneau’s coda at the end of “Blame It on My Youth”
has Charlie Parker’s famous sign-off and the band
inserts a quote from “Salt Peanuts” into Blue Mitchell’s
calypso jaunt “Fungii Mama”. As for the leader,
Reeves’ solo on Ron Carter’s “Little Waltz” is virtuosic
and humorous, his bass singing delightfully.
The album’s title refers to the nor’easter that was
moving through Connecticut as the quartet was about
to record. This changed the nature of the project as the
band played tunes - a few of which they hadn’t played
together before - with no rehearsals. Because of these
circumstances a few seams do show (on “Little Waltz”,
for example, it sounds like Bruneau is practicing
scales). Why, then, didn’t they reschedule the session
and wait until the nor’easter passed through? Well,
just as the storm wouldn’t wait, neither would the
music. So, in spite of its foibles, State of Emergency! is,
on two levels, a fine testament to the endurance of jazz.
For more information, visit 482music.com. Reeves is at
Smalls May 24th-25th with Steve Davis. See Calendar.
Right to Swing
(with the DePaul University Jazz Ensemble)
Phil Woods (Jazzed Media)
by Alex Henderson
The majority of albums that Phil Woods has recorded
over the years have been small-group dates, but the
alto saxophone master also enjoys recording with big
bands. On Right to Swing, Woods joins forces with two
units directed by trumpeter Bob Lark at Chicago’s
DePaul University: the Phil Woods Ensemble and the
DePaul University Jazz Ensemble. Lark assembled the
former as a way of paying tribute to both Woods the
saxophonist and the composer and this recording is
made up exclusively of Woods compositions. Woods
revisits and rearranges his five-movement “Rights of
Swing Suite” (originally recorded in 1960 with soloists
like trumpeter Benny Bailey, trombonist Curtis Fuller
and pianist Tommy Flanagan); the 2011 version falls
short of the original but is enjoyable nonetheless. But
when both versions are heard side by side, it is obvious
that Woods (80 when this CD was recorded) hasn’t lost
anything as a player in the intervening decades.
While the “Rights of Swing Suite” takes up around
37 minutes, the disc’s second half is devoted to five
performances with the DePaul Ensemble, ranging from
the exuberant “Pairing Off” and the vibrant “Blues for
Lopes” to the Brazilian-flavored “Casanova”. Woods’
thoughtful “Hank Jones” fondly remembers that
legendary pianist who passed away in 2010.
A long list of DePaul-associated musicians are
featured on Right to Swing, including trumpeters David
Kaiser and Paul Dietrich, tenor saxophonist Sean
Packard, pianist Pete Benson and vibraphonist David
Bugher. But Woods is the dominant voice on a pleasing
album that underscores his myriad talents.
For more information, visit jazzedmedia.com. The DePaul
University Jazz Ensemble is at Saint Peter’s May 5th.
Woods is at Allen Room May 20th with NY Youth
Symphony. See Calendar.
Clean on the Corner
Mike Reed’s People Places & Things (482 Music)
by Ken Waxman
One of Chicago drummer Mike Reed’s many identities
is passionate booster of his hometown’s music –
present, past and future. This fourth CD with the
People Places & Things combo is a milestone in that
regard. He establishes the long-time sophistication of
Second City jazz by blending original lines with ‘50s-
60s classics by saxophonists John Jenkins and Roscoe
Mitchell. The band consists of some of Chicago’s toprated
players: alto saxophonist Greg Ward, tenor
saxophonist Tim Haldeman and bassist Jason Roebke;
with cornetist Josh Berman and pianist Craig Taborn
each added on two different tracks.
Jenkins (1931-93) recorded with heavyweights like
tenor saxophonist Clifford Jordan in the mid ‘50s then
vanished. His “Sharon” is the prototypical hardbop
line, echoing “Hot House” and including gritty reed
bites from the saxes, suggesting Jordan and Jenkins’
work together. Taking on Sonny Clark’s role, Taborn
interpolates a thoroughly modern conception into
solos that are both chromatic and pulsing. A pre-Art
Ensemble of Chicago (AEC) composition, Mitchell’s
“Old” encompasses a blues sensibility and harmonized
vamping from both saxophonists, which climaxes in a
finale of smears and snarls. Affiliated with as many
Chicago bands as Reed, Roebke’s thick pulses and
sturdy flow recall the late AEC bassist Malachi Favors.
His rhythmic sense is such that he brings balance to
kinetic tunes like Reed’s moderato-paced “The Lady
Has a Bomb”. Much of its bent-note power comes from
Haldeman’s flutter-tongued obbligati abutting Ward’s
shrieks and cries.
Berman’s contribution is palpable when his
buttery flutter-tonguing at the beginning and end of
“House of Three Smiles” removes any hint of
experimentation from the exercise, which is a line
recomposed and expanded by Reed from a solo by
vibraphonist Jason Adasiewicz, another Chicago
associate. Berman’s muted horn is also the only soloist
on the final “Warming Down”, a relaxed theme that
composer Reed utilizes as set closer for an
improvisational series he curates in a local club.
As entrepreneurial as any AACMer and with fine
compositional and performing chops, Reed’s work is
another demonstration why Chicago musicians still
maintain a reputation for innovation.
For more information, visit 482music.com. This group is at
Cornelia Street Café May 24th. See Calendar.
ON DVD
Blue Flame (Portrait of a Legend)
Woody Herman (Jazzed Media)
by George Kanzler
Most jazz fans probably think of Duke Ellington or
Count Basie when asked who led a big band for the
longest amount of time. But first place technically
belongs to Woody Herman, born 100 years ago this
month, who led big bands from 1936 until his death
in 1987. This documentary surveys Herman’s full
career with not only film and TV clips of many of his
bands throughout the decades, but also with a vast
array of interviews from his sidemen and arrangers
as well as jazz critics, biographical chroniclers and
fans. It all adds up to an impressive portrait of, and
argument for, the bandleader as a major figure in
jazz history.
A concert by the Thundering Herd in 1976 -
what the documentary calls his “Fusion Era: 1968-
1979” - from an Iowa PBS color TV taping provides
some of the more extended musical takes here,
including an opening “Four Brothers”. The band
uniforms at the time resembled disco duds, with
flared, frilly collars over pastel vests and bellbottoms.
It was a time when the band dabbled in
rock-fusion, yet these clips provide evidence that, as
more than a few talking heads point out, Herman’s
bands always swung.
Hundreds of musicians went through the ranks
of Herman’s bands over the years and a broad
sampling of them appear here, all praising him as a
supportive bandleader; in Nat Pierce’s words: “He
always made it comfortable, as if you were working
with him and not for him.” Another aspect of
Herman’s leadership noted repeatedly was his
ability to edit and shape arrangements. For although
he was not a composer himself, he instinctively
knew how to change charts so that they fit his band
concept perfectly. His acumen as a talent scout is
also praised repeatedly. “If somebody could play
he’d let them go all night long,” says Joe LaBarbera.
Herman himself could play too, and sing. Many
of the clips here - too many, as more of the band’s
soloists could have been featured - spotlight Herman
singing, often blues or novelties (“Caldonia”), as
well as playing clarinet, alto or soprano sax, with
the enthusiasm and sense of joy that his musicians
agreed always emanated from him as a leader.
For more information, visit jazzedmedia.com
THE NEW YORK CITY JAZZ RECORD | May 2013 35

BOXED SET
Ten Freedom Summers
Wadada Leo Smith (Cuneiform)
by Ken Waxman
Striving to capture defining moments in African-
American history, trumpeter Wadada Leo Smith has
written 19 compositions to reflect events of the Civil
Rights era from 1954-64, the summers of the title. In
a gestation period that began in 1977 and consumed
most of his time during a three-year stretch before
this four-CD set was recorded in late 2011, Smith
broadened his focus back to the 1857 Dred Scott case
and forward to September 11th. Interpreted by the
jazz-sophisticated members of his Golden Quartet/
Quintet (GQ) plus the Southwest Chamber Music
(SCM) group, 70-year-old Smith calls the program
“one of my life’s defining works” (and has been
rewarded for it as a 2013 Pulitzer Prize Finalist in
Music). Personal rather than pedantic, the
compositions celebrate defining moments. Although
there are related motifs among them, linkage is more
psychological than sonic. Each composition is
designed to stand on its own.
m Ay 2–5
ann hampton callaway and her
trio—From Sassy to divine: a celebration of
Sarah Vaughan
m Ay 6
temple uniV erS ity jazz band
with Terell Stafford and Christian McBride
m Ay 7–12
juilliard jazz orcheS t r a :
the music of duke ellington
m Ay 13–14
claire martin
with Peter Washington and Steve Wilson
m Ay 15 chick corea festival
edS el gomez cubiS t muS ic band
m Ay 16 chick corea festival
elio V illaF r a n c a :
the music of chick corea
with Charnett Moffett and Joe Locke
m Ay 17–18 chick corea festival
marcuS robertS S olo
alF redo rodrÍguez trio
m Ay 19 chick corea festival
henry cole and the aF r o b e at
collectiV e
RESERVATIONS 212-258-9595 / 9795 jalc.org/dizzys
36 May 2013 | THE NEW YORK CITY JAZZ RECORD
Smith has stated that Ten Freedom Summers was
inspired by August Wilson’s 10-play Pittsburgh
Cycle, which similarly deals with the 20th Century
Black experience, plus Civil Rights-era jazz
compositions such as John Coltrane’s “Alabama”
and Max Roach’s LP-length We Insist: Freedom Now!
suite. But as a theorist, educator, AACM member
and improviser, the trumpeter created the
compositions here after his own fashion. Very few
are programmatic on their own, for instance.
The closest would probably be “Thurgood
Marshall and Brown v. Board of Education: A Dream
of Equal Education, 1954”. With stentorian beat
promulgated by the military-styled pacing of
drummers Susie Ibarra and Pheeroan akLaff, the
inevitability of the demands for equal education for
all Americans is underlined. Added to this pulse are
scrubbed John Lindberg basslines, tremolo piano
chording from Anthony Davis and the composer’s
brassy grace notes. Piano key clips and R&B-styled
percussion backbeats reminiscent of Julius
Hemphill’s “The Hard Blues” reinforce the theme,
which reaches its climax with a celebratory sequence
that is carefully harmonized as it heralds the
militancy of the following decade.
Davis is a valuable addition to Smith’s team.
With impeccable keyboard finesse, he negotiates
between the two ensembles, minimizing any fissure
that could arise in the mixture of styles. For instance,
on “Little Rock Nine: A Force for Desegregation in
Education, 1957”, it’s Davis’ easy-going arpeggios
that link Larry Kaplan’s recital-like flute passages
and the SCM’s gentle string swells with the GQ’s
freer voicing. During a finale of echoing tones,
Smith’s slurred grace notes cement both factions.
m Ay 20
caleb chapman’S creS cent S u p e r
band/V oodoo orcheS tra & la
onda caribeÑa
m Ay 21–26
bill charlap trio
with Peter Washington and Kenny Washington
m Ay 27
juilliard jazz enS emble
m Ay 28–juNE 2
bill charlap trio
with Ron Carter and Kenny Washington
Although secondary to Smith’s theme, many of
Ten Freedom Summers’ compositions provide new
validity for Third Stream creation. The most notable
instance is “Lyndon B. Johnson’s Great Society and
The Civil Rights Act of 1964”, where, backed by the
SCM, solos are divided between Smith and violinist
Shalini Vijayan. Over the course of 24 minutes,
sensitized glissandi on the violinist’s part are not
only conveyed with an exquisite tone, but during the
finale variations stretched tautly without losing their
warmth. While Smith plays in a congruent fashion
rather than complementing violin passages, his
instant theme-reshaping at times prevents Vijayan’s
variations from moving too far out of sync.
What’s more, the underlying strength of Smith’s
composing is such that even when the SCM plays on
its own, the focus isn’t lost in semi-classical
prettiness. Interpreting “Medgar Evers: A Love-
Voice of a Thousand Years Journey For Liberty and
Justice”, the dirge-like tune Smith initially composed
for violinist Leroy Jenkins, the SCM proves itself
capable of mood-appropriate interpretations. Aided
by Davis’ key fanning, the Jeff von der Schmidtconducted
nonet sustains the melancholy mood with
pizzicato lines divided contrapuntally among harp,
violins and viola. Underneath the undulating strings,
percussionist Lynn Vartan provides a thunder claplike
continuum of kettle drum resonations.
Outsized in more than bulk, this four-CD set
manages to commemorate major achievements in
American race relations, legitimize Third Stream
fusion and confirm Smith’s role as a major composer.
For more information, visit cuneiformrecords.com.
This project is at Roulette May 1st-3rd. See Calendar.

CALENDAR
Wednesday, May 1
êWadada Leo Smith’s Ten Freedom Summers: Golden Quartet with Anthony Davis,
John Lindberg, Pheeroan akLaff; Pacifica Red Coral: Mark Menzies, Mona Tian,
Andrew Macintosh, Ashley Walters, Alison Bjorkedal, Jesse Gilbert
Roulette 8 pm $20
êUndead Music Round Robin Duets: Andrew Bird, Andrew W.K., Bernie Worrell,
DJ Spinna, Don Byron, Dosh, Erik Friedlander, Glenn Kotche, James Chance,
Joe Lovano, Julia Holter, Kim Gordon, Mary Halvorson, Matana Roberts,
Robert Glasper, Roy Hargrove, Thundercat, Vijay Iyer, ?uestlove
Brooklyn Masonic Temple 8 pm $15
êSteve Kuhn Trio with Buster Williams, Joey Baron
Birdland 8:30, 11 pm $30-40
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $25
• Michel Camilo Trio with Lincoln Goines, Cliff Almond
Blue Note 8, 10:30 pm $35
• Edward Simon Trio with Scott Colley, Brian Blade
Jazz Standard 7:30, 9:30 pm $20
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner
Dizzy’s Club 7:30, 9:30 pm $40
• Alexander Claffy Group Dizzy’s Club 11 pm $10
êBlack Lamp: Cyro Baptista/Billy Martin; Cyro Baptista, Billy Martin, Amir Ziv
The Stone 8, 10 pm $10
êValery Ponomarev “Our Father Who Art Blakey” Big Band with guest Essiet Essiet
Zinc Bar 8 pm
• Vincent Herring and the Hyuna Park Trio with Peng Ji, Bomi Choi
An Beal Bocht Café 8, 9:30 pm $15
• Adam Birnbaum Quartet with Dayna Stephens, Matt Brewer, Billy Drummond;
Marc Devine with Hassan Shakur, Fukushi Tainaka
Smalls 9:30 pm 12 am $20
• Keystone Korner Presents: Christian Sands
Iridium 8:30, 10:30 pm $25
• Fleurine and Friends with Freddie Bryant
Smoke 7, 9, 10:30 pm
• Mayu Saeki Trio with Aaron Goldberg, Matt Penman
Jazz at Kitano 8, 10 pm $10
• Roy Nathanson Collective with Curtis Fowlkes, Sam Bardfeld, Jerome Harris;
OWL Trio: Orlando Le Fleming, Will Vinson, Lage Lund
SEEDS 8:30, 10 pm
• Messaoud Kheniche: Meta, Thomas Enhco, Dan Pugach, Francois Moutin;
Leo Genovese Trio with Justin Purtill, Bob Gullotti
ShapeShifter Lab 7, 9 pm $10
• Petros Klampanis’ Contextual with Gilad Hekselman, Jean-Michel Pilc, John Hadfield,
Maria Im, Maria Manousaki, Matt Sinno, Yoed Nir
Cornelia Street Café 8:30 pm $10
• Matt Holman’s Diversion Ensemble with Michael McGinnis, Nate Radley,
Christopher Hoffman, Ziv Ravitz Barbès 8 pm $10
• Allan Rubinstein Trio; Groover Trio
Fat Cat 7, 9 pm
• Isaac Darche Group with Glenn Zaleski, Phil Donkin, Greg Ritchie;
Water Esc: Ehud Ettun, Tal Gur, Haruka Yabuno, Natti Blankett
Somethin’ Jazz Club 7, 9 pm $10-12
• Roos Plaatsman Tomi Jazz 8 pm $10
• Marc Devine Trio The Garage 7 pm
• David Kardas Shrine 6 pm
• Cecilia Coleman Big Band Saint Peter’s 1 pm $10
Thursday, May 2
êKenny Barron/Dave Holland Duo 92nd Street Y 7:30 pm $40
Cobi Narita Presents
EVERY SATURDAY IN MAY (EXCEPT MAY 11), 1-6 PM
OPEN MIC-JAM SESSIONS + FILMS AT ZEB’S
Open Mic/Jam Sessions for Singers, Tap Dancers, Instrumentalists
hosted by Frank Owens from 3 to 6 pm,
preceded at 1 pm by films, shown by Walter Taylor,
celebrating Black musicians, entertainers and movie stars from the old days.
A wonderful afternoon. Admission: $10
SATURDAY, MAY 11, 8 PM
FIFTH ANNUAL QUEENS TAP EXTRAVAGANZA
Featured artists: Dormesha Sumbry Edwards; Jason Samuels Smith; Omar Edwards;
Baakari Wilder; Michelle Dorrance, Andrew Nemr, and many more!
Nobuko Cobi Narita & Paul Ash, co-Presenter & Producer; Michela Marino Lerman,
Artistic Director; Frank Owens, Music Director; Traci Mann & Al Heyward, co-producers.
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY - $20/$15 Members/$10 Students with ID -
For tickets, call 718/463-7700, ext 222
SATURDAY, MAY 4, 8 PM
SHIRL CARTER AND FRIENDS AT ZEB’S
An Attitude Called The Blues - 4 Distinctive Vocalists Performing Jazz on The Rocks,
SHIRL CARTER, DOR GREEN, STEPHEN FULLER and JIM MALLOY
With The Frank Owens Trio
Frank Owens, Music Director & piano; Paul West, bass; Greg Bufford, drums
$15; students, seniors, Open Mic members $10.
SATURDAY, MAY 18, 7:30 PM
AN EVENING WITH ANGELINE BUTLER AT ZEB’S
Come and enjoy ANGELINE BUTLER. Hear her songs, her treasured stories, and see Video Clips at 7 p.m.
With Angeline will be Naoko Ono, piano/synthesizer;
Joan Ashley, percussion (djembe and conga); Andrew “Tex” Allen, trumpet; Amy Madden, bass.
$15; students, seniors, Open Mic members $10.
Artist Contact: (877) 760-7538
ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd flOOR walk-up
cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010
38 May 2013 | THE NEW YORK CITY JAZZ RECORD
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,
Danny Sadownick Jazz Standard 7:30, 9:30 pm $25
• Cyro Baptista, Edgar de Almeida, Ronaldo “China” Andrade, Gil Oliveira, Tiago Silva,
Fernando Saci; Cyro Baptista and Banquet of the Spirits with Brian Marsella,
Shanir Blumenkranz, Tim Keiper The Stone 8, 10 pm $10
êMicroscopic Septet: Phillip Johnston, Joel Forrester, Don Davis, Mike Hashim,
Dave Sewelson, David Hofstra, Richard Dworkin
Spectrum 10 pm $20
ê40Twenty: Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza;
Jesse Stacken Quartet with Tony Malaby, Sean Conly, Ted Poor
Cornelia Street Café 8:30, 10 pm $10
• Theo Bleckmann solo; Martin Dosh with Jeremy Ylvisaker, Alan Hampton, Mike Bloch,
Pete Hale ShapeShifter Lab 8, 9 pm $15
• Bryn Roberts Group with Seamus Blake, Orlando Le Fleming, Johnathan Blake
The Jazz Gallery 9, 10:30 pm $20
• Yuki Shigeno Quartet with Don Friedman, Harvie S, Shinnosuke Takahashi
Jazz at Kitano 8, 10 pm $10
• Matthew Fries Trio with Phil Palombi, Keith Hall; Carlos Abadie Quintet
Smalls 9:30 pm 12 am $20
• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am
• Shayna Dulberger Quartet with Yoni Kretzmer, Chris Welcome, Carlo Costa
Caffe Vivaldi 9:30 pm
• Dan Blake, Devin Drobka, Kenji Herbert
The Firehouse Space 8 pm $10
• Dave Allen Trio with Matt Clohesy, Colin Stranahan
Bar Next Door 8:30, 10:30 pm $10
• Jazz Country: Amy Cervini, Jesse Lewis, Matt Aronoff
55Bar 7 pm
• The Gypsy Jazz Quintet; Saul Rubin
Fat Cat 7, 10 pm
• Yuhan Su Metropolitan Room 11:30 pm $20
• Jill McManus/Boots Maleson Sofia’s 7 pm
• Christian Finger Band with Jon Gordon, David Berkman, Adam Armstrong;
Cristian Mendoza Quartet with Francisco Lelo De Larrea, Edward Perez, Alex Kautz
Somethin’ Jazz Club 7, 9 pm $10-12
• Renaud Penant Trio Cleopatra’s Needle 7 pm
êWadada Leo Smith’s Ten Freedom Summers: Golden Quartet with Anthony Davis,
John Lindberg, Pheeroan akLaff; Pacifica Red Coral: Mark Menzies, Mona Tian,
Andrew Macintosh, Ashley Walters, Alison Bjorkedal, Jesse Gilbert
Roulette 8 pm $20
êSteve Kuhn Trio with Buster Williams, Joey Baron
Birdland 8:30, 11 pm $30-40
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $25
• Michel Camilo Trio with Lincoln Goines, Cliff Almond
Blue Note 8, 10:30 pm $35
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner
Dizzy’s Club 7:30, 9:30 pm $40
• Alexander Claffy Group Dizzy’s Club 11 pm $10
• Champian Fulton Quartet The Garage 6 pm
• City College Annual Jazz Festival Aaron Davis Hall 12, 7 pm
Friday, May 3
• Musica Nueva 6: Arturo O’Farrill and the Afro Latin Jazz Orchestra with Christina Pato,
Antonio Lizana, Ximo Tebar Symphony Space Peter Jay Sharp Theatre 8 pm $20
• Lost Jazz Shrines - Bird – A World’s Eye View: TK Blue with James Weidman,
Essiet Essiet, Winard Harper, Steve Turre
Tribeca Performing Arts Center 8:30 pm $25
• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Smoke 7, 9, 10:30 pm $35
• Joel Press Quartet; Jimmy Green Quartet; Tyler Mitchell
Smalls 7:30, 10:30 pm 1 am $20
• The Young Lions: Cyro Baptista, Brian Marsella, Jason Fraticelli, John Lee;
Cyro Baptista and Beat the Donkey The Stone 8, 10 pm $10
êEllery Eskelin Quartet with Jacob Sacks, Brad Jones, Tyshawn Sorey
Cornelia Street Café 9, 10:30 pm $15
êDerek Bailey Tribute Band: Chris Cochrane, Marco Cappelli, Anders Nilsson,
Andrea Centazzo JACK 8 pm $10
• Guy Klucevsek/Todd Reynolds Barbès 8 pm $10
êEJ Strickland Quintet with Marcus Strickland, Godwin Louis, Benito Gonzalez,
Luques Curtis Jazz at Kitano 8, 10 pm $25
• Justin Brown Quartet with Sam Harris, Matt Stevens, Tim Lefebvre
The Jazz Gallery 9, 10:30 pm $20
• Steve Dalachinsky/Carver Audain; Tomas Fujiwara, Ingrid Laubrock, Joshua Abrams;
James Brandon Lewis Trio with Luke Stewart, Dominic Fragman
Clemente Soto Velez 7:30, 8:30, 9:30 pm $11-22
• Roy Assaf Trio Rubin Museum 7 pm $20
• Lil Phillips Jazz 966 8, 10 pm $15
• Big Eyed Rabbit: Ross Martin, Max Johnson, Jeff Davis
Ibeam Brooklyn 8:30, 10 pm $10
• Dan Cray Trio +1 with Joe Martin, Billy Drummond, Noah Preminger
Brooklyn Conservatory of Music 8 pm $10
• Jared Gold/Dave Gibson Band Fat Cat 10:30 pm
• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Perreira
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Azande Cummings Metropolitan Room 11:30 pm $20
• Alison Wedding; Emily Wolf Project with Satish Robertson, Leah Gough-Cooper,
Andrew Baird, Jason Yeager, Danny Weller, Matt Rousseau;
Rubens Salles Mantica Quintet Somethin’ Jazz Club 7, 9, 11 pm $10-12
• Tom Blatt Trio Tomi Jazz 9 pm $10
• Steve Elmer Trio Cleopatra’s Needle 8 pm
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,
Danny Sadownick Jazz Standard 7:30, 9:30, 11:30 pm $30
êD’Istante3: Giancarlo Mazzù, Blaise Siwula, Luciano Troja
University of the Streets 8 pm $10
• Aaron Parks solo; Martin Dosh with Aaron Parks, Chris Morrissey, Jeremy Ylvisaker
ShapeShifter Lab 8, 9 pm $15
êWadada Leo Smith’s Ten Freedom Summers: Golden Quartet with Anthony Davis,
John Lindberg, Pheeroan akLaff; Pacifica Red Coral: Mark Menzies, Mona Tian,
Andrew Macintosh, Ashley Walters, Alison Bjorkedal, Jesse Gilbert; Flux Quartet:
Tom Chiu, Conrad Harris, Max Mendel, Felix Fan
Roulette 8 pm $20
êSteve Kuhn Trio with Buster Williams, Joey Baron
Birdland 8:30, 11 pm $30-40
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $25
• Michel Camilo Trio with Lincoln Goines, Cliff Almond
Blue Note 8, 10:30 pm $35
• Marko Djordjevic’s Sveti with Bobby Avey, Tivon Pennicott, Peter Slavov
Blue Note 12:30 am $15
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner
Dizzy’s Club 7:30, 9:30 pm $40
• Alexander Claffy Group Dizzy’s Club 11 pm $20
• Ben Benack Quartet; Dre Barnes Project
The Garage 6, 10:45 pm
• City College Annual Jazz Festival Aaron Davis Hall 12, 7 pm

Saturday, May 4
êCyro Baptista and Banquet of the Spirits Plus Beat the Donkey
The Stone 8, 10 pm $10
• Mary Halvorson/Stephan Crump Cornelia Street Café 9, 10:30 pm $15
êGowanus Jazz Fest: La Sombra De Su Sombra: Roxana Amed/Frank Carlberg with
guest Christine Correa; Noah Preminger/Frank Kimbrough Duo
Douglass Street Music Collective 8:30, 10 pm $15
• Gene Bertoncini with Ike Sturm and guest Dominick Farinacci
Ginny’s Supper Club 7:30, 10 pm $20
• Jay Rodriguez Quartet with Brandee Younger, Melissa Slocum, Swiss Chris
St. Augustine’s Church 7:30 pm $20
êGreg Abate Quartet with Don Friedman, Harvie S, Steve Williams
Jazz at Kitano 8, 10 pm $25
• Yoshiko Chuma/Rob Brown; Jason Jordan/Daniel Levin; Rob Brown/Daniel Levin Duo;
Nemesis: Lewis “Flip” Barnes, Ted Daniel, Matt Lavelle, Asim Barnes
Clemente Soto Velez 7:30, 8:30, 9:30 pm $11-22
• Robert Rutledge Sistas’ Place 9, 10:30 pm $25
• The Relative Quartet: Chet Doxas, John Stetch, Michael Bates, Owen Howard
Brooklyn Conservatory of Music 8 pm $10
êStephen Gauci Quintet with Kirk Knuffke, Art Bailey, Michael Bisio, Nathan Ellman-Bell;
Elena Camerin, Khabu Young, Michael Bisio
The Firehouse Space 8, 9:30 pm $10
• James Hall and 1,000 Rooms with Evan Mazunik, Ronen Itzik;
Nadje Noordhuis/James Shipp Ibeam Brooklyn 8:30, 9:30 pm $10
• Kyle Wilson Quartet; Jon De Lucia Group with Greg Ruggiero, Chris Tordini,
Tommy Crane Sycamore 9, 10 pm
• Rick Stone Trio with Harvie S, Tom Pollard
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Alex Hoffman; Raphael D’Lugoff Fat Cat 7, 10 pm
• Shirl Carter and Friends with Dor Green, Stephen Fuller, Jim Malloy, Frank Owens Trio
Zeb’s 8 pm $15
• Daniel Meron Group Metropolitan Room 11:30 pm $20
• Brad Whiteley/Michael Eaton; Jussi Reijonen’s un with Utar Artun, Bruno Raberg,
Tareq Rantisi, Sergio Martinez; Fauré-Play: Louise Rogers, Mark Kross, Jamie Baum;
James Robbins Quintet Somethin’ Jazz Club 5, 7, 9, 11 pm $10
• Mamiko Taira Trio Tomi Jazz 8 pm $10
• Justin Lees Trio Cleopatra’s Needle 8 pm
• Musica Nueva 6: Arturo O’Farrill and the Afro Latin Jazz Orchestra with Christina Pato,
Antonio Lizana, Ximo Tebar Symphony Space Peter Jay Sharp Theatre 8 pm $20
• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Smoke 7, 9, 10:30 pm $35
• Joey Cavaseno Quartet Duke Ellington Tribute; Jimmy Green Group; Stacy Dillard,
Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20
• Justin Brown Quartet with Sam Harris, Matt Stevens, Tim Lefebvre
The Jazz Gallery 9, 10:30 pm $20
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,
Danny Sadownick Jazz Standard 7:30, 9:30, 11:30 pm $30
• Shane Endsley, Todd Sickafoose, Ben Perowsky; Martin Dosh with Andrew Bird,
Jeremy Ylvisaker, Todd Sickafoose ShapeShifter Lab 8, 9 pm $15
êSteve Kuhn Trio with Buster Williams, Joey Baron
Birdland 8:30, 11 pm $30-40
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $25
• Michel Camilo Trio with Lincoln Goines, Cliff Almond
Blue Note 8, 10:30 pm $35
• Amanda Ruzza with Mamiko Watanabe, Alex Nolan, Chris Stover, Ben Flocks,
Mauricio Zottarelli Blue Note 12:30 am $10
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner
Dizzy’s Club 7:30, 9:30 pm $45
• Alexander Claffy Group Dizzy’s Club 11 pm $20
FRESH SOUND NEW TALENT PRESENTS
CD RELEASE CONCERT!
SMALLS JAZZ CLUB
183W 10th St. NEW YORK, NY 10014
Sunday, May 5
êCyro Baptista/Ikue Mori; Cyro Baptista and Banquet of the Spirits with Brian Marsella,
Shanir Blumenkranz, Tim Keiper The Stone 8, 10 pm $10
• Ceramic Dog: Marc Ribot, Shahzad Ismaily, Ches Smith
Le Poisson Rouge 8 pm $18
êArcanus: Brian Groder, Michael Bisio, Andrea Centazzo; Jonah Rosenberg with
Blaise Siwula, Aleks Karjaka, Martha Cargo, Emma Alabaster
The Firehouse Space 8, 9:30 pm $10
• Oguri/Adam Rudolph; Noah Preminger’s Kindred Spirits; Nick Sanders Trio with
Henry Fraser, Connor Baker ShapeShifter Lab 7, 8, 9:30 pm $10
• Motions: Chris Dingman, Kaoru Watanabe, Tim Keiper, Matt Kilmer
Cornelia Street Café 8:30 pm $10
êMara Rosenbloom Quartet with Darius Jones, Sean Conly, Nick Anderson;
Chris Flory/John Cohn Duo; Tuomo Uusitalo Trio
Smalls 4:30, 7:30, 11:30 pm $20
• Ehud Asherie Trio Fat Cat 9 pm
• Peter Mazza Trio with Misha Tsiganov, Thomson Kneeland
Bar Next Door 8, 10 pm $10
• String of Pearls: Sue Halloran, Jeanne O’Connor, Holli Ross
Metropolitan Room 7 pm $20
• Max Alper solo; Flin van Hemmen solo; Nick Gianni/Chizuru Tanaka
ABC No-Rio 7 pm $5
• Noah MacNeil Trio with Bob Edinger, Yoshiki Yamada; Stefania Carati Quartet with
Antonello Parisi, Tina Lama, Enrico Solano; Alex DeZenzo Trio with Dave Lowenthal,
David Cornejo Somethin’ Jazz Club 5, 7, 9 pm $10
• Shrine Big Band Shrine 8 pm
êGeorge Coleman Quintet with Peter Bernstein, Mike LeDonne, George Coleman Jr.,
Danny Sadownick Jazz Standard 7:30, 9:30 pm $25
êBill McHenry Quartet with Orrin Evans, Eric Revis, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $25
• Michel Camilo Trio with Lincoln Goines, Cliff Almond
Blue Note 8, 10:30 pm $35
• Ann Hampton Callaway and Trio with Ted Rosenthal, Dean Johnson, Tim Horner
Dizzy’s Club 7:30, 9:30 pm $40
• Michael Lytle; Dominic Fragman Downtown Music Gallery 6 pm
• DePaul University Jazz Ensemble Saint Peter’s 5 pm
• Combo Nuvo: David Schroeder, Rich Shemaria, Lenny Pickett, Brad Shepik,
Mike Richmond, John Hadfield and guest Paul McCandless
Blue Note 12:30, 2:30 pm $29.50
• Zak Sherzad/Daniel Carter; William Parker
Clemente Soto Velez Cultural Center 2, 3 pm $11-16
• Lezlie Harrison Trio with Saul Rubin, Kevin Hailey
North Square Lounge 12:30, 2 pm
• Mayu Seiki; David Coss Quartet The Garage 11:30 am 7 pm
Monday, May 6
êCraig Taborn Trio with Thomas Morgan, Gerald Cleaver Trio
Roulette 8 pm $15
êJimmy Heath/Antonio Hart Ginny’s Supper Club 8 pm $10
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
• NYU Jazz Orchestra Blue Note 8, 10:30 pm $15
• Temple University Jazz Band with Terrell Stafford
Dizzy’s Club 7:30, 9:30 pm $30
• Adam Rudolph’s GO: Organic Orchestra; Eric Divito Group with Jake Saslow,
Danile Foose, Nadav Snir-Zelniker ShapeShifter Lab 8, 10 pm $10-15
• David Amram & Co. with Kevin Twigg, John De Witt, Adam Amram
Cornelia Street Café 8:30 pm $10
• Newman Taylor Baker/Marvin Sewell; Andrea Wolper IP with Eri Yamamoto,
Ken Filiano; Areni Agbabian solo Clemente Soto Velez 7:30, 8:30, 9:30 pm $11-22
MARA
ROSENBLOOM
QUARTET
“Songs from the Ground”
MARA ROSENBLOOM
PIANO & COMPOSITION
DARIUS JONES
ALTO SAXOPHONE
SEAN CONLY
BASS
NICK ANDERSON
DRUMS
“Rosenbloom renews the trite formulas of jazz with sparkling compositions
that are both lyrically contemplative and rhythmically
pulsating...This quartet plays music that renders believable the
future of jazz.” —ALL ABOUT JAZZ
“‘Beautiful’...that’s perhaps the best word for composer/pianist Mara
Rosenbloom’s music, from her sinuous melodies to her rhythmic poise
to her exquisitely harmonized everything.” —BALTIMORE CITY PAPER
“Mara Rosenbloom has a musical vision.” —KENNY WERNER
SUNDAY, MAY 5th · 4:30-7:00PM (2 SETS)
FSNT 418
available on
freshsoundrecords.com
Amazon and iTunes
êGene Bertoncini solo; Ari Hoenig Group with Shai Maestro, Johannes Weidenmuller;
Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20
• Sean Smith Trio with John Hart, Russell Meissner
55Bar 7 pm
• Westminster Trio: Jeremy Udden, Garth Stevenson, Harris Eisenstadt;
Bomb X: Nicolas Letman-Burtinovic, Tyshawn Sorey, Art Hirahara, Samuel Blais
Sycamore 8:30, 9:30 pm
• Harold O’Neal; Paris Wright Quintet
Fat Cat 6, 9 pm
• Dida Pelled Trio with Tal Ronen, Joe Strasser
Bar Next Door 8:30, 10:30 pm $10
• Cecilia Coleman Quintet with Dave Smith, Peter Brainin, Tim Givens, Chris Benham;
Druckmittel: Franceso Fratini, Matt Heath, Nitzan Gavrieli, Richard Moore, Florian Hoesl
Somethin’ Jazz Club 7, 9 pm $10-12
• Yoo Sun Nam Trio Tomi Jazz 8 pm $10
• John Lester “Jazz?” Quartet with Joel Frahm, Michael Wolff, Tim Bulkley
Zinc Bar 7 pm $10
• Antoine Cara Shrine 7 pm
• Howard Williams Jazz Orchestra The Garage 7 pm
Tuesday, May 7
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston
Village Vanguard 8:30, 10:30 pm $25
êSnakeoil: Tim Berne, Oscar Noriega, Ches Smith, Matt Mitchell
The Stone 8, 10 pm $10
êFred Hersch/Anat Cohen Jazz Standard 7:30, 9:30 pm $25
• Monty Alexander Harlem Kingston Express
Birdland 8:30, 11 pm $30-40
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10
• Jack Jeffers and the New York Classics with Antoinette Montague
Zinc Bar 8, 10 pm
• Janis Siegel 54 Below 7, 9 pm $25-35
• Take 6 Blue Note 8, 10:30 pm $45
• Rosemary George and Group NYC Baha’i Center 8, 9:30 pm $15
• Paul West/Rashaan Carter Ginny’s Supper Club 7:30 pm $10
• Lakecia Benjamin and Soul Squad Showman’s 8:30, 10, 11:30 pm
êMax Esquivel Quintet with Arthur Hnatek, Martha Kato, Francesco Geminiani,
Jean-Lou Treboux, Ingrid Jensen; Joe Fiedler’s Big Sackbut with Josh Roseman,
Curtis Hasselbring, Marcus Rojas ShapeShifter Lab 7, 8:15 pm $10
êRyan Keberle and Catharsis with Ingrid Jensen, Jorge Roeder, Eric Doob
Lang Hall 8 pm
• Spike Wilner Trio; The Smalls Legacy Band: Josh Evans, Frank Lacy, Stacy Dillard,
Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Greg Skaff Trio with Ugonna Okegwo, Ralph Peterson
Bar Next Door 8:30, 10:30 pm $10
• Saul Rubin; Willie Martinez Y La Familia Sextet
Fat Cat 7, 9 pm
• Jeremy Siskind Jazz at Kitano 8 pm
• Ben Winkelman Trio with Sam Anning, Ben Wanderwal
Terraza 7 9:30 pm
• Nick Grinder Quintet; Dark Square: Matt Vashlishan, Matt Panayides,
David Caldwell-Mason, Eddy Khaimovich, Arthur Vint
Somethin’ Jazz Club 7, 9 pm $10-12
• Greg Merritt Tomi Jazz 8 pm $10
• Roman Rofalski Shrine 6 pm
• The Legacy Trio with David Coss The Garage 6 pm
THE NEW YORK CITY JAZZ RECORD | May 2013 39

COLIN STETSON
NEW HISTORY WARFARE VOL.3:
TO SEE MORE LIGHT
ALBUM OUT APRIL 30 • 2x180gLP / CD / DL
IN CONCERT
MAY 08 • (LE) POISSON ROUGE
MATANA ROBERTS
COIN COIN CHAPTER ONE:
GENS DE COULEUR LIBRES
ALBUM OUT NOW • 2x10” / CD / DL
COIN COIN CHAPTER TWO - COMING THIS FALL!
MATANA ROBERTS QUARTET
JUNE 15 • JAZZ GALLERY
CONSTELLATION CSTRECORDS.COM
experimental, liberation, agit-prop, progressive, immersive,
avant-jazz, new folk, punk-rock & heavy music of all sorts
40 May 2013 | THE NEW YORK CITY JAZZ RECORD
Wednesday, May 8
êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen;
Allison Miller’s Boom Tic Boom 92YTribeca 8 pm $12
êColin Stetson solo; Rafiq Bhatia Le Poisson Rouge 8 pm $15
êBeat Masters: Cyro Baptista, Billy Martin, Amir Ziv
New School Arnhold Hall 8 pm $10
êJunior Mance/Christian Sands Ginny’s Supper Club 8 pm $10
• Bill Easley Trio Showman’s 8:30, 10, 11:30 pm
êMostly Other People Do the Killing: Peter Evans, Jon Irabagon, Dave Taylor,
Brandon Seabrook, Ron Stabinsky, Moppa Elliott, Mike Pride; Gene Ess and
Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland, Ari Hoenig
ShapeShifter Lab 8, 9:30 pm $10
êRaphael D’lugoff; Harold Mabern Trio
Fat Cat 7, 9 pm
• Molly Ringwald Iridium 8, 10 pm $35
• Jamire Williams’ ERIMAJ; Fabian Almazan with Camila Meza, Megan Gould,
Tomoko Omura, Karen Waltuch, Noah Hoffeld, Linda Oh, Henry Cole
Harlem Stage Gatehouse 7:30 pm $10
• Music of Our Peers: Jonathan Finlayson, Roman Filiu, Ohad Talmor, Matt Stevens,
Michael Bates Barbès 8 pm $10
• Jeremy Manasia Trio with Borak Mori, Jason Brown
Jazz at Kitano 8, 10 pm $10
• Nate Radley Quartet with Loren Stillman, Matt Pavolka, Ted Poor
Cornelia Street Café 8:30 pm $10
• Ed Cherry Trio with Corcoran Holt, Chris Beck; Benjamin Drazen Trio with
Brian Charette, Darrell Green Smalls 9:30 pm 12 am $20
• Dave Chamberlain Band of Bones Zinc Bar 7 pm $10
• Michael Gallant Trio with Jordan Scannella, Chris Infusino and guest Oz Noy
The Bitter End 9 pm $8
• Maria Neckham; Rose & the Nightingale: Jody Redhage, Leala Cyr, Sara Caswell,
Laila Biali Culture Project 7:30, 9 pm $15
• Ayako Shirasaki Trio with Noriko Ueda, Quincy Davis; Edward Perez Trio with
Nitzan Gavrieli Somethin’ Jazz Club 7, 9 pm $10-12
• Roos Plaatsman Tomi Jazz 8 pm $10
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston
Village Vanguard 8:30, 10:30 pm $25
êSnakeoil: Tim Berne, Oscar Noriega, Ches Smith, Matt Mitchell
The Stone 8, 10 pm $10
êFred Hersch/Donny McCaslin Jazz Standard 7:30, 9:30 pm $25
• Chris Washburne and SYOTOS Smoke 7, 9, 10:30 pm
• Monty Alexander Harlem Kingston Express
Birdland 8:30, 11 pm $30-40
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10
• Take 6 Blue Note 8, 10:30 pm $45
• Josh Lawrence Quartet The Garage 6 pm
• Elijah Shiffer Shrine 6 pm
• Matt Fries Trio Saint Peter’s 1 pm $10
Thursday, May 9
êHighlights in Jazz: Salute to George Wein with Ron Carter, Anat Cohen,
Wycliffe Gordon, Jay Leonhart, Lew Tabackin, Kenny Washington
Tribeca Performing Arts Center 8 pm $40
êInterpretations: Marty Ehrlich solo and with Jennifer Choi, Cornelius Dufallo,
Lev Zhurbin, Alex Waterman: For Living Lovers: Brandon Ross/Stomu Takeishi with
guests JT Lewis, Stephanie Richards
Roulette 8 pm $15
êFor The Love of Abbey: Marc Cary Trio with Rashaan Carter, Sameer Gupta
Harlem Stage Gatehouse 7:30 pm $10
• Stephane Wrembel Trio with Roy Williams, Dave Speranza
Joe’s Pub 9:30 pm $22
• Pascal’s Triangle: Pascal Le Boeuf, Linda Oh, Justin Brown
The Jazz Gallery 9, 10:30 pm $25
• Takeshi Asai Trio with Daniel Ori, Rob Garcia
Jazz at Kitano 8, 10 pm $10
• Patience Higgins Sugar Hill Quartet
Showman’s 8:30, 10, 11:30 pm
• Yotam Silberstein Trio with Barak Mori, Jochen Rueckert
Bar Next Door 8:30, 10:30 pm $10
• Steve Ash Trio; Greg Glassman Quintet
Fat Cat 7, 10 pm
• Melissa Aldana and The Crash Trio with Pablo Menares, Francisco Mela; Emmet Cohen
Smalls 9:30 pm 12 am $20
• Ryan Ferreira The Firehouse Space 8 pm $10
• Florencia Gonzalez Candombe Project
Terraza 7 9:30 pm
• Matt Heister Trio with Casey Dodd, Jeong Park; Tomoko Omura Quintet
Somethin’ Jazz Club 7, 9 pm $7-10
• Fukushi Tainaka Trio Cleopatra’s Needle 7 pm
• Molly Ringwald Iridium 8, 10 pm $35
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston
Village Vanguard 8:30, 10:30 pm $25
êSnakeoil: Tim Berne, Oscar Noriega, Ches Smith, Matt Mitchell
The Stone 8, 10 pm $10
• Fred Hersch/Greg Osby Jazz Standard 7:30, 9:30 pm $25
• Monty Alexander Harlem Kingston Express
Birdland 8:30, 11 pm $30-40
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10
• Take 6 Blue Note 8, 10:30 pm $45
• George Weldon Trio The Garage 6 pm
• Omar Haddad Shrine 6 pm
Friday, May 10
êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi
Jazz at Kitano 8, 10 pm $25
êKris Davis Trio with John Hébert, Tom Rainey
The Jazz Gallery 9, 10:30 pm $20
• Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Winard Harper Group;
Lawrence Leathers Smalls 7:30, 10:30 pm 1 am $20
êJacob Sacks Quartet with Ellery Eskelin, Michael Formanek, Dan Weiss
Cornelia Street Café 9, 10:30 pm $15
êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka
Iridium 8:30, 10:30 pm $30
êThe Dilated Pupils: Tim Berne, David Torn, Craig Taborn, Ches Smith, Ryan Ferreira
The Stone 8, 10 pm $10
êHelen Sung Quintet with Seamus Blake, Brandon Lee, Dezron Douglas,
Donald Edwards Smoke 7, 9, 10:30 pm $35
• Tribute to the Baby Grand: Lezlie Harrison
Apollo Music Café 10 pm
• Doris Spears Showman’s 9, 11 pm
êEast Meets West Guitar Trio: John Stowell, Gene Bertoncini, Paul Meyers
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Christopher Davidson Quartet; Teri Roiger with Frank Kimbrough, John Menegon,
Steve Williams; Peter Apfelbum with Natalie Cressman, Jill Ryan, Will Bernard,
Barney McAll, Willard Dyson ShapeShifter Lab 7, 8:15, 9:30 pm $8-12
êThe Four Bags: Sean Moran, Mike McGinnis, Jacob Garchik, Brian Drye
Brooklyn Conservatory of Music 8 pm $10
• Kenny Gates Jazz 966 8, 10 pm $15
• Ogni Suono Saxophone Duet: Noa Even/Phil Pierick; New Thread Saxophone Quartet:
Geoffrey Landman, Kristen McKeon, Justin Marks, Erin Rogers
The Firehouse Space 8, 9 pm $10
• Aryeh Kobrinsky; David Schnug Trio with Will McEvoy, Kate Pittman;
Alan Bjorklund’s Smirk with Jeremy Viner, Travis Reuter, Greg Chudzik, Tyshawn Sorey
ZirZamin 9:30 pm
• Champian Fulton Quartet; Myron Walden’s Countryfied
Fat Cat 6, 10:30 pm
• Devin Bing and The Secret Service Metropolitan Room 7 pm $20
• Simona De Rosa Trio with Marco Di Gennaro; Somethin’ Vocal with Matt Baker Trio;
Billy White Group Somethin’ Jazz Club 7, 9, 11 pm $10-12
• Tom Talitsch Duo Tomi Jazz 9 pm $10
• Seth Myers Trio Cleopatra’s Needle 8 pm
• Maya Yalav Gour Quartet; Kevin Dorn and the BIG 72
The Garage 6, 10:45 pm
êFor The Love of Abbey: Marc Cary with Kiyem Aday Ali, Maggie Brown,
Pyeng Threadgill, Imani Uzuri Harlem Stage Gatehouse 7:30 pm $10
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston
Village Vanguard 8:30, 10:30 pm $25
êFred Hersch with Esperanza Spalding, Richie Barshay
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Monty Alexander Harlem Kingston Express
Birdland 8:30, 11 pm $30-40
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10
• Take 6 Blue Note 8, 10:30 pm $45
êHypnotic Brass Ensemble Blue Note 12:30 am $15
• Rafi Malkiel with Itai Kriss, Jack Glottman, Panagiotis Andreou, Ziv Ravitz
92nd Street Y Weill Art Gallery 2 pm
Saturday, May 11
êGowanus Jazz Fest: Tivoli Trio: Frank Carlberg, Pascal Niggenkemper, Michael Sarin;
Roswell Rudd with Tivoli Trio Douglass Street Music Collective 8:30, 10 pm $15
êThe Great Jazz Women Of The Apollo: Geri Allen and Friends with Timeline Tap Quartet,
Dianne Reeves, Lizz Wright, Terri Lyne Carrington, Tia Fuller, Karen Malina White,
Marvin Sewell, Dormeshia Sumbry-Edwards, Afro Blue
Apollo Theater 3, 8 pm
êTim Berne 7 with Dan Weiss, Ches Smith, Michael Formanek, Ryan Ferreira,
Oscar Noriega, Matt Mitchell The Stone 8, 10 pm $10
êBen Allison Plays Jim Hall with Steve Cardenas, Ted Nash
Cornelia Street Café 9, 10:30 pm $15
• Mel Davis Showman’s 9, 11 pm
êAruán Ortiz and The Afro Cuban Experience with Hans Glawischnig, Francisco Mela,
Mauricio Herrera Metropolitan Room 11:30 pm $20
• Freddie Bryant Trio with Patrice Blanchard, Willard Dyson
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Steven Kroon Latin Jazz Sextet BAMCafé 9 pm
• Todd Herbert Quintet; Carlos Abadie Quintet
Fat Cat 7, 10 pm
• Magos Herrera; Sofia Rei Joe’s Pub 7 pm $20
• Vanessa Rubin Sistas’ Place 9, 10:30 pm $25
• MIVOS Quartet plays WORKS Brooklyn Conservatory of Music 8 pm $15
• The Project: Tom Blatt, Andy O’Neil, Charles Ramsey, Michele Smith
Ibeam Brooklyn 8:30 pm $10
• Carol Sudhalter Astoria Big Band with guest Frank Senior
Sunnyside Reformed Church 7 pm
êBarry Wallenstein Medicine Show Theater 7:30 pm
• Swingadelic Swing 46 8:30 pm
• Emanuele Tozzi with Lorenzo Tozz, Jason Vitelli, Bob Borress; E.S.P.: Matthew Vacanti,
John Magnante, Bill D’Agostion; Nick Brust/Adam Horowitz Quintet with
Matthew Sheens, James Quinlan, Dani Danor; Mind Open: Andrew Ahr, Chris Covais,
Dave Pellegrino, Hugo Lopez Somethin’ Jazz Club 5, 7, 9, 11 pm $10
• Ayumi Ishito Tomi Jazz 8 pm $10
• Richard Benetar Quartet Cleopatra’s Needle 8 pm
êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi
Jazz at Kitano 8, 10 pm $25
êKris Davis Trio with John Hébert, Tom Rainey
The Jazz Gallery 9, 10:30 pm $20
• Richie Vitale Quintet with Clifford Barbaro; Winard Harper Group; Philip Harper
Smalls 7:30, 10:30 pm 1 am $20
êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka
Iridium 8:30, 10:30 pm $30
êHelen Sung Quintet with Seamus Blake, Brandon Lee, Dezron Douglas,
Donald Edwards Smoke 7, 9, 10:30 pm $35
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston
Village Vanguard 8:30, 10:30 pm $25
êFred Hersch with Esperanza Spalding, Richie Barshay
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Monty Alexander Harlem Kingston Express
Birdland 8:30, 11 pm $30-40
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $45
• Essentially Ellington Alumni Group Dizzy’s Club 11 pm $10
• Take 6 Blue Note 8, 10:30 pm $45
• Calling All Forces: Andrew Drury solo; Ras Moshe Unit with Anders Nilsson,
Ratzo Harris, Andrew Drury; Exposed Blues Duo: Fay Victor/Anders Nilsson;
Katie Bull Group with Jeff Lederer, Landon Knoblock, Joe Fonda, Deric Dickens and
guest Kevin Fitzgerald Burke JACK 6 pm
• Roz Corral Quartet with Deanna Witkowski, Orlando Le Fleming, Steve Williams
55Bar 6 pm
• Brooks Hartell Trio; Virginia Mayhew Quartet
The Garage 6:15, 10:45 pm
êDave Brubeck Celebration Cathedral of St. John the Divine 4 pm
Sunday, May 12
êDecay: Tim Berne, Ryan Ferreira, Michael Formanek, Ches Smith
The Stone 8, 10 pm $10
• Dan Blake/Leo Genovese Quartet with Dmitry Ishenko, Jeff Williams
The Backroom 9:30 pm
• Carlos Avila, Rebekah Durham, Amy Kang; Ehud Asherie Trio; Ai Murakami Trio
Smalls 5, 7:30, 11:30 pm $20
• JD Walter and Orrin Evans Quartet with Marvin Sewell, Mark Helias, Nasheet Waits
Smoke 7, 9, 10:30 pm
• Oscar Penas with Moto Fukushima, Richie Barshay
Bar Next Door 8, 10 pm $10
• Terry Waldo’s Gotham City; Fat Cat Big Band
Fat Cat 6, 8:30 pm
• Isaac Darche Group with Will Vinson, Glenn Zaleski, Desmond White, Kenneth Salters
ShapeShifter Lab 8:15, 9:30 pm $5
• Jostein Gulbrandsen Quartet with Megumi Yonezawa, Phil Palombi, Brain Fishler;
Heleen Schuttevaer Somethin’ Jazz Club 7, 9 pm $10-12
• Broc Hempel, Sam Trapchak, Christian Coleman with guest Jacob Varmus
Dominie’s Astoria 9 pm
• Brian Abbott’s Biased Scientists; Luke Schwartz Ensemble; John Sarantos
ABC No-Rio 7 pm $5
• Martha Lorin; Lauren White and the Quinn Johnson Trio
Metropolitan Room 2, 7 pm $20
• Charles Brewer Trio Shrine 8 pm
• Swingadelic Swing 46 8:30 pm
• Lou Caputo Quartet; David Coss Quartet
The Garage 11:30 am 7 pm
êLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka
Iridium 8:30, 10:30 pm $30
êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston
Village Vanguard 8:30, 10:30 pm $25
• Fred Hersch/Lionel Loueke Jazz Standard 7:30, 9:30 pm $25
• Juilliard Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35
• Take 6 Blue Note 8, 10:30 pm $45
• Joe Fonda’s Old Bottle New Wine with Carlo Morena, Michelle Salgarello
Saint Peter’s 5 pm
• Aaron Diehl Trio with guest Cecile McLorin Salvant
Abyssinian Baptist Church 4 pm $20
• Judy Wexler Blue Note 12:30, 2:30 pm $29.50
• Alexis Cole Trio with Paul Meyers, Paul Beaudry
North Square Lounge 12:30, 2 pm

Monday, May 13
êGil Evans Birthday Celebration: Gil Evans Orchestra with guests
Highline Ballroom 8 pm $25-35
êMingus Dynasty Jazz Standard 7:30, 9:30 pm $25
êRutgers Faculty Jazz Septet and University Jazz Ensemble with Stanley Cowell,
Ralph Bowen, Conrad Herwig, Joe Magnarelli, Vic Juris, Kenny Davis, Victor Lewis
Blue Note 8, 10:30 pm $15
• Claire Martin with Steve Wilson, Nikolaj Hess, Peter Washington, Matt Wilson
Dizzy’s Club 7:30, 9:30 pm $30
• Mimi Fox; Martin Taylor Iridium 8, 10 pm $30
• John Zorn Improv Night; Dr. Rosenberg with Jeff Zeigler, James Ilgenfritz
The Stone 8, 10 pm $10-25
êDan Tepfer/Ben Wendel Duo; Ari Hoenig Group with Jonathan Kreisberg, Will Vinson,
Danton Boller; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20
• Rob Brown Quartet with Kenny Warren, Peter Bitenc, JP Carletti; Max Johnson Trio
with Kirk Knuffke, Ziv Ravitz Sycamore 8:30, 9:30 pm
• Quentin Angus Quintet with Will Vinson, Kevin Hays, Orlando Le Fleming,
Kenneth Salters; Matthew Sheens Group with Sara Serpa, Orlando Le Fleming,
Rogério Boccato, Colin Stranahan ShapeShifter Lab 8:30 pm $10
• Idan Santhaus Jazz Orchestra Tea Lounge 9, 10:30 pm
êSean Ali/Pascal Niggenkemper Cameo Gallery 8 pm
êNed Goold Quartet Fat Cat 9 pm
• Daniela Schaechter Trio with Michael O’Brien, Brian Fishler
Bar Next Door 8:30, 10:30 pm $10
• NY Youth Symphony Big Band The Garage 7 pm
• SkyFloor: Mao Sone, Edmar Colon, Mike Bono, Takafumi Suenaga, Jonny Chapman,
Hironori Suzuki; Maria Alejandra Rodriguez
Somethin’ Jazz Club 7, 9 pm $10-12
• Benjamin Servenay Trio Tomi Jazz 8 pm $10
Tuesday, May 14
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Village Vanguard 8:30, 10:30 pm $25
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp
Jazz Standard 7:30, 9:30 pm $25
êUri Gurvich and BabEl with Leo Genovese, Peter Slavov, Francisco Mela and guest
Dave Douglas The Stone 8, 10 pm $10
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno and
guest Joyce Birdland 8:30, 11 pm $30-40
• Fabrizio Sotti with Tony Grey, Mino Cinelu and guests M1, RES, Claudia Acuña,
Isabella Lundgren Blue Note 8, 10:30 pm $25
êSing! Sing! Sing! The 75th Anniversary of Benny Goodman’s Historic Carnegie Hall
Concert: Ken Peplowski, Jay Leonhart, Ehud Asherie, Willie Jones III
54 Below 7, 9 pm $25-35
• Antoinette Montague Quintet NYC Baha’i Center 8, 9:30 pm $15
• Jaimeo Brown’s Transcendence with JD Allen, Chris Sholar, Falu
Drom 9:30 pm
• Stan Killian Evoke Quintet with Mike Moreno, Benito Gonzales, Corcoran Holt,
McClenty Hunter 55Bar 7 pm
• Joe Fonda’s Old Bottle New Wine with Carlo Morena, Michelle Salgarello
The Loft at 100 Greene Street 6th floor 7 pm
• Jon Irabagon Trio with Sean Wayland, Shawn Baltazor
Bar Next Door 8:30, 10:30 pm $10
• Tineke Postma with Marc Van Roon, Fras Van Der Hoeven, Martijn Vink;
Matt Geraghty Project with Misha Tsiganov, Richard Padron, Adriano Santos
ShapeShifter Lab 8:15, 9:30 pm $10
• Vince Ector’s Organatomy with Kyle Koehler, Yotam Silberstein, Bruce Williams
Smoke 7, 9, 10:30 pm
• Ben Holmes, Curtis Hasselbring, Marcus Rojas, Vinnie Sperrazza
Barbès 7 pm $10
• Luce Trio: Jon De Lucia, Ryan Ferreira, Chris Tordini
Korzo 10:30 pm
• Aubrey Johnson with Tomoko Omura, Michael Thomas, Chris Ziemba, Matt Aronoff,
Jeremy Noller; Tammy Scheffer with Tomoko Omura, Davy Mooney
Cornelia Street Café 8:30, 10:30 pm $10
• Saul Rubin; Peter Brainin Fat Cat 7, 9 pm
• Bryan and the Aardvarks: Fabian Almazan, Chris Dingman, Jesse Lewis,
Bryan Copeland, Joe Nero Culture Project 7:30 pm
• Spike Wilner Trio; The Smalls Legacy Band: Josh Evans, Frank Lacy, Stacy Dillard,
Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Jeremy Siskind Jazz at Kitano 8 pm
• Morrie Louden Group with Andrew Gould, Eitan Kenner, Brad Koegel
Somethin’ Jazz Club 7 pm $10
• Kevin Wang Trio Tomi Jazz 8 pm $10
• Claire Martin with Steve Wilson, Nikolaj Hess, Peter Washington, Matt Wilson
Dizzy’s Club 7:30, 9:30 pm $30
• Jordan Petta Quintet Dizzy’s Club 11 pm $10
• Eyal Vilner Quartet The Garage 6 pm
Wednesday, May 15
êChick Corea Festival: Edsel Gomez Cubist Music Band with Don Byron, Craig Handy,
Sherman Irby, Stefan Livestro, Bruce Cox
Dizzy’s Club 7:30, 9:30 pm $35
• Jordan Petta Quintet Dizzy’s Club 11 pm $10
êMichael Carvin Experience Iridium 8, 10 pm $30
• Tribute to Bobby Short: Michael Feinstein, Tedd Firth, Andy Farber, Paula West,
T. Oliver Reed, Barbara Carroll Allen Room 7 pm $55-65
• Paloma Trio: Tony Malaby, Ben Monder, Nasheet Waits
Barbès 8 pm $10
• Bennett Paster Quintet with Tim Armacost, Alex Norris, Gregory Ryan, Willard Dyson Jr.
Jazz at Kitano 8, 10 pm $10
• Nikolaj Hess Quartet with Marc Mommaas, Tony Scherr, Kenny Wollesen
Cornelia Street Café 8:30 pm $10
• Doug Weiss Group; Nick Sanders Trio with Henry Fraser, Connor Baker
Smalls 9:30 pm 12 am $20
• Emmet Cohen Quartet Smoke 7, 9, 10:30 pm
• Heavy Merge: Jason Rigby, Russ Lossing, Jeff Davis; Brad Shepik/Tom Beckham
SEEDS 8:30, 10 pm
• Raphael D’lugoff; Don Hahn Fat Cat 7, 9 pm
• Vocal Summit: Beat Kaestli, Elisabeth Lohninger, Eliane Amherd, Dylan Pramuk,
Vicki Burns; Kenny Shanker with Mike Eckroth, Yoshi Waki, Brian Fishler
Somethin’ Jazz Club 7, 9 pm $10-12
• Andy Martinek Trio Tomi Jazz 8 pm $10
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Village Vanguard 8:30, 10:30 pm $25
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp
Jazz Standard 7:30, 9:30 pm $25
êUri Gurvich and BabEl with Leo Genovese, Peter Slavov, Francisco Mela
The Stone 8, 10 pm $10
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno
and guest Joyce Birdland 8:30, 11 pm $30-40
• Fabrizio Sotti with Tony Grey, Mino Cinelu and guests M1, RES, Claudia Acuña,
Isabella Lundgren Blue Note 8, 10:30 pm $25
• Nick Moran Trio The Garage 6 pm
• Bob Dorough, Mary Foster Conklin, Giacomo Gates, Ronny Whyte, Boots Maleson,
David Silliman Saint Peter’s 1 pm $10
Thursday, May 16
êChick Corea with Jazz at Lincoln Center Orchestra
Rose Hall 8 pm $30-120
• Ron Carter Trio with Russell Malone, Donald Vega
Blue Note 8, 10:30 pm $45
êKenny Garrett Iridium 8, 10 pm $35
êChick Corea Festival: Elio Villafranca Group with Charnett Moffett, Joe Locke
Dizzy’s Club 9:30, 11:30 pm $40
• Jordan Petta Quintet Dizzy’s Club 12:30 am $10
êJon Irabagon Trio with Mark Helias, Barry Altschul
Cornelia Street Café 8:30 pm $10
• Duane Eubanks Group; Carlos Abadie Quintet
Smalls 9:30 pm 12 am $20
êCuban Pak Collective: Roman Filiu, Rez Abbasi, Aruán Ortiz, Mike Sarin
The Jazz Gallery 9, 10:30 pm $15
• Karl Berger Orchestra; Carolina Brandes with Sean Nowell, Isamu Mcgregor,
Bryan Ladd, Dave Pettirossi ShapeShifter Lab 8:15, 9:30 pm $10-15
• Jennifer Leitham Trio with Deanna Witkowski, Scott Latzky
Jazz at Kitano 8, 10 pm $10
• Billy Kaye Quintet; Theo Hill Fat Cat 7, 10 pm
• Asaf Kehati Trio with Ehud Ettun, Colin Stranahan
Bar Next Door 8:30, 10:30 pm $10
• Terry Cade Quartet with Bob Rodriguez, Ratzo Harris, Victor Jones;
Troy Roberts Quartet with Konrad Paszkudzki, Eric England, Dag Markhus
Somethin’ Jazz Club 7, 11 pm $10-12
• Masami Ishikawa Organ Trio Cleopatra’s Needle 7 pm
• Tribute to Bobby Short: Michael Feinstein, Tedd Firth, Andy Farber, Paula West,
T. Oliver Reed, Barbara Carroll Allen Room 7, 9 pm $55-65
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Village Vanguard 8:30, 10:30 pm $25
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp
Jazz Standard 7:30, 9:30 pm $25
êUri Gurvich and BabEl with Leo Genovese, Peter Slavov, Francisco Mela and guest
Brahim Fribgane The Stone 8, 10 pm $10
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno
and guest Joyce Birdland 8:30, 11 pm $30-40
• Rick Stone Trio The Garage 6 pm
Friday, May 17
êA Great Night in Harlem: Quincy Jones, Jeffrey Wright, James Carter, Henry Butler,
Steven Bernstein and the Kansas City Band, Don Byron, Nicholas Payton, Ivan Neville,
Isfar Sarabski Trio Apollo Theater 7:30 pm $75-1,000
êWill Calhoun Trio with Charnett Moffet, Marc Cary and guest Donald Harrison
Blue Note 8, 10:30 pm $35
êChick Corea Festival: Marcus Roberts solo; Alfredo Rodriguez Trio
Dizzy’s Club 7:30, 10 pm $40
• Jordan Petta Quintet Dizzy’s Club 11:30 pm $20
êFriends of Chick Corea - Musicians of the Future: Gadi Lehavi and Beka Gochiashvili
with Wallace Roney, John Patitucci, Marcus Gilmore
Allen Room 7:30, 9:30 pm $55-65
êLost Jazz Shrines - Bird – A World’s Eye View: Rudresh Mahanthappa with
Matt Mitchell, François Moutin, Rudy Royston
Tribeca Performing Arts Center 8:30 pm $25
• Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza
Cornelia Street Café 9, 10:30 pm $15
• One For All: Eric Alexander, Steve Davis, Jeremy Pelt, David Hazeltine, David Williams,
Joe Farnsworth Smoke 7, 9, 10:30 pm $35
• Stephanie Nakasian/Hod O’Brien Generations with Veronica O’Brien, Daryl Johns,
Evan Sherman Jazz at Kitano 8, 10 pm $25
• Eva Cortez with Romain Collin, Mike Moreno, Luques Curtis, John Davis;
Tim Green Group; Jeremy Manasia Smalls 7:30, 10:30 pm 1 am $20
• Reggie Young Band with Garnet Walters, Jason Patterson; Mike Pope Elect-Tette
Experience; Tyrone Birkett Group ShapeShifter Lab 8, 9:30 pm $10
êLage Lund 4 with Glenn Zaleski, Orlando Le Fleming, Johnathan Blake
The Jazz Gallery 9, 10:30 pm $20
• Ben Monder Trio with Drew Gress, Ted Poor
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Jared Gold Fat Cat 1:30 am
• Jeff King Jazz 966 8, 10 pm $15
• Zach Layton The Firehouse Space 8 pm $10
• Terry Vakirtzoglou; Rose Ellis Somethin’ Jazz Club 7, 9 pm $10
• Kayo Hiraki Tomi Jazz 9 pm $10
• Justin Wert Trio Cleopatra’s Needle 8 pm
êChick Corea with Jazz at Lincoln Center Orchestra
Rose Hall 8 pm $30-120
êKenny Garrett Iridium 8, 10 pm $35
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Village Vanguard 8:30, 10:30 pm $25
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp
Jazz Standard 7:30, 9:30, 11:30 pm $30
êTrio BabEl: Brahim Fribgane, Uri Gurvich, Tim Keiper
The Stone 8, 10 pm $10
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno
and guest Joyce Birdland 8:30, 11 pm $30-40
• Kyle Hernandez Quartet The Garage 6:15 pm
Saturday, May 18
• Harish Raghavan with Logan Richardson, Charles Altura, Taylor Eigsti
The Jazz Gallery 9, 10:30 pm $20
• Deborah Latz’ Fig Tree with Jon Davis, John Hart, Ray Parker, Willard Dyson;
Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, John Lenis, Yutaka Uchida;
James Robbins Quintet Somethin’ Jazz Club 7, 9, 11 pm $10-15
• Etienne Charles Quintet Ginny’s Supper Club 7:30, 10 pm $20
• Daniel Carter, Will Arvo, Federico Ughi
Ibeam Brooklyn 8:30 pm $10
• The Black Butterflies: Karl Berger, Mercedes Figueroas, Tony Larokko, Fred Berryhill,
Bopa “King” Carre, Nick Gianni, Rick Bottari, Kenny Wolleson
Brecht Forum 8 pm $20
• Richard Padron; George Burton Fat Cat 7, 10 pm
• Ed MacEachen Trio with Geoffrey Morrow, Joey Bracchitta
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Angeline Butler with Naoko Ono, Joan Ashley, Andrew “Tex” Allen, Amy Madden
Zeb’s 8 pm $15
• Kelvyn Bell Quartet Sistas’ Place 9, 10:30 pm $25
• Youngjoo Song Trio Cleopatra’s Needle 8 pm
êWill Calhoun Trio with Charnett Moffet, Marc Cary and guests Donald Harrison,
Nicholas Payton Blue Note 8, 10:30 pm $35
• Ron Jackson Band with Don Braden, Greg Lewis, Otis Brown III
Blue Note 12:30 am $10
êChick Corea Festival: Marcus Roberts solo; Alfredo Rodriguez Trio
Dizzy’s Club 7:30, 10 pm $45
• Jordan Petta Quintet Dizzy’s Club 11:30 pm $20
êFriends of Chick Corea - Musicians of the Future: Gadi Lehavi and Beka Gochiashvili
with Wallace Roney, John Patitucci, Marcus Gilmore
Allen Room 7:30, 9:30 pm $55-65
• Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza
Cornelia Street Café 9, 10:30 pm $15
• One For All: Eric Alexander, Steve Davis, Jeremy Pelt, David Hazeltine, David Williams,
Joe Farnsworth Smoke 7, 9, 10:30 pm $35
• Stephanie Nakasian/Hod O’Brien Generations with Veronica O’Brien, Daryl Johns,
Evan Sherman Jazz at Kitano 8, 10 pm $25
• Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, Eliot Zigmund;
Tim Green Group; Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal
Smalls 7:30, 10:30 pm 1 am $20
êChick Corea with Jazz at Lincoln Center Orchestra
Rose Hall 8 pm $30-120
êKenny Garrett Iridium 8, 10 pm $35
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Village Vanguard 8:30, 10:30 pm $25
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp
Jazz Standard 7:30, 9:30, 11:30 pm $30
êUri Gurvich and BabEl with Leo Genovese, Aidan Carroll, Eric Doob and guest
Brahim Fribgane The Stone 8, 10 pm $10
• BossaBrasil: Dory Caymmi with Dario Eskenazi, Rodolfo Stroeter, Tutty Moreno and
guest Joyce Birdland 8:30, 11 pm $30-40
• Larry Newcomb Trio; Mark Marino Trio
The Garage 12, 6:15 pm
DEBORAH LATZ
FIG TREE out on May 7, 2013 on June Moon Productions
JMP 30304 / Photo ©Todd Weinstein
“Deborah is a beautiful singer and a great talent.
Fig Tree is wonderful. Really wonderful!”
— Sheila Jordan, 2012 NEA Jazz Master
Fig Tree features Jon Davis, piano; John Hart, guitars;
Ray Parker, bass; Willard Dyson, drums and special guests:
Peter Apfelbaum, saxes, flutes, percussion and Abdoulaye
Diabate, vox on ‘She Was’
RELEASE GIGS:
SOMETHIN’ JAZZ CLUB
Saturday, May 18 / 7pm
Deborah Latz, vox
Jon Davis, piano
John Hart, guitar
Ray Parker, bass
Willard Dyson, drums
Reservations (212) 371-7657
iTunes/Amazon.com/CD Baby
Pre-release sales start April 23
www.deborahlatz.com
A wide-ranging and ambitious
album — a beautiful voice
moving from intimate to
raucous to otherworldly —
backed by a remarkable set
of players — acid jazz,
spellbinding ballads, songs in
Portuguese and Greek.
BAR NEXT DOOR
Monday, June 10 /
8:30 & 10:30pm
Deborah Latz, vox
Jon Davis, keyboard
Ray Parker, bass
Reservations (212) 529-5945
THE NEW YORK CITY JAZZ RECORD | May 2013 41

JAZZ at KITANO
Music • Restaurant • Bar
“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD
LIVE JAZZ EVERY
WEDNESDAY - SATURDAY
$10 WED./THUR + $15 Minimum/Set.
$25 FRI./SAT. + $15 Minimum/Set
2 SETS 8:00 PM & 10:00 PM
JAZZ BRUNCH EVERY SUNDAY
TONY MIDDLETON TRIO
11 AM - 2 PM • GREAT BUFFET - $35
OPEN JAM SESSION MONDAY NIGHTS
8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG
YOUNG PIANIST SHOWCASE • 8 PM - 11 PM
MAY 7, 14, 21 & 28 - JEREMY SISKIND
WED. MAY 1
MAYU SAEKI TRIO
MAYU SAEKI, AARON GOLDBERG
MATT PENMAN
$10 COVER + $15 MINIMUM
THURS. MAY 2
YUKI SHIGENO QUARTET
YUKI SHIGENA, DON FRIEDMAN
HARVIE S, SHINNOSUKE TAKAHASI
$10 COVER + $15 MINIMUM
FRI. MAY 3
E.J. STRICKLAND QUINTET
E.J. STRICKLAND, MARCUS STRICKLAND
GODWIN LOUIS, BENITO GONZALEZ, LUQUES CURTIS
$25 COVER + $15 MINIMUM
SAT. MAY 4
GREG ABATE QUARTET
GREG ABATE, DON FRIEDMAN
HARVIE S, STEVE WILLIAMS
$25 COVER + $15 MINIMUM
WED. MAY 8
JEREMY MANASIA TRIO
JEREMY MANASIA, BARAK MORI, JASON BROWN
$10 COVER + $15 MINIMUM
THURS. MAY 9
TAKESHI ASAI TRIO
TAKESHI ASAI, DANIEL ORI, ROB GARCIA
$10 COVER + $15 MINIMUM
FRI. & SAT. MAY 10 & 11
DON FRIEDMAN QUARTET
DON FRIEDMAN, TIM ARMACOST
PHIL PALOMBI, SHINNOSUKE TAKAHASI
$25 COVER + $15 MINIMUM
WED. MAY 15
BENNETT PASTER QUINTET
CD RELEASE EVENT
“RELENTLESS PURSUIT OF THE BEAUTIFUL”
BENNETT PASTER, TIM ARMACOST
ALEX P. NORRIS, GREGORY RYAN, WILLARD DYSON JR.
$10 COVER + $15 MINIMUM
THURS. MAY 16
JENNIFER LEITHAM TRIO
JENNIFER LEITHAM, DEANNA WITKOWSKI, SCOTT LATZKY
$10 COVER + $15 MINIMUM
FRI. & SAT. MAY 17 & 18
STEPHANIE NAKASIAN
& HOD O'BRIEN GENERATIONS
STEPHANIE NAKASIAN, VERONICA O'BRIEN
HOD O'BRIEN, DARYL JOHNS, EVAN SHERMAN
$25 COVER + $15 MINIMUM
WED. MAY 22
JAZZMEIA HORN QUARTET
JAZZMEIA HORN, CHRIS PATTISHALL
RUSSELL HALL, KYLE POOLE
$10 COVER + $15 MINIMUM
THURS. MAY 23
BILLY TEST TRIO
BILLY TEST, BORIS KOZLOV, TIM HORNER
$10 COVER + $15 MINIMUM
FRI. MAY 24
TED NASH QUARTET
TED NASH, RON HORTON
PAUL SIKIVIE, ULYSSES OWENS
$25 COVER + $15 MINIMUM
SAT. MAY 25
RONNY WHYTE TRIO
RONNY WHYTE, BOOTS MALESON, TBA - DRUMS
$25 COVER + $15 MINIMUM
WED. MAY 29
EMMA LARSSON QUARTET
EMMA LARSSON, XAVIER DAVIS
MARCOS VARELA, JEROME JENNINGS
$10 COVER + $15 MINIMUM
THURS. MAY 30
ANGELA DAVIS QUARTET
CD RELEASE EVENT “THE ART OF THE MELODY”
ANGELA DAVIS, CHRIS ZIEMBA
PHIL KUEHN, RAJIV JAYAWEERA
$10 COVER + $15 MINIMUM
FRI. & SAT. MAY 31 & JUNE 1
MIKE DIRUBBO QUINTET
MIKE DI RUBBO, STEVE DAVIS
BRIAN CHARETTE, DWAYNE BURNO, JOE FARNSWORTH
$25.00 COVER + $15.00 MINIMUM
RESERVATIONS - 212-885-7119
VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork
www.kitano.com • email: jazz@kitano.com ò 66 Park Avenue @ 38th St.
42 May 2013 | THE NEW YORK CITY JAZZ RECORD
Sunday, May 19
êBurton Greene Trio with Adam Lane, Lou Grassi
The Firehouse Space 8 pm $10
êChick Corea Festival: Henry Cole and the Afrobeat Collective
Dizzy’s Club 7:30, 9:30 pm $35
• Steven Lugerner with Stephanie Richards, Glenn Zaleski, Matt Wilson
Cornelia Street Café 8:30 pm $10
• Tribute to Jayne Cortez: Mariposa/Ras Moshe; Bern Nix Trio; Patricia Spears Jones/
Jason Kao Hwang; Bill Cole’s Untempered Ensemble with Warren Smith, Joe Daley,
Althea SullyCole, Shayna Dulberger, Lisette Santiago, Ras Moshe
Brecht Forum 4 pm
• David Ullman Trio with Gary Wang, Vinnie Sperrazza
Bar Next Door 8, 10 pm $10
• John Merrill Trio; Lezlie Harrison Duo; Ned Goold Trio
Smalls 4:30, 7:30, 11:30 pm $20
• Terry Waldo; Alexi David Fat Cat 6, 9 pm
• Alysa Haas with Jeffrey Klitz, Paul Beaudry, Tony Jefferson; Abbe Buck
Metropolitan Room 7, 9:30 pm $20
• Benjamin Drazen Sarnecki Project ShapeShifter Lab 8:15, 9:30 pm $10
• La Voz de Tres: Mike Eckroth, Jason Ennis, Natalia Bernal
Terraza 7 9:30 pm
• Hiroko Kanna Quartet with Nori Ochiai, John Lenis, Kentato Nakayama
Somethin’ Jazz Club 7 pm $10-12
• Ras Chemash Lamed with Sarah Slonim, Tyler Mitchell, Bernard Linnette
University of the Streets 7 pm $20
• John Wriggle Orchestra Shrine 8 pm
êWill Calhoun Trio with Charnett Moffet, Marc Cary and guests Donald Harrison,
Nicholas Payton Blue Note 8, 10:30 pm $35
êKenny Garrett Iridium 8, 10 pm $35
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole
Village Vanguard 8:30, 10:30 pm $25
êThe Gil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Donny McCaslin, Brian Landrus, Owen Broder, Alden Banta, Tom Christensen,
Jesse Han, Christopher Matthews, Steve Kenyon, Augie Haas, Greg Gisbert,
Laurie Frink, Garrett Schmidt, Jonathan Heim, Nadje Noordhuis, Ryan Keberle,
Marshall Gilkes, George Flynn, Nick Finzer, Marcus Rojas, James Chirillo, Nate Radley,
Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles, James Shipp
Jazz Standard 7:30, 9:30 pm $25
êUri Gurvich and BabEl with Leo Genovese, Aidan Carroll, Eric Doob and guest
George Garzone The Stone 8, 10 pm $10
• Dorian Devins Trio with Lou Rainone, Tom Hubbard
Amelie NY 6 pm
• Arturo O’Farrill Saint Peter’s 5 pm
• Perez Perez Jazz 3 pm $20
• Juilliard Jazz Brunch Blue Note 12:30, 2:30 pm $29.50
• Roz Corral Trio with Dave Stryker, Chris Berger
North Square Lounge 12:30, 2 pm
• Alex Layne; David Coss Quartet The Garage 11:30 am 7 pm
Monday, May 20
êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25
• Caleb Chapman’s Crescent Superband, Voodoo Orchestra and La Onda Caribeña with
guest Wycliffe Gordon Dizzy’s Club 7:30, 9:30 pm $35
• New York Youth Symphony with guest Phil Woods
Allen Room 7:30 pm $20
êGeorge Braith Fat Cat 9 pm
• Adam Rudolph’s GO: Organic Orchestra
ShapeShifter Lab 8 pm $15
êIngrid Laudbrock/Tom Rainey; Daniel Levin Quartet with Russ Lossing, Max Johnson,
JP Carletti Sycamore 8:30, 9:30 pm
• Charles Downs Centipede with Michael Moss, Ras Moshe, Pascal Niggenkemper,
Billy Stein; See Something Say Something: Michael Foster, Daniel Carter, Gene Janas,
Eric Silberberg, Marc Edwards JACK 8 pm
• Mike Moreno Group with Justin Brown; Spencer Murphy
Smalls 10 pm 12:30 am $20
• Sean Smith and the DC Connection with Paul Bollenback, Steve Williams
55Bar 7 pm
• Nathan Parker Smith Ensemble Tea Lounge 9, 10:30 pm
• Double Bass, Double Voice: Nancy Harms, Emily Braden, Steve Whipple
Bar Next Door 8:30, 10:30 pm $10
• Angela Roberts Zinc Bar 7 pm
• icQk: Bobbie Lee Crow III, Annette Homann, Chris Lijoi, Jon Lijoi, Yuko Yamamura,
Luke Schwartz, Dmitri Moderbacher, Jessie Nelson, Katherine Wright; Dorian Wallace
Big Band Somethin’ Jazz Club 7, 9 pm $10
• Yoo Sun Nam Trio Tomi Jazz 8 pm $10
• Howard Williams Jazz Orchestra; Kenny Shanker Quartet
The Garage 7, 10:30 pm
• Cyrille Aimée Drom 6 pm $50-70
Tuesday, May 21
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $25
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle
The Stone 8, 10 pm $10
• Noah Preminger Quartet with Ben Monder, Matt Pavolka, Colin Stranahan and
guest Alison Wedding Jazz Standard 7:30, 9:30 pm $20
• Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Brian McKnight and The Duke Ellington Orchestra
Blue Note 8, 10:30 pm $65
• Jane Monheit Birdland 8:30, 11 pm $30-40
• Mike Longo’s NY State of the Art Jazz Ensemble with Ira Hawkins
NYC Baha’i Center 8, 9:30 pm $15
• Karrin Allyson Quartet 54 Below 7, 9 pm $25-35
êMichael Ray, Knoel Scott, Bruce Edwards, Tyler Mitchell, Craig Holiday Haynes
Drom 8 pm $15
• Voice Box: Jo Lawry/Matt Aronoff; Yoon Sun Choi/Jacob Sacks
Cornelia Street Café 8:30, 10 pm $10
• Aural Dystopia: Chris Pitsiokos Group; Joe Merolla/Sandy Ewen; Ron Anderson,
Stuart Popejoy, Michael Evans; Weasel Walter Group
JACK 8 pm
• Carol Morgan Trio with John Merrill, Corin Stigall
Bar Next Door 8:30, 10:30 pm $10
• Spike Wilner Trio; The Smalls Legacy Band: Josh Evans, Frank Lacy, Stacy Dillard,
Theo Hill, Rashaan Carter, Kush Abadey; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Saul Rubin; Nu D’Lux Fat Cat 7, 9 pm
• Jeremy Siskind Jazz at Kitano 8 pm
êLarry Corban with Harvie S, Steve Williams; Matthew Garrison’s CodeName with
Mike Finoia, Nick Consul, George Delancey, Ryan Cavan
Somethin’ Jazz Club 7, 9 pm $10-12
• Greg Merritt Tomi Jazz 8 pm $10
• Eve Sicular Metropolitan Klezmer Stephen Wise Free Synagogue 7:30 pm $15
• Nue Jazz Project The Garage 6 pm
• Asako Takasaki; Jaclyn Rese Shrine 6, 9 pm
Wednesday, May 22
êMike Pride’s From Bacteria to Boys with Jon Irabagon, Alexis Marcelo, Peter Bitenc
and guest Jonathan Moritz Greenwich House Music School 8 pm $15
êBurton Greene solo Spectrum 7 pm
êShoko Nagai/Satoshi Takeishi ShapeShifter Lab 8 pm $10
• Taylor Eigsti with Harish Raghavan, Nate Smith; Glenn Zaleski with Noah Preminger,
Matt Clohesy, Colin Stranahan Smalls 9:30 pm 12 am $20
êRaphael D’lugoff; Sheryl Bailey Quartet with Jim Ridl, Andy McKee, Joe Strasser
Fat Cat 7, 9 pm
• Will McEvoy’s Mutasm with Brad Henkel, Nathaniel Morgan, Patrick Breiner,
Dustin Carlson, Cody Brown Barbès 8 pm $10
• Jazzmeia Horn Quartet with Chris Pattishall, Russell Hall, Kyle Poole
Jazz at Kitano 8, 10 pm $10
• Tyler Mitchell Quintet Smoke 7, 9, 10:30 pm
• The Hot Sardines Joe’s Pub 9:30 pm $15
• Matt Parker with Julio Monterrey, Josh Mease, Jesse Elder, Alan Hampton,
Reggie Quinerly Cornelia Street Café 8:30 pm $10
• Trismegistus: Joe Moffett, Ben Gerstein, Sean Ali, Devin Gray
Douglass Street Music Collective 8 pm $10
• Noah Garabedian with Evan Hughs, Kenny Warren, Curtis MacDonald, Kyle Wilson,
Raffi Garabedian; Maria Grand Trio SEEDS 8:30, 10 pm
• Syoko with Toru Yamashito Trio Somethin’ Jazz Club 7, 9 pm $10
• Jon Di Fiore Trio Tomi Jazz 8 pm $10
• Stan Killian Jam The Backroom 11:30 pm
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $25
• The Westerlies: Zubin Hensler, Riley Mulherkar, Andy Clausen, Willem de Koch;
Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle
The Stone 8, 10 pm $10
• Noah Preminger Quartet with Ben Monder, Matt Pavolka, Colin Stranahan and
guest Alison Wedding Jazz Standard 7:30, 9:30 pm $20
• Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Brian McKnight and The Duke Ellington Orchestra
Blue Note 8, 10:30 pm $65
• Jane Monheit Birdland 8:30, 11 pm $30-40
• John Raymond Quartet The Garage 6 pm
• Akiko Tsuruga Saint Peter’s 1 pm $10
Thursday, May 23
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.
Jazz Standard 7:30, 9:30 pm $30
• Miles Davis Festival: Randy Brecker and Steve Smith
Iridium 8, 10 pm $35
• Jason Yeager/Andrew Mulherkar Cornelia Street Café 6 pm
êOpen Loose: Mark Helias, Tony Malaby, Tom Rainey
Cornelia Street Café 8:30 pm $10
• Nat Adderley Jr. Quartet with Don Braden, Kenny Davis, Vince Ector
Ginny’s Supper Club 7:30, 10 pm $20
• Carlo DeRosa’s Cross Fade with Mark Shim, Luis Perdomo, Rudy Royston;
Dave Allen Quartet with John O’Gallagher, Drew Gress, Mark Ferber
ShapeShifter Lab 8:30, 9:30 pm $10
• Billy Test Trio with Boris Kozlov, Tim Horner
Jazz at Kitano 8, 10 pm $10
• Taylor Eigsti Trio with Larry Grenadier, Kendrick Scott; Emmet Cohen
Smalls 9:30 pm 12 am $20
• Nils Weinhold Quintet with Adam Larson, Fabian Almazan, Bastian Weinhold
The Jazz Gallery 9, 10:30 pm $15
• Grant Stewart; Point Of Departure Fat Cat 7, 10 pm
• Patrick Cornelius Trio with Jared Gold, Ulysses Owens
Bar Next Door 8:30, 10:30 pm $10
• Trystero: David Kulma, Dorian Wallace, Carl Limbacher, Max Maples, Diane Skerbec,
Roberto Meza; New York Bakery Connection: Antonello Parisi, Joseph Han, Luiz Ebert
and guest Bob Franceschini Somethin’ Jazz Club 9, 11 pm $10-15
• Yuko Ito Trio Tomi Jazz 9 pm $10
• Matt Baker Trio Cleopatra’s Needle 7 pm
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $25
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle;
Wayne Horvitz and Sweeter Than the Day with Geoff Harper, Eric Eagle
The Stone 8, 10 pm $10
• Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Brian McKnight and The Duke Ellington Orchestra
Blue Note 8, 10:30 pm $65
• Sally Night with Jon Davis, Dezron Douglas, Steve Williams
Birdland 6 pm $20
• Jane Monheit Birdland 8:30, 11 pm $30-40
• Dylan Meek Trio The Garage 6 pm
êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr.
92nd Street Y 10, 11:15 am
Friday, May 24
êMiles Davis Festival: Jimmy Cobb Kind of Blue Sextet with Javon Jackson,
Justin Robinson, Eddie Henderson, Mike LeDonne, Buster Williams
Smoke 7, 9, 10:30 pm $35
êMike Reed’s People, Places & Things with Greg Ward, Tim Haldeman, Jason Roebke
Cornelia Street Café 9, 10:30 pm $15
êTed Nash Quartet with Ron Horton; Ulysses Owens
Jazz at Kitano 8, 10 pm $25
êRalph Alessi and This Against That with Tony Malaby, Andy Milne, Drew Gress,
Mark Ferber The Jazz Gallery 9, 10:30 pm $20
• Tad Shull Quartet; Steve Davis Sextet with Mike DiRubbo, Josh Bruneau, Larry Willis,
Nat Reeves, Billy Williams Smalls 7:30, 10:30 pm 1 am $20
êBrian Charette Organ Trio with Will Bernard, Jordan Young; Cory Henry
ShapeShifter Lab 8:15, 9:30 pm $10
• Federico Ughi Quartet with Dave Schnug, Kirk Knuffke, Dan Fabricatore
Ibeam Brooklyn 8:30 pm $10
• Nick Moran Trio with Brad Whiteley, Chris Benham
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Underground Horns Nublu 11:45 pm
• Ben Solomon; Diallo House Fat Cat 6, 10:30 pm
• Banda Magda Joe’s Pub 9:30 pm $18
• Rob Schwimmer solo Bargemusic 8 pm $25
• Mack Goldsbury Quartet with Herb Robertson, Erik Unsworth, Lou Grassi
The Firehouse Space 8 pm $10
• Ricardo St. Louis/Ken Simon Jazz 966 8, 10 pm $15
• Hye-Jeung with Nitzan Gavrieli, Filip Novosel, Yoshiki Yamada, Zan Tetickovic;
Somethin’ Vocal with Matt Baker Somethin’ Jazz Club 7, 9 pm $10-12
• Tomoyasu Ikuta Tomi Jazz 9 pm $10
• Dona Carter Quartet Cleopatra’s Needle 8 pm
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Miles Davis Festival: Randy Brecker and Steve Smith
Iridium 8, 10 pm $35
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $25
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle; The Westerlies:
Zubin Hensler, Riley Mulherkar, Andy Clausen, Willem de Koch
The Stone 8, 10 pm $10
• Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• The Duke Ellington Orchestra Blue Note 8, 10:30 pm $45
• Michael Feinberg Quintet with Dayna Stephens, Tivon Pennicott, Jean-Michel Pilc,
Ian Froman Blue Note 12:30 am $10
• Jane Monheit Birdland 8:30, 11 pm $30-40
• Joel Perry Trio; Kevin Dorn and the BIG 72
The Garage 6, 10:45 pm
êChristian McBride Trio with Christian Sands, Ulysses Owens, Jr.
92nd Street Y 10, 11:15 am

Saturday, May 25
êMark Soskin Trio with Jerome Harris, Satoshi Takeishi; Jeff Galindo/Marc Phaneuf
Quartet with John Lockwood, Bob Gullotti and guest George Garzone;
The Fringe: George Garzone, John Lockwood, Bob Gullotti
ShapeShifter Lab 7, 8:15, 9:30 pm $10
êQueens Jazz Orchestra led by Jimmy Heath
Flushing Town Hall 8 pm $40
• Kurt Rosenwinkel solo Le Poisson Rouge 7:30 pm $25
• Jay Hoggard Ginny’s Supper Club 7:30, 10 pm $20
• Dan Weiss Trio with Eivind Opsvik, Jacob Sacks
Cornelia Street Café 9, 10:30 pm $15
• Ronny Whyte Trio with Boots Maleson
Jazz at Kitano 8, 10 pm $25
• Leif Arntzen Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis and
with EMEFE Nublu 10 pm $10
êSam Newsome solo; Roberta Piket solo; Billy Mintz solo
Ibeam Brooklyn 8 pm $10
• Vanderlei Pereira’s Blindfold Test Fat Cat 7 pm
• Adriano Santos Trio with Richard Padron, Eduardo Belo
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Danny Jonokuchi Metropolitan Room 11:30 pm $20
• Louis Armstrong Tribute: “Hot Lips” Joey Morant and Catfish Stew
Lucille’s at BB King’s Blues Bar 8 pm $20
• Brad Clymer Trio; Brett Sandler Trio with Peter Longofono, Adam Pin
Somethin’ Jazz Club 7, 9 pm $7-10
• Daniel Bennett Group; Wafoo Tomi Jazz 8, 11 pm $10
• Ray Blue Quartet Cleopatra’s Needle 8 pm
êMiles Davis Festival: Jimmy Cobb Kind of Blue Sextet with Javon Jackson,
Justin Robinson, Eddie Henderson, Mike LeDonne, Buster Williams
Smoke 7, 9, 10:30 pm $35
êRalph Alessi and This Against That with Tony Malaby, Andy Milne, Drew Gress,
Mark Ferber The Jazz Gallery 9, 10:30 pm $20
• Chris Byars Quintet; Steve Davis Sextet with Mike DiRubbo, Josh Bruneau, Larry Willis,
Nat Reeves, Billy Williams; Philip Harper
Smalls 7:30, 10:30 pm 1 am $20
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Miles Davis Festival: Randy Brecker and Steve Smith
Iridium 8, 10 pm $35
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $25
• Wayne Horvitz and Sweeter Than the Day with Geoff Harper, Eric Eagle; Wayne Horvitz
and the Royal Room Collective Music Ensemble with Steve O’Brien,
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle
The Stone 8, 10 pm $10
• Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $45
• The Duke Ellington Orchestra Blue Note 8, 10:30 pm $45
• Jane Monheit Birdland 8:30, 11 pm $30-40
• Marsha Heydt Quartet; Champian Fulton Quartet; Virginia Mayhew Quartet
The Garage 12, 6, 10:15 pm
Sunday, May 26
• Keystone Korner Presents: Neal Smith Quintet with Renee Rosnes, Steve Nelson,
Billy Pierce, Joe Sanders Iridium 8, 10 pm $35
• Ben Meigners Group; Yaala Ballin Duo; Smalls Family Jam Session
Smalls 4:30, 7:30, 11:30 pm $20
• Benjamim Taubkin/Rogério Boccato Cornelia Street Café 8:30 pm $10
HARVIE S
STEVE
WILLIAMS STEVE
Live at
May 21
2013
S
WILLIAMS
Somethin’
Jazz Club
7:00 - 8:45pm
212 E. 52nd St. 3Fl.
(btw/ 2nd & 3rd Ave.)
New York, NY 10022
212 - 371 - 7657
$12 Cover Charge
“ THE CIRCLE STARTS HERE ”
On Sale Now
www.larrycorban.com
With
• Peter Mazza Trio with Misha Tsiganov, Marco Panascia
Bar Next Door 8, 10 pm $10
• Swingadelic Swing 46 8:30 pm
• Joe Benjamin and a Mighty Handful; Florencia Gonzalez Candombe Project with
Kerry Mackillop, Michael Boscarino, Martin Giorgieff, Mariana Iranzi, Franco Pinna
Somethin’ Jazz Club 7, 9 pm $10
• James Carter Organ Trio with Gerard Gibbs, Leonard King Jr.
Jazz Standard 7:30, 9:30 pm $30
êBarry Harris Trio with Ray Drummond, Leroy Williams
Village Vanguard 8:30, 10:30 pm $25
• Wayne Horvitz and the Royal Room Collective Music Ensemble with Steve O’Brien,
Samantha Boshnack, Al Keith, Beth Fleenor, Kate Olson, Briggan Krauss, Craig Flory,
Naomi Siegel, Willem de Koch, Jacob Herring, Geoff Harper, Eric Eagle
The Stone 8, 10 pm $10
• Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• The Duke Ellington Orchestra Blue Note 8, 10:30 pm $45
• Jesse Dulman/Jason Candler; Shayna Dulberger/Yoni Kretzmer
Downtown Music Gallery 6, 7 pm
• Ehud Asherie Trio Fat Cat 6 pm
• Tony Jefferson Saint Peter’s 5 pm
• Amy Cervini’s Jazz Kids! 55Bar 2 pm $5
• Michika Fukumori Trio Blue Note 12:30, 2:30 pm $29.50
• Roz Corral Trio with Yotam Silberstein, Boris Kozlov
North Square Lounge 12:30, 2 pm
• Iris Ornig; David Coss Quartet The Garage 11:30 am 7 pm
Monday, May 27
êMingus Big Band Jazz Standard 7:30, 9:30 pm $25
êOrrin Evans Blue Note 8, 10:30 pm $15
• Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $35
• Hans Glawischnig Trio; Bernstein Quartet with Donald Vega, Dezron Douglas,
Billy Drummond; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20
êEvind Opsvik solo; JP Carletti Trio with Tony Malaby, Chris Hoffman
Sycamore 8:30, 9:30 pm
• Mike Fahie Jazz Orchestra Tea Lounge 9, 10:30 pm
• Dorian Devins Trio with Lou Rainone, Tom Hubbard
Bar Next Door 8:30, 10:30 pm $10
• Marvin Parks Zinc Bar 7 pm
• Lottie and the Manatee: Lottie Prenevost, Peter van Reesema, James Alexander,
Corey Critchfield, Michael Koss, Kaci Friss; Bob Gingery Group with Jon Irabagon,
Mike Baggetta, Mark Ferber Somethin’ Jazz Club 7, 9 pm $7-12
• Antonello Parisi Trio Tomi Jazz 8 pm $10
• Eyal Vilner Big Band The Garage 7 pm
Tuesday, May 28
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams
Village Vanguard 8:30, 10:30 pm $25
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson
Blue Note 8, 10:30 pm $35
• Eliane Elias Birdland 8:30, 11 pm $30-40
• Bill Charlap Trio with Ron Carter, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen
54 Below 7, 9:30 pm $85-95
êRicardo Gallo’s Tierra De Nadie with Ray Anderson, Dan Blake, Mark Helias,
Pheeroan akLaff, Satoshi Takeishi ShapeShifter Lab 8:15 pm $15
• Max Johnson Trio with Kirk Knuffke, Ziv Ravitz
Korzo 9 pm
• Kristin Andreassen with Stephanie Coleman, Jacob Silver, Robin MacMillan
Cornelia Street Café 8:30 pm $10
• Nobuki Takamen Trio with Daniel Foose, Yutaka Uchida
Bar Next Door 8:30, 10:30 pm $10
• Saul Rubin; Itai Kriss All-Stars Fat Cat 7, 9 pm
• Spike Wilner Trio; Seamus Blake Group; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Jeremy Siskind Jazz at Kitano 8 pm
• Elaine Watts/Susan Watts Band Stephen Wise Free Synagogue 7:30 pm $15
• Michael Blanco Quintet with John Ellis, Jonathan Kreisberg, Adam Birnbaum,
Colin Stranahan; Axel’s Axiom: Axel Schwintzer, Aaron Henry, Aurelien Budynek,
Evan Gregor, Marko Djordjevic Somethin’ Jazz Club 7, 9 pm $10-12
• Kevin Wang Trio Tomi Jazz 8 pm $10
• Paul Francis Trio The Garage 7 pm
• The New York Bakery Connection Shrine 6 pm
Wednesday, May 29
• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly,
Kendrick Scott Jazz Standard 7:30, 9:30 pm $30
êKeystone Korner Presents: Marcus Strickland Quartet with David Bryant, Ben Williams,
EJ Strickland Iridium 8, 10 pm $30
êGerald Cleaver Black Host with Darius Jones, Cooper Moore, Brandon Seabrook,
Pascal Niggenkemper SEEDS 8:30 pm
êBrooklyn Jazz Underground Festival: Owen Howard’s Drum Lore with Adam Kolker,
John O’Gallagher, Frank Carlberg, Aidan O’Donnell; Tammy Scheffer Sextet with
John O’Gallagher, Dan Pratt, Chris Ziemba, Daniel Foose, Ronen Itzik; Rob Garcia 4
with Noah Preminger, Joe Martin Smalls 9:30 pm $20
êChris Lightcap’s Bigmouth with Chris Cheek, Tony Malaby, Craig Taborn, Ches Smith
Cornelia Street Café 8:30 pm $10
• Andrew Lafkas with Barry Weisblat, Adam Diller, Tucker Dulin, Karen Waltuch,
Jason Brogan, Ron Stabinsky, Leif Sundstrom, Sean Meehan
Roulette 8 pm $15
• Dan Arcamone, Sean Nowell, Rich Zurkowski, Marko Djordjevic; Dan Willis And
The Velvet Gentlemen with Pete McCann, Ron Oswanski, Kermit Driscoll,
John Hollenbeck ShapeShifter Lab 8:15, 9:30 pm $8-10
• Noah Garabedian, Jacob Sacks, Vinnie Sperrazza and guest
Barbès 8 pm $10
• Emma Larsson Quartet with Xavier Davis, Marcos Varela, Jerome Jennings
Jazz at Kitano 8, 10 pm $10
êCharlie Kohlhase’s Saxophone Support Group; Roman Rofalski Trio
Douglass Street Music Collective 8 pm
• Donald Malloy Ginny’s Supper Club 7:30, 10 pm $20
• Radam Schwartz Trio Fat Cat 9 pm
• Paula Jaakkola with Saku Nousiainen, Stephen Purcell; Ece Goksu Quintet with
Uri Gurvich, Can Cankaya, Scott Colberg, Arthur Vint
Somethin’ Jazz Club 7, 9 pm $10-12
• Miki Yamanaka Duo Tomi Jazz 8 pm $10
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams
Village Vanguard 8:30, 10:30 pm $25
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson
Blue Note 8, 10:30 pm $35
• Eliane Elias Birdland 8:30, 11 pm $30-40
• Bill Charlap Trio with Ron Carter, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen
54 Below 7, 9:30 pm $85-95
• Joe Farnsworth Quartet with Josh Evans, David Kikoski, Dwayne Burno
Smoke 7, 9, 10:30 pm
• Rob Edwards Quartet The Garage 6 pm
• Chris Gines, Ronny Whyte, Boots Maleson
Saint Peter’s 1 pm $10
Wed, May 1 PETROS KLAMPANIS’ CONTEXTUAL 8:30PM
Gilad Hekselman, Jean-Michel Pilc, John Hadfield, Maria Im,
Maria Manousaki, Matt Sinno, Yoed Nir
Thu, May 2 40TWENTY 8:30PM
Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza
JESSE STACKEN QUARTET 10PM
Tony Malaby, Sean Conly, Ted Poor
Fri, May 3 ELLERY ESKELIN QUARTET 9PM & 10:30PM
Jacob Sacks, Brad Jones, Tyshawn Sorey
Sat, May 4 SECRET KEEPER 9PM & 10:30PM
Mary Halvorson, Stephan Crump
Sun, May 5 MOTIONS 8:30PM
Chris Dingman, Kaoru Watanabe, Tim Keiper, Matt Kilmer
Mon, May 6 AMRAM & CO 8:30PM
David Amram, Kevin Twigg, John de Witt, Adam Amram
Wed, May 8 NATE RADLEY QUARTET 8:30PM
Loren Stilman, Matt Pavolka, Ted Poor
Fri, May 10 JACOB SACKS QUARTET 9PM & 10:30PM
Ellery Eskelin, Michael Formanek, Dan Weiss
Sat, May 11 BEN ALLISON PLAYS
THE MUSIC OF JIM HALL 9PM & 10:30PM
Steve Cardenas, Ted Nash
Tue, May 14 VOXIFY: AUBREY JOHNSON 8:30PM
Tomoko Omura, Michael Thomas, Chris Ziemba,
Matt Aronoff, Jeremy Noller
VOXIFY: TAMMY SCHEFFER 10:30PM
Tomoko Omura, Davy Mooney
Nicky Schrire, host
Wed, May 15 NIKOLAJ HESS QUARTET -
CD RELEASE: TRIO 8:30PM
Marc Mommaas, Tony Scherr, Kenny Wollesen
Thu, May 16 JON IRABAGON TRIO 8:30PM
Mark Helias, Barry Altschul
Fri, May 17 HUSH POINT WITH JOHN MCNEIL & JEREMY UDDEN -
Sat, May 18 CD RELEASE PARTY 9PM & 10:30PM
Aryeh Kobrinski, Vinnie Sperrazza
Sun, May 19 STEVEN LUGERNER -
CD RELEASE: FOR WE HAVE HEARD 8:30PM
Stephanie Richards, Glenn Zaleski, Matt Wilson
Tue, May 21 VOICE BOX: JO LAWRY 8:30PM
Matt Aronoff
VOICE BOX: YOON SUN CHOI/JACOB SACKS DUO 10PM
Sara Serpa, Host
Wed, May 22 MATT PARKER -
CD RELEASE: WORLDS PUT TOGETHER 8:30PM
Julio Monterrey, Josh Mease, Jesse Elder,
Jimmy Sutherland, Alan Hampton, Reggie Quinerly
Thu, May 23 JASON YEAGER AND ANDREW MULHERKAR DUO:
THE MUSIC OF STRAYHORN AND ELLINGTON 6PM
OPEN LOOSE 8:30PM
Mark Helias, Tony Malaby, Tom Rainey
Fri, May 24 MIKE REED’S PEOPLE, PLACES & THINGS
9PM & 10:30PM
Greg Ward, Tim Haldeman, Jason Roebke
Sat, May 25 DAN WEISS TRIO 9PM & 10:30PM
Eivind Opsvik, Jacob Sacks
Sun, May 26 NEW BRAZILIAN PERSPECTIVES:
BENJAMIM TAUBKIN 8:30PM
Rogério Boccato; Billy Newman, host.
Tue, May 28 BOTH SIDES NOW: KRISTIN ANDREASSEN 8:30PM
Stephanie Coleman, Jacob Silver, Robin MacMillan
Talia Billig, host
Wed, May 29 CHRIS LIGHTCAP - BIGMOUTH 8:30PM
Thu, May 30 Chris Cheek, Tony Malaby, Craig Taborn, Ches Smith
Fri, May 31 DAVE LIEBMAN QUINTET 9PM & 10:30PM
Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz
THE NEW YORK CITY JAZZ RECORD | May 2013 43

Thursday, May 30
êMicroscopic Septet: Phillip Johnston, Joel Forrester, Don Davis, Mike Hashim,
Dave Sewelson, David Hofstra, Richard Dworkin
Joe’s Pub 7:30 pm $20
êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Chris Tordini, Johnathan Blake
ShapeShifter Lab 7 pm $15
• Jerome Sabbagh Quartet with Adam Rogers, Joe Martin, Ted Poor
The Jazz Gallery 9, 10:30 pm $15
• Curtis Macdonald Quartet with David Virelles, Harish Raghavan, Adam Jackson,
Greenwich House Music School 8 pm $12
• Angela Davis Quartet with Chris Ziemba, Phil Kuehn, Rajiv Jayaweera
Jazz at Kitano 8, 10 pm $10
• Miche Braden and The RLJ Trio with Rudi Mwongozi, Larry Johnson, Jim Hankins
Ginny’s Supper Club 7:30, 10 pm $20
• Adam Larson Trio with Desmond White, Matt Wilson
Bar Next Door 8:30, 10:30 pm $10
• Jimmy Alexander Quartet; Spirtrio Fat Cat 7, 10 pm
• William Stanton; Jochem van Dijk solo
Ibeam Brooklyn 8:30, 9:30 pm $10
• Jake Henry/Sean Ali The Backroom 8 pm
• Morrie Louden Group with Andrew Gould, Eitan Kenner, Brad Koegel;
Tim Lancaster Group with Mike DiRubbo, Tim Hagans, Pat Bianchi;
Will Macirowski Quintet with John Petrucelli, Suzan Veneman, Tucker Flythe,
Victor Lewis Somethin’ Jazz Club 7, 9, 11 pm $10-12
• Yoshiko Iwata Trio Cleopatra’s Needle 7 pm
• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly,
Kendrick Scott Jazz Standard 7:30, 9:30 pm $30
êGerald Cleaver Black Host with Darius Jones, Cooper Moore, Brandon Seabrook,
Pascal Niggenkemper SEEDS 8:30 pm
• Brooklyn Jazz Underground Festival: David Smith Quintet with Dan Pratt, Nate Radley,
Gary Wang, Greg Ritchie; David Cook Trio with Matt Clohesy, Ross Pederson;
Adam Kolker Quartet with David Cook, Jeremy Stratton, Owen Howard
Smalls 9:30 pm $20
êChris Lightcap’s Bigmouth with Chris Cheek, Tony Malaby, Craig Taborn, Ches Smith
Cornelia Street Café 8:30 pm $10
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams
Village Vanguard 8:30, 10:30 pm $25
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson
Blue Note 8, 10:30 pm $35
êGeorge Braith Quartet with Harold Mabern, Reggie Workman, Jeff ‘Tain’ Watts
Birdland 6 pm $30
• Eliane Elias Birdland 8:30, 11 pm $30-40
• Bill Charlap Trio with Ron Carter, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen
54 Below 7, 9:30 pm $85-95
• Carl Bartlett Jr. Trio The Garage 6 pm
Friday, May 31
êLost Jazz Shrines - Bird – A World’s Eye View: Marty Ehrlich with James Zollar,
Marc Ribot, Michael Formanek, Nasheet Waits, Erica Hunt, Charles Bernstein
Tribeca Performing Arts Center 8:30 pm $25
êKeystone Korner Presents: Paquito D’Rivera Havana Nights
Iridium 8, 10 pm $30
êDave Liebman Quintet with Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz
Cornelia Street Café 9, 10:30 pm $15
êFrank Kimbrough/Scott Robinson Greenwich House Music School 8 pm $15
êMiles Davis Festival: Eddie Henderson Quintet with Wayne Escoffery, Dave Kikoski,
Doug Weiss, Carl Allen Smoke 7, 9, 10:30 pm $35
• Jonathan Finlayson and Sicilian Defense
The Jazz Gallery 9, 10:30 pm $20
• Rinde Eckert/Ned Rothenberg with guest Adam Matta
Roulette 8 pm $15
• Mike DiRubbo Quintet with Steve Davis, Brian Charette
Jazz at Kitano 8, 10 pm $25
• Steve Ash Trio; Emilio Solla Group Smalls 7:30, 10:30 pm $20
• Dave Stryker Trio with Jared Gold, McClenty Hunter
Bar Next Door 7:30, 9:30, 11:30 pm $10
• Solid Goold Quartet; Point of Departure
Fat Cat 6, 10:30 pm
• Jazzmeia Horn Quartet Metropolitan Room 11:30 pm $20
• Buyu Ambroise BAMCafé 9 pm
• Andrea Wolper’s IP with Diane Moser, Ken Filiano; Gene Ess and Fractal Attraction with
Thana Alexa, Adam Birnbaum, Thomson Kneeland, Mark Ferber
Ibeam Brooklyn 8:30, 9:30 pm $10
• Jacob Varmus’ Terminal Stillness with Pete McCann; Hashem Assadullahi,
Broc Hempel, Sam Trapchak, Christian Coleman
Steinway Reformed Church 8 pm $10
• Lonnie Youngblood Jazz 966 8, 10 pm $15
• Household Tales: William Lea, David Redbranch, Elise Reynard, Sean Ali, Tim Shortle
Sidewalk Café 7 pm
• Fredrick Levore; Terry Vakirtzoglou Quartet; John Petrucelli Quartet with Peter Park,
Will Macirowski, Gusten Rudolph Somethin’ Jazz Club 7, 9, 11 pm $10
• Takeshi Asai Duo Tomi Jazz 9 pm $10
• Alex Layne Trio Cleopatra’s Needle 8 pm
• Terence Blanchard with Brice Winston, Fabian Almazan, Joshua Crumbly,
Kendrick Scott Jazz Standard 7:30, 9:30, 11:30 pm $35
êGerald Cleaver Black Host with Darius Jones, Cooper Moore, Brandon Seabrook,
Pascal Niggenkemper SEEDS 8:30 pm
êJoe Lovano Nonet with Tim Hagans, Barry Ries, Steve Slagle, Ralph Lalama,
Gary Smulyan, Larry Farrell, James Weidman, Cameron Brown, Steve Williams
Village Vanguard 8:30, 10:30 pm $25
êDizzy Gillespie All-Star Big Band: Frank Greene, Greg Gisbert, Freddie Hendrix,
Claudio Roditi, Jimmy Heath, Andres Boiarsky, Mark Gross, Sharel Cassity,
Frank Basile, Steve Davis, Jason Jackson, James Burton, Douglas Purviance,
Emmet Cohen, Yotam Silberstein, John Lee, Greg Hutchinson
Blue Note 8, 10:30 pm $35
• Sparkplug: Beau Sasser, Bill Carbone, David Davis, Jamemurrell Stanley
Blue Note 12:30 am $10
• Eliane Elias Birdland 8:30, 11 pm $30-40
• Bill Charlap Trio with Ron Carter, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35
• Jonathan Tunick and The Broadway Moonlighters with guest Doc Severinsen
54 Below 7, 9:30 pm $85-95
• Kendra Shank, John Stowell, Rogério Boccato
55Bar 6 pm
• The Anderson Brothers; Jason Prover and the Sneak Thievery Orchestra
The Garage 6, 10:45 pm
44 May 2013 | THE NEW YORK CITY JAZZ RECORD
REGULAR ENGAGEMENTS
MONDAYS
• Tom Abbott Big Bang Big Band Swing 46 8:30 pm
• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am
• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125
• Bryan Beninghove’s Hangmen ZirZamin 9:30 pm
• Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm
• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm
• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm
• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm
• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)
• Joel Forrester solo Brandy Library 8 pm
• George Gee Swing Orchestra Gospel Uptown 8 pm
• Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE)
• Grove Street Stompers Arthur’s Tavern 7 pm
• JFA Jazz Jam Local 802 7 pm
• Jam Session with Jim Pryor Cleopatra’s Needle 8 pm
• Les Paul Trio with guests Iridium 8, 10 pm $35
• Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm
• Stan Rubin All-Stars Charley O’s 8:30 pm
• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30
• Diego Voglino Jam Session The Village Lantern 9:30 pm
• Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm)
TUESDAYS
• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)
• Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI)
• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN)
• George Gee Swing Orchestra Swing 46 8:30 pm
• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT)
• Art Hirahara Trio Arturo’s 8 pm
• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm
• Sandy Jordan and Larry Luger Trio Notaro 8 pm
• Mike LeDonne Quartet; Mike DiRubbo B3-3 Smoke 7, 9, 10:30, 11:30 pm
• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm
• Annie Ross The Metropolitan Room 9:30 pm $25
• Jam Session Cleopatra’s Needle 8 pm
• Diego Voglino Jam Session The Fifth Estate 10 pm
WEDNESDAYS
• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm
• Brianna Thomas Quartet Smoke 11:30 pm
• Walter Fischbacher Trio Water Street Restaurant 8 pm
• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm
• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm
• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
• Guillaume Laurent Trio Bar Tabac 7 pm
• Jake K. Leckie Trio Kif Bistro 8 pm
• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI)
• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm
• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)
• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm
• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM)
• Alex Obert’s Hollow Bones Via Della Pace 10 pm
• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20
• Saul Rubin Vocalist Series Zeb’s 8 pm $10
• Stan Rubin Orchestra Swing 46 8:30 pm
• David Schnug Papa’s Gino’s Restaurant 8:30 pm
• Alex Terrier Trio Antibes Bistro 7:30 pm
• Justin Wert/Corcoran Holt Benoit 7 pm
• Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm
• Bill Wurtzel Duo Velour Lounge 6:30 pm
THURSDAYS
• Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm
• Jason Campbell Trio Perk’s 8 pm
• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)
• Eric DiVito The Flatiron Room 8 pm
• Gregory Generet Smoke 7, 9, 10:30 pm
• Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15
• Jazz Open Mic Perk’s 8 pm
• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm
• Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10
• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)
FRIDAYS
• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm
• Deep Pedestrian Sintir 8 pm
• Charles Downs’ Centipede The Complete Music Studio 7 pm
• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm
• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
• Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm
• Tommy Igoe Birdland Big Band Birdland 5 pm $25
• Sandy Jordan and Friends ABC Chinese Restaurant 8 pm
• Kengo Nakamura Trio Club A Steakhouse 11 pm
• Brian Newman Quartet Duane Park 10:30 pm
• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)
• Richard Russo Quartet Capital Grille 6:30 pm
• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT)
• Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)
• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT)
• Rakiem Walker Project Shrine 6 pm
SATURDAYS
• Cyrille Aimee The Cupping Room 8:30 pm
• Avalon Jazz Quartet Matisse 8 pm
• Candy Shop Boys Duane Park 8, 10:30 pm
• Jesse Elder/Greg RuggieroRothmann’s 6 pm
• Joel Forrester solo Indian Road Café 11 am
• Guillaume Laurent/Luke Franco Casaville 1 pm
• Johnny O’Neal Smoke 11:45 pm
• Frank Owens Open Mic Zeb’s 1 pm
• Skye Jazz Trio Jack 8:30 pm
• Michelle Walker/Nick Russo Anyway Café 9 pm
• Bill Wurtzel Duo Henry’s 12 pm
SUNDAYS
• Avalon Jazz Quartet The Lambs Club 11 am
• Birdland Jazz Party Birdland 6 pm $25
• Marc Devine Trio TGIFriday’s 6 pm
• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm
• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
• Sean Fitzpatrick and Friends Ra Café 1 pm
• Joel Forrester solo Grace Gospel Church 11 am
• Nancy Goudinaki’s Trio Kellari Taverna 12 pm
• Enrico Granafei solo Sora Lella 7 pm
• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm
• Annette St. John; Roxy Coss Smoke 11:30 am :30 pm
• Bob Kindred Group Café Loup 12:30 pm
• Peter Leitch Duo Walker’s 8 pm
• Alexander McCabe Trio CJ Cullens Tavern 5 pm
• Junior Mance Trio Café Loup 6:30 pm
• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30
• Lu Reid Jam Session Shrine 4 pm
• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm
• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm
• Sara Serpa/André Matos Pão Restaurant 2 pm
• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm
• Cidinho Teixeira Zinc Bar 10, 11:30 1 am
• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm
• Brian Woodruff Jam Blackbird’s 9 pm

CLUB DIRECTORY
• 54 Below 254 West 54th Street
(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 92nd Street Y and Weill Art Gallery Lexington Avenue at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
• 92YTribeca 200 Hudson Street
(212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org
• ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
• ABC No-Rio 156 Rivington Street (212-254-3697)
Subway: J,M,Z to Delancey Street www.abcnorio.org
• Aaron Davis Hall 133rd Street and Convent Avenue
(212-650-7100) Subway: 1 to 137th Street/City College
www.aarondavishall.org
• Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street
(212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org
• Allen Room Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Amelie NY 22 W. 8th Street (212-533-2962)
Subway: A, B, C, D, E, F, M to W. 4th Street www.ameliewinebar.com
• American Folk Art Museum 45 W 53rd Street (212-265-1040)
Subway: E to 53rd Street www.folkartmuseum.org
• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street
www.LindasJazzNights.com
• Antibes Bistro 112 Suffolk Street (212-533-6088)
Subway: J, Z to Essex Street www.antibesbistro.com
• Anyway Café 34 E. 2nd Street (212-533-3412)
Subway: F to Second Avenue
• Apollo Theater & Music Café 253 W. 125th Street (212-531-5305)
Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org
• Ardesia Wine Bar 510 W. 52nd Street
(212-247-9191) Subway: C to 50th Street www.ardesia-ny.com
• Arthur’s Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
• Arturo’s 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
• Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue
• BB King’s Blues Bar 237 W. 42nd Street
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square
www.bbkingblues.com
• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn
(718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5
to Atlantic Avenue www.bam.org
• Bflat 277 Church Street (between Franklin and White Streets)
Subway: 1, 2 to Franklin Streets
• The Backroom 627 5th Avenue (718-768-0131)
Subway: D, N, R to Prospect Avenue www.freddysbar.com
• Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
• Bargemusic Fulton Ferry Landing
(718-624-4061) Subway: F to York Street, A, C to High Street
www.bargemusic.org
• Benoit 60 W. 55th Street
Subway: F to 57th Street, N, Q, R,W to 57th Street
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 125th Street
• Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
• The Bitter End 147 Bleecker Street between Thompson and LaGuardia
Subway: A, B, C, D, E, F, V to W. 4th Street
• Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue
www.facebook.com/bizarrebushwick
• Blackbird’s 41-19 30th Avenue (718-943-6898)
Subway: R to Steinway Street www.blackbirdsbar.com
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and
Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com
• Brandy Library 25 N. Moore Street
(212-226-5545) Subway: 1 to Franklin Street
• Brecht Forum 451 W. Street (212-242-4201)
Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org
• Brooklyn Center for the Performing Arts 2900 Campus Road
Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.com
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org
• Brooklyn Masonic Temple 317 Clermont Avenue
(718-638-1256) Subway: G to Clinton-Washington Avenues
• CJ Cullens Tavern 4340 White Plains Road, Bronx
Subway: 2 to Nereid Avenue/238th Street
• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
• Caffe Vivaldi 32 Jones Street
Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com
• Cameo Gallery 93 N. 6th Street
Subway: L to Bedford Avenue Campos Plaza Playground East 13th Street
between Avenues B and C Subway: L to 1st Avenue
• Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
• Casaville 633 Second Avenue
(212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com
• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace
(212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com
• The Cathedral of St. John the Divine 1047 Amsterdam Avenue
(212 316-7490) Subway: 1 to 110th Street www.stjohndivine.org
• Charley O’s 1611 Broadway at 49th Street (212-246-1960)
Subway: N, R, W to 49th Street
• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484)
Subway: C to Clinton-Washington Avenues www.bistrolola.com
• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250)
Subway: C to Lafayette Avenue www.chezoskar.com
• Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street www.csvcenter.org
• Cleopatra’s Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
• Club A Steakhouse 240 E. 58th Street (212-618-4190)
Subway: 4, 5, 6 to 59th Street www.clubasteak.com
• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue
• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn
(718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com
• Cornelia Street Café 29 Cornelia Street (212-989-9319)
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com
• The Counting Room 44 Berry Street (718-599-1860)
Subway: L to Bedford Avenue www.thecountingroombk.com
• Creole 2167 3rd Avenue at 118th Street
(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com
• Culture Project 45 Bleecker Street
(212-925-1806) Subway: 6 to Bleecker Street www.cultureproject.org
• The Cupping Room 359 West Broadway between Broome and Grand Street
(212-925-2898) Subway: A, C, E to Canal Street
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
• Douglass Street Music Collective 295 Douglass Street
Subway: R to Union Street www.295douglass.org
• Downtown Music Gallery 13 Monroe Street
(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com
• Drom 85 Avenue A (212-777-1157)
Subway: F to Second Avenue www.dromnyc.com
• Duane Park 157 Duane Street (212-732-5555)
Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
• Eats Restaurant 1055 Lexington Avenue
(212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
• The Fifth Estate 506 5th Avenue, Brooklyn
(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com
• The Firehouse Space 246 Frost Street
Subway: L to Graham Avenue www.thefirehousespace.org
• The Flatiron Room 37 West 26th Street
(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com
• Flushing Town Hall 137-35 Northern Boulevard
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn
(718-625-9339) Subway: G to Fulton Street
• The Garage 99 Seventh Avenue South (212-645-0600)
Subway: 1 to Christopher Street www.garagerest.com
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard
(212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com
• Grace Gospel Church 589 E. 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
• Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street
• Highline Ballroom 431 W 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Indian Road Café 600 W. 218th Street @ Indian Road
(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com
• Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
• JACK 505 Waverly Avenue
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org
• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street
• Jazz 966 966 Fulton Street
(718-638-6910) Subway: C to Clinton Street www.jazz966.com
• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6 to Grand Central www.kitano.com
• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org
• Jazz Museum in Harlem 104 E.126th Street (212-348-8300)
Subway: 6 to 125th Street www.jazzmuseuminharlem.org
• Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net
• Joe G’s 244 W. 56th Street (212-765-3160)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
• Joe’s Pub 425 Lafayette Street (212-539-8770)
Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com
• Kellari Taverna 19 W. 44th Street (212-221-0144)
Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us
• Knickerbocker Bar & Grill 33 University Place (212-228-8490)
Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com
• Korzo 667 5th Avenue, Brooklyn (718-285-9425)
Subway: R to Prospect Avenue www.korzorestaurant.com
• The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
• Lang Hall, Hunter College East 68th Street between Park and Lexington
Avenues (212-772-4448) Subway: 6 to 68th Street
www.kayeplayhouse.hunter.cuny.edu
• Le Poisson Rouge 158 Bleecker Street (212-228-4854)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com
• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• The Loft at 100 Greene Street 6th floor Subway: N, R to Prince Street
• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114)
Subway: 1 to 145th Street www.londelsrestaurant.com
• L’ybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
• McDonald’s 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
• Matisse 924 Second Avenue
(212-546-9300) Subway: 6 to 51st Street www.matissenyc.com
• Medicine Show Theatre 549 W. 52nd Street, 3rd Floor (212-262-4216)
Subway: C, E to 50th Street www.medicineshowtheatre.org
• Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
• MIST - My Image Studios 40 West 116th Street
Subway: 2, 3 to 116th Street
• NYC Baha’i Center 53 E. 11th Street (212-222-5159)
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
• New School Arnhold Hall 55 West 13th Street
(212-229-5600) Subway: F, V to 14th Street www.newschool.edu
• Nino’s Tuscany 117 W. 58th Street (212-757-8630)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com
• North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
• Notaro Second Avenue between 34th & 35th Streets (212-686-3400)
Subway: 6 to 33rd Street
• Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, M to Second Avenue www.nublu.net
• Pão Restaurant 322 Spring Street
(212-334-5464) Subway: C, E to Spring Street www.paonewyork.com
• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and
160th Streets (212-781-6595) Subway: C to 155th Street
www.parlorentertainment.com
• Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway
• The Players Club 16 Gramercy Park South
(212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org
• The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, M to Second Avenue www.rockwoodmusichall.com
• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Roulette 509 Atlantic Avenue
(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
• Rubin Museum 150 W. 17th Street (212-620-5000)
Subway: A, C, E to 14th Street www.rmanyc.org
• St. Augustine’s Church 290 Henry Street
(212-673-5300) Subway: F to East Broadway www.staugnyc.org
• Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• San Martin Restaurant 143 E. 49 Street between Lexington and Park
Avenues (212-832-0888) Subway: 6 to 51st Street
• Sapphire NYC 333 E. 60th Street (212-421-3600)
Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com
• SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza
www.seedsbrooklyn.org
• ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
• Showman’s 375 W. 125th Street at Morningside) (212-864-8941)
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
• Sidewalk Café 94 Avenue A at E. 6th Street Subway: 6 to Astor Place
• Sintir 424 E. 9th Street between Avenue A and First Avenue
(212-477-4333) Subway: 6 to Astor Place
• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com
• Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street
• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657)
Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street
www.somethinjazz.com/ny
• Sora Lella 300 Spring Street (212-366-4749)
Subway: C, E to Spring Street www.soralellanyc.com
• Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue
• Steinway Reformed Church 21-65 41 Street at Ditmars Boulevard
Subway: N to Ditmars Blvd-Astoria
• Stephen Wise Free Synagogue 30 W. 68th Street
(212-877-4050) Subway: 1 to 66th Street www.swfs.org
• The Stone Avenue C and 2nd Street
Subway: F to Second Avenue www.thestonenyc.com
• Sunnyside Reformed Church 48-03 Skillman Avenue (718-426-5997)
Subway: 7 to 52nd Street www.sunnysidenyc.rcachurches.org
• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com
• Sycamore 1118 Cortelyou Road (347-240-5850)
Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com
• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharp Theatre
& Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org
• Tagine 537 9th Ave. between 39th and 40th Streets
(212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street
• Tea Lounge 837 Union Street, Brooklyn (718-789-2762)
Subway: N, R to Union Street www.tealoungeNY.com
• Terraza 7 40-19 Gleane Street
(718-803-9602) Subway: 7 to 82nd Street/Jackson Heights
www.terrazacafe.com
• Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460)
Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org
• University of the Streets 130 E. 7th Street
(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org
• Velour Lounge 297 10th Avenue
(212-279-9707) Subway: C, E to 23rd Street www.velournyc.com
• Via Della Pace 48 E. 7th Street and Second Avenue
(212-253-5803) Subway: 6 to Astor Place
• The Village Lantern 167 Bleecker Street
(212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street
• The Village Trattoria 135 W. 3rd Street (212-598-0011)
Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com
• Village Vanguard 178 Seventh Avenue South at 11th Street
(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens
(718-721-3010) Subway: N to Ditmars Blvd-Astoria
• Walker’s 16 North Moore Street (212-941-0142)
Subway: A, C, E to Canal Street
• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)
Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com
• Water Street Restaurant 66 Water Street (718-625-9352)
Subway: F to York Street, A, C to High Street
• Williamsburg Music Center 367 Bedford Avenue
(718-384-1654) Subway: L to Bedford Avenue
• Zeb’s 223 W. 28th Street
212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com
• Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
• ZirZamin 90 West Houston Street
(646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street
www.zirzaminnyc.com
THE NEW YORK CITY JAZZ RECORD | May 2013 45

46 May 2013 | THE NEW YORK CITY JAZZ RECORD
(INTERVIEW CONTINUED FROM PAGE 6)
“Okayyy.” [laughs] And we played the head down and
there’s the horn solo and piano solo and then there’s
this kind of improvisational duo happening with Ron
and myself. Which is so interesting, because I didn’t
know where Ron was gonna go. I didn’t feel like he
was pulling me anywhere either. And he had these
kind of dynamic things he was doing - he was sliding
up and down the bass. It really was an interesting
conversation. It was a first take. It was a very
challenging moment because of the emotional side of
you. As a drummer, you’re saying - well, for me, I
speak for myself - I was thinking, “Okay, this is the
moment when this explosion happens.” And actually,
it turned out being like a painting at the end of the day.
There were these kind of strange curves and lines and
colors being added as we were playing it. And he plays
the melody kind of at the very end, which is my cue
that we were done. [laughs].
TNYCJR: Many jazz drummers are holding back but
you really play the drums in a jazz setting.
WC: Well, first of all, thanks. I don’t know what to say
about that. I agree with you in some aspects, because if
I go listen to Tony Williams’ records and I listen to Art
Blakey’s records and I listen to Joe Chambers’ records,
I listen to Jack DeJohnette’s records, they’re playing,
man. They’re playing out. Tony is bashing. That McCoy
Tyner Supertrios double-album where one side is Jack
and the other side is Tony, those guys sound like they
have boxing gloves on. That was just so inspiring to
me. To the point where, in those days, if Tony was on a
record, I went to get it. Didn’t matter who [else] was on
it. If Jack was on the record, I went to get it. If Blakey
put out something, a remaster or something, I went to
get it. There’s nothing to talk about, because I knew I
wasn’t gonna be let down. I can’t explain, because I
feel that way about everything, what you just stated.
Even pop music. I feel it’s become quite homogenized
in a way. I’m not judging any other drummer or any
other bass player. I just don’t hear and want to play
music that way. I’m still inspired by all of those great
drummers and composers and if that’s the thing that’s
gonna fuel my rocket, then that’s the kind of fuel that
I’m gonna use. But I in no way feel like I need to pull
back on the levers in any way, shape or form. It’s a
drum set for God’s sake. I think it’s an instrument that
should piss you off. It should get too loud sometimes.
[If] you gotta put your fingers in your ears for eight
bars, so what? That’s life. That’s what it should be. It
should be that kind of roller coaster ride. It should be
moments of you playing with brushes and you can’t
hear it. There should be moments when you’re not
quite sure where the time is. There should be moments
of total surprise. Like, “Wow, that’s a beautiful sound.”
Mallets, playing with your fingers, whatever it is. To
me, the instrument represents life. And life is more
than A to Z. There’s a lot of other things out there. v
For more information, visit willcalhoun.com. Calhoun is at
Blue Note May 17th-19th. See Calendar.
Recommended Listening:
• Will Calhoun - Housework (8mm Musik, 1994)
• Wayne Shorter - High Life (Verve, 1995)
• Will Calhoun - Live at the Blue Note (Half Note, 1999)
• Santi Debriano - Artistic License (Savant, 2000)
• Will Calhoun - Native Lands (Half Note, 2005)
• Will Calhoun - Life in This World
(Motéma Music, 2013)
(LABEL CONTINUED FROM PAGE 12)
drummer Jerome Cooper hadn’t played together in 25
years when they returned with the Pi Recordings
release And Now…. But Mutable had already taken up
the torch by reissuing their 1975 album The Psyche and
later putting out a recording of a 2005 concert the
group gave in Poland. The recent download release
Counterparts was recorded live in Italy a few months
after the Poland concert and is the final concert the
group ever played.
Buckner acknowledged that the recording quality
of Counterparts isn’t quite up to par with the Poland
recording, released as Beyond the Boundary of Time
(although as an archival release it’s hardly subpar). But
he says he is dedicated to the group and in fact has
recorded with both Cooper and Jenkins. “I love the
Revolutionary Ensemble. I’m friends with Jerome and
I worked with Leroy. I loved Leroy and I thought
somebody should do it.”
That, in a nutshell, might be Buckner’s modus
operandi: he does things because he thinks somebody
should. With regards to the 1750 Arch and
Interpretations concert series he said, “Most of my
time is spent being a singer but I felt these things are
important to do. In both cases I started the concert
series because I thought there was a need for the kind
of music I wanted to present.” Likewise, regarding the
two labels, he explained, “I wanted to be able to put
out those things that were of interest to me that were
not of interest to labels that were interested in me. I
want in general to trust the music of composers with a
jazz formation who are doing things that you wouldn’t
necessarily do in a club.
“You can’t be consistent,” he added. “I can say I’m
doing this but if I hear something I really like, why
wouldn’t I do it?” v
For more information, visit mutablemusic.com. Interpretations
is at Roulette May 9th. See Calendar.

KENNY BALL - The British trumpeter had one of the longest-running trad-jazz bands in England,
part of a scene that included Acker Bilk and Chris Barber. Ball’s Jazzmen, which still has original
member John Bennett and later included Ball’s son Keith on vocals, began in 1961 and had many
charting songs. Ball died Mar. 7th at 82.
GEORGE BARROW - The baritone saxophonist featured on many important jazz albums in a
career that began in the early ‘50s. Among them were Charles Mingus’ Moods of Mingus, Oliver
Nelson’s The Blues and the Abstract Truth and Clifford Thornton’s The Gardens of Harlem, as well as
appearances with Kenny Clarke, Clark Terry, Frank Wess, a long association with David Amram
and later Warren Smith. Barrow died Mar. 20th at 91.
EDWARD BLAND - The composer produced the important 1959 documentary Cry of Jazz. His only
film, interspersing live jazz footage and scenes of the inner city life, it explored racial relations and
was quite controversial. Later he did arrangements for various jazz artists and had his works
performed by symphony orchestras. Bland died Mar. 14th at 86.
RUNE CARLSSON - The Swedish drummer played with many visiting Americans, most notably
Dexter Gordon, fellow Swedes like Eje Thelin and was part of the quintet on Krzysztof Komeda’s
monumental Astigmatic album from 1965. Later in his career, Carlsson stepped out from behind his
drumkit to become a singer. Carlsson died Mar. 9th at 72.
BARBARA DONALD - The trumpeter and former wife of saxophonist Sonny Simmons appeared
on his albums in the ‘60s-70s. After their divorce in 1980, she made two albums as a leader for
Cadence Jazz Records but occasionally reunited for concerts with Simmons before poor health
ended her career after 1992. Donald died Mar. 23rd at 71.
STEVE ELLINGTON - Some of the drummer’s earliest credits came as part of Sam Rivers’ groups
in the ‘60s-70s. His discographical entries in the ‘80s were almost nonexistent but the ‘90s found
Ellington working extensively with pianist Hal Galper. Ellington died Mar. 22nd at 71.
May 1
Ira Sullivan b.1931
†Shirley Horn 1934-2005
Carlos Ward b.1940
James Newton b.1953
Kevin Hays b.1968
Ambrose Akinmusire b.1982
May 2
†Pat Smyth 1923-83
†Richard “Groove” Holmes
1931-91
Eddy Louiss b.1941
Mickey Bass b.1943
Keith Ganz b.1972
May 3
†John Lewis 1920-2001
†Jimmy Cleveland 1926-2008
Jymie Merritt b.1926
Johnny Fischer b.1930
John Alexander b.1948
Larry Ochs b.1949
Guillermo E. Brown b.1974
Matt Bauder b.1976
Alexander Hawkins b.1981
May 4
†Sonny Payne 1926-79
†Maynard Ferguson 1928-2006
Warren Smith b.1932
Don Friedman b.1935
Ron Carter b.1937
Chuck Folds b.1938
Rudresh Mahanthappa b.1971
Jeremiah Cymerman b.1980
May 5
Kidd Jordan b.1935
Stanley Cowell b.1941
Jack Walrath b.1946
Pablo Aslan b.1962
Live in Zurich 2.5.1950
Duke Ellington Orchestra (TCB)
May 2nd, 1950
That Duke Ellington could spend the
vast majority of his career leading a
big band is one of the wonders of
nature. This live date from the Zurich
Kongresshaus features a variety of
tenured sidemen: drummer Sonny
Greer had been with the band for over
25 years but second drummer Butch
Ballard was brand new. Ellington
stalwarts like Johnny Hodges, Harry
Carney, Russell Procope, Ray Nance,
vocalist Kay Davis and Billy
Strayhorn, spelling Ellington on piano
for part of the set, work out on a
program typical of the late ‘40s era.
May 6
†Freddy Randall 1921-99
†Denny Wright 1924-92
Isla Eckinger b.1939
Paul Dunmall b.1953
May 7
†Yank Porter 1895-1944
†Pete Jacobs 1899-1952
†Leon Abbey 1900-75
†Edward Inge 1906-88
†Herbie Steward 1926-2003
Arthur Blythe b.1940
Michael Formanek b.1958
May 8
†Red Nichols 1905-65
†Mary Lou Williams 1910-81
†Jerry Rusch 1943-2003
Keith Jarrett b.1945
Jon-Erik Kellso b.1964
Meinrad Kneer b.1970
May 9
†George Simon 1912-2001
†Dick Morrissey 1940-2000
Dennis Chambers b.1959
Ricardo Gallo b.1978
May 10
†Pee Wee Hunt 1907-79
†Al Hendrickson 1920-2007
†Mel Lewis 1929-90
George Golla b.1935
†Julius Wechter 1935-99
Mike Melvoin b.1937
Jimmy Ponder b.1946
Ahmed Abdullah b.1947
†Hans Reichel 1949-2011
Alex Foster b.1953
Philip Harper b.1965
Jasper Hoiby b.1977
May 11
†King Oliver 1885-1938
†JC Higginbotham 1906-73
†Oscar Valdambrini 1924-97
John Coppola b.1929
Dick Garcia b.1931
†Freddie Roach 1931-80
Carla Bley b.1938
Ralph Humphrey b.1944
Mikkel Ploug b.1978
May 12
†Marshall Royal 1912-95
†Don DeMichael 1928-82
Gary Peacock b.1935
Klaus Doldinger b.1936
Trevor Tompkins b.1941
May 13
†Maxine Sullivan 1911-87
†Gil Evans 1912-88
†Red Garland 1923-84
Creed Taylor b.1929
†Erick Moseholm 1930-2012
John Engels b.1935
Gregoire Maret b.1975
May 14
†Sidney Bechet 1897-1959
†Zutty Singleton 1898-1975
†Skip Martin 1916-76
Al Porcino b.1925
Jack Bruce b.1943
Virginia Mayhew b.1959
Frank Basile b.1978
May 15
†Ellis Larkins 1923-2002
Karin Krog b.1937
Oscar Castro-Neves b.1940
Omer Klein b.1982
Grace Kelly b.1992
Voices
Manfred Schoof (CBS)
May 2nd, 1966
This is the first album under
trumpeter Manfred Schoof’s name,
recorded with the quintet of Gerd
Dudek, Alexander von Schlippenbach,
Buschi Niebergall and Jaki Liebezeit.
The group came out of Gunter
Hampel’s 1965 quintet and made a
few recordings after this one,
swallowed into Schlippenbach’s
Globe Unity Orchestra by the end of
the year. The title track is a group
improvisation while the remaining
five tunes are either collaborations or
Schlippenbach tunes, some of the
earliest true European jazz.
IN MEMORIAM
by Andrey Henkin
BIRTHDAYS
May 16
†Woody Herman 1913-87
†Eddie Bert 1922-2012
†Betty Carter 1930-98
Billy Cobham b.1944
May 17
†Paul Quinichette 1916-83
†Dewey Redman 1931-2006
†David Izenzon 1932-79
†Jackie McLean 1932-2006
Michiel Braam b.1964
May 18
†Joe Turner 1911-85
†Kai Winding 1922-83
Jim McNeely b.1949
Weasel Walter b.1972
May 19
Cecil McBee b.1935
Sonny Fortune b.1939
Richard Teitelbaum b.1939
Henry Butler b.1949
Michael Blake b.1964
May 20
Tommy Gumina b.1931
Louis Smith b.1931
†Bob Florence 1932-2008
Charles Davis b.1933
†Rufus Harley 1936-2006
Victor Lewis b.1950
Ralph Peterson b.1962
Sheryl Bailey b.1966
Benjamin Duboc b.1969
May 21
†Fats Waller 1904-43
†Tommy Bryant 1930-82
Marc Ribot b.1954
Lewis “Flip” Barnes b.1955
ON THIS DAY
by Andrey Henkin
Open Road
Sadao Watanabe (CBS-Sony)
May 2nd, 1973
One of Japan’s most famous jazz
musicians, saxophonist Sadao
Watanabe has been a consistent
recording artist since his 1961 debut.
American listeners may know his
bossa nova albums or various
collaborations with American
musicians starting in the mid ‘60s.
Open Road is a live date from Tokyo’s
Hibiya Kohkaido with Watanabe’s
band of the period, a four-horn
frontline and rhythm section with
percussion, plus strings, playing a
13-tune program of Watanabe’s
originals.
TERRY LIGHTFOOT - The clarinetist was a part of the ‘50s British trad-jazz revival, leading his
own groups and performing with Acker Bilk, Chris Barber and Kenny Ball, though he would leave
and return to music to be a pub owner throughout his career. Lightfoot died Mar. 15th at 77.
HUGH MCCRACKEN - The session guitarist has hundreds of credits in the rock and pop world
since the early ‘60s but also dipped his feet quite regularly into the jazz pond, appearing on albums
by Lou Donaldson, Ron Carter, Rahsaan Roland Kirk and others. McCracken died Mar. 28th at 61.
MELVIN RHYNE - One of the legends of the Hammond B3 organ, Rhyne played with Wes
Montgomery, his fellow Indianapolitan, in the ‘50s-60s for the guitarist’s Riverside sessions, having
begun his career in the mid ‘50s with Roland Kirk. He had one album under his own name in 1960.
After a decades-long absence, Rhyne returned to music in the ‘90s, recording regularly as a leader.
Rhyne died Mar. 5th at 76.
BEBO VALDÉS - Father of pianist Chucho, the elder Valdés was also a pianist and led big bands
during Cuba’s “Golden Age”, helping innovate Latin jazz as well as composing for Celia Cruz.
Spurred on after an appearance in the documentary Calle 54, he is most known for his late-career
work, which netted him several Grammy awards. Valdés died Mar. 22nd at 94.
FRAN WARREN - The vocalist, born Frances Wolfe, had an unsuccessful audition for Duke
Ellington at age 16 but went on to sing with the ‘40s bands of Billy Eckstine (who gave her her stage
name), Charlie Barnet and Claude Thornhill as well as performing on Broadway and acting in
movies. Warren died Mar. 4th on her 87th birthday.
DEREK WATKINS - The British big band trumpeter worked with large ensembles on both sides of
the Atlantic, under such leaders as John Dankworth and Count Basie, starting in the ‘50s. He was
also a regular performer with pop acts like Frank Sinatra and Barbra Streisand. His greatest claim to
fame, however, may be his soundtrack work, including every James Bond film. Watkins died Mar.
22nd at 68.
May 22
†Sun Ra 1914-93
†Elek Bacsik 1926-1993
Giuseppi Logan b.1935
Dick Berk b.1939
May 23
†Artie Shaw 1910-2004
†Rosemary Clooney 1928-2002
†Les Spann 1932-89
Daniel Humair b.1938
Marvin Stamm b.1939
Don Moye b.1946
Richie Beirach b.1947
Ken Peplowski b.1959
Darcy James Argue b.1975
May 24
†Frank Signorelli 1901-75
†Herbie Fields 1919-58
Max Bennett b.1928
†Gianni Basso 1931-2009
Michael White b.1933
Archie Shepp b.1937
†Charles Earland 1941-99
Francesco Cafiso b.1989
May 25
Marshall Allen b.1924
†Miles Davis 1926-91
†Piet Noordijk 1932-2011
Gary Foster b.1936
Christof Lauer b.1953
Wallace Roney b.1960
May 26
†Ady Rosner 1910-76
†Shorty Baker 1914-66
†Ziggy Elman 1914-68
†Calvin Jackson 1919-85
†Neil Ardley 1937-2004
David Torn b.1953
May 27
†Albert Nicholas 1900-73
†Jock Carruthers 1910-71
†Bud Shank 1926-2009
Ramsey Lewis b.1935
†Rufus Jones 1936-90
†Niels-Henning Ørsted
Pedersen 1946-2005
Gonzalo Rubalcaba b.1963
May 28
†Andy Kirk 1898-1992
†Al Tinney 1921-2002
†Russ Freeman 1926-2002
Alfred Patterson b.1937
Claudio Roditi b.1946
May 29
Freddie Redd b.1927
†Hilton Ruiz 1952-2006
Jim Snidero b.1958
Lafayette Harris, Jr. b.1963
Wycliffe Gordon b.1967
Sean Jones b.1978
May 30
†Sidney DeParis 1905-67
†Benny Goodman 1909-86
†Pee Wee Erwin 1913-81
†Shake Keane 1927-97
†Harry Beckett 1935-2010
Ann Hampton Callaway b.1959
Juan Pablo Carletti b.1973
Frank Rosaly b.1974
May 31
†Red Holloway 1927-2012
Albert “Tootie ”Heath b.1935
Louis Hayes b.1937
Marty Ehrlich b.1955
Eric Revis b.1967
Christian McBride b.1972
Nummer 12
Manfred Schulze (FMP)
May 2nd, 1985
Manfred Schulze (baritone sax but
also piano, violin and clarinet) was a
relatively obscure member of Berlin’s
avant garde jazz scene, starting out as
a big band player during the mid ‘60s
but moving into more improvisatory
realms in the ‘70s. His Bläser Quintett,
a horn-only group whose most
famous member was trombonist
Johannes Bauer, debuted with this
live album from Wuppertal (though
an earlier recording surfaced last
year). The album is two side-long
improvisations, parts 1 and 2 of the
title track.
PAUL DUNMALL
May 6th, 1953
It is strange to see in
saxophonist/bagpiper Paul
Dunmall’s discography that
the first entry is a 1976 album
with Johnny “Guitar” Watson.
This aberration aside, since
the early ‘80s, Dunmall has
been one of his country’s
fiercest improvisers. He has
been a longtime member of
the London Jazz Composers
Orchestra and the cooperative
group Mujician. He has
collaborated with fellow
British saxophonists like Evan
Parker and Elton Dean and
has had a long partnership
with bassist Paul Rogers.
Apart from albums on
Cuneiform, FMR and SLAM,
much of his recent recorded
output is available through his
own DUNS label, from solo
bagpipe expositions and duos
with Rogers to variously-sized
free jazz encounters. -AH
Last Detail – Live at Café Sting
Detail (Cadence Jazz)
May 2nd, 1994
Detail was an international
improvising ensemble co-led by
Norwegian saxophonist Frode
Gjerstad and British drummer John
Stevens. Their first gigs were in the
early ‘80s with Johnny Dyani on bass.
By the later ‘80s, various guests
performed with the group and Kent
Carter had replaced Dyani (who died
in 1986). The title of this live album,
four improvisations including a solo
drum piece, recorded in Gjerstad’s
native Stavanger, refers to it being the
group’s final recording, Stevens dying
at 54 four months later.
THE NEW YORK CITY JAZZ RECORD | May 2013 47

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