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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 ALL-STAR CAST FEATURING Branford Marsalis Robert Glasper Bennie Maupin Marcus Belgrave Jeff “Tain” Watts Adam Rudolph BoB a Palindrome” is exceptional... and everyone is firing on all cylinders…” MARK STRYKER- DETROIT FREE PRESS …Hurst’s inspired compositions and first-rate production values make this one of the highlights of the 2013 season." STEVE BRYANT- AllAboutJazz.com DAVE SUMNER’S JAZZ PICKS- emusic.com 20% OFF (Mention the code “JR20”) 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 New Audiences & Absolutely Live in association with the present & featuring Steve Gadd David Bob 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 SANBORN JAMES THURSDAY JUNE 6 | 8 PM 123 West 43rd Street | www.the-townhall-nyc.org Ticketmaster.com or 800.745.3000 Town Hall Box Office 212.840.2824 Photo: Hollis King 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. KAISEI PAUL VAN KEMENADE | AKI TAKASE | HAN BENNINK | FUGARA MARKUS STOCKHAUSEN | MARKKU OUNASKARI | STEVKO BUSCH | PAUL VAN KEMENADE RAY ANDERSON | HAN BENNINK | ERNST GLERUM | PAUL VAN KEMENADE STEVKO BUSCH | PAUL VAN KEMENADE THREE HORNS AND A BASS MAHIEU | BOUDESTEIjN | VERPLOEGEN | VAN KEMENADE BOOKINGS www.paulvankemenade.com photo: Stef Mennens and Geert Maciejewski BOOKINGS www.galleryoftones.com THE NEW YORK CITY JAZZ RECORD | May 2013 21
Page 1: May 2013 | No. 133 WILL CALHOUN You
Page 4 and 5: NEW YORK @ NIGHT The Hell’s Kitch
Page 6 and 7: Photo by Bill Bernstein INTERVIEW D
Page 9 and 10: ON THE COVER In accepting one of tw
Page 11 and 12: MEGAPHONE Cornet and Lineage: Ron a
Page 14 and 15: CD REVIEWS HUSH POINT SSC 1358 In S
Page 16 and 17: GLOBE UNITY: ITALY Sin Fronteras Ac
Page 18 and 19: $18 ADVANCE $20 AT DOOR 9/20: Roy E
Page 22 and 23: 22 May 2013 | THE NEW YORK CITY JAZ
Page 24 and 25: The View From Here Kyle Eastwood (J
Page 26 and 27: Haymaker Noah Preminger (Palmetto)
Page 28 and 29: Chants Craig Taborn Trio (ECM) by J
Page 30 and 31: LASZLO GARDONY / CLARITY SSC 4014 I
Page 32 and 33: 32 May 2013 | THE NEW YORK CITY JAZ
Page 34 and 35: Time Travel Dave Douglas Quintet (G
Page 36: BOXED SET Ten Freedom Summers Wadad
Page 39 and 40: Saturday, May 4 êCyro Baptista and
Page 41 and 42: Monday, May 13 êGil Evans Birthday
Page 43 and 44: Saturday, May 25 êMark Soskin Trio
Page 45 and 46: CLUB DIRECTORY • 54 Below 254 Wes
Page 47 and 48: KENNY BALL - The British trumpeter

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