Your FREE Guide to the NYC Jazz SceneMay 2012 | No. 121

CAMERON BROWN

RAOUL BJÖRKENHEIM

GRASSELLAOLIPHANT

MAYARECORDS

EVENTCALENDAR

nycjazzrecord.com

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THE NEW YORK CITY JAZZ RECORD | May 2012 3

We at The New York City Jazz Record are not ones to spend a lot of time patting ourselves on the collective back. There is simply too much jazz to cover in the city and beyond to get wrapped up in self-congratulation. Plus we know that we couldn’t exist without all the hard work of our writers and photographers as well as the jazz community at large. But there are few milestones worth celebrating. This issue marks 10 years of operation as New York’s only homegrown jazz gazette. It makes us dizzy to think of it. A decade. 121 issues. Hundreds of artists featured. Thousands of CDs reviewed. Seemingly millions of concerts listed. When we started this venture in May of 2002, we honestly had no idea what we were getting ourselves into and we’ve barely had a minute to breathe since. But 10 years of anything is an accomplishment and to that end we’ve taken the bold step of dedicating this month’s cover story to ourselves. Take a look at our commemorative centerfold spread, wherein we’ve canvassed many of the legendary musicians who have graced our covers over the past years (all of which make up the image on the front cover) for testimonials. We are truly humbled by the kind words they have shared with us, taking time out of their schedules to offer praise for our efforts to support the world of jazz in all its iterations: in and out, local and international, large and small. That we have their support has made the monthly struggle more than worth it and invigorates us for another decade of continuing our mission. But their thanks are not reserved for us; they apply to anyone who supports jazz, whether it be by playing, attending a concert, buying an album, running a record label, booking a club, writing a review, teaching a class or, most importantly, turning someone else on to this wonderful and timeless art form. We’ll keep doing our part, content with our modest role as jazz proponents, and you do yours. Together we’ll succeed and jazz will continue to thrive. Thank you so much for 10 years of support.

On the cover: 10 Years and 120 issues of The New York City Jazz Record

Corrections: In last month’s Globe Unity threefer CD review, Michel Delville of Machine Mass Trio is Belgian, not Dutch. In the Birthdays, we neglected to indicate that Eddie Marshall passed away in 2011.

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.

Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director

The New York City Jazz Recordwww.nycjazzrecord.com / twitter: @nycjazzrecord

Managing Editor: Laurence Donohue-GreeneEditorial Director & Production Manager: Andrey Henkin

Staff WritersDavid R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull,

Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman,

Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Marc Medwin, Sharon Mizrahi, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon,

Jeff Stockton, Andrew Vélez, Ken WaxmanContributing Writers

Duck Baker, Marc Hannaford, George Kanzler, Matthew Kassel, Sean J. O’ConnellContributing Photographers

Enid Farber, Scott Friedlander, Peter Gannushkin, Hervé Hette, John Rogers, Jack Vartoogian

To Contact:The New York City Jazz Record116 Pinehurst Avenue, Ste. J41 New York, NY 10033United States

Laurence Donohue-Greene: ldgreene@nycjazzrecord.comAndrey Henkin: ahenkin@nycjazzrecord.comGeneral Inquiries: info@nycjazzrecord.comAdvertising: advertising@nycjazzrecord.comEditorial: editorial@nycjazzrecord.comCalendar: calendar@nycjazzrecord.com

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

New York@Night

Interview: Cameron Brownby Laurence Donohue-Greene

Artist Feature: Raoul Björkenheimby Martin Longley

On The Cover: 10th Anniversary Celebration24

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Megaphone VOXNewsby Marc Hannaford by Katie Bull

Label Spotlight: Listen Up!: Maya Records Chris Crenshawby Ken Waxman & John Yao

Encore: Lest We Forget: Grassella Oliphant Chick Webbby George Kanzler by Donald Elfman

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Event Calendar

Club Directory

Miscellany: In Memoriam • Birthdays • On This Day 474538

CD Reviews: Mikko Innanen, Bucky Pizzarelli, Aaron Diehl, Ben Riley, Eric Reed, David Bindman, Mary Halvorson and more

Festival Report: Festa do Jazz do São Luiz

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4 May 2012 | THE NEW YORK CITY JAZZ RECORD

Pianist Craig Taborn has gigged with bassist Thomas Morgan and drummer Gerald Cleaver for a number of years, but it took the trio all this time finally to play New York. The late Saturday set at the Village Vanguard (Apr. 7th) moved from deep abstraction and stillness to a kind of beat-based pulsing energy, reflecting Taborn’s far-flung influences, from Cecil Taylor to Detroit techno. Large stretches were free, but the precision was unmistakable, a key aesthetic ingredient. Taborn and Morgan, immersed in the densest thickets of improvised sound, would launch suddenly into tight unison passages, some of which seemed to stretch the limits of the possible (Morgan’s contorted fingerings belied the elegance of the ideas themselves). Taborn announced no titles, but some of his repertoire for the week, including “American Landscape”, was from the 2001 trio disc Light Made Lighter, though completely reinvented. Newer pieces had working titles like “Chorales” and “Gal 1”. The leader gave his lyrical, reflective side plenty of room to show itself, yet the rhythms were true puzzlers, marked by hypnotic repetition, aggressive attack and exceedingly subtle shifts over time. Seeds of this approach were sown during Taborn’s period with Tim Berne; there are interesting parallels to be drawn with Vijay Iyer’s Accelerando as well. But the trio’s ECM debut - the follow-up to Taborn’s 2011 solo piano stunner Avenging Angel - will likely defy all comparisons when it’s recorded later this year. - David R. Adler

It’s always been the case: Kneebody just has to be experienced live. That’s the logic behind the band’s multi-night residencies hosted by promoting organization Search & Restore. The last of four evenings at Littlefield (Apr. 14th) was appropriately festive. Trumpeter Shane Endsley, tenor saxophonist Ben Wendel, keyboardist Adam Benjamin, bassist Kaveh Rastegar and drummer Nate Wood were visibly thrilled to have bassist and singer-songwriter Meshell Ndegeocello as their guest (previous nights found the band covering music by Tom Zé, Judee Sill and others). But first Kneebody offered a set of its own, playing music from a forthcoming album, including Benjamin’s “Blorp”, which segued into “Unforeseen Influences” from 2010’s You Can Have Your Moment (Winter & Winter). There’s no exact name for Kneebody’s music - it’s electric jazz, surely, with wall-shaking beats and a phenomenal intricacy typified by “Trite”, with a killer drum intro from Wood, and “Towel Hard”, the blistering final encore. But Ndegeocello’s set brought out another kind of versatility in these players, as they tackled Gil Scott-Heron’s “The Revolution Will Not Be Televised”, Jimi Hendrix’ “Spanish Castle Magic” and items from Ndegeocello’s 2011 disc Weather including “Dead End”, the P-Funkish “Rapid Fire” and the noir ballad “Crazy and Wild”. Chris Bruce added scratchy Telecaster and Ndegeocello wielded Fender bass when she wasn’t singing with a rueful tenderness - a sound as hard to pin down as Kneebody itself. (DA)

The Italian percussionist Andrea Centazzo included in his two weeks curating The Stone a tribute to one of the founding fathers of free improvisation, the guitarist Derek Bailey (Apr. 6th), who Centazzo has credited as an inspiration and with whom he played. There was a bit of modesty to the program. Centazzo himself didn’t perform but rather sat in the back, playing short, unreleased recordings of Bailey for a sextet of guitarists for each to duet in turn. It could have been seen as a one-way street with Bailey sitting at the end of the block, thus running counter to the idea of a ‘jazz conversation’. But in fact it reaffirmed the aesthetic ethos Bailey espoused: playing with individual commitment over playing ‘together’. The remarkable assemblage (Marco Cappelli, Chris Cochrane, Henry Kaiser, Anders Nilsson, Elliott Sharp, Davey Wilson, with Cochrane and Williams on electric and Nilsson switching between electric and a beautiful, acoustic alto with five resonating strings) then played a group improvisation and some round-robin duets. If it is to be characterized in a phrase, it was an exercise in tasteful extended instrumental technique. Even without Bailey coming through the PA, the playing during the second half remained every bit as in the spirit of the patron saint of musical spontaneity. Maybe even moreso, as the pumps had already been primed by the virtual duets. The sextet played with purpose, as if Bailey were still in the room, or perhaps because he no longer was. - Kurt Gottschalk

The history of jazz is built on mimicry. Aping and comping are par for the course. But it’s odd when the borrowing occurs on such a small branch of the tree as is the one inhabited by the longstanding Australian piano trio The Necks and the younger and similarly-constructed trio Dawn of Midi. It’s hard to ignore the similarities in their slowly evolving instrumental excursions, minimalism mixed with the warmth of jazz, but one hopes there’s room for both. The younger band displayed their devotion to the craft at Le Poisson Rouge (Apr. 3rd), sharing a Search & Restore double bill with bassist Eivind Opsvik’s Overseas group. Drummer Qasim Naqvi opened the set with a steady beat on dual toms, which was met with a two-note figure from Aakaash Israni’s contrabass. A third rhythm played by Amino Belyamani on muted piano strings somehow stitched the two together. Before long the staccato piano had taken over and soon stretched out to allow isolated chords into the rhythmic mix. It came off a bit like a round of the children’s game “button, button, who’s got the button” but only because of the limitations of the listening mind, the desire to hear time as a progression, the want for hierarchy of sounds, or at least for order. And that’s the trio’s trick: they are so orderly that there is not “what” to ask so we instead wonder “how?” and the how it would seem is deceptively easy. It’s assumedly something like hang-gliding or walking on hot coals; that is, it’s done by doing it. (KG)

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Craig Taborn, Thomas Morgan, Gerald Cleaver @ Village Vanguard

Photo by Scott Friedlander

Derek Bailey Tribute @ The Stone

NEW YORK @ NIGHT

the new school for jazz and contemporary music

25th anniversary celebration Join us for special programs and performances through spring 2012.

monday, may 7

We are proud to announce a new partner-ship with the world-renowned downtown performance venue, Joe’s pub at the public theater. Join us for our first event!

the new school rhythm & Blues revue, directed by michael Wolff at 7:00 p.m. the new school afro-cuban Jazz orchestra, directed by Bobby sanabria at 9:30 p.m.

Joe’s pub, 425 lafayette st.

$15; tickets can be purchased in person at the public theater Box office or online at www.joespub.com or by calling 212.539.8778.

monday, may 14, 8:00 p.m.

JaZrael: festival of israeli Jazz & World music at the new school for Jazz & contemporary music featuring alumni shimrit shoshan along with nsJcm student groups

Jazz and contemporary music performance space, arnhold hall, 55 West 13th street, 5th floor

$10 advance tickets can be purchased by emailing boxoffice@newschool.edu or calling 212.229.5488.

www.newschool.edu/jazzevents

YEARS

An Affirmative Action/Equal Opportunity Institution

THE NEW YORK CITY JAZZ RECORD | May 2012 5

Befitting his exploratory personality as a player, the late German bassist Peter Kowald was truly an international musician, collaborating with all sorts of people in all sorts of places. One place in particular that felt the vibration of his strings was New York City. In 1984 he connected with Patricia Parker to organize the Sound Unity Festival, precursor to today’s Vision Festival, the latter at which Kowald could always be found making sandwiches before his death almost ten years ago. Parker and several former colleagues, as well as stylistic heirs, came together at Clemente Soto Velez Cultural Center (Apr. 2nd) to fête his memory. With no composed music to be played, the festivities tried to recall the spirit of Kowald in expansive and often gregarious spontaneous expositions. Of the evening’s several mini-sets, anywhere from 2 to 12 minutes long, the highlights were a dirgey quartet of Kowald collaborator Masahiko Kono (trombone) alongside the modern jazz triumvirate of saxist Tony Malaby, bassist John Hébert and drummer Ches Smith; a unique chamber group featuring the twin basses of Hébert and William Parker (a nod to Kowald’s love of bass duos) bubbling under kotoist Miya Masaoka, violinist Jean Cook and guitarist Tor Snyder, a series of wails, moans and scrapes, and an unscheduled duo between saxophonist Joe McPhee and French horn player Vincent Chancey that ended with forceful cohesion, something Kowald the improviser always stressed in his own music. - Andrey Henkin

The late guitarist Derek Bailey was a firm believer in the power of improvisation and from 1977-94 he organized Company weeks, annual meetings of improvisers from around the world, held in London, New York or Hakushu, Japan. Josh Sinton, gatekeeper of the Douglass Street Music Collective, a man with an ear for history, has revived these encounters with his semi-regular Gowanus Company evenings. And even on a modest scale, Sinton still brings together not only musicians from different jazz spheres but also countries (even if they mostly live in Brooklyn). The only out-of-towner at the fourth iteration (Apr. 8th) was British trumpeter Roland Ramanan, who gelled nicely with saxist/clarinetist Matt Bauder, bassist Ken Filiano and drummer Vinnie Sperrazza in an 18-minute set, which recalled the New York Contemporary Five, and later with former fellow Londoner Ingrid Laubrock (in a rare alto turn) for nine minutes with violinist Sarah Bernstein, Filiano and the aptly named Booker Stardrum. A band that could very easily work again was Bauder in a quartet with trumpeter Brad Henkel, bassist Michael Bates and pianist Jesse Stacken, Bauder pulling a Rahsaan at the end of the 12 minutes by playing both halves of his clarinet simultaneously. Sinton played twice in the first “act”, providing nine minutes of otherworldly whooshes on bass clarinet alongside Laubrock, Henkel and Stardrum and then during a 12-minute acid trip with Sperrazza, Weston Minissali (synth) and Han-Earl Park (guitar). (AH)

NEA Jazz Master Randy Weston continues his quest to explore the African roots of jazz, premiering an ambitious new work, An African Nubian Suite, at the NYU Skirball Center (Apr. 8th). An elegantly attired crowd filled the hall on Easter Sunday to hear the great pianist’s latest homage to the cradle of civilization, an elucidating 15-movement suite, which opened with narration by esteemed author Wayne Chandler recounting the continent’s ancient history, accompanied on the stringed nefer by Egypt’s Ayodele Maakheru for “Nubia” and “Tehuti”. Weston was then featured at the piano with African Rhythms Orchestra trumpeter Cecil Bridgewater and conguero Candido on Weston's pulsating original “The Call” and in duo with Howard Johnson’s tuba on “Ardi”, again with narration by Chandler. Middle movements found the pianist exploring the African diaspora with the Moroccan Gnawa Lhoussine Bouhamidy, Gambian kora player Salieu Suso, American flutist TK Blue, Chinese pipa player Min Xiao-Fen and Ghanaian balafonist Kwaku Obeng. Three blues paired Weston’s deeply rooted piano with trombonist Robin Trowers, tenorist Billy Harper and bassist Alex Blake in soulful expression. Chandler’s recitation on “The Woman” preceded poet Sonia Sanchez’ lively reading accompanied by Weston. The band with Lewis Nash on drums and Neil Clarke on percussion then fired things up on “African Family” before Mali’s Tanpani Demda Cissoko’s stirring closing song. - Russ Musto

A rising star in her native Chile, as well as Mexico, Spain and Boston, where she studied with George Garzone at Berklee, Melissa Aldana is just beginning to make a name for herself in New York, with recent engagements at Dizzy’s Club and The Jazz Gallery and a guest appearance with mentor George Coleman at Jazz Standard. Fronting her own group at Smalls (Apr. 4th), where she is a regular, Aldana proved herself to be an innovative force as a bandleader and composer, as well as an authoritative player. Wielding the classic Selmer Mark VI her grandfather Kiko once played in Santiago’s renowned Orquesta Huambaly, the saxophonist paired off with trumpeter Gordon Au in the frontline to open her first set with his “Ellemeno”, a boppish melody that found the two engaged in a stimulating dialogue, buoyed by Nir Felder’s alternately exotic and classic guitar sound. The conversation continued on Au’s “Liquiescence”, a flowing narrative line on which both the horn players demonstrated distinctively personal voices, the trumpeter growling Ellingtonian effects as Aldana purred and roared through her impressive range. Bassist Joseph Lepore and drummer Ross Pederson provided a powerfully shifting rhythmic foundation on the fiery title track of Aldana’s impressive debut CD Free Fall (Inner Circle). On “I’ll Be Seeing You”, the tenorist displayed an unsentimental romanticism that recalled great balladeers Don Byas and Chu Berry, before ending with her hard-driving “L – Line”. (RM)

The jazz programming at The Kitano Hotel is about to get brand new digs. The rechristened Jazz at Kitano will move from the upstairs balcony area of the hotel to a renovated ground floor space, with three times the capacity and unobstructed sight lines. The new space, entrance on 38th Street, will open May 2nd with Bob Rodriguez’ trio. For more information, visit kitano.com.

Dizzy’s Club Coca-Cola, the centerpiece of Jazz at Lincoln Center, has made an adjustment to their monthly programming. Each Thursday starting May 3rd at 11 pm, instead of the usual After Hours set, there will be a Late Night Session hosted by Michael Mwenso (of London’s Ronnie Scott’s Jazz Club), with the “mission is to provide local and visiting musicians a place to hang, commune and play together into the morning hours while featuring some of today’s greatest young musicians.” For more information, visit jalc.org.

The Jazz Gallery, the venerable club just north of Canal Street, has lost its lease after 17 years and needs to relocate by the end of 2012. The venue has set up a website about the transition and to raise funds. For more information, visit jazzspeaks.org/ a-home-run.

A (somewhat ghastly) 20-foot, stainless steel sculpture of bandleader Duke Ellington, surrounded by an abstract representation of a piano, has been installed in Ellington Plaza in Northwest Washington DC in front of the Howard Theatre. Ellington grew up in the area and the statue, by DC artist Zachary Oxman, was commissioned by the DC Commission on the Arts and Humanities.

The Doris Duke Charitable Foundation (DDCF) has awarded in excess of $5.5 million to its first class of Doris Duke Artists, each receiving an unrestricted, multi-year cash grant of $225,000, plus as much as $50,000 more in targeted support for retirement savings and audience development. Among the 21 initial recipients, jazz musicians are very well represented: Don Byron, Bill Frisell, John Hollenbeck, Vijay Iyer and Nicole Mitchell. To be eligible for the award, an artist must have won grants, prizes or awards on a national level for at least three different projects over the past ten years, with at least one project having received support from a DDCF-funded program. For more information, visit ddcf.org.

Legendary pianist Herbie Hancock has agreed to a deal with Viking Press to write his memoir of not only decades in the music industry but also his life and spirituality. His collaborator on the book, expected for publication in 2014, is as yet to be named. The estate of the late saxophonist Paul Plummer, who died in January at 73, has donated $1.9 million to the Indiana University Jacobs School of Music Jazz Studies, as chaired by Professor David N. Baker. Plummer worked in a band of Baker’s in Indiana in the late ‘50s and both went on to record on seminal albums by pianist/composer George Russell. For more information, visit indiana.edu.

An effort is underway to renovate the Philadelphia house in which saxophonist John Coltrane lived from 1952-58 in the Strawberry Mansion neighborhood. Though named a national historic landmark in 1999, the house has been unoccupied for several years and is deteriorating rapidly. A non-profit organization has been established to raise funds for repairs. For more information, visit johncoltranehouse.org.

Submit news to info@nycjazzrecord.com

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Vincent Chancey & Joe McPhee @ Clemente Soto Velez

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Ayodele Maakheru @ NYU Skirball Center

W H A T ’ S N E W S

INTERVIEW

Bassist, educator and bandleader Cameron Brown has anchored some of the most important jazz ensembles since the ‘70s and has performed and/or recorded with a who’s who of jazz including George Russell, Don Cherry, Archie Shepp, Art Blakey, George Adams, Don Pullen, Dewey Redman and Joe Lovano. He leads two ensembles - Cameron Brown and the Hear and Now and his Dannie’s Calypso. This month, he performs at Cornelia Street Café in his longtime duo with vocalist Sheila Jordan and with saxophonist Jason Rigby’s trio and his Dannie’s Calypso performs north of the city at The Falcon in Marlboro.

The New York City Jazz Record: You were born in Detroit. Did you also grow up musically in Detroit?

Cameron Brown: There was lots of music and amazing musical opportunities in Detroit when I was a kid and I soaked it all up. I had a great first teacher, at 10, on piano, who made music a safe haven for me, then played clarinet from 7th grade and, in the middle of the 10th grade, I picked up the bass on an instrument made out of sheet-metal that a buddy of mine had in his basement. I had great band and orchestra directors in junior high and high school and started to learn how to play in an ensemble. By senior year I made first chair bass in the orchestra. And there was this club, the Minor Key, where I got to hear and see Miles, Coltrane, Bobby Timmons’ trio with Ron Carter and “Tootie” Heath, Blakey’s band and many more. Blakey’s band wore these slim French suits with no lapels and their shirts had ruffles at the sleeves. Later when I played with Blakey he wore farmer overalls [laughs]!

TNYCJR: Many may not realize or remember that you were briefly with Art Blakey’s Jazz Messengers. How long did you play with him?

CB: I played with Blakey for six months - the second half of ‘76. It was intense. I was hanging in Paris, working with [saxist] Archie Shepp whose band I had joined the year previous and I got a call from the notorious Dutch agent, Wim Wigt, who was booking some gigs for Shepp and knew I was off. Did I want to do a couple of gigs with the Messengers? Wow, is the bear catholic?! I went up to Belgium to meet Art. I didn’t know him and, as far as I knew, he didn’t know me at all. On the way up to the bandstand on that first gig, he put his arm around me - before we even played a note - and said, “Yeah, Cam, I heard about you, I want you in the band.” Buhaina [Blakey’s Muslim name] was irresistible. I left Shepp, had a day or two off and became a Jazz Messenger in Torino. It was a dream come true to be with Art, but I had a daughter who was not yet one year old and who I almost never saw... I kind of burned out and finally, in December, after five weeks in Japan, I actually left the band. And even though my time with Blakey was brief, there is a DVD documenting the band recorded at the TDK Jazz

Club that year. With Archie teaching at UMass, he couldn’t be on the road all the time like Bu. I called him and was very thankful to get back into his band. Then I could freelance in New York between his tours and spend some very precious time with my first-born.

TNYCJR: And how did you initially join Archie Shepp’s band?

CB: I had first gotten together with Shepp in ’75. His bassist Jimmy Garrison was very sick and Shepp had a big tour that summer. It was a humbling experience to know I was taking Jimmy’s place - he was one of my big heros. When I was a kid, I had no idea what Trane was doing, but I was totally mesmerized listening to and watching Jimmy and Elvin [Jones]. I wanted to try to figure out how to do THAT - I wanted to get inside that kind of connection and intensity! I was very close with Beaver Harris, Archie’s drummer. Beaver recommended me to Shepp and he hired me. I was completely green. I hadn’t done any tours like this and had no clue what a huge star Shepp was in Europe.

TNYCJR: A decade prior to you joining Shepp was your recording debut, George Russell’s At Beethoven Hall (SABA-MPS, 1965) featuring Don Cherry.

CB: That was a remarkable chain of events. There was this trombone player, Brian Trenton, who was a junior at Columbia when I arrived as a freshman in ‘64. We played some intercollegiate jazz festivals with a quartet. Brian was David Baker’s star student. Dave, who was George’s trombonist, had hurt his chops in a car accident and could no longer play the horn. Brian had already played the trombone chair with George and studied composition with him. George was living in Sweden and Brian was taking a year off school to go over to play with him. When he got there, he talked George into inviting me over. If you had asked me to choose somebody that I might want to play with at that moment, it would probably have been Russell. I was a totally green 19-year old who had been playing bass four years. But, there I am, on that record... Of course, the main heavy, heavy thing that happened was that I met and played with Don Cherry that year and he had a huge impact on me, musically and personally.

TNYCJR: And did you get to work with Cherry much?

CB: In March of ‘66, I got a chance to play for a week and a half in Copenhagen with his legendary band from Paris - with Gato Barbieri, Karl Berger and Aldo Romano. Trying to play that music, with that band, totally changed my life and my perception of music. I work with Don’s ideas today in my Dannie’s Calypso band. The Danish radio recorded Don’s month-long stand at the Club Montmartre but for the radio to record, there had to be at least one Danish guy in the band and so since I had to split to play a concert with

George in Oslo, that gig, with Bo Stief from Denmark on bass, is documented on ESP-Disk. I stayed close with Don and his family back in the States, but didn’t play with him that much. Decades later I did part of a week at the Village Vanguard with him in ‘85. In ‘86, I did a whole week with him, Ed Blackwell and Carlos Ward there. It was the thrill of a lifetime for me. Nine sets got recorded, but none of it’s been released. I was listening to it just yesterday and there is at least one, maybe two, really good CDs-worth of material in there.

TNYCJR: Perhaps one of your best-known associations (CONTINUED ON PAGE 46)

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6 May 2012 | THE NEW YORK CITY JAZZ RECORD

ARTIST FEATURE

While we’re searching for an even more precise term, we shall deem guitarist Raoul Björkenheim’s prime musical fetish as being the power trio. He will be bringing at least one of these formations to New York this month. Blixt will be appearing at The Stone, still celebrating the recent release of their debut album on the Cuneiform label. Most definitely a power trio. Björkenheim will also be gigging with another threesome, one that will certainly display a degree of power, if not the full charge. Any group setting that features this guitarist guarantees a high energy level. This second trio will play at Le Poisson Rouge to celebrate the 21st anniversary of the mighty disc’n’vinyl emporium Downtown Music Gallery (DMG). Although born in Los Angeles, Björkenheim’s parents are Finnish. He moved to their homeland at the age of 15. In 2001, he came to live in NYC, but has recently resettled in Helsinki. Björkenheim came to international prominence as a member of drummer/composer Edward Vesala’s Sound And Fury. Vesala was one of Finland’s most famed jazzers and a strikingly individual bandleader. This was an auspicious beginning. Then, Björkenheim formed the Krakatau band at the end of the ‘80s and the modern day descendant of this combo is Scorch Trio, now on the brink of being reincarnated with a new lineup. “My playing took a few sharp turns during those years,” says Björkenheim, contemplating his arrival in NYC. “But any money to be made in playing jazz was in Europe, so I wound up flying back and forth something like 25 times, which became quite a burden. To help make ends meet, I also played blues guitar on Union Square for about three years, another education in itself. Finally, I just needed a change of air, so I moved back to Helsinki in 2008. Here I have a good university teaching gig. I get commissions to compose and I have several bands that keep me playing in live situations. Now I’m coming to play in New York, I miss the vibe of living there, but I guess Helsinki just makes more sense. There’s a good scene going on and a lot of very talented young players.” The Blixt trio features Björkenheim along with bassist Bill Laswell and Swedish drummer Morgan Ågren. The album makes a fierce attack on the ears, but Laswell’s bass is limber and Ågren’s stick-style skitters nimbly. They provide an agile bracing for Björkenheim’s molten topping. Blixt enjoys the heaviness of hard rock, the suppleness of funk and the improvisatory speed-reflexes of jazz. The combined result is mostly cataclysmic, but never blundering. There’s always a subtlety of step, despite any onslaught of excess. Björkenheim first recorded with Ågren in 2006, under freely improvising conditions. This resulted in the Box project for the Rune Grammofon label. They subsequently toured around European parts. “I would have loved to start booking that band,” says Björkenheim. “But the logistics made it unfeasible, so it sort of died out. Too bad, is what I say...” Björkenheim’s relationship with Laswell stretches

back much further, to their late ‘90s membership of Paul Schütze’s Phantom City. “I would have loved that band to continue touring, but here again the logistics got in the way. The band’s Tampere Jazz Happening gig was recorded and released as Shiva Recoil. I originally wanted to be a bass player after being mesmerized by Jack Bruce with Cream, so I have a great affinity for that instrument. Playing with Bill is great, I only wish there were more opportunities for us to get together.” A few years later, Björkenheim also toured with the Ethiopian singer Gigi, who also happens to be Laswell’s wife. “I started to imagine this wicked power trio thing,” recalls Björkenheim. “So I corresponded with Morgan and asked if he was into doing a recording with Laswell, which he indeed was. Then I called Bill who was also into the idea.” Bruce Gallanter, one of the owners of DMG, set up a gig at the Bowery Poetry Club, which was followed by two days of recording at Laswell’s Orange Studio in New Jersey. “This was one of those stories of one thing leading to another, so it felt very organic and exciting all at once,” says Björkenheim. “I hear this wild music based on unusual polyrhythmic combinations. I’ve always been a rocker at heart and I’d love to create an anthemic sound with Blixt that would defy so-called music genres and even compel people to move their asses to some heavy sounds!” For the Le Poisson Rouge gig, dynamics are different. Björkenheim will be joined by fellow guitarist Anders Nilsson, with drummer Gerald Cleaver completing this possibly less extreme trio. They played at The Shrine in Harlem and DMG, just over a year ago, and this led directly to a recording session. The combo and their soon-coming album share the same name, Kalabalik. “This is a Swedish word meaning an insanely wild party. The approach is stream-of-consciousness interplay and the record shows an attitude reminiscent of Tony Williams and his Lifetime, but I think there are many avenues to be explored with this group.” Björkenheim’s next move will probably involve (we guessed it!) another power trio manifestation. He played a short tour last May with the new Scorch, except that this threesome has now grown to a quartet, with Mars Williams (saxophones), Ingebrigt Håker Flaten (bass) and Frank Rosaly (drums). “We connected very well and two of the gigs were recorded and are on our new double LP on Rune Grammofon, Made in Norway [a limited edition vinyl set]. We’re definitely going to continue the saga, but at the moment we’re again hindered by logistics. I’ve recently put together a new website and my plan is to now activate all my connections and get the ball rolling so that there would soon be more Scorch gigs on the horizon.” v

For more information, visit raoulbjorkenheim.com. Björkenheim is at The Stone May 17th and Le Poisson Rouge May 25th. See Calendar.

Recommended Listening: • Edward Vesala Sound and Fury - Lumi (s/r, 1986)• UMO Jazz Orchestra - Primal Mind: UMO Plays the Music of Raoul Björkenheim (Live in Helsinki 1991) (UMO, 1991) • Krakatau - Matinale (ECM, 1993) • Raoul Björkenheim/Ingebrigt Håker Flaten/ Paal Nilssen-Love - Scorch Trio (Rune Grammofon, 2002) • Raoul Björkenheim/William Parker/Hamid Drake - DMG @The Stone, Vol. 2 (Arc-DMG, 2006)• Raoul Björkenheim/Bill Laswell/Morgan Ågren - Blixt (Cuneiform, 2010)

THE NEW YORK CITY JAZZ RECORD | May 2012 7

Raoul Björkenheimby Martin LongleyPe

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8 May 2012 | THE NEW YORK CITY JAZZ RECORD

Grassella Oliphantby George Kanzler

It’s an enticing story. The Collectables reissue label brings out a CD in 2005 combining the only two LPs a jazz drummer recorded, in 1965, and three years

later the drummer, Grassella Oliphant, seems suddenly to appear out of nowhere on the jazz scene after an absence of almost four decades, a return being capped by an appearance with his band at Dizzy’s Club this month. An irresistible narrative but, like many good stories, short on the actual facts. Not long after that 1967 LP, The Grass is Greener, came out on Atlantic, Oliphant moved out of Manhattan to a house in East Orange, NJ, determined to raise his own family. “I knew I was going to get out of playing,” he said from East Orange last month, “because I’d learned that just doesn’t work with a wife and a family.” But Oliphant continued to work in the New York area through the early ‘70s while also developing a business as a jazz promoter, booking agent and manager. Among those he booked and promoted - mostly musicians he had worked with - were the Thad Jones-Mel Lewis Jazz Orchestra, Clark Terry’s Big Band, Duke Ellington and Ahmad Jamal. He was the first jazz producer to bring acts to Wolf Trap, the music venue outside Washington, DC and is proud of teaming up Ellington’s orchestra with the New Jersey Symphony for a concert. Booking and promoting weren’t Oliphant’s first ventures into business. He had gone to business school in the ‘40s and worked for the government for a couple of years before returning to jazz in 1951 to join Jamal, with whom he’d grown up in Pittsburgh. In the ‘70s the pianist became the first act he managed as well as booked. In late ‘30s Pittsburgh, Oliphant, who was born Sep. 1st, 1929, performed in nightclubs with his brother as a tap dancing duo. “We danced for a few years but when I got hold of the drums I stopped dancing,” he says, although his drumming suggests he never really did. His stepfather, also a drummer, had a big band that included Jamal - “we knew him as Fritzy Jones back then” - and trumpeter Tommy Turrentine and would let the young Oliphant sit in. “But he wouldn’t let me play with sticks. He said ‘until you can swing this band with brushes, I don’t want you to put a

drumstick in your hand.’ So I became quite good with brushes. It was Sarah Vaughan [who he worked with for two years in the early ‘60s] who said I had such a nice touch with brushes.” Asked what was the appeal of playing with singers, Oliphant quickly says: “The money”. The money, or actually the lack of it, brought about changes - he says jazz musicians “got too extreme; I used to call it music to starve by” - that by 1980 had Oliphant abandoning his music business. But he did run a club, La Sala, in East Orange for a while, leading the house trio, with pianist Hugh Lawson and bassist Andy McCloud. He remembers having Cassandra Wilson at the club and also remembers playing in another club in Orange, El-C’s, with David “Fathead” Newman. “That was my last gig before my career with the city of East Orange.” Oliphant worked over 20 years for the city, the last decade as manager of the East Orange Golf Club in Short Hills, a job he retired from in 2008. While at the club he reconnected with Cecil Brooks III, whose father he had known in Pittsburgh, who was running his own jazz club, Cecil’s, in West Orange (the club closed earlier this year). Brooks, also a drummer, asked Oliphant to come and play Saturday afternoons. “I told him I’d think about it and then one day I heard a trio at the golf club and I asked the organist and guitarist if they’d like to play on Saturday afternoons. What blew it out for me was that they knew me better than I knew myself, they knew all about me as a jazz musician. Then at Cecil’s, there was a kid who said he’d bring in my CD, but I didn’t know I even had one. The next week he brought in the Collectables CD.” Oliphant then undertook the task of trying to find out about his rights in the CD and after months finally found a connection with the record company, a woman who happened to be the wife of a golf club member. So now he’s actually one of the very few jazz musicians who is collecting royalties for reissues of recordings he did over 40 years ago. Now he has a new band, a sextet he calls “one helluva band” and describes as “strictly traditional” in that “if you don’t swing, don’t play with me.” “Traditional” for him means the music of his prime and he’s bringing tunes by Oscar Pettiford and Cannonball Adderley, both of whom he knew and played with, into the sextet’s repertoire. And he’s hoping to record the sextet soon, but until then there’s plenty of evidence of his former prowess as a bandleader on the Collectables CD. v

For more information, visit goliphant.com. Oliphant is at Dizzy’s Club May 29th-Jun 2nd. See Calendar.

Recommended Listening: • Tony Scott - South Pacific Jazz (ABC-Paramount, 1958)• Herman Foster - The Explosive Piano of Herman Foster (Epic, 1961)• Shirley Scott - The Soul is Willing (Prestige, 1963) • Shirley Scott/Stanley Turrentine - Soul Shoutin’ (Prestige, 1963)• Grassella Oliphant - The Grass Roots (Atlantic-Collectables, 1965)• Grassella Oliphant - The Grass is Greener (Atlantic-Collectables, 1965)

ENCORE

Chick Webb (???-1939)

by Donald Elfman

With a childhood illness that left him very short in height and with a severely deformed spine, Chick Webb went on to become an unlikely pioneer of big band swing drumming and bandleading and also introduced a singer who was to become one of the world’s most popular entertainers. William Henry Webb was born … well, note that there’s a question mark about his birth year, which has been reported as 1902, 1905, 1907 and 1909. It is agreed that this birth took place in Baltimore, Maryland and that as a child he suffered from tuberculosis of the spine. Webb came to music at an early age and reportedly bought his first set of drums with money he earned as a newsboy, beginning to play professionally around age 11! He made his way to New York in 1925

and within a year was leading his own band in Harlem in clubs and on pleasure boats. In 1931, the Webb band became the house band at the Savoy Ballroom. In the Savoy’s regular “battle of the bands features” - against such orchestras as Benny Goodman and Count Basie - Webb’s band always seemed to come out on top. Among those who played in the Webb band were Johnny Hodges, Benny Carter and Louis Jordan and Webb was a bold and hard-driving leader in tunes and charts by noted composer Edgar Sampson - “Blue Lou” and “Stomping at the Savoy”, to name but two. In 1935, teenager Ella Fitzgerald won a talent contest at the Apollo Theater and Webb hired her and soon began to build his show around her. They had enormous hits with such tunes as “A-Tisket A-Tasket” in 1938 (B-side of “T’ain’t What You Do [It’s The Way That You Do It]”). But Webb’s health, shaky at the best of times, began to fail and on Jun. 16th, 1939, he died after an operation. After Webb’s death, Fitzgerald fronted the band until its disbandment in 1942.

Beginning in 1927, Webb recorded for Vocalion, Vocalion/Brunswick, Columbia and Decca. To be fair, according to all reports, no label could adequately capture the range of this master’s brilliance and diversity of sounds. In addition to his personally rigged drum set, he used custom-made pedals, goose-neck cymbal holders, a 28-inch bass drum and a wide variety of other percussion instruments. There is an extraordinary four-disc import, Stomping at the Savoy, which documents one hundred compositions by this phenomenon. In addition, there are a number of individual discs that highlight Webb and his great singer. Jazz musicians from Art Blakey and Duke Ellington to Gene Krupa and Buddy Rich claim to have been influenced by him. Rich called him “the greatest soloist I ever heard on drums” and “the greatest drummer who ever lived”. v

A film on Webb will be screened at Columbia University May 11th. For more information, visit harlemjazzshrines.org.

LEST WE FORGET

May 8th Daoud David Williams

and Spirit of LifeMay 15th

Warren Smith and the Composer’s Workshop Orchestra

New York Baha’i Center53 E. 11th Street

(between University Place and Broadway)Shows: 8:00 & 9:30 PM

Gen Adm: $15 Students $10212-222-5159

bahainyc.org/nyc-bahai-center/jazz-night

THE NEW YORK CITY JAZZ RECORD | May 2012 9

MEGAPHONE

D-Day by Marc Hannaford

I have recently released two albums: Sarcophile explores points of intersection between the improvising piano trio and aspects of American composer Elliott Carter ’s rhythmic and harmonic language while Ordinary Madness contains three improvisations by Tim Berne, Scott Tinkler, Simon Barker, Philip Rex and myself. I have decided against producing physical copies for these releases, instead opting to manage each aspect of the releases myself and offer them as download-only. Below I discuss some of the reasons and why I think I’m on the right track. Digital distribution is nothing new. For at least 10 years people have been talking about the decline of physical CD sales, the death of the traditional record store, piracy and what these things mean for musicians. Usually, the argument goes along the lines of: “digital media = greater piracy = less sales = closure of record stores = greater difficulty in getting label support.” Cue depression. Sure, times are a-changin’, but artists and labels, if they are to survive, need to adapt. So rather than sit and complain, let’s figure out what opportunities are presented by this changing landscape. I am definitely not saying that, just because I feel there is the option for artists to release music themselves, that all labels should disband or that they’re no longer needed. But I feel that, in the turmoil that is the digital age, everyone needs to regroup and formulate some sort of plan. Physical CDs, in my opinion, are almost, if not already, obsolete. Even more so for marginal genres such as the one in which I operate. That a large percentage of the audience for jazz and improvised music is of a generation that still relates to physical CDs more so than iTunes/iPods doesn’t change the fact that, if we want to broaden our audience, the time has come for artists to save money on printing CDs and use those funds for advertising and touring. For my existing audience, I believe their desire to hear my new releases will surpass any reservations about the digital format. So far I am correct. Recording, mixing and mastering have never been cheaper, mainly due to advances in technology: open-source programs such as Gimp make artwork easy and essentially free and there are a number of services that will get your music on Amazon, iTunes and more. Releasing an album can be done without the need for a major label. Advantages of releasing music yourself include control of scheduling (how many times have

we waited patiently by the email account for a response from a label?); control of artwork (although most major labels seem to employ at least one person with design/visual art credentials, I’ve found the control that I have over how my music is ‘packaged’ enables me to create a much more artistically holistic product) and greater return (no percentage of sales is taken by the label and you get to choose the recommended retail price of your album). This results in an album release being much more financially viable, which is important in order for artists to concentrate their efforts on what I think is the most useful promotional tool: touring. Here in Australia, a national tour is a hugely expensive and time-consuming affair. Our land mass (7.6 million square kilometers) is on par with that of the contiguous states of America. Our population, however, is approximately one-thirteenth of the size. For musicians this means flying a band around a continent the size of the contiguous states and visiting a maximum of seven cities. Tours are often fleshed out with visits to regional centres, but I think you get the idea: touring here is expensive and saving money on releasing the album only makes touring the country less of a loss for the local musician. Here in Melbourne, Australia, a very interesting thing happened concerning two music/book stores. Readings (an independent, niche store) and Borders (a large chain) were open literally across the road from each other. Last year, in what I see as reflective of the increasing challenges posed to the commercial marketplace, Borders closed. Readings continues to service a devoted customer base: it prides itself on intimate knowledge of its stock and a discerning eye for books and music. This might suggest that old axiom of “the bigger they are, the harder they fall” as applied to the marketplace for music. What about those who prefer the physical product and/or the audiophiles? Vinyl satisfies both parties and, though expensive to print, saves boxes of CDs clogging up your house. It’s probably also more economical. Download cards (available from the above-mentioned online services) take the place of CDs as a physical object that can be bought at gigs. It’s also only a matter of time, I feel, before suppliers like Apple reconfigure portable audio players to support 24-bit audio; 1-bit recording technology is dropping in price and there are quite a few music download sites that cater to the audiophile. Which brings me to my main point: if we are willing to accept that piracy is here to stay, no matter how many times we draw people’s attention to the morality of it all, the thing that becomes most prized is

the live performance. It cannot be replicated. The temporal nature of music, which is even more pronounced in music involving improvisation, offers a built-in guarantee against the live medium becoming obsolete. Even if the general public are offered more and more reasons to stay at home and watch TV/trawl YouTube/play Xbox, the live performance, extra-musical elements included, seems, at least for now, irreplaceable. In conclusion, I envisage the priorities for musicians being live performances (including touring) and increased financial viability of documenting musical projects with a view to digital distribution and online presence. This article is not intended to be a “death-of-record-stores/labels” one; I quite happily frequent those stores that remain committed to bringing the physical product to the public, especially if the store is dedicated to providing music outside the mainstream. Rather I hope we can begin discussing how modern musicians can engage in the changing landscape of music consumption. Contemporary music invites contemporary solutions. v

For more information, visit marchannaford.com. Marc Hannaford is an Australian improvising pianist living in Melbourne. He draws on a wide range of influences to create something original, fun and engaging. He has a deep interest in the music of Thelonious Monk, Elliott Carter and J. Dilla, but prefers his music to avoid imitation. The recipient of numerous national awards, he also travels regularly to present his music to others.

by Katie Bull

When I hear sounds, colors and images explode in my mind’s eye. Inanimate objects have inherent music; their textures, shapes, edges, curves, even the holes - are visually sonic. This is one manifestation of a phenomenon that many musicians report and it has a name: synesthesia. Many musicians’ ability to hear what they see and see what they hear is a key aspect of their process. As the team of Jerome Kern and Oscar Hammerstein would say, “I hear music when I look at you.” The singers highlighted this month will bring you on a synesthetic ride. The soundscapes of master singer/composer/poet Fay Victor will float cloud formations, fry hot oil, turn red, track mud and flutter birds’ wings in your face at Barbès (May 16th). Teri Roiger invokes feline images; her phrasing saunters, rolls and stares. Roiger will spin blue silk thread for her Dear Abbey: The Music of Abbey Lincoln CD release at Jazz at Kitano (May

16th). René Marie’s passionate range of vocal expression invokes a filmic flash flood of your most private inner photo album. A transformative singer, it’s likely you won’t be the same person after you hear her live in duo with pianist Fred Hersch at Jazz Standard (May 27th). The Harlem Jazz Shrines Festival will feature Grammy-winning drummer Terri Lyne Carrington’s Mosaic Project. Carrington curates a genre-blending sound that is like a mural of sturdy pointillist tile and includes Lizz Wright and Nona Hendryx at Harlem Stage Gatehouse (May 10th). With unforced power, straightahead trumpeter/vocalist/composer Bria Skonberg splashes orange and fuchsia as she seamlessly sews singing and trumpeting with her band at a Sidney Bechet Society concert at Kaye Playhouse (May 21st) with legendary guest guitarist Bucky Pizzarelli and featuring originals from her new album So Is the Day (Random Act). Other albums in the sonic kaleidoscope include

Andreas Schaerer, who invents a new form of scat splicing, in quick-cutting virtuoso, on Cinema Hildegarde (Unit) with a German ensemble that creates an epic sonic-cinematic-semiotic of Proustian proportion. Hildegarde is a double release, with an art film DVD of a recent Russian tour. Ethiopian-born singer Sofia Jernberg delicately animates the inanimate with her fluidly merged French ensemble A Nest at the Junction of Paths on The New Songs (Umlaut), as if life were a sonic big bang found in the mundane. Korean vocal experimentalist DoHee Lee exhales an environment of sonic Dadaism with San Francisco’s Asian/African/American-influenced Kihnoua (with Larry Ochs) on The Sybil’s Whisper (Metalanguage). In Greek times the name might have meant ‘differences’ but now, the band says, “It means unity of opposites.” This month, vocalists will hold your hand with song. Or, as Oscar Hammerstein would say, “The song is you.” v

VOXNEWS

CHRIS CRENSHAW was born on Dec. 20th, 1982. He started playing piano at the age of three; this love for piano led to his first gig with Echoes of Joy, his father Casper’s gospel quartet. Crenshaw picked up the trombone at 11. He graduated from Thomson High School in 2001 and received his Bachelor’s degree in Jazz Performance from Valdosta State University in 2005, with honors throughout his education. In 2004, he won the Eastern Trombone Workshop National Jazz Solo Competition in Ft. Myer, VA. He was one of the first graduates to receive his Master’s degree in Jazz Studies from The Juilliard School in 2007. He has worked with Gerald Wilson, Dianne Reeves, Christian McBride, Eric Clapton, Paul Simon, Marcus Printup, Jiggs Whigham, Wessell Anderson, Cassandra Wilson, Eric Reed and many more. In 2006, Chris Crenshaw joined the Jazz at Lincoln Center Orchestra.

Teachers: Stephen Pruitt, Douglas Farwell, Wycliffe Gordon.

Influences: Wycliffe Gordon, JJ Johnson, Curtis Fuller and many others in differing genres.

Current Projects: My commission, God’s Trombones, based on the poem by James Weldon Johnson, will be played by the Jazz at Lincoln Center Orchestra this month.

By Day: Writing, arranging, husband and father, occasional teacher.

I knew I wanted to be a musician when... I played in a concert with Wycliffe Gordon while I was in eighth grade. He fascinated me with what he played and we grew up in the same area of Georgia.

Dream Band: Hank Jones, Jymie Merritt, Art Blakey.

Did you know? I didn’t talk until my sister was born. Every word was basically sung according to my mother.

For more information, visit jalc.org/concerts/artist209.asp?PersonID=571. Crenshaw is at Rose Theatre May 17th-19th. See Calendar.

Owing to his versatility as a trombonist, composer and arranger, JOHN YAO has enjoyed a steady rise on the New York City jazz scene since arriving from his native Chicago in 2005. He has worked as a sideman for such iconic bands as the Vanguard Jazz Orchestra and the AfroLatin Jazz Orchestra, both of which have had great

influence on him as bandleader, composer and arranger of the Yaozeki Big Band. Separately, his small ensemble, John Yao Quintet, just released its debut recording In the Now on Innova Recordings.

Teachers: David Baker, Pat Harbison, Michael Philip Mossman, Luis Bonilla.

Influences: Miles Davis, Bob Brookmeyer, Luis Bonilla, Wayne Shorter.

Current Projects: Of late, my focus has been on my quintet featuring Jon Irabagon, Randy Ingram, Leon Boykins and Will Clark. My new venture is the trio project, which is something I’ve wanted to pursue for a while. And last the Yaozeki Big Band, which I co-founded with Yoichi Uzeki in 2009.

By Day: Along with teaching a few days a week, I’m practicing, composing, arranging, hustling, more practicing.

I knew I wanted to be a musician when... at age 10 I switched from piano to trombone.

Dream Band: Miles with Wayne, Herbie, Ron and Tony.

Did you know? Some people think I’m ethnically ambiguous, but I am actually half-Chinese.

For more information, visit johnyao.com. Yao is at Brooklyn Lyceum May 30th. See Calendar.

10 May 2012 | THE NEW YORK CITY JAZZ RECORD

LISTEN UP!

Maya Recordsby Ken Waxman

As much as anything else, the birth of Maya Recordings, which celebrated its 20th anniversary last year, was driven by impatience. Swiss violinist Maya Homburger, who operates the boutique label with her husband, British bassist/composer Barry Guy, recalls that in 1991, since another label was slow in releasing Arcus, a recording by Guy and bassist Barre Phillips, they decided to do so themselves. By 2012 31 Maya CDs have been released. The two were already veteran musicians. Zürich-born Homburger, for instance, has worked with ensembles such as Trio Virtuoso and Camerata Kilkenny while London-born Guy is in many free jazz aggregations and is the founder/artistic director of the London Jazz Composers Orchestra (LJCO). Maya was envisioned as a different sort of imprint, Homburger recalls. “We wanted to create a label where music, cover art and writing were all related and on the highest level. We wanted to have control over the look as well as the sound.” Maya’s logo, based on an Indian sculpture references both the Mayan people and Homburger. As an example she points to Fizzles, Guy’s 1991 solo session, which not only benefitted from the care taken with the sound recorded in a Swiss church, but was coupled with informative texts plus what she calls “an amazing cover painting by Fred Hellier.” More recently, The Musical Offering (J.S. Bach) by Camerata

Kilkenny was the culmination of excellent recording of the ensemble’s performance, a distinctive cover by Irish artist George Vaughan plus a specially commissioned poem by Fergal Gaynor. Since Arcus, Maya has released CDs at a rate of one to three a year. The bassist’s playing partners have ranged from Catalan pianist Agustí Fernández to British saxophonist Evan Parker and Swedish reedist Mats Gustafsson while Homburger on baroque violin and in ensembles has recorded compositions by classical composers and Guy. Dakryon is Homburger, Guy and percussionist Pierre Favre interpreting works by 17th Century composers H.I.F. Biber and Dario Castello. “My interpretation of Bach and Biber is influenced by the freedom I have experienced in the improvising scene,” Homburger explains. Three days of concerts in Winterthur, Switzerland marked Maya’s 20th anniversary celebration in September 2011. Among the performers were the Camerata, Homburger with Malcolm Proud on cembalo harpsichord plus various trios, solos and duos featuring Guy, Parker, Gustafsson, Fernández and percussionists Paul Lytton and Raymond Strid. “I love the process of making a record, a real album; not just the iTunes adopted ‘one-track sensation’ bullshit,” affirms Gustafsson. “There’s recording the music properly, mixing, mastering, sequencing, cover art, design, liner notes etc., as well as dealing with selling the album and marketing it. Maya Recordings has this level of quality. The variety and flexibility of Maya Recording is also very unique, if you ask me, because it releases top-notch free jazz, contemporary music and out-of-control, fantastic baroque music.

Biber’s Mystery Sonatas, in Maya Homburger’s version, is one of the most amazing recorded music documents of the past 30 years - I kid you not. And, of course, Barry Guy´s Fizzles is one of the most creative solo recordings in the history of improvised music. It’s totally DNA-changing. I’m very proud to be part of this.” Releasing CDs from two genres of music has never been a problem, Homburger affirms. “The mixture mirrors our touring and concerts. So everybody appreciates the label for exactly this. We know well in advance what we love, like Bach, Biber and the Parker/Guy/Lytton or the Tarfala trio [Guy/Gustafsson/Strid], so there is never a shortage of projects for the label.” “Smaller labels are always nicer to work with, since you have direct communication about the details,” adds Gustafsson. “With larger labels too many people have opinions so it easily gets confused and non-creative.” Unlike many boutique imprints, Maya, based in Oberstammheim, Switzerland has a distribution agreement with the established label Intakt. “I can’t remember when this started exactly,” Homburger admits. “Perhaps it was when we moved to Switzerland in 2006. Now we collaborate with Intakt on many levels. One can see us as a sister company.” Intakt and Maya are involved in many co-productions. For instance, Harmos - Live at Schaffhausen, an Intakt DVD featuring the LJCO, was co-produced and co-financed by Maya, as were three CDs pianist Marilyn Crispell recorded for Intakt with Guy. “Hexentrio, a new CD (CONTINUED ON PAGE 46)

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John YaoChris Crenshaw

Festa do Jazz do São Luizby Laurence Donohue-Greene

Like The New York City Jazz Record, the annual Festa do Jazz do São Luiz in hilly and historic Lisbon is celebrating its first decade. Cofounded and run by Artistic Director Carlos Martins and Executive Director Luís Hilário (also manager of the venerable Jazz Hot Club de Portugal), this year’s festival (Mar. 31st-Apr. 1st) featured a wide swath of mostly Portuguese talent. What separates this jazz festival from many others is its presentation of musicians. Various sized spaces at the historic São Luiz Theater (its extravagant main Sala Principal concert hall the largest of four different stages) feature bands throughout the afternoon into the late evening. The festival also recognizes up-and-coming talent by presenting student bands. Secondary and University-level school ensembles play throughout the afternoons at the upstairs (though unfortunately boomy) Jardim de Inverno (Winter Garden). This year 14 schools were represented, competing for the national awards given at the end of the festival to the best instrumentalists and ensemble (which is booked for the following year’s festival). 2011 “Best Combo” winner, the Quinteto do Conservatório da Jobra (Ensemble Jobra), boasted 17-year old drummer Gil Costa, who impressively fused Philly Joe Jones, Jim Black and Tony Williams into a unique supportive but soloistic approach. For years, the Ensemble ESMAE from Porto, which generates much of Portugal’s strong young jazz talent, has dominated the competition. When not performing, the students listened to their competition or went to absorb the music being featured downstairs, many filing into the Teatro-Estudio Mario Viegas - the studio space showcasing four piano trios and two Masterclass workshops. Each

year there is an invited foreign musician; this year it was drummer Jim Black, a wise selection given his 20-year history with bassist Carlos Bica, one of Portugal’s better-known musicians (both Black and Bica gave Masterclasses). Black brings an attractive jazz-meets-rock approach to his kit and no young Portuguese drummer wanted to miss him sharing some of his wisdom in words - in a single thought, he mentioned Glenn Miller, Led Zeppelin, the Jackson 5, Rush and Joe Henderson - let alone demonstrate his skills unaccompanied. Bica, though Berlin-based and only in his 50s, is an ‘elder’ statesman for Portuguese jazz (I was hard-pressed to find anyone who could mention any local musicians older than 60 with the exception of exceptional violinist Carlos Zingaro). The fall of the country’s dictatorship by the mid ‘70s was partially blamed, consequently creating a youthful and evidently well-nurtured jazz population open to numerous possibilities and influences, including the incorporation of the country’s distinct musical contribution to the world: the achingly beautiful Fado tradition, which dates back to at least the 1820s and is still ubiquitous in the streets and cafés of Lisbon. Those who incorporated Fado and traditional music from Portugal made the greatest impression of the festival. Bica performed on a number of occasions, first off with pianist Filipe Raposo’s trio. Opening with “Em Fado” and “As Guerras Se Apregoaram” (the latter based on a traditional theme), the trio fused the mournful but hypnotic Fado tradition with jazz and classical music (“Kind of Impatience”, their pre-closer, was based on Schubert’s trio op. 100). Instead of a walking bassline, Bica swayed with his bass, his fingers dancing in circular fashion on his instrument, projecting a well rounded, mature and extremely melodic Fado-influenced approach. One of the festival’s main events was Bica’s Azul group in Sala Principal featuring Black and German guitarist Frank Möbus. Bica’s eponymously titled 1996 debut recording was with this group, whose fifth album - Things About (Clean Feed) - was released last year, so their chemistry was unequaled. Throughout the strong set, Möbus’ lurching between aggressive and more splattering paint-like improvisations and resonating lines was flanked by Black’s peripatetic and colorful rhythmic exclamations and percussive effects and Bica’s catchy, circular pizzicato crescendos. The Brussels-based Cornettada (with Italian pianist Giovanni Di Domenico and Lisbon-born bassist and drummer Hugo Antunes and João Lobo) commonly dissects Ornette Coleman melodies. However, most of their set included attractive originals, save for the encore - Coleman’s “The Invisible” (with “Turnaround” and “Brother Blues” quotes). The band’s challenging balancing act of discipline and outright freedom proved rewarding in their succinct improvisations and tune length, each hovering around five minutes. In the theatre’s Spot São Luiz restaurant space, duos played each afternoon. Altoist Ricardo Toscano and bassist António Quintino performed mostly standards and reminded listeners of how simple and yet challenging a combination this can be. The second afternoon featured an altogether different pairing: Mane Fernandes (guitar) and Alexandre Dahmen (electric piano), the latter ’s dark, mysterious chord voicings and original compositions providing less pleasant jazzy ambiance, instead conjuring a dream meeting between Attila Zoller and Larry Young. Other stirring sets included Cine Qua Non (with pianist Paula Sousa and accordionist João Paulo Esteves da Silva) accentuating Portuguese music sonorities and the wild and woolly Tora Tora Big Band, a rare large group on the festival bill, delightfully fusing jazz, Latin, funk, Arabic, Afrobeat, reggae and other world musics. v

For more information, visit sonsdalusofonia.com

FESTIVAL REPORT

THE NEW YORK CITY JAZZ RECORD | May 2012 11

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ette

Carlos Bica

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Jim Ridl, a personal and assertive pianist as well as an imaginative composer, leads a quartet on his own Blue Corn Enchilada Dreams and is part of one on composer Anthony Branker’s Dialogic. Both highlight composition as a framework for extensive improvisation. The eight Ridl compositions on Blue Corn Enchilada Dreams are musical reflections of pantheistic poems Ridl wrote inspired by visits to New Mexico. There are suggestions of the Southwest, in rhythms and Mexican-like accents, on the opening “Chilis Rule”, a fast, springy, driven piece with synthesizer from Ridl adding a jazz-rock flavor and trumpeter Terell Stafford soaring with mariachi machismo. Powering the quartet are bassist John Benitez and drummer Donald Edwards. Each of the seven quartet pieces (“God Is A Canopy”, the closing track, is an over-dubbed piano canon on a tone row) is distinctive, often memorable in a cinematic way, none more so than “Why Wait for the Saints?”, which begins with a hymn-like fanfare aided by churchy organ keyboard colors before a churning backbeat underpins trumpet lead and solo over synths; a shift creates a syncopated electric bass and drums 8/4 for Ridl’s fervid piano solo before the trumpet returns to take out the hymn-like opening, but this time over a rocking beat. Ridl expertly employs, and the band executes, a variety of rhythms and time signatures on the album, often more than one per track. There’s an enticing tribal beat with tom-toms on “I Taste In Color”, also notable for a piano solo devoid of clichés that begins as a spacey, spare enunciation of single notes and develops into a two-handed colloquy. “Scoria Hair”, inspired by the most pantheistic poem, is a beguiling evocation of the arc of a day, from dawn through dusk; Harmon-muted trumpet and a ticking 8/8 beat plus chiming keyboard and drum paradiddles all conjure up wind chimes on “The Wind Gleans”. Suggestions of montuno and emphatic repetition add to the powerful drive of “Tree Tone” while “Blue Tortilla Waltz” is airily captivating. Anthony Branker is the director of the program in jazz studies at Princeton University. He’s a trumpeter but does not play on Dialogic, only providing compositions and musical direction for the players: Ridl (piano and Fender Rhodes), Ralph Bowen (saxes), Kenny Davis (bass) and Adam Cruz (drums). Branker’s music is highly informed by rhythms, from rolling 6/8 and funk to swing and AfroCuban. And his concept of small group composition seems rooted in such inspirations as the quartets of John Coltrane, Wayne Shorter and Branford Marsalis, providing his musicians with challenging launching pads but never confining them too tightly within any musical framework. Ridl and Bowen both thrive in this environment, the pianist delivering many galvanizing, incrementally built solos and the saxophonist combining momentum with intensity and fervor. Branker keeps everything on a creative edge with his diversity of compositions, from the metrically shifting, African-accented “Ancestral Tales” to the series of dialogues and fugues on “The Fire Spitters”, a highlight for the torrid duet of Bowen’s tenor sax and Cruz’ drums. “Skirting the Issue” reveals the composer and musicians’ sense of humor, burbling up from Ridl’s Fender Rhodes in trades with Bowen’s

soprano. All of the tracks shimmer with a singularity often missing in this kind of jazz and the three trio tracks without Ridl are a significant addition to the current sax-bass-drums revival.

For more information, visit jimridl.com and origin-records.com. Ridl is at 55Bar May 1st. See Calendar.

Violinist/violist and composer Mat Maneri first came to prominence in the early to mid ‘90s working in ensembles led by his late father, composer and reedman Joe Maneri. The elder Maneri was and is something of a hero in microtonal improvisation and the two players steadily worked on developing spare, bent, instantaneous chamber music. With an approach that transgresses Western harmony, Mat Maneri’s string palette expanded to include the baritone violin and six-string electric violin as well as traditional violin and viola, thus broadening his non-tempered range. That said, his own work has often fallen within the realm of accessible modernism. In other words, it is nothing that someone whose ears are tuned to the music of the last century couldn’t handle. Maneri is one of four equally prominent voices on the allstar game that is the Stone Quartet, which also includes French bassist Joëlle Léandre, pianist Marilyn Crispell and trumpeter/flutist Roy Campbell, Jr. on two group improvisations recorded live at the 2010 Vision Festival. The first piece begins with a stirring midrange duet between Maneri (on viola) and Léandre, swooping lines and bullish fiddling offset by pocket trumpet gurgles and Crispell’s fractured bombs (on a somewhat out-of-tune piano). The general mode seems to be a continual breaking off into smaller, sparser combos and reconvening in massive whorls of sound. The most rewarding moments are the most melodic, when viola and brass keen alongside Crispell’s glassy, upper-register filigree, or parallel and contrasting duets emerge to accent fisticuffs with grace and detail. Though quite different in temperament, each possible pairing can result in some beautiful, intense improvising. When Campbell switches to flute and the bassist uses her voice, the quartet approximates a post-Darmstadt chamber group, perhaps derived from Luciano Berio. At its heights, the Stone Quartet’s Vision performance produced some captivating music that deserves a rehearing. It’s fitting that Maneri’s viola found its way into the Paul Motian tribute band of Washington, DC drummer Jeff Cosgrove, as Maneri and Motian worked together in the latter ’s Electric Bebop Band. Motian Sickness (hopefully named before the late drummer was diagnosed with cancer) also adds bassist John Hébert and Jazz Mandolin Project linchpin Jamie Masefield to the proceedings, across a program of ten Motian originals from a broad range of his career. Motian had a predilection towards unique instrumentation - trios with tenor and guitar, an early group with flute, piano, violin and drums - so this particular instrumental setting is apt. The centerpiece is a 13-minute version of “Arabesque”, in which the roles of two saxophonists on the original Electric Bebop Band recording are handed to Maneri’s sinewy viola and the dusky condensation of Masefield’s mandolin.

Strings and brushes hang in tense orbit around Hébert’s gorgeously intoned pizzicato before the violist goes aloft in a flurry of harmonics and poetic exhortation. Cosgrove and company have a tall order in putting their own stamp on compositions already interpreted by memorable, unique ensembles. For the Love of Sarah succeeds in continuing the lively elegance of Paul Motian’s music through curious voicing and a balance between swinging postbop and toothy dissonance.

For more information, visit ayler.com and cdbaby.com/cd/motiansickness. Mat Maneri is at Cornelia Street Café May 2nd with Ryan Blotnick and The Stone May 5th with Travis Laplante. See Calendar.

12 May 2012 | THE NEW YORK CITY JAZZ RECORD

CD REVIEWS

• Andy Clausen - The Wishbone Suite (Table & Chairs)• Tomas Fujiwara & The Hook Up - The Air Is Different (482 Music)• Steve Lehman - Dialect Fluorescent (Pi)• Eric Reed - The Baddest Monk (Savant)• Tom Tallitsch - Heads Or Tales (Posi-Tone)• Yosvany Terry - Today’s Opinion (Criss Cross) David Adler, New York@Night Columnist

• Marc Hannaford - Ordinary Madness (s/r)• Werner Hasler - The Outer String (Unit)• Simon Nabatov - Spinning Songs of Herbie Nichols (Solo) (Leo)• Henning Sieverts - Symmethree (Pirouet)• Simon Toldam Trio - Sunshine Sunshine or Green as Grass (ILK Music)• Sumi Tonooka - Now - Live at the Howland (ARC) Laurence Donohue-Greene Managing Editor, The New York City Jazz Record

• Marty Ehrlich’s Rites Quartet - Frog Leg Logic (Clean Feed)• Ahmad Jamal - Blue Moon (Jazz Village)• Kidd Jordan - On Fire (Engine)• Evan Parker/Okkyung Lee/Peter Evans - The Bleeding Edge (psi)• Gary Smulyan - Smul’s Paradise (Capri)• Zanussi Thirteen - Live (Moserobie) Andrey Henkin Editorial Director, The New York City Jazz Record

R E C O M M E N D E DN E W R E L E A S E S

Live at Vision Festival Stone Quartet

(Ayler)

For the Love of Sarah Motian Sickness (Grizzley Music)

by Clifford Allen

Blue Corn Enchilada Dreams

Jim Ridl (s/r)

Dialogic Anthony Branker & Word Play (Origin)

by George Kanzler

The four flutists gathered in this review indicate two prevailing niceties about this transverse horn: women are among its stalwart proponents and performers and the jam-band short-take syndrome retains a certain live caché and durable popularity. Ali Ryerson and Holly Hofmann, seasoned players who’ve enjoyed distinctive careers on East and West coasts respectively, notably joined forces a decade ago in Flutology, a joyful three-flute sextet with veteran Frank Wess. Hofmann’s Turn Signal is the more challenging and satisfactory; she’s a consistently probing, surprising soloist with a robust, earthy tone. Mike Wofford, her husband and long-time collaborator, writes fine charts and plays terrific postbop piano while Terell Stafford’s tart observations on trumpet make for a neat foil. Repertoire is broad and rich: a laid-back Horace Silver tribute, a breezy smoker to close, blues by Jimmy Forrest and Bobby Watson. A noble, complex Vince Mendoza ballad gets voiced like Indian chant; Wofford quotes “Pannonica” in his solo and there is a free cadenza in 5/4 and a piccolo coda. Wofford’s wild take on “Pure Imagination” ends as Stafford blazes away on a closing vamp, his piano feature unearthing a sparkling geode: Dick Twardzik’s “Girl From Greenland”. Ali Ryerson’s Con Brio! - despite the “!” tagged on her endorsed flute’s brand name - plays out smooth and low-key, relaxed and ruminative. Most tunes are medium tempo, Ryerson’s C flute bright and cheerful, her vibrato synching with Mike Mainieri’s vibraphone reverb and Mark Egan’s sirupy electric bass. The mood is relaxed and urbane, late nods to Jimmy Giuffre and Erik Satie, with blues-tinged tunes - stretched for solos by pianist/arranger Pete Levin and Ali’s slow-burn flute - a-smolder yet never quite igniting. Liveliest of show are the four tracks that feature guitarist Mike DeMicco. Septuagenarian multi-reedist Jiri Stivin and bassist Ali Haurand have had the earthy, mellow duo thing of Old Wine New Bottled going since 1968: it’s part head arrangement, part improv, all sotto-voce lightly swing, brooding, amiably moody. Playing mainly Stivin’s originals in a hip, breathy Jimmy Giuffre vein (slippery lines like “My Garden”), these old salts wax salty, ruminating on pleasant memories as if in a wood-paneled Prague coffeehouse. Snap your fingers and toke your jay: you could be in North Beach, 1955. Stivin rattles bluesy and cool on C flute, alto flute, chalumeau clarinet, with a Lee Konitz-turns-Art Pepper alto shot on Haurand’s folksy “No More Chains” and coupla tenor honks. They nod to standards: Bill Evans’ “Interplay”, “Spring Is Here” (bridge only), “Lover Man”, “Softly as in a Morning Sunrise”. Kick back and nod along. As for Project Trio, yes, some among us jeered at

Blues Project and Jethro Tull (also way back in 1968), as they rode simple folksy bluesy vamps up the new crossover charts to fame and fortune. Well, history does repeat and repeat: the Cleveland-Institute-spawned Project Trio clumps anew into the laserlight with similarly catchy nonentities on Random Roads Collection to captivate and bedizen the attention-challenged market. What’s recognizable? Mingus’ “Fables of Faubus” (melody only, no political message), “Grass” (hoe-down), “Adagio” (classical drone and harmonics), “Sweet Pea” (pizzicato funk), ersatz ditties and bowdlerized movie themes. The magnum opus is a seven-minute “Visual Machine”, a choppy, saucy tango with few twists. So, cellist Eric Stephenson, bassist Peter Seymour and flutist Greg Pattillo (often beat-boxing or wheesht-ing percussively) fortuitously ride their galumphing, two-beat miniatures into YouTube hits topping 70 million. Go figure.

For more information, visit caprirecords.com, aliryerson.com, konnex-records.de and tummytouch.com. Ryerson is at Birdland May 3rd. Project Trio is at Joe’s Pub May 23rd. See Calendar.

Injecting any music with what is supposed to be humor is a dangerous business. Even if the listener gets the joke, be it pure silliness or subtle reference, the most responsible and serious musician may just end up looking goofy. That said, countless examples of fun and genuinely funny music pervade jazz history, from Don Redman’s “The Reefer Man” up to the present day. Saxophonist Mikko Innanen’s Innkvisitio occupies a rarified place in the pantheon of those whose sense of humor demands a bit of background knowledge. Now boasting additional reedmen Fredrik Ljungkvist and Daniel Erdmann while retaining the services of synthesizer player Seppo Kantonen and percussionist Joonas Riippa, the group has made it all work on this excellent and stunningly recorded new disc. If the kitschy but somehow profound spaciness of ‘70s Sun Ra is evoked by the brief and cryptic “Earth’s Second Moon”, then “Vraa-Tender” pushes the envelope further with a few well-placed silences and freaky timbres juxtaposed with gorgeously neo-Ellingtonian harmonies. Nothing, however, prepares for the title track, which swings into, or screams out, another homage: Monk’s “Evidence” is clearly the point of departure for this jovial romp, as the Innkvisitio rhythm section is transformed into some sort of space-age bebop organ trio. The triple-threat saxophone section is heard to great effect here, tightness and dissonance their playthings, on what sounds like a mixture of baritones and tenors. They stretch as well as they comp, improvising collectively and soloing with the best. Monk’s whimsical angularity certainly informs much of the disc, but one name kept springing to mind as these forays into trippy funk and spacy skronk flew by - Albert Marcoeur. The French musician’s iconoclastic compositions, embracing but never succumbing to the trappings of fusion and prog, are closest in spirit to the range of explorations on offer from Innkvisitio and the way in which one transitions to the other. The aesthetic unifies, as much as possible, the whiles of a solo keyboard excursion like “Detto the Magician” with the odd-metered loping funk and

James Brown-inspired vocal exhortations of “757”, with its phat synth-bass and meaty organ. If the playing wasn’t excellent, the compositions so good and the various soundworlds brought together with such skill and taste, this album could have been a huge disappointment. As it stands, it’s even better than their first disc, Paa-da-pap, which was a breath of fresh air a few years back. This is one for anyone wishing to avoid the stodginess of category, or who likes the avant garde with a mischievous twist.

For more information, visit tumrecords.com. Innanen is at Douglass Street Music Collective May 3rd and Downtown Music Gallery May 6th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2012 13

Rare is the recording where the exhilaration of the performers is something palpable. This duo CD by singer Sheila Jordan and bassist Harvie S, in concert circa 1990, is such a recording. The recently discovered tapes - the details are frustratingly murky - live up to the bassist’s assessment: “I feel vindicated by this album. We only recorded three other CDs but the magic is on this one. This recording is us; it’s what we did best.” Jordan pioneered the concept of vocal and bass duos and her work with Harvie S from the mid ‘80s exemplifies the freewheeling interplay and flexible scope of the most creative duets. Although Jordan doesn’t have a ‘big’ voice, or wide range, she employs it in a grand, adventurous way, often through nuances of tone and color. She approaches songs musically with the unbridled melodic and harmonic invention of an acolyte of Charlie Parker and lyrically with the high regard for words and meaning of a law secretary (part of her resumé). Harvie S is equally commanding, from big booming notes and riffs to flamenco-like arpeggios, down-home slapped strings and singing bowed lines. The program here is almost all standards, familiar but fresh due to the duo’s creativity. “Yesterdays” becomes elastic as Jordan stretches the middle vowels in “truth” and “love” sensuously. “You Don’t Know What Love Is” matches legato phrasing to long bowed chords and on “I Concentrate On You” Jordan’s slinky vocal embraces the farthest reaches of chords, rather than the melody note. A creative high point is “Lazy Afternoon”, mixing high-note scatting and bass, then suave lyrics followed by muezzin-like scatting. An infinity of colors inhabits the subtle “Blue Skies”. But the duo’s joie de vivre is encapsulated in the concluding “Fred Astaire Medley”, beginning with a fleet “Let’s Face the Music and Dance”, segueing to a slower “Cheek to Cheek” turned tongue-in-cheek by slap bass and ending with an over-the-top “I Could Have Danced All Night”, flirting with tango and Broadway on the way to a boffo operatic-high-note climax.

For more information, visit jazzdepot.com. Jordan is at Cornelia Street Café May 12th and Blue Note May 21st as part of a Mark Murphy tribute. See Calendar.

U N E A R T H E D G E M

Yesterdays

Sheila Jordan/Harvie S (HighNote)by George Kanzler

Turn Signal Mike Wofford/Holly Hofmann Quintet (Capri)

Con Brio! Ali Ryerson (ACR Music)

Old Wine New Bottled Jiri Stivin/Ali Haurand (Konnex)

Random Roads Collection Project Trio (Tummy Touch)

by Fred Bouchard

Clustrophy

Mikko Innanen & Innkvisitio (TUM)by Marc Medwin

14 May 2012 | THE NEW YORK CITY JAZZ RECORD

Jazz musicians and the smartest of jazz listeners have long recognized the intricate genius in the compositions of Thad Jones. Emerging from Detroit and then the ‘50s Basie band trumpet section, Jones became a smart composer and then bandleader. These qualities brilliantly coalesced in his co-leadership of the Thad Jones-Mel Lewis Orchestra in the late ‘60s and throughout the ‘70s. The NYJAZZ Initiative, and Artistic Director Rob Derke, who also plays tenor and soprano saxophones with the group, have chosen tunes from throughout Jones’ career for this fresh tribute. “Elusive” comes from Jones’ first date as a leader in 1954. The horns weave in and out and around and through the creative arrangement by Brooklyn-based saxophonist Justin Flynn. One might guess that it’ll be a feature for the trumpet, with tricky intervals and a truly elusive set of changes, but after just a few notes from trumpeter David Smith, the whole band plays the theme and it’s quirky and sinuous but it feels like a jazz standard. The horns, which also include trombonist Sam Burtis, a Jones-Lewis alumnus, provide the interludes before tenor saxophone solos by Ralph Lalama, another Jones-Lewis Orchestra alum, who works his way into the heart and soul of this complex swinger. He’s followed, almost imperceptibly, by Derke, who takes an athletic ride before running exchanges of four bars with Lalama. They are soon replaced by an energetic Smith who briefly invokes the composer’s sound with his own modern approach. The arrangements, mostly by Flynn and Derke, include some well-known pieces from the Jones book: the popular “A Child is Born”, Smith keeping the quiet beauty but adding an air of mystery and strangeness on flugelhorn; a lush yet deeply swinging, ever-evolving “Mean What You Say” and the intricately in-the-pocket groove of “Three and One”. But there are lesser-known gems as well. “Evol Deklaw Ni” is, well, a famous standard spelled backwards; here, in an arrangement by Toby Wine, a guitarist in jazz, r&b and rock bands, the tune sounds simultaneously fresh and authentic. What Derke and his players have done is revitalize and refresh the music of a composer whose work deserves to be heard and reheard.

For more information, visit jazzheads.com. This group is at The Players Club May 4th, as part of the Jazzheads Festival. See Calendar.

The new album by Miles Okazaki is a live set captured last June at The Jazz Gallery, the venue that actually commissioned the disc’s music. The venerable guitarist leads a stellar quartet of altoist Miguel Zenón, bassist

Thomas Morgan and drummer Dan Weiss and certainly earned his commission: not only did he write, produce and arrange the music, he also illustrated the CD cover. Okazaki is a fretboard poet who carefully searches with persistence and care for the right elements upon which he can build his compact and eloquent layered solo passages. For example, on the pulsating “Dozens”, amidst Okazaki’s lightning flourishes and beneath-the-radar octaves, it sometimes sounds like he’s hesitant or has lost his place. Not so; he’s simply mining the melody for those precious gold nuggets. Okazaki’s soft strumming introduces “Rain”, a moody tune whose shifting tempos range from brooding to mildly funky to workman-like. Zenón‘s powerhouse alto drives the tune as he wails in the upper register, soaring up and spiraling down with each change in character. Okazaki and Morgan’s gentle guitar/bass duet sets the pace for “Wheel”. After a measured start, the song accelerates into a vicious, frenetic dialogue between Okazaki and Zenón, with Morgan and Weiss throbbing behind them. Okazaki plays like a cyclone on the dynamite title cut, percolating with Weiss and Morgan. Okazaki and Zenón’s call and response at the beginning of the outstanding “Mandala” gives the song a distinctly African feeling, which is underscored by fluctuating guitar riffs beneath intense and balanced drumming. “Loom” is a lovely ballad and “Corazon” is in the same vein, slow, with well-placed percussive highlights and carefully wrought musicality. These two songs sound like afterthoughts but are no less effective, which is a credit to both Okazaki’s skilled composing and the chops of this first-class quartet.

For more information, visit sunnysiderecords.com. This group is at The Jazz Gallery May 5th. See Calendar.

Is it something in the climate, the water? Or in the unique confluence of Middle Eastern cultures on ancient holy grounds? Whatever it is, Israel has become a wellspring of vital jazz talent, producing a copious flow of creative young artists. Israeli expat pianist/composer Alon Yavnai, who established considerable cred as Paquito D’Rivera’s musical director, offers a more personal vision on Shir Ahava, recorded with the Hamburg-based NDR big band. Yavnai achieves a signature sound with flute- and clarinet-dominated woodwind passages, by borrowing from various ‘world’ musics - “Travel Notes” is influenced by Moroccan Gnawa and Peruvian Festejo, “Bitter Roots” by Egyptian Malfuf, “Ilha B’nit” by Cape Verdean Bandera - and through his ability to combine traditional big band voicings with lighter, floating textures à la Gil Evans and Maria Schneider. The date also features fine piano work from the leader and several standout solos by flutist Fiete Felsch. East of Jaffa is a free-blowing collaboration by Johannesburg-born, Tel Aviv-based clarinetist Harold Rubin with the father-son team of pianist Haim and percussionist Ehran Elisha. In addition to their jazz activities, both Rubin and the elder Elisha are acclaimed visual artists, so it is not surprising that their sonic improvisations have a certain painterly quality, evoking landscapes and still life imagery through an eclectic palette of animal cries, birdsong, burred tones, trickles, waterfalls and the like. Rubin’s restrained clarinet occasionally rises to ecstatic climaxes, but generally favors a more discreet approach that leaves ample room for group interaction; Elisha pere’s piano is tonal without lapsing into harmonic clichés while Elisha fils’ percussion ranges from subtle to subliminal, contributing to the chamber-like ambiance of the outing. The 20-plus minute “Serpentine Suite” epitomizes the trio’s cool yet suspenseful ethos. Myelination, from Jerusalem-based Jean Claude Jones, is ‘nervous’ - both literally and figuratively - a visceral and cathartic reaction to the bassist’s discovery that he had developed multiple sclerosis. Using a computer simulation of myelin sheath vibrations - the pulsing chains of amino acids that insulate human nerve tissue - Jones brought in colleagues to improvise separate, isolated ‘responses’ to the 16-minute track, then mixed the results together. “Voices”, for example, layers two takes by vocalist Yael Tai while “JC’s Remix” features four reedmen: Harold Rubin (clarinet), Stephen Horenstein (bari sax), Yoni Silver (bass clarinet) and Ariel Shibolet (soprano sax). The project is poignant proof of music’s healing powers.

For more information, visit alonyavnai.com, outnowrecords.com and kadimacollective.com. Yavnai is at Joe’s Pub May 8th, part of Jazzrael Fest. See Calendar.

Shir Ahava Alon Yavnai/NDR Big Band (s/r)East of Jaffa

Ehran Elisha/Harold Rubin/Haim Elisha (OutNow) Myelination JC Jones (Kadima Collective)

by Tom Greenland

GLOBE UNITY: ISRAEL

Figurations

Miles Okazaki (Sunnyside)by Terrell Holmes

Mad About Thad

NYJAZZ Initiative (Jazzheads) by Donald Elfman

Imagine a time when an avant garde jazz artist could have his recordings issued by a major label. Today, even the labels aren’t so major, but somehow in the mid ‘80s, in an era defined by Wynton Marsalis’ new traditionalism, downtown New York’s own Tim Berne was signed to Columbia Records. 25 years later, Berne never stopped writing and creating. He made connections and formed band after band, recording for small labels European and domestic, or most often, for his self-owned-and-operated Screwgun. So, after appearing as a sideman on a pair of CDs recorded by his colleagues, it’s as much an inevitability that Berne would release his own project as a leader on ECM as it is a feel-good story about one of our own getting something long and well deserved. How Berne’s uncompromising artistic approach and DIY aesthetic would blend with Manfred Eicher’s hands-on production technique is a question answered very satisfyingly by Snakeoil, the studio debut of Berne’s working band of the last couple of years. While not quite Berne Lite, the music is rarely assaultive or cacophonous, as often driven by Matt Mitchell’s dominant piano and Ches Smith’s impressionistic

drumming as by the leader’s alto. The opening “Simple City” is a lengthy episodic piece that ranges outward and returns without ever separating from its center. Berne and clarinetist Oscar Noriega intertwine in tandem and flake off in counterpoint, but the two play with great empathy throughout. The more confrontational “Scanners” has Mitchell leading the two horns down the rabbit hole and back out again. “Spare Parts” manages to be orchestral, thanks to Smith’s tympani, Mitchell’s forceful touch and Noriega and Berne’s complementary sonorities. At times this band is reminiscent of Wayne Shorter’s modern quartet, as the tunes turn circles while they move forward, like tops zipped by cords across the floor. Snakeoil is as accessible as it is challenging, melodic yet aggressive, intricate without being cerebral.

For more information, visit ecmrecords.com. Berne is at Shapeshifter Lab May 7th-8th. See Calendar.

Pianist Steve Kuhn’s new trio, which makes its debut here, has a lot of shared history. Kuhn and electric bassist Steve Swallow have been frequent collaborators

for more than half a century, going back to their days in trumpeter/flugelhornist Art Farmer’s ‘60s group. And drummer Joey Baron has worked with Kuhn for more than 20 years, including on his stellar 2009 release, Mostly Coltrane, a tribute to the saxophone titan who famously and briefly hired Kuhn as the first pianist in his quartet before McCoy Tyner. It’s a wonder then that this is the first time the trio has ever worked together as a unit. Right from the start, however, the group displays a rare rapport and ease, reminiscent of the reflective, intimate and highly collaborative trios of Bill Evans and Paul Bley (a longtime partner of Swallow). The set revisits a number of Kuhn compositions from years past, mostly quite emotional and evocative ballads, like the opening “Chalet” and “Pastorale”, along with a few uptempo hardbop tunes like “A Likely Story” and Swallow’s “Good Lookin’ Rookie”. Carla Bley’s “Permanent Wave” provides a taste of gospel and soul while the title tune is a gently swinging nod to Kuhn and Swallow’s former boss, highlighting Kuhn’s ever impeccable touch and Baron’s deft drum and cymbal work. Swallow is impressive throughout, showing yet again why he is the most imaginative and nimble of electric bassists. The group doesn’t break any new ground, but theirs is a perfectly matched and timeless partnership that showcases three masters who make this quite challenging music appear easy. And Kuhn, who seems to be in the midst of a career renaissance at the age of 74, or is at least getting a long overdue burst of recognition, proves again why he is one of our true piano masters.

For more information, visit ecmrecords.com. This group is at Birdland May 8th-12th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2012 15

BOB RODRIGUEZ TRIOJAZZ AT KITANO - OPENING NIGHT

WEDNESDAY, MAY 2with Steve Varner (bass) & Bill Tesar (drums)

66 Park Avenue at 38th Street, NY, NYReservations: 212.885.7119

$10 Cover/$15 Minimum - Sets 8PM & 10PM“A rewarding and idiosyncratic addition to the piano trio literature...Rodri-

guez has a lovely touch ...” - The Penguin Guide to Jazz on CD

****...”the end product is an intriguing trio sound that is, largely, unlike anything on the scene.” - DownBeat Magazine

“enjoyable music with performances that reveal themselves to be much deeper than at first blush.” - Jazziz

bobrodriguez.com

Snakeoil

Tim Berne (ECM)by Jeff Stockton

Wisteria

Steve Kuhn (ECM)by Joel Roberts

Brooklyn native Tom Guarna started playing guitar at the age of 15. Studying classical guitar performance and composition at the Brooklyn Conservatory of Music and the Guitar Institute of Technology in Los Angeles, Guarna continued private studies with Steve Kahn and John Abercrombie after returning to New York City. In addition to appearing on recordings by George Colligan, Lenny White and Vincent Gardner and performing with Branford Marsalis, Mulgrew Miller, Bob Dorough, Craig Handy, Buddy DeFranco and the Mingus Jazz Orchestra, among others, Guarna was a member of the jazz/rock band Blood, Sweat and Tears from 1995-98. For his fifth SteepleChase CD, Guarna is joined by pianist Peter Zak’s working trio of bassist Paul Gill and drummer Willie Jones. The mostly bop orientation of this session includes its share of overlooked gems, like Elmo Hope’s breezy “Crazy” and Sam Jones’ intricate “Bitter Sweet”, both of which sound like they’re a part of the musicians’ day-to-day repertoire. “Moment’s Notice” has long been an essential part of John Coltrane’s canon; Guarna keeps the tempo moderate, allowing more breathing room for potent solos. Bud Powell’s rollicking “Bouncing With Bud” is in good hands, with a humorous, conversational vibe. The band also excels with songs from the Great American Songbook: a leisurely, intimate setting of “Ghost of a Chance” has a whispering air while the lively bossa nova rendition of “I Never Knew” is engaging. In his unaccompanied treatment of Monk’s “Ugly Beauty”, Guarna brings out the lyricism within this ballad with his spacious playing.

For more information, visit steeplechase.dk. Guarna is at Dizzy’s Club May 8th-12th with Manuel Valera. See Calendar.

Perceptive enough to realize that an improvising musician must constantly change, pianist Vijay Iyer has experimented with several combo formats and choice of material during his recording career. Accelerando, his 16th CD, concentrates on the story-telling available from carefully selected tunes played in classic piano trio format. Although the configuration, with bassist Stephan Crump and drummer Marcus Gilmore, may be classic, the program isn’t. Iyer shows his taste by including under-recorded pieces by jazz masters (Duke Ellington’s “The Village of The Virgins”, Herbie Nichols’ “Wildflower” and a miniaturization of Henry Threadgill’s “Little Pocket Size Demons”), five originals, plus pop tunes associated with Heatwave, Flying Lotus and, most saliently, Michael Jackson.

He sounds more comfortable on the contemporary material. Complete with drum rolls, walking basslines plus syncopated harmonies and passing chords that appear self-consciously jazzy, “The Village of The Virgins” suggests Iyer won’t become a revivalist any time soon. Jackson’s “Human Nature” is given a treatment that frees it of its banality, giving it a harder edge with left-handed piano pressure, drum bounces and bass string glides. Reorchestrated with guitar-like strums and cascading keyboard glissandi, the melody that reappears after the turnaround is transformed from pop bauble to a precious jazz stone. “Little Pocket Size Demons” is interpreted in such a way that this stripped-down variant could be the equal of Threadgill’s original, recorded with a brass-heavy larger band. While Crump’s screeching arco runs and Gilmore’s paradiddles deconstructs it, Iyer’s tremolo piano pressure preserves the pseudo-marching-band theme. At the same time he changes the emphasis with each repetition. This dualism extends to Iyer’s originals, which match Ahmad Jamal-like timing with jocular iPad-era pulses. “Action Speaks”, for instance, could pass for a bebop line, complete with measured rim shots, if Iyer’s staccato pacing and dynamic accelerations didn’t give the 21st century game away. Similarly the woody yet unforced bass solo on “Optimism” is thoroughly modern, with emphasized, but not sharp tones echoed by kinetic piano that is intense but never loses the beat. With Accelerando, Iyer has created a Sweet Sixteen party many will like to attend.

For more information, visit actmusic.com. Iyer is at Harlem Stage Gatehouse May 8th-9th as part of Celebrating Cecil and Roulette May 16th as part of ImproTech Paris/New York 2012. See Calendar.

16 May 2012 | THE NEW YORK CITY JAZZ RECORD

Bittersweet

Tom Guarna (SteepleChase)by Ken Dryden

Accelerando

Vijay Iyer Trio (ACT Music)by Ken Waxman

Guitar legend Bucky Pizzarelli, at the age of 86, has produced an album in tribute to some of his inspirations. The memories of arranger Bill Challis and trumpeter Bix Beiderbecke anchor the album with a collection of obscure standards aided by Pizzarelli’s guitarist son John, bassist Jerry Bruno and the Dick Lieb Strings. The album opens with the bouncy “Sunday”, setting the tone with Pizzarelli’s chunky four-to-the-bar chords as the Dick Lieb Strings carry the melody. After Pizzarelli’s full-bodied solo he trades fours with featured violinist Aaron Weinstein who proves the gem of the album with engaging solos on the seesawing “Davenport Blues” as well as both versions of “Sugar”. With just Bruno accompanying them, Pizzarelli and Weinstein cut loose on the first version of “Sugar” with a bouncy midtempo approach. Weinstein does his best to summon the legacy of Stephane Grappelli in his melodic phrasing while Pizzarelli lays down an equally Hot Club-indebted jaunt. The full-band reprise of “Sugar” towards the end of the album finds Pizzarelli and Weinstein equally playful but pushed a little harder by the presence of the string section. “Oh Baby”

is the most upbeat track on the album, with a delightfully thick pulse laid down by the leader and Bruno while Weinstein steps up to the plate to highlight his mandolin skills. The foot-tapping pulse proves you don’t need a drummer to drive a beat. The self-titled track is the lone original of the album. Pizzarelli’s gentle melody nods to Ellington’s “Prelude to a Kiss” as it floats gently with help from his son on seven-string guitar. Father and son later stretch out for the most recognizable standard on the album, “What’s New”. Guitars and bass delicately swing across the changes before the senior Pizzarelli closes out the record alone with Beiderbecke’s “Flashes”, leaving no doubt about his mastery. The album is a swinging collection of tunes that honors the undersung Challis while also displaying Pizzarelli’s still boisterous chops. The string arrangements by Lieb are a nice touch, putting them front and center rather than swaying delicately in the background while the alternating tracks offer smooth, in-the-pocket performances from family and friends.

For more information, visit arborsrecords.com. Pizzarelli is at Bella Luna May 8th, Saint Peter’s May 9th and Kaye Playhouse May 21st with Bria Skonberg. See Calendar.

Since arriving here from France, tenor saxophonist Jerome Sabbagh has impressed with several releases mixing his accessible improvisational approach with Ben Monder’s burning electric guitar. Plugged In, as the title implies, has Sabbagh going electric but avoiding the obvious as Monder’s charged guitar is replaced with fellow Frenchman Jozef Dumoulin’s Fender Rhodes, which can eerily mimic searing guitar runs as well as bathe tunes in mellow funky ooze. Electric bassist Patrice Blanchard combines with drummer Rudy Royston for a lyrical rhythm section that fits into and jointly creates these diverse moods and, when called upon, blends with Dumoulin’s freer moments. Sabbagh and Dumoulin essentially split the leader’s role with each penning half of the 14 compact cuts. Dumoulin’s tunes tend to meander a bit while Sabbagh’s are the more structured and potent. Take, for example, Sabbagh’s popish “Special K”, which owes its approachable nature to a restated melodic hook, showcasing his gorgeous tone; Dumoulin prevents the tune from devolving into smoothness through a bit of off-kilter keyboarding. A gracefully stated “Kasbah” has Blanchard blending with Royston to build an elegant structure while the quartet displays superb worldly chops on Sabbagh’s “Jeli”, which also features some tasty bass work. Blanchard is a talented bassist and when up in the mix he keeps things from drifting too much. The band rocks on several cuts and Sabbagh’s “City Dawn” and Dumoulin’s “Ur” are reminiscent of ‘70s fusion thanks mainly to Dumoulin’s fiery runs. Plugged In is steeped in variety and if it falls a bit short as a conceptual work with Sabbagh never appearing totally comfortable in Dumoulin’s more abstract compositions it contains many noteworthy moments.

For more information, visit beejazz.com. Sabbagh is at Cornelia Street Café May 9th and Bar Next Door May 31st. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2012 17

Plugged In

Jerome Sabbagh (Bee Jazz) by Elliott Simon

Challis in Wonderland

Bucky Pizzarelli (Arbors)by Sean O'Connell

18 May 2012 | THE NEW YORK CITY JAZZ RECORD

The “Borscht Belt” or “Jewish Alps” referred to a string of summer resorts and bungalows in the Catskill Mountains popular with New York City Jews, providing entertainers a circuit to hone their acts and build an audience. Inspired by this history for Borscht Belt Studies, keyboardist Jamie Saft ruminates on themes that allude to the past but are contemporary in form and execution, conjuring a heartfelt memorial that is part celebration and part lamentation. Starting upbeat, “Issachar” opens with subtle Fender Rhodes that develops a swanky swing supporting clarinetist Ben Goldberg’s spare theme. Shimmering Rhodes buoys Goldberg’s bluesy, breathy lines, imparting a cool vibe for “Pinkus”. Ominous piano rumblings underscore the traditionally Jewish-sounding clarinet melody of “Dark Arts”. Similarly, on “Darash”, Saft’s classically inflected techniques bolster Goldberg’s folksy Klezmer asides. The prepared piano of “Jews for Joseph (Maneri)” accentuates the attack for a harpsichord-like sound, which Saft contrasts with tumbling keys as lilting clarinet soars over, then spars with, the tumult. Saft showcases his piano mastery with four solo

pieces trafficking in tension and release: he glides from deep murmurs to high trills and back with graceful touch and dynamic control on “Hellenville”; rhythmic angularity dominates “The Pines”; the patient minimalism of “Solomon County” is countered by shifting dynamics, pounded accents and string rakes and “Kutshers” lyrically unfurls with its quasi-blues theme juxtaposed by cascading rolls. Bassist Larry Grenadier and drummer Craig Santiago lay down a hypnotic reggae groove under the leader’s gauzy romantic lines on the concluding “New Zion”. The piece synthesizes Saft’s interests in groove, minimalism, extended technique and micro-tonality, reflecting a personal approach to the piano trio tradition that warrants further exploration.

For more information, visit tzadik.com. Saft is at Le Poisson Rouge May 9th as part of Undead Music Festival and The Stone May 11th. See Calendar.

In 1998, guitarist John Scofield released the album A Go Go, which he recorded with Medeski Martin & Wood (MMW). It grooved hard, skirting jazz and blues

and rock and funk. It wasn’t until eight years later that the musicians put out another album, Out Louder, under the name of Medeski Scofield Martin & Wood. It didn’t groove as hard as the first but when the band took the songs from both albums on the road in 2006, the differences between the two didn’t really matter. MMW, which could be called a ‘jazz trio’, usually acts more like a jam band live and it shows on In Case The World Changes Its Mind, a collection of recordings from that 2006 tour. The tracks go as long as about 13 minutes, there’s a lot of extended noodling, ideas take shape slowly. Neither bad nor good, you might do better with studio takes if you haven’t heard them yet. Scofield is one of the most influential jazz guitarists of the last couple of decades and his presence reigns here, despite the democratic band name. If you could drink his tone, it would have a heavily tannic aftertaste. His solos are jagged and sneaky, a good foil to keyboardist John Medeski, who has similar harmonic ideas - funky and atonal both - but improvises differently, grabbing handfuls of keys and building dynamics awkwardly, as on the track “Little Walter Rides Again”. Drummer Billy Martin and bassist Chris Wood bring it all together, forming deep, rhythmic pockets. And there’s a jazz ethic here in the way the band returns to the chorus at the end of most songs, but this music is much different from modern jazz in that it’s so danceable. The band works at its best when it gets straight to the beat, as on “A Go Go”, “Tootie Ma Is A Big Fine Thing” and “South Pacific”. You feel these songs in your feet.

For more information, visit mmw.net. MMW is at Brooklyn Masonic Temple May 10th as part of Undead Music Festival. See Calendar.

Borscht Belt Studies Jamie Saft (Tzadik)

by Sean Fitzell

Live: In Case The World Changes Its Mind

Medeski Scofield Martin & Wood (Indirecto)by Matthew Kassel

InterpretatIons presents

Saturday May 12 2012 @ 8pm

earl Howard // tom CHIu + Conrad HarrIs

Chiu & Harris perform works by Elizabeth Hoffman, Ben Johnston,

Alvin Lucier, Giacinto Scelsi, Christian Wolff, & Chiu, plus the premiere

of Howard’s Guggenheim commission “Superstring”, w/ Wu Wei (sheng,

erhu), Alan Jaffe (guitar), Miya Masaoka (koto), Ernst Reijseger (cello),

Mark Dresser (bass), Harris Eisenstadt (percussion), & Earl Howard,

(Kurzweil K2600). Tickets: $15 / $10.

roulette Brooklyn

509 Atlantic Ave (@ 3rd Ave) 2, 3, 4, 5, C, G, D, M, N, R, B & Q trains & the LIRR

www.InterpretatIons.Info

www.roulette.org

www.InterpretatIons.Info

www.roulette.org

roulette presents

Tuesday May 29 2012 @ 8pm

peter m wyer “tHe InvIsIBle”, w/ tHomas BuCkner, kevIn norton, ralpH samuelson, and mattHew sHIpp

British composer Pete M Wyer brings together an extraordinary improvising collective to perform his amazing song cycle, based on Charles Simic’s series of eleven poems on the theme of ‘The Invisible’.

roulette Brooklyn

509 Atlantic Ave (@ 3rd Ave) 2, 3, 4, 5, C, G, D, M, N, R, B & Q trains & the LIRR

The first thing you notice about Marty Ehrlich is the sound of his alto saxophone. It’s one of the great alto tones, round and full and summoning up great traditions, touching on presences like Benny Carter and Cannonball Adderley in its richness and yet with an expressive edge that speaks of the blues and that free alto tradition - one that runs through Ornette Coleman and Julius Hemphill, Ehrlich’s immediate mentor. Those historical resonances, embedded in his sound, extend through the compositions here and also through the way he’s put together his band. Ehrlich’s pieces move from the sprightly freebop of the opening title track to the resilient beauty of “Ballade” and “My Song” to the oddly cerebral funk of “You Can Beat the Slanted Card” and “The Gravedigger’s Respite”. There’s a consistent feeling of the classic about Frog Leg Logic in the way the compositions are mated to the members of this edition of the Rites Quartet. James Zollar is a trumpeter of great subtlety, whether burnishing the melody of “Ballade” or using mutes to summon up and transform ancient traditions. Cellist Hank Roberts frequently contributes a high-pitched equivalent of a walking bass, but he’s just as adept at adding a distinctive bowed voice to the ensembles or solos of genuine emotional resonance, including the Asian touches that decorate the slightly eerie “Walk Along the Way”. Drummer Michael Sarin is equally masterful at filling out Ehrlich’s thematic inspirations, from ironic back-beats to the drive of the title track. There’s tremendous freedom here as well, as each soloist rewrites the mood and direction of the pieces. Ehrlich has crafted a setting in which he can soar and every solo testifies to it, lighting up the music with free flights in which bop and blues materials are transmuted into an intense personal lyricism.

For more information, visit cleanfeed-records.com. Ehrlich is at Cornelia Street Café May 10th with Allison Miller. See Calendar.

Carlos Abadie is not a newcomer to the New York City jazz scene; the Jersey City native has been playing jazz here since the ‘90s. But Immersed in the Quest, Vol. 1 is the trumpeter’s first album as a leader, a 2010 recording of his working quintet with tenor saxophonist Joe Sucato, pianist Jonathan Lefcoski, bassist Jason Stewart and drummer Luca Santaniello. The disc owes much to the hardbop of Art Blakey’s Jazz Messengers and the hard-swinging Blue Note dates of the late ‘50s and, as a trumpeter, Abadie favors a big, fat, full-bodied tone along the lines of Clifford Brown and his heirs like

Donald Byrd, Freddie Hubbard, Lee Morgan and Woody Shaw. But while Immersed in the Quest, Vol. 1 is derivative, it is far from generic. What prevents this is Abadie’s wisdom in offering surprises when it comes to material. There aren’t a lot of originals, only his own “People on the Hill” and Sucato’s “Action Jackson” (which stay consistent with the overall Jazz Messengers aesthetic). But elsewhere he turns his attention to a lot of worthy material that hasn’t been beaten to death, including Hubbard’s “Hub’s Nub”, Duke Pearson’s “Each Time I Think of You”, Kenny Dorham’s “La Mesha” and the Horace Silver pieces “Metamorphosis” and “Pyramid”. Abadie also unearths the ballad “Funny (Not Much)”, which was a medium-sized hit for Nat King Cole in 1952 and is mostly recorded by vocalists, turning it into a good vehicle for his lyrical playing. The title indicates a planned sequel; if this enjoyable disc is any indication, straightahead jazz fans should look forward to that and future albums.

For more information, visit myspace.com/carlosabadie. Abadie is at Smalls May 3rd, 17th and 31st and Fat Cat May 12th. See Calendar.

Named after a culturally diverse region of Manhattan, this is a duo offering from pianist Ehud Asherie and tenor saxophonist Harry Allen. In this day of many releases by pairs of musicians in various configurations, it is not a surprise that these two have teamed up. Both are in demand, known for playing with just about everyone on the straightahead jazz scene and have performed together often. Here they achieve a magical, musical connection that allows them to be of one mind on the same page. Choosing some of the best from the standard songbook (just about all written for the Broadway shows and movies of the ‘30s-40s) Asherie and Allen adhere to the melodies for a chorus before taking their solos. Allen’s full tenor sound, with just enough textural breathiness, voices his music with ease while Asherie backs him up with basslines and stride piano on most of the tracks. Asherie has a wide variety of rhythmic figures in his fingers and his improvisations say just enough - reminiscent of the legendary Teddy Wilson. But the magic is the seamless way that these two performers pass their ideas back and forth, so in tune with each other that it often takes a second to recognize which instrument is playing. There are many highlights here such as Allen’s gutty approach to “Learnin’ The Blues” and, by contrast, a tender rendition of Strayhorn’s “Passion Flower” that can take your breath away. Asherie’s stride technique stands out on Eubie Blake’s “Love Will Find A Way”, there is a playful take on the bossa “O Patu” and both musicians are heartfelt on a version of the last of the Gershwins’ songs “Our Love Is Here To Stay” (Ira’s love song for his brother, George). This delightful album is guaranteed to grow on listeners track by track. It is full of exciting and enjoyable music made by two instrumental masters, joined together in a perfect pairing.

For more information, visit posi-tone.com. This duo is at Knickerbocker Bar and Grill May 11th-12th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2012 19

Immersed in the Quest, Vol. 1

Carlos Abadie Quintet (Pursuance)by Alex Henderson

Upper West Side (with Harry Allen)

Ehud Asherie (Posi-Tone)by Marcia Hillman

Frog Leg Logic

Marty Ehrlich's Rites Quartet (Clean Feed)by Stuart Broomer

Tue, May 1 BLUE TUESDAYS PRESENTS: “DOUBLE BASS DOUBLE VOICE” 8:30PM Nancy Harms, Emily Braden, Steve Whipple THE BRIANNA THOMAS BAND 10PM Wed, May 2 RYAN BLOTNICK’S SAUT-E SARMAD 8:30PM Mat Maneri, Michael Blake, Perry Wortman, Randy Peterson Thu, May 3 SPOTLIGHT ON NEW TALENT: BEN VAN GELDER 8:30PM Kyle Wilson, Joe Sanders, Craig Weinrib Fri, May 4 JOHN MCNEIL’S URBAN LEGEND 9PM & 10:30PM Bill McHenry, Steve Cardenas, Joel Martin, Rodney Green Sat, May 5 MICHAEL BATES’ ACROBAT: MUSIC FOR, AND BY, DMITRI SHOSTAKOVICH 9PM & 10:30PM Greg Tardy, Russ Johnson, Russ Lossing, Michael Sarin Sun, May 6 NEW BRAZILIAN PERSPECTIVES: BILLY NEWMAN SEXTET 8:30PM Ben Holmes, Michael Attias, Eric Schugren, Leco Reis, Conor Meehan Mon, May 7 AMRAM & CO 8:30PM David Amram, Kevin Twigg, John de Witt, Adam Amram Tue, May 8 LEIF ARNTZEN BAND WITH MICHAEL BLAKE 8:30PM Landon Knoblock, Ryan Blotnick, Michael Bates, Jeff Davis Wed, May 9 JEROME SABBAGH QUARTET - CD RELEASE: “PLUGGED IN” 8:30PM Pete Rende, Simon Jermyn, Rudy Royston Thu, May 10 ALLISON MILLER’S BOOM TIC BOOM - CD RELEASE: “LIVE AT WILLISAU” 8:30PM Dan Tepfer, Marty Ehrlich, Todd Sickafoose Fri, May 11 GERALD CLEAVER 9PM & 10:30PM Darius Jones, Brandon Seabrook, Cooper-Moore, Pascal Niggenkemper Sat, May 12 SHEILA JORDAN & CAMERON BROWN 9PM & 10:30PM Tue, May 15 MARK DRESSER QUINTET 8:30PM Rudresh Mahanthappa, Michael Dessen, Denman Maroney, Tom Rainey Wed, May 16 PANNONIA 8:30PM Josh Deutsch, Zach Brock, Brian Drye, Gary Wang, Ronen Itzik AUGMENTED REALITY 10PM Roy Assaf, Jorge Roeder, Ronen Itzik Thu, May 17 JEFF DAVIS QUARTET 8:30PM Chris Speed, Russ Lossing, Eivind Opsvik Fri, May 18 DAN RUFOLO TRIO FEATURING RICH PERRY 9PM & 10:30PM Bill Thoman, Arthur Vint Sat, May 19 MARY HALVORSON QUINTET - CD RELEASE: “BENDING BRIDGES” 9PM & 10:30PM Jonathan Finlayson, Jon Irabagon, Stephan Crump, Ches Smith Sun, May 20 LOREN STILLMAN AND BAD TOUCH 8:30PM Nate Radley, Gary Versace, Ted Poor Tue, May 22 BLUE TUESDAYS PRESENTS: LOUISE ROGERS/RICK STRONG 8:30PM Thu, May 24 TOM CHANG QUARTET 8:30PM Jason Rigby, Chris Lightcap, Gerald Cleaver Fri, May 25 REGIONAL DE NY: BRAZILIAN CHORO 6PM Justin Douglas, Rodrigo Ursaia, Kahil Nayton, Cesar Garabini, Ranjan Ramchandani AMANDA BAISINGER 9PM & 10:30PM Ryan Scott, Pete Rende, Matt Brewer, Dan Rieser Sat, May 26 JASON RIGBY’S CLEVELAND-DETROIT TRIO 9PM & 10:30PM Cameron Brown, Gerald Cleaver Tue, May 29 ANDREW RATHBUN QUARTET 8:30PM Phil Markowitz, Jay Anderson, Bill Stewart Wed, May 30 JAMES SHIPP’S NÓS NOVO 8:30PM Jean Rohe, Becca Stevens, Jesse Lewis, Rogério Boccato Thu, May 31 DUANE EUBANKS QUINTET 8:30PM Abraham Burton, Orrin Evans, Dezron Douglas, Eric McPherson

20 May 2012 | THE NEW YORK CITY JAZZ RECORD

Pianist Aaron Diehl is a young Juilliard graduate, a scholarly devotee of Fats Waller, James P. Johnson and even earlier figures. His work on record reveals absolutely no debt to hiphop, indie rock, the avant garde or any other de rigueur influence. Yes, Diehl is a proud jazz classicist, with an impeccable touch and deep musical insights. His Mack Avenue debut, The Bespoke Man’s Narrative, is forthcoming so it’s a good time to listen closely to his previous effort. Though his interests stretch back to ragtime, Diehl is not a ‘trad’ player. His rapport with bassist David Wong and drummer Quincy Davis on “Pick Yourself Up” and Thelonious Monk’s “Green Chimneys” brings to mind the crisp, strutting swing of Miles Davis’ ‘50s quintet. His effortless-sounding arrangements and use of the trio as a canvas recalls Ahmad Jamal. His restraint and elegance as a soloist is in the tradition of John Lewis and the Modern Jazz Quartet (the addition of vibraphone on the forthcoming album makes the MJQ parallel even clearer). Although Diehl’s chops are considerable, he unleashes them with taste, in ways we wouldn’t expect (eg, his fills on the original ballad “Dorsem” and ultra-slow opener “The Player’s Blues”). Not that he has anything against speed: his original “Tag You’re It!”, with its train-like feel (and slight resemblance to “Seven Steps to Heaven”), is the date’s most bracing virtuoso showpiece. But the George Shearing classic “Conception” gets a slower treatment than usual and Diehl hints at Monk’s influence with gestures of repetition and counterpoint. His wide octaves - a frequent device during solos - highlight the piano’s flawless intonation and the fine recording quality. Two tracks feature a different rhythm section, but mainly we hear from Wong in a pronounced soloing and melodic role and Davis in great form on sticks and brushes. There’s a curious effect at the start of the album, where ambient crowd noise nearly drowns out the band, then disappears in time for the second blues chorus. It’s likely a post-production trick, but it gives the impression that Diehl and his trio succeeded in quieting a loud room - an easy scenario to believe. For more information, visit aarondiehl.com. Diehl is at Apollo Theater May 12th with Wycliffe Gordon as part of Harlem Jazz Shrines Festival. See Calendar.

Like so much of the best current jazz, Overseas IV comes out of a European sensibility filtered through edgy New York energy. Eivind Opsvik was born in Norway and is now based in Brooklyn. He plays bass, but his true instrument is his ensemble. Not interested

in conventional solo brilliance and complexity, his priority is collective ensemble texture and narrative. Overseas IV propagates unfamiliar colors and sonorities because of its instrumentation. Kenny Wollesen plays drums but also timpani, vibraphone and “marching machine”. Jacob Sacks plays piano but also harpsichord and farfisa organ. Tony Malaby plays tenor saxophone, but often in the falsetto register. Brandon Seabrook plays electric guitar but also mandolin. The blend is so deep that many sounds can’t be specifically attributed. Opsvik meticulously arranges his ten compositions into diverse organic designs. “1786” begins with a hypnotic drum and bass vamp bonded to a cycling harpsichord figure. Then Malaby enters like a buzz saw, placing a wild, raving, rasping saxophone in a context of Baroque formality. “Robbers and Fairground Folk” is similarly odd and intense. Malaby’s saxophone is the rhythm section, croaking a foundational hook over which Seabrook’s guitar screams. But often Overseas IV is relatively quiet, made from simple, solemn melodic forms. “Silkweavers’ Song” and “Men on Horses” are dark and austere, like antiquarian dirges refracted through the relativism of 21st century consciousness. “Det Kalde Havet”, like several pieces here, is continuously cinematic. Over stark drum rituals and incantatory chords, a brooding drama of melody unfolds. Is it arco bass and tenor sax? Which keyboard instrument is Sacks playing? Is that a guitar or a mandolin strumming? It doesn’t matter. Someone needs to make a movie to this music.

For more information, visit loyallabel.com. Opsvik is at Sullivan Hall with Kris Davis and Kenny’s Castaways with Nate Wooley, both May 9th as part of Undead Music Festival, Cornelia Street Café May 17th with Jeff Davis and I-Beam May 18th with Nate Wooley. See Calendar.

Live at the Players

Aaron Diehl Trio (s/r)by David R. Adler

Overseas IV

Eivind Opsvik (Loyal Label)by Tom Conrad

THE NEW YORK CITY JAZZ RECORD | May 2012 21

Slip the Lage Lund Four’s newest CD into the stereo and skip to “Soliloquy”. You’ll hear a few clinks of glass cups in the background in the opening seconds. Yet oddly enough, this unintentional bit of sound captures the spirit of the album perfectly. The guitarist’s quartet brims with tangy surprises and fresh changes of pace throughout the hour-long record, each tune more creative than the last. Lund’s presence is sparse, serving as the electric-tinged counterpart to Pete Rende’s conversational piano. On “Circus Island”, he comes alive only a handful of times during the track, rising out from Marcus Gilmore’s cymbal tap mist like a spare bolt of lightning. Rende whittles down his sunny vibe to a functional whisper, providing a backbone for Lund’s acidic chords. Once he darts his way out, Rende and Gilmore lapse back into their breezy tumble. On “Circus Blues”, Lund lands a while longer, rejuvenating the darker piece with a vibrant flair. The band reaches its darkest apex, however, in “Party of One”. Bassist Ben Street breaks from the rhythmic background, bouncing forward like a thick slab of aural rubber. Rende interlaces his melody with

a few ear-catching high notes while Gilmore knocks out hollow drum accents. As the minutes pass, the piece reaches visceral heights - one second taking on a teary melancholy and the next densely twisting in place. After the extracurricular sounds are through, “Soliloquy” evokes a similar hint of distress, though smoothed by Gilmore’s balmy cymbals. “Strangely” unites both ends of the Lage Lund Four spectrum, reaching heavy pensiveness and mellow ease often in the same phrase. While Street and Gilmore fade in and out of percussive harmony, Lund and Rende take the piece home in a bout of sheer brilliance. The two unite into a collective instrument that sounds like neither piano nor guitar - but rather a beautifully strange voice of their own.

For more information, visit smallslive.com. This group is at Smalls May 23rd. See Calendar.

New York jazz fans out and about in the mid ‘90s were sure to run across pianist Jean-Michel Pilc, whose trio with bassist François Moutin and drummer Ari Hoenig

delivered some of the most consistently surprising and satisfying performances over the next decade. Threedom, an inspired reunion, proves the magic is still there, a sparkling set combining artfully deconstructed standard songs with coherently composed free improvisations. Well-cooked chestnuts like “Nardis”, “A Foggy Day”, “You and the Night and the Music”, “Afro Blue”, “I’m Beginning to See the Light”, “Confirmation” and even “Giant Steps” get a fresh roasting here, pared down to their essential elements, then reimagined with the trio’s inimitable imprint. On the other hand, free improvisations like the calypsonian “The Grinch Dance” or the delicate “Lily” are so tuneful that it’s easy to forget they were realized on the spot. Pilc is often the chief brainstormer, pursuing various inklings and intuitions with restless curiosity, but Moutin and Hoenig can also swim deeply in the think-tank, injecting ideas of their own, or taking the pianist’s catalytic gestures to new places. The tracks tend to run short, like a pastiche of anecdotes rather than a thematically bound suite, but the trio’s energy and edge remain constant. Deeply rooted in the swing rhythms and soulful blues of traditional jazz, the Pilc/Moutin/Hoenig trio is nonetheless progressive and topical, reflecting the excitement of old friends who, meeting after a hiatus, are brimming with new stories to share. In the liner notes, Moutin likens their partnership to an uncontrollable beast - “Its three parts enhance our freedom and its free part invents our Threedom” - elegantly summarizing the interplay of chaos and constraint, of foreign and familiar, that make this music so compelling.

For more information, visit motema.com. This trio is at Jazz at Kitano May 24th and Smalls May 28th. See Calendar.

Threedom

Jean-Michel Pilc/Francois Moutin/Ari Hoenig (Motéma Music)

by Tom Greenland

Live at Smalls

Lage Lund Four (smallsLIVE)by Sharon Mizrahi

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Local jazz fans don’t need an introduction to Seamus Blake. The Vancouver-born, New York-based saxophonist is known for his flawlessly fluid technique and consistently inspired improvisations. Three new releases speak to his versatility as a deft ensemble player, gifted composer and fearless improviser. On Live at Smalls, a blistering set recorded at the Greenwich Village club in summer 2009, Blake is joined by longtime collaborators Bill Stewart (drums), Matt Clohesy (bass), Dave Kikoski (piano) as well as guitarist Lage Lund. Aside from a gorgeous rendition of the lesser-known standard “Stranger In Paradise”, the pieces that comprise the album are all penned by the leader and effortlessly performed by the ensemble. “Subterfuge” opens the set with a bravura melody, followed by a series of equally assertive solos. Blake’s statement weaves a jumble of snaking lines into a highly coherent and emotionally resonant performance, peaking multiple times in a hail of altissimo, before Lund’s guitar enters with a surge of probing lines. As much as the melodic and harmonic fireworks of Blake and Lund captivate, the rhythmic cohesion achieved by Kikoski, Clohesy and Stewart take the proceedings to a whole new plane. Stewart’s endlessly inventive ride and snare beats inspire and propel each soloist through “Amuse Bouche”, a 12-minute tour de force that also features characteristically buoyant and sophisticated basslines from Clohesy. Kikoski’s myriad gifts as an ensemble player and soloist shine throughout the disc, but never more than on reflective moments like his supple and incisive solo on the leader’s “Consequence” and the arresting opening duo with Blake on “Stranger in Paradise”. Blake is one of his generation’s most prolific guest soloists for reasons made clear in the written acknowledgements of Visitor, an album by the Norwegian organ trio Solid!. “Thanks to Seamus for sharing his talents and being solid as a rock.” The saxophonist certainly sounds like he’s on sure footing from his opening notes on “Insert Witty Title”, the album’s intriguing opener. Following an ethereal introduction by guitarist Bjorn Vidar Solli, Blake plays a singing rubato melody that quickly transitions into the sinewy, effervescent body of the tune and then a brawny solo over the entrance of organist Daniel Buner Formo and drummer Håkon Mjåset Johansen. The album is a clever and ultimately satisfying amalgam of traditional organ trio fare like the driving “Weeks on End”, a swinging modal piece that features Blake in blistering form over creative bass pedal lines from Solli and Johansen’s irrepressible percussion, and “Chasing Fanshawe”, a harmonically surprising and soulful ballad that once again features searching tenor over burbling, pliant organ. Rocker John Brion’s “Here We Go” - from the soundtrack to the 2002 film Punch Drunk Love - gets a subtle reworking as the album’s conclusion, the group opening up the harmonically fertile pop tune to probing and inventive solos by Blake and Solli’s almost theremin-like organ. Another organ tone - this time the Fender Rhodes of Dave Kikoski - opens Introducing Opus 5, a quintet date for Criss Cross records that finds Blake sharing

the frontline with frequent bandmate trumpeter Alex Sipiagin along with the powerful rhythmic team of Kikoski, bassist Boris Kozlov and drummer Donald Edwards. The piece - “Think of Me” by pianist George Cables - is a deceptively complex composition in 9/4 with unexpected harmonic pivots the veteran quintet navigates with ease. Blake and Sipiagin deftly run down the melody before the trumpeter embarks on a tightly thematic statement that sets a high bar for the rest of the album. Each member of the quintet has strong ties to the Charles Mingus repertory bands and that connection figures heavily into pieces like Kozlov’s episodic “Nostalgia In Time” - a play on Mingus’ “Nostalgia In Times Square” that actually has little in common musically with the earlier composition - and “Sokol”, a brilliantly reworked Russian folk song, which incorporates Mingus-ian blues repetition and free-blowing sections. Despite the Mingus connection and the seemingly straightahead lineup and repertoire, Opus 5 is much more than a blowing session among musical compatriots. Blake and Sipiagin push each other toward the outer bounds of a tune’s formal strictures and the adventurous rhythm section is always there with them. On Kikoski’s “Baker’s Dozen”, a grooving composition in 11/8, Blake and Sipiagin solo with fire and rhythmic freedom before a bass solo makes way for a completely untethered Kikoski. The unaccompanied pianist channels Keith Jarrett while exploring the edges of the piece’s harmonies before making way once again for the telepathic horns.

For more information, visit smallslive.com, parallell.eu and crisscrossjazz.com. Blake is at Dizzy’s Club May 29th-Jun. 3rd with Eric Reed. See Calendar. (CONTINUED ON PAGE 27)

Live at Smalls Seamus Blake Quintet (smallsLIVE) Visitor (with Seamus Blake) SOLID! (Parallell)

Introducing Opus 5 (Criss Cross)by Matthew Miller

CONGRATULATIONS TO

THE NEW YORK CITY JAZZ RECORD

ON THEIR 10TH ANNIVERSARY

FROM CAPRI RECORDS

WWW.CAPRIRECORDS.COM

MAY 2002 THE NEW YORK CITY JAZZ RECORDWe are truly blessed

to

have The New York City

Jazz Record. Thank you

and your staff for your

continuing dedication and

support of the music we

love and the musicians

who share that love

with

us. Happy 10th and

many more.

Joe McPhee,

Class of 2007

How lucky we New York jazz fans and musicians are to have such a wonderful paper that keeps us informed about all the jazz clubs and concerts going on in the greatest city in the world. Not only does it cover all the jazz gigs but it also has great interviews with jazz artists. I for one am thrilled to have been interviewed for The New York City Jazz Record. I wish you a very Happy Anniversary and a big thank you to all of the contributors who make this great jazz paper possible. Sheila Jordan, Class of 2005

In my many years of

being part of the global

Jazz scene, The New York

City Jazz Record is the

most comprehensive

periodical on the music

that I have ever read.

The variety and quantity

of subject matter covered

in the Record is peerless.

AND IT'S FREE!!!Continued success,Andrew Cyrille, Class of 2003

I really appreciate

the NYC Jazz Record and I think

it's a great publication. Jazz needs as much support as it

can get. The more the merrier. Keep on going!Mike Stern,

Class of 2011

It was a great surprise

for me to appear on the

cover, a fantastic welcome

to my visit to NYC. As

someone who attempts to

work across musical

boundaries, it was a great

honour and privilege to

front the NYCJR.

Keith Rowe, Class of 2011

I think it's great that New York has its own jazz newspaper. This is the center of the jazz world and New York jazz fans are simply the best in the world. Gary Burton, Class of 2010

10 years old...you have 80 more to go to catch up

with me! Congratulations on a decade of celebrating the New York City jazz

community. Thanks for leading the way. Bravo!

Chico Hamilton, Class of 2009

Our sincerest gratitude for your constant support in bringing our music to your readership and beyond.Your coverage endures and reflects the creative sincerity for which we strive. Our best wishes for your continued success.Abdullah Ibrahim, Class of 2004

CONGRATULATIONS to all of

the team at NYCJR to reach

your 10th anniversary, no mean

feat in these troubled times.

It's interesting that the past

accolades for NYCJR primarily

mention the magazine's

association with NYC, but I

have the distinct impression

that there is a world view

aspect and the coverage

takes in a liberal perspective

of the many genres of jazz

and improvised music. Thanks

to you all for supporting us

as well as keeping us informed!

Long may the publication

continue. Barry Guy, Class o

f 2009

Your paper does a great service because it lists and covers a lot of the smaller jazz places around New York, especially Harlem and Brooklyn, that most people would not even know of. Your articles are wonderful, very person to person. The big magazines do not have that personal effect like you do. They just push who they want to push but you seem to cover everybody. It is a service that we need, and it is essential. Keep up the great work! I read The New York City Jazz Record every time I see it! Lou Donaldson, Class of 2007

Bravo. Congratulations. Thank you for what you are doing. We need you, we appreciate you, we love you.Sonny Rollins, Class of 2004

Being a New Yorker for more than 50 years, and having read lots of newspapers and music magazines, I still find The New York City

Jazz Record the easiest to read, as well as themost informative jazz

magazine and calendar of all.HAPPY ANNIVERSARY!!

Ron Carter, Class of 2005

Like many of us, I've been trying to consume local products and to eschew the big national and international chains. Why not read local too? New York is a vast, diverse city, but it's also a compendium of particular communities, the jazz community among them. We're most fortunate to be served by The New York City Jazz Record, which not only informs but inspires. It's now spent ten years keeping its head above water, something we musicians know a lot about. Here's to ten more and more.Carla Bley, Class of 2003

I want to thank the The NYC Jazz Record for their exemplary coverage of my work. It is good to see such a comprehensive approach to covering the scene, capturing the amazing developments that are unfolding these days, despite all the odds. The NYC Jazz Record nurtures the collective spirit that is essential for the music to keep growing. My Improvisers orchestra grew out of that spirit and is therefore a prime example of projects benefitting from the NYCJR approach. Much appreciated.Karl Berger, Class of 2011

Jazz means improvising,

improvising means you play

spontaneously, playing spontaneous

ly means you

are living in the here and now,

living in the

here and now means being truly

alive. The New

York City Jazz Record - thanks fo

r Being!!!

John McLaughlin, Class of 2007

I never go to or leave New York without your newspaper in my briefcase! Keep up the good work. Phil Woods, Class of 2009

Congratulations to The New York

City Jazz Record on its 10th

anniversary and thanks for all of

the great work that you have done

on behalf of the music.

Muhal Richard Abrams, Class of 2007

The New York City Jazz Record offers the

musicians who create the music a chance to voice

their opinions about their music and their lives, a window, a mirror that

includes all sounds.William Parker, Class of 2009

The New York City Jazz Record is a well-written paper covering a broad spectrum of jazz. It is interesting, has good articles and fills a void.... and amazingly enough it's free! Congratulations on your 10th anniversary. Thank you for what you are doing and keep up the good work!Jack DeJohnette,

Class of 2012

Your publication is so very helpful to all the musicians in this area. There is no other place they are going to get this recognition as well as you do it! Bucky Pizzarelli, Class of 2008

I would like to thank The New York City Jazz Record for their

insightful reporting and continued support to the music community.

I am grateful and honored to have been included in this great legacy.

Roscoe Mitchell, Class of 2004

Congratulations on your 10thanniversary!!! I have been a big supporter of your efforts in promoting the world of American Classical Music/jazz. It is always interesting to view the results of what must be extensive research on your part in covering the music that has kept culture alive in New York for years and years. My relatives are always thrilled in Pittsburgh (my hometown) to receive their subscriptions. They are amazed at the wealth of info contained therein. Keep doing what you are doing 24/7.Ahmad Jamal, Class of 2008

MAY 2012THE NEW YORK CITY JAZZ RECORD

Happy Birthday to you,

Happy Birthday to you,

Happy Birthday, The New

York City Jazz Record,

Happy Birthday to you.

Paul Bley, Class of 2006

You have something good. Hang onto it and never let

it go. You're putting something out there for people - people

who are interested - and it's going to affect people

the way you intend it.The universe works that way:

when you've got something good, people want more of it! That's

what it's all about. You should keep

moving forward and, as you have,

continue to get better with age

like a Dom Perignon champagne.

Benny Golson, Class of 2008

Helping keep jazz living, breathing and thriving? For a decade? Maaaaan, that is over the moon!

George Benson, Class of 2011

It was a great surprise

for me to appear on the

cover, a fantastic welcome

to my visit to NYC. As

someone who attempts to

work across musical

boundaries, it was a great

honour and privilege to

front the NYCJR.

Keith Rowe, Class of 2011

Happy Birthday and long life to one of the best jazz journals in the world.Martial Solal, Class of 2007

Kudos to the New York City Jazz Record for making it to

your tenth anniversary! It takes a lot of effort and wisdom to do what you do, but I'm telling you that your endeavors in keeping us posted with the music and the scene are deeply appreciated. You keep writing and we'll keep subscribing!

Larry Coryell, Class of 2010

I've always appreciated having your free newspaper in any New York club I come into and look forward to reading the articles in your paper. It's a very positive action and I always wonder if there are enough subscribers to pay for this - apparently there are, as it keeps coming out every month!Lee Konitz, Class of 2005

Your publication has consistently gone above and beyond - combining

comprehensive listings, great photos and insightful features, year after year for the fulfillment of our fans. I have long

appreciated your efforts and am pleased to have been featured in your

pages. Happy Anniversary. Nancy Wilson, Class of 2007

Your paper does a great service because it lists and covers a lot of the smaller jazz places around New York, especially Harlem and Brooklyn, that most people would not even know of. Your articles are wonderful, very person to person. The big magazines do not have that personal effect like you do. They just push who they want to push but you seem to cover everybody. It is a service that we need, and it is essential. Keep up the great work! I read The New York City Jazz Record every time I see it! Lou Donaldson, Class of 2007

Happy 10 year anniversary to The New York City Jazz Record!New York is the center of the jazz universe and it is a blessing that we have such a great "homegrown" periodical that features the musicians and the city where many of the memorable moments of jazz history have been made! George Coleman, Class of 2010

Always ahead of the game! The most informative

gazette featuring the most important genre

in American music. All the musicians from the

genre of Latin jazz and jazz are bless

ed to have

this publication.

Eddie Palmieri, Class of 2005

Like many of us, I've been trying to consume local products and to eschew the big national and international chains. Why not read local too? New York is a vast, diverse city, but it's also a compendium of particular communities, the jazz community among them. We're most fortunate to be served by The New York City Jazz Record, which not only informs but inspires. It's now spent ten years keeping its head above water, something we musicians know a lot about. Here's to ten more and more.Carla Bley, Class of 2003

Thanks for your support of

America's Classical Music and

your inclusion of the Heath

Brothers. You and your publication

are deeply appreciated.

Jimmy and "Tootie" Heath, Class of 2002

When Sonny Rollins recently got an award at the Kennedy Center,

I couldn't help thinking of the trouble we had sometimes finding a hotel or

a restaurant! It's so important to keep our faces around in a newspaper like

The New York City Jazz Record. -Jim Hall, Class of 2012

Kudos to the staff of NYC Jazz R

ecord for their straightahead

handling of the magnitude of gr

eat jazz artists and engagements

in and around the Big Apple. We

don't know what we'd do without

dedicated people keeping on and

staying in touch.

Buddy DeFranco, Class of 2006

I never go to or leave New York without your newspaper in my briefcase! Keep up the good work. Phil Woods, Class of 2009

Congratulations for your 10th Anniversary. Thank you for giving the maximum support for

our music that we all love.Randy Weston, Class of 2004

All the best with all that you do!John Zorn, Class of 2003

Congratulations on NYC Jazz Record's anniversary. Finding an intelligent and wide-ranging

view of the jazz scene is difficult - but the gazette

does just that! Vital reading for all jazz musicians and fans

- long may you continue!John Surman, Class of 2009

I consider The New York City Jazz Record to be the jazz

community’s true hometown paper. Every venue is listed,

no gig is too small or too unimportant to be listed. The most renown musicians might

be heard at any venue no matter how small. We owe much to

the Record for letting everyone know where the excitement might happen.Don Byron, Class of 2006

I want to congratulate The New York City Jazz

Record for 10 years of bringing fans all the information about

jazz in New York. This magazine is very valuable for jazz musicians living

and playing there. I wish you many more years!

Toots Thielemans, Class of 2011

It has been a great pleasure to watch the development of TNYCJR over the last ten years.

Although there are many other centres of excellence for jazz and improvised musics spread around the world now ( read London :-) ), New York retains its special

place in the pantheon. Based as it is, at the heart of things, TNYCJR keeps us all in touch. Your coverage is

broad and unbiased. May you live long and prosper. Evan Parker, Class of 2003

I always felt that jazz is a special music that's not for everyone; it's

especially now my feeling about jazz. It's also very difficult to survive as a

musician. For The New York City Jazz Record to have a 10th anniversary and just be dedicated to jazz is very important for musicians like me. It helps to keep us and the music alive. I feel very fortunate to have been on the cover and to have your publication keep the public informed about the musicians - and I know it's not that

easy. I want to congratulate you and hope we all keep going strong.

Toshiko Akiyoshi, Class of 2009

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212-730-8138 Store Hours: 11-7 Monday-Friday & 11-6 SaturdayOwner: Steve Maxwell Manager: Jess Birch

Steve’s cell: 630-865-6849 Email: drummermax@aol.comVisit us on the web at: www.maxwelldrums.com

NEW YORK'S ONLY TRUE VINTAGE AND CUSTOM DRUM SHOPOur philosophy for the shop is to create an inviting atmosphere where players and collectors alike can visit and see wonderful vintage and custom drumsand cymbals that you can't find anywhere else; enjoy listening to some jazz vinyl while hanging in the drummer's lounge area of our museum; andexchange ideas and information with friends. We even have sound proof rooms for testing cymbals, drum sets and snare drums. Our sets, snares andcymbals are set up and ready for you to play. We believe in the highest level of personal, professional service and we have the experience you need whenconsidering vintage and custom drums and cymbals. Call Steve on his cell anytime, or email him at drummermax@aol.com. He wants to hear from you.

Expansion underway - new showroom and museum on the 4th floor! Come see us!

Recording Studio Support: Enormous selection of vintage and custom drums to suit the needs of any recording studio looking for that special, unique sound.

Need that “vintage” drum or cymbal sound? Come see us. We have what you need. Need a versatile but unique custom drum sound? We have that as well with our Craviotto solid shell drums. None finer in the world.

NYC DRUMMERS, WE HAVE DRUM SET PRACTICE SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS. CALL JESS AT 212-730-8138 FOR DETAILS.

THE NEW YORK CITY JAZZ RECORD | May 2012 27

(CONTINUED FROM PAGE 22)

Though saxophonist Rich Perry often records with a piano player, for Grace he decided to leave it out. All the more interesting considering that some of the tunes he chooses to improvise on were composed by pianists: “Very Early”, “Funkallero” and “Time Remembered” by Bill Evans, “Eronel” by Monk and, even though “Falling Grace” was composed by bassist Steve Swallow, Perry states his affinity for the Chick Corea/Gary Burton version on 1972’s Crystal Silence. On “Time Remembered” Perry takes his time in his first couple of choruses, after stating the long-note melody; only after a few minutes in does he begin to unleash cascading 16th notes, diving below and soaring above the majestic form. “Eronel” receives a funkier treatment - drummer Jeff Hirshfield and bassist Jay Anderson poke and prod more, urging Perry to stretch further and once again he rises to the challenge. Charles Mingus’ “Goodbye Pork Pie Hat” must be one of the most performed tunes by a jazz composer ever, yet the version here is as striking as any you could find. Perry pays homage to honoree Lester Young with his breathy tone and floating rhythms. Aptly Anderson also solos, displaying great feeling as well as a rich tone through the entire range of the bass. An ending complete with bass and saxophone cadenzas on isolated chords comes to a breathtaking conclusion with the final sound being that of the sizzling cymbal. The deceptively riffing “Funkallero” provides rich harmonic territory. Hirshfield’s spectacularly dynamic playing through the form drives this track to make it a standout. There have been some fantastic sax, bass, drums trios in the history of jazz: Sonny Rollins (Freedom Suite or Live at the Village Vanguard) or Ornette Coleman (At the Golden Circle) or Lee Konitz (Motion) come quickly to mind. Now with Grace, Rich Perry joins their illustrious company.

For more information, visit steeplechase.dk. Perry is at Cornelia Street Café May 18th with Dan Rufolo and Somethin’ Jazz Club May 19th with Matt Panayides. See Calendar.

A largely unheralded master, drummer Ben Riley has spent the major part of a distinguished half-century-long career in the service of others, including notable tenures with the tough tenor team of Eddie “Lockjaw” Davis” and Johnny Griffin, saxophone colossus Sonny Rollins, the Ron Carter Quartet and Kenny Barron Trio. Yet, it is his association with Monk - as part of the pianist’s last great quartet, founding member of the cooperative Sphere and most recently as leader of the Monk Legacy Septet - for which he is best known. For only his third album as a leader, the veteran teams up with his tenorist from the latter group, Wayne Escoffery, for a quartet session that exhibits the many attributes that have made him a favorite of so many. Also on the date are bassist Ray Drummond and Freddie Bryant or Avi Rothbard on guitar. The group performs sophisticated arrangements of both familiar and less common pieces from the jazz repertory. Beginning with a slow marching take on Monk’s “Friday The 13th”, Riley’s credentials as an impeccable timekeeper and creative colorist come clearly to the fore. The group’s “Poinciana”-like “Laura” showcases the drummer’s tonally nuanced mallets while the crisp stick work on Monk’s “Teo” demonstrates his engaging rhythmic melodicism. Escoffery is a masterful improviser, with a classic sound - the dappled sonance of which at times recalls Charlie Rouse - and a racing facility reminiscent of Johnny Griffin, as on the tour de force renditions of “Without A Song” and “Lulu’s Back In Town”. He’s consummately lyrical on “A Weaver Of Dreams” and swings with restrained passion on “If I Ever I Would Leave You”. Celebrating the release at Smalls last month the quintet, with Kiyoshi Kitagawa on bass, played with even livelier abandon on renditions of “Without A Song” and “Lulu”, taut snare and expansive cymbals driving Escoffery’s sinuous improvisations, enhancing them with telling melodic interjections while decorating “Ugly Beauty” with painterly brushwork.

For more information, visit sunnysiderecords.com. Riley is at Minton’s Playhouse May 9th as part of Harlem Jazz Shrines Festival. See Calendar.

Grace

Rich Perry (SteepleChase) by Francis Lo Kee

Grown Folks Music

Ben Riley Quartet (Sunnyside)by Russ Musto

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Listen and Free Downloads@ soundcloud.com/asktheoracle

Happy 10 Years that made a differencefrom 5C Cafe and Cultural Center

5C CAFE68 AVENUE C (At 5th Street)212-477-5993

5cculturalcenter.org

28 May 2012 | THE NEW YORK CITY JAZZ RECORD

This year marks the 50th anniversary of Duke Ellington’s recorded meetings with two of the most important and influential tenor saxophonists in jazz history. And this album brings together the music from the original LPs, Duke Ellington Meets Coleman Hawkins and Duke Ellington & John Coltrane on one CD. Hearing them together enhances our appreciation of the protean genius of Ellington, for it is hard to think of another jazz giant who could have engineered two such different musical encounters so successfully. The Duke crafted musical settings tailored to the strengths and styles of his saxophone partners, the one for Hawkins very Ellingtonian, the other in the quartet setting comfortable to Coltrane. At first the Hawkins session did not bode well. The pioneering tenor sax titan had expected, as was his rightful due, to be recording with the full Duke Ellington Orchestra. But Ellington showed up at Rudy Van Gelder’s studio with only his rhythm section and four of the band’s most senior members: Harry Carney, Johnny Hodges, Lawrence Brown and Ray Nance. It helped, as a matter of noblesse oblige, that Carney and Hodges, as baritone and alto saxophonist respectively,

occupied similarly seminal positions as Hawkins to the tenor saxophone. But Duke’s legendary, suave charm must have soon dispelled Hawkins’ disappointment, judging from “Limbo Jazz”, the catchy calypso opening track - although not recorded first - captured in a rehearsal/gestation take with drummer Sam Woodyard vocalizing along, emphasizing the convivial informality of the proceedings. Ellington also unveiled four other new works: the riffy blues-shuffle “Ray Charles’ Place”, the bluesy swinger “You Dirty Dog”, the exotic, Latiny “The Ricitic”, featuring Nance on violin sharing solo space with Duke and Hawk, and a sumptuous feature, “Self Portrait (Of the Bean)”, fashioned for Hawkins. There’s also a “Mood Indigo” letting Hawkins stretch out, a fleet “The Jeep Is Jumpin‘” and a forgotten Ellington/Hodges gem of 1938 vintage, “Wanderlust”. Back at Van Gelder’s five weeks later to meet Coltrane, Ellington brought along only bassist Aaron Bell and drummer Woodyard from the Hawkins date and Trane brought the rhythm team from his classic quartet: bassist Jimmy Garrison and drummer Elvin Jones. They split rhythm section duties on the seven quartet tracks. There are parallels here to the Thelonious Monk Quartet with Coltrane, as Ellington the pianist was a favorite of, and influence on, Monk. In these quartet settings, Ellington’s sparse, percussive, suggestively dissonant approach in soloing and comping finds him asserting his place as a progenitor of a prominent branch of ongoing jazz piano. His insistent ostinatos, intimating the modal, on “In A Sentimental Mood” complement Coltrane’s tenor to create a thoroughly modern take on that classic. On the tracks with Coltrane’s rhythm section, there’s a definite Trane vibe as Ellington adapts to the rolling polyrhythms with hip poise. But when the Duke’s rhythm section is on board, the pianist imposes a swing agenda that takes Coltrane in a definitely Ellingtonian direction, exemplified by the tenor’s elaboration of riffs on “Stevie”. And don’t miss the original of “Take the Coltrane”, written by Duke for the session, or “Angelica”, an exotic Ellington rarity (Jones laying down an Afroshuffle on toms and cymbals) and further proof of the vast riches of his oeuvre.

For more information, visit vervemusicgroup.com. The music of Ellington is at Dizzy’s Club May 1st-6th. See Calendar.

While often compared to the Ornette Coleman-Don Cherry quartets of the early ‘60s, the work of reedman John Carter (1929-91) and cornetist Bobby Bradford (1934) in Los Angeles from the late ‘60s through the mid ‘80s is anything but Coleman-esque. Chief among the reasons why and how their music differed was its chamber sensibility, fueled by sparse, moody reservation and parallelism amid multi-part arrangements. That’s not to say the Carter-Bradford Quartet wasn’t equally full of bebop energy or bluesy swagger, but those elements were approached as part of a vast aesthetic reach. At the heart of the quartet was the interplay between trumpet and woodwinds and their powerful swing didn’t necessarily require a bassist and drummer to get things done. Bradford has carried his incisive, round tone and attack to a number

of extraordinary recordings in the post-Carter era, one of which is an unforgettable trio date with bassist Mark Dresser and trombonist Glenn Ferris. The program is a mixture of group improvisations and compositions by the trio’s members, though only one is a Bradford original (the oft-recorded “Comin’ On”). Ferris is probably the least well known of the group - while he’s recorded with Steve Lacy and Don Ellis, his Parisian expatriate lifestyle has kept him from being a household name. That’s too bad, because he’s one of the most fascinatingly expressive trombonists this side of Roswell Rudd and Albert Mangelsdorff. His vocal chortles, whines and guffaws are built into a measured language that displays a range of emotions, from pathos to bemusement, with a few ‘bugle flicks’. Bradford’s brawny elegance is in an almost ‘straight man’ role compared to Ferris, ebulliently swinging through even the most abstract of situations. The closing “Ready to Go” is an aptly-titled dirge composed by the trombonist, in which a stately Bill Harris-worthy hymn is declaimed atop Dresser’s low-slung pizzicato, gradually picking up the trumpeter’s sure-yet-brittle commentary. The bassist’s “For Bradford” opens the set, its theme likely drawn from fragments of the trumpeter’s compositions. Its dedicatee crackles through thick, gobbed phrases, making deep statements that are airily emphatic as he stretches, crumples and punctuates in a way that quickly unifies the group’s collectivity. Bradford is always a player to sit up and pay attention to, but Live in LA provides an especially powerful setting that should be required listening.

For more information, visit cleanfeed-records.com. Dresser is at NYU Steinhardt School May 4th, Korzo May 8th, Roulette May 12th with Earl Howard and Cornelia Street Café May 15th. See Calendar.

MAY 2012

JAZZ VESPERS Sundays at 5:00 P.M. — All Are Welcome — Free

6 — Peter Eldridge Band

13 — Timo Vollbrecht Quartet

20 — Cindy Scott & Brian Seeger

27 — Pentecost Jazz Mass Ike Sturm Ensemble

MIDTOWN JAZZ AT MIDDAY Sponsored by Midtown Arts Common

Wednesdays at 1:00 P.M. — ($10 suggested)

2 — Cecelia Coleman Big Band

9 — Champian Fulton, singer/pianist

16 — Marlene VerPlanck, singer

23 — Band of Bones: Dave Chamberlain

30 — Barbara Carroll, singer/pianist

Jay Leonhart, bass

SPECIAL EVENT May 9 at 7:00 p.m.

Midtown Jazz 30th Anniversary Gala Art Baron, Joyce Breach, Catherine DuPuis, Barbara Carroll,

Eric Comstock, Marion Cowings, Mauricio DeSouza, Carol Fredette, Chris Gillespie, Russ Kassoff Big Band, Ed Laub, Alex Leonard, Jay Leonhart, Boots Maleson,

Junior Mance, Jann Parker, Bucky Pizzarelli, Daryl Sherman, Frank Tate, Marlene VerPlanck, Ronny Whyte

Live in LA

Bobby Bradford/Mark Dresser/Glen Ferris (Clean Feed)by Clifford Allen

Meets Coleman Hawkins/& John Coltrane

Duke Ellington (Impulse-Verve)by George Kanzler

THE NEW YORK CITY JAZZ RECORD | May 2012 29

Ron McClure once again demonstrates how steady, reliable, professional, generous and talented a musician he is with his 15th and 16th recordings for SteepleChase. The bassist continues to grow as a fine composer, sterling bandleader and nurturer of talent. Dedication is a collection of tunes that honor musicians who have influenced McClure - John Coltrane, Richie Beirach, Herbie Hancock, Wayne Shorter, Lee Morgan - but also can refer to McClure’s approach to what he does. There are two featured tenor saxophonists: Rich Perry, who has been on several of McClure’s recordings and whom the bassist calls “as creative a soloist as anyone on the instrument today”, and Stephen Riley, whom McClure had never used before this session but now describes as “truly a unique voice in today’s jazz scene.” Pianist Billy Eckroth had worked with McClure at NYU but this is his first SteepleChase recording and drummer Billy Drummond was on McClure’s previous album, New Moon. The opening “LAL” is dedicated to pianist Lee Ann Ledgerwood and is a swinging demonstration of McClure’s way with composition. Perry is strong, robust and inventive while Riley has a more airy approach. The smart rhythm section holds together the various elements including intriguing changes. The two saxophones come together again for the heartfelt theme of the gorgeous ballad “Better Angels”, dedicated to the American president. They weave in and out of each other’s individuality but never lose the direction of this very special ballad. Under and over it all is the propulsive expressive bass of the leader. Crunch Time introduces Gabe Terracciano, a 17-year-old NYU violin student whose intelligence and conception floored Professor McClure. Eckroth and another NYU student, drummer Shareef Taher, round out the quartet and it is at once a band of substance and style, McClure’s powerful bass and terrific tunes stimulating the young players. Terracciano leads off the album with some inspired phrasing and creative soloing on the standard “Beautiful Love”. Eckroth also digs down into the tune and comes up with a solo statement both vital and personal. The gently Latin “My Pal Al” was originally written by McClure for pianist Albert Dailey (1939-84); Eckroth salutes him with a lovely, impassioned solo as, in a quieter yet no less emotional way, does Terracciano. McClure’s compositions, some written just before the session, utilize the expressive strengths of these musicians. “Yes We Can” might be thought of as the album’s concept - it’s three talented musicians led by a seasoned pro who make music in the leader’s vision. Terracciano leads this one off pizzicato and then works smoothly into the theme on the bow. McClure takes one of a number of pointed and most musical solos and is followed by his bandmates picking up on the feeling the bassist has created. On “Dibs” (written by Israeli harmonica player Roni Eytan), there’s an intimate Latin-ish vibe over which all the players do terrific solo work. McClure says in the liner notes that he works as the “supportive” bass player. He is certainly that but also a visionary and steadfast leader.

For more information, visit steeplechase.dk. McClure plays solo piano at McDonald’s Restaurant at 160 Broadway Wednesdays and Saturdays. See Regular Engagements.

Dedication Crunch Time Ron McClure (SteepleChase)

by Donald Elfman

30 May 2012 | THE NEW YORK CITY JAZZ RECORD

Pianist Eric Reed is a confident musician of dazzling proficiency, equally capable of handling a ballad with delicacy and grace or hammering chords and unraveling uptempo rhythms. On The Baddest Monk, Reed offers another recording of the great composer’s songs, meeting head on the legacy that all jazz piano players must eventually confront. Monk tributes appear with dependable frequency, so the challenge is to bring something fresh to the melodies while veering away from note-for-note reiterations or catastrophic over-embellishment. Reed supplements seven Monk tunes with two of his own, sprinkling lesser-known selections (“Green Chimneys”, “Bright Mississippi”) among the more familiar titles (“Epistrophy”, “Monk’s Mood”, a vocal version of “’Round Midnight”). The band is comprised of drummer Henry Cole, tenor saxist Seamus Blake, bassist Matt Clohesy and trumpeter Etienne Charles, Blake being the only one with whom Reed has had any real history. While some bands thrive on group identity and practiced empathy, this one relies on spontaneity, which results in a vaguely Latin-ized trio performance of “Monk’s Mood”, a funkified “Rhythm-a-Ning”

featuring Reed’s deft and heavy left hand and “Bright Mississippi” in 7/4 time, all of which emphasize Cole’s emergence as an important young drummer. But where the trio swings tightly and takes risks, the quintet fares less well with Charles’ smooth soloing coming across a bit more favorably than Blake’s tenor, which sounds better suited to a Dave Grusin soundtrack. Reed’s provocative harmonies and pristine pianism are given their clearest expression on the solo title track as well as a piano-and-voice rendering of “’Round Midnight”, which features a languid, unaffected reading of Bernie Hanighen’s lyric by José James. With this second thoughtful and sensitive take on the work of Monk, Eric Reed is positioning himself as one of the legend’s foremost interpreters.

For more information, visit jazzdepot.com. This band is at Dizzy’s Club May 29th-Jun. 3rd. See Calendar.

Vocalist René Marie’s last CD, the acclaimed Voice of My Beautiful Country, was a highly personal vision of American song that included everything from “John Henry” to the Temptations to a bold and controversial

pairing of “The Star Spangled Banner” and “Lift Every Voice and Sing”. Her new Black Lace Freudian Slip is a departure in many ways, as it draws almost entirely on Marie’s original compositions. But it shares the intense honesty, conviction and broad vision of what constitutes jazz as its predecessor. Marie quickly sets a tone of playfulness mixed with seriousness, along with a hint of bravado, on the opening title tune. The next track, “This for Joe”, is a mission statement of sorts. Written as a retort to a club owner who urged her to stick to standards, she pleads, “Please don’t compare me to Ella or Sarah” and bemoans, “Singing the songs I write is an uphill battle.” Indeed, the album stands out as one of the relatively rare recordings of original tunes by a jazz vocalist, a sharp contrast to the norm for jazz instrumentalists. (And an interesting contrast, as well, with the world of pop music, where singers frequently write their own material.) Marie is certainly no jazz purist, delving into country-folk territory on the heartfelt “Wishes”, gospel and soul on “Deep in the Mountains”, samba on “Rufast Daliarg” and the kind of sultry blues championed by Cassandra Wilson on “Ahn’s Dream”. With her sensuous delivery and nimble technique, she makes each of these tunes unique and memorable. While she disdains comparisons, Marie recalls, in personality more than vocal texture, such independent spirits as Abbey Lincoln (a spectacular songwriter in her own right) and Nina Simone. On Black Lace Freudian Slip, she shows she’s not just one of the top vocalists in jazz, but one of the more compelling songwriters on the scene as well.

For more information, visit motema.com. Marie is at Jazz Standard May 27th in duo with Fred Hersch. See Calendar.

Black Lace Freudian Slip

René Marie (Motéma Music)by Joel Roberts

The Baddest Monk Eric Reed (Savant)

by Jeff Stockton

THE NEW YORK CITY JAZZ RECORD | May 2012 31

A veteran trumpeter and composer, Jack Walrath has led over two dozen albums of his own, in addition to appearing on recordings by Miles Davis, Gerry Mulligan, Muhal Richard Abrams, Red Rodney, Charli Persip, John Hicks and Dannie Richmond. The Florida native studied at Berklee during the ‘60s and toured with Ray Charles. He gained attention as a sideman with Charles Mingus during the bassist’s final years, appearing on several of his late recordings (most notably 1974’s Changes One and Two) and has performed with the repertory groups Mingus Dynasty and the Mingus Big Band as well. Walrath’s time with the volatile composer/leader left a lasting impression, as he writes compelling music that is demanding of his musicians. The quintet Walrath assembled for this date includes two fellow Mingus Big Band veterans, tenor saxophonist Abraham Burton and bassist Boris Kozlov, plus pianist George Burton and drummer Donald Edwards (an occasional sub with the Mingus Big Band). “Espionage” sounds like a potboiler at first with its brooding bass and sparse trumpet in an ominous setting, but it is cooking postbop. Walrath was inspired to write “Slightly After Midnight” after listening to Monk’s “‘Round Midnight”, though it is far more than a derivative work, with his brilliant muted solo and Kozlov’s spirited arco bass. The punchy “The Resurrection Machine” combines a threatening vamp and loose blowing, with several sudden changes in direction. The driving “High Plains Riffer” showcases Burton’s burning tenor and Kozlov’s intricate bass. “Yet, A Tear Tells It’s Tale...” is a brief ballad that compactly gets its message of longing across, as Walrath’s poignant trumpet is beautifully complemented by his bandmates. The leader’s slow, dissonant introduction to “Mescalito’s Birthday” quickly gives way to a bold, often humorous postbop line played at a brisk tempo. Forsooth! provides ample proof that the trumpeter should be on a larger stage.

For more information, visit steeplechase.dk. Walrath is at Somethin’ Jazz Club May 10th. See Calendar.

Polymath percussionist Jeff Arnal has pursued parallel paths since his arrival in New York in 2000. He has found forums to display both the aggressive punk-like approach that initially attracted him to music plus the improvisational subtleties he picked up following his studies with contemporary composer Stuart Saunders Smith and percussion master Milford Graves. Pail Bug, recorded with his longtime associate, Berlin-based pianist Dietrich Eichmann plus two bassists - Hamburg-based American expatriate John Hughes and German Astrid Weins - exemplifies the free music side of Arnal’s talents. Eichmann’s contributions are crucial to the elaboration of the five instant compositions or “pails”. A schooled composer who has written pieces for the SWR Symphony Orchestra, the Lyon Opéra Ballet as well as a concerto for saxophonist Peter Brötzmann and the Ensemble Modern, Eichmann still fits seamlessly into an improv setting. Here he superimposes keyboard clanks and clips onto the agitated friction produced by tandem slashing bow work or sly pizzicato pops from the dual bassists. Meanwhile Arnal’s rhythmic interpolations encompass everything from positioned press rolls to miniature bell pings and cymbal scratches. Frequently, the group interface fragments enough for protracted duo or trio interludes within the lengthier tracks. Eichmann’s high-frequency chording and dynamic contrasts are particularly distinctive on “Second Pail” when, after an abrasive race across the keys, he outlines a new melody sequence swiftly taken up by Hughes and Weins. As the drummer doubles his strokes to create polyrhythms, the bull fiddlers separate their responses into high-pitched shrills or low-pitched plucks. Eventually it’s the pianist’s cascading chords, strengthened with pedal power, that push the others together to a satisfying collusion. Eichmann operates similarly on “Third Pail” as he builds metronomic pulses and kinetic left-handed keyboard rumbles into a pressurized theme whose tension only dissipates due to Arnal’s subtle percussion accents.

For more information, visit generaterecords.net. Jeff Arnal is at I-Beam May 18th. See Calendar.

Ask the Oracle is an open vehicle for saxophonist Andy Haas to stretch out his worldly and otherworldly musical ideas in the context of a group of Toronto-based musicians. Haas, who is a legend in those environs for his stint with Martha and the Muffins, has no trouble in connecting with like-minded jammers from up North, to whom he brings several decades of first-call NYC experience. The session is notable for its use of world instruments such as African thumb piano, zither-like Chinese guzheng, lute-like Persian tanbour and double reed Korean hojok. There is a lot of rhythmic potential here with bassist Aaron Lumley and percussionists Brandon Valdivia and Matthew “Doc” Dunn up in the mix. When they are allowed to coalesce into a groove, Haas and multi-instrumentalist Colin Fisher are freed up to do their ‘thing’, which can be described as broadly informed worldly improvisation against a danceable beat. Haas can blow his soprano sax to smithereens but amazingly manages to avoid completely what can be the instrument’s somewhat annoying toy-like sound. Fisher is a great string-smith and impresses with his mood-inducing colors. He plays a mean electric guitar, is at home on guzheng and tanbour and with his bluesy tenor sax can go head to head with Haas. “Surfing to Canada”, “Ass Gamelan” and “Dance With a Jinn” are the standouts here and invite relistening. The first tune is a brilliant combination of surf speed guitar, exotic rhythms and captivating sax melodic figures that introduces 2-tone to the Middle East. The hypnotic percussive faux gamelan backdrop of “Ass Gamelan” opens up a space for the horns to interact in the finest jazz of the session while “Dance with a Jinn” seductively engages through dense rhythmic undercurrents and Middle-Eastern repartee between sax and strings. When presenting rhythmically grounded worldly excursions such as these, Ask the Oracle succeeds admirably but in this milieu the free-est tunes seem to be in search of a homeland.

For more information, visit soundcloud.com/asktheoracle. Haas is at ABC No-Rio May 13th with Evan Gallagher and Yippie Café May 29th. See Calendar.

Junior Mance…Jazz pianist

Hidé Tanaka…BassistMichi Fuji...violinist

atCafé Loup

EVERY SUNDAY6:30 - 9:30 pm

NO COVER, JUST AWARD WINNING JAZZ AND FOOD

105 West 13th Street 212-255-4746

www.juniormance.com

Forsooth!

Jack Walrath (SteepleChase)by Ken Dryden

Eponymous

Pail Bug (Generate)by Ken Waxman

Ask the Oracle

Andy Haas (Resonant Music)by Elliott Simon

32 May 2012 | THE NEW YORK CITY JAZZ RECORD

Michael Dessen is a California-based trombonist, a former member of/composer for the memorable band Cosmologic and a frequent colleague of bassist Mark Dresser. At one time a student of George Lewis, Dessen appropriately combines brilliant trombone skills with interests in electronics and novel compositional strategies. His trio includes bassist Christopher Tordini and drummer Dan Weiss and he describes Forget the Pixel as an “hour-long cycle of music designed for this trio to perform in a single, continuous set.” The end result is a remarkable achievement. If the timbral possibilities of a trombone-bass-drum band might seem limited, Dessen varies things with electronics and the trio maintains constant interest through a multi-leveled interaction of compositional methodologies, collective improvisation and polyrhythmic exploration. There are multiple senses of movement and development going on at once in this music, as it makes its way from the furious swing, jazzy bluster and electronics of the opening “Fossils and Flows” to the serene conclusion of “The Utopian Sense of Green”, in which the players summon up all the calm and grace of a Japanese garden. Along the way, the music repeatedly finds original dimensions, as in the elongated dialogue of “Three Sepals”, a piece that is born in Dessen’s sweetly traditional legato trombone then gradually opens into a field in which first Tordini, then the others seem to be etching the barest rhythmic and melodic materials on silence. A similarly broad canvas on the title track becomes a series of micro-explosions and dislocations: Dessen’s opening vocalic explosion gradually accumulates an electronic self-commentary; there are passages of pointillist scattershot bass and a long trio sequence in which Weiss’ snare drum seems to tie together the group’s multiple rhythms in a compact bundle. It’s fascinating work by an exceptional group of musicians, at times combining the cheery openness of song with a sense of underlying tectonic mystery.

For more information, visit cleanfeed-records.com. Dessen is at Cornelia Street Café May 15th with Mark Dresser. See Calendar.

Wynton Marsalis has come a long way since the ‘80s. Back in his Black Codes from the Underground/J Mood period, he was content to emulate mid ‘60s Miles Davis as both a trumpeter and a composer (ironic in light of how critical he could be of Davis in those days). But he tended to view music in overly technical terms and, as spoken word artist Burton Cummings pointed out in his anti-Marsalis rant “Hey, Trumpet Man”, music isn’t just about mathematics - it’s about expression. Marsalis became increasingly expressive after the ‘80s and The Music of America underscores the fact that his growth as an artist was enormous. Spanning 1988-2001, this two-CD set contains a wide variety of previously released recordings and shows how, instead of sounding so much like Davis, he developed a distinctive, big-toned sound that drew on everyone from Louis Armstrong to Clifford Brown. And this collection demonstrates that much of Marsalis’ post ‘80s expression has come not only as a trumpeter and a composer but also as a bandleader/arranger; one hears that on selections like “Jump” from 1995’s Jump Start and Jazz, “The Caboose” from 1998’s Big Train and “Sunflower” from 1999’s The Marciac Suite. And while The Music of America is predominantly instrumental, the presence of singers on occasion is a definite plus. Marsalis has the good taste to employ Cassandra Wilson on “Move Over” and Jon Hendricks on “Soul for Sale” (both from 1995’s Blood on the Fields) and gospel singer Marion Williams on “In the Sweet Embrace of Life Sermon: Holy Ghost” from 1992-93’s In This House, On This Morning. Also beneficial is Marsalis’ willingness to incorporate everything from gospel to Euro-classical; on 1996’s “Go, Possum, Go” (which features mandolin player/violinist Mark O’Connor), he even incorporates Celtic elements. Some people still think of Marsalis as an elitist jazz snob but he is more eclectic and adventurous nowadays. While The Music of America is by no means the last word on Marsalis’ post ‘80s output, it does a good job of illustrating just how much he has expanded.

For more information, visit sonymasterworks.com. Marsalis is at Rose Theatre May 17th-19th. See Calendar.

Bria Skonberg’s new CD is like a breath of fresh air in a stuffy room. This triple-threat talent (trumpeter, vocalist and composer) shows off on exciting performances of nine originals and three eclectic items (Irving Berlin’s “Let Yourself Go”, Joni Mitchell’s “Big Yellow Taxi” and Erik Satie’s “Gymnopedie”) and surrounds herself with some fine musicians: pianist Jeff Lashaway, bassist Kelly Friesen, drummer Ulysses Owen Jr., percussionist Roland Guerrero, guitarist Randy Johnston, organist Scott Elias, plus trombonist Michael Dease on one track, Victor Goines (on tenor saxophone, clarinet and flute); trombonist Wycliffe Gordon (two tracks) and an appearance by guest John Pizzarelli on vocal and guitar. Skonberg has a voice that is pure and almost little girl in quality except on bluesy items where she displays some of the authority of Dinah Washington. She writes melodic songs with intelligent lyrics and her arrangements are neatly put together. Skonberg is quite at home playing traditional jazz material as well as swinging in a more contemporary manner. The title track sounds like New Orleans by way of Duke Ellington and features Goines’ wailing clarinet. “Chilliwack Cheer” is strictly “a Crescent City anthem” for marching and celebrating featuring Skonberg, Goines and Gordon. The charming duet track with Pizzarelli (“I Wish I Hadn’t Forgotten”) is reminiscent of the Swing Era. “Penny In Your Pocket” is notable for Skonberg’s bluesy vocal and some wonderful slap bass playing by Friesen. The three “standard” selections are treated differently with “Let Yourself Go” (written for Ginger Rogers) done in a funky groove while “Big Yellow Taxi” and “Gymnopedie” are decorated with AfroCuban polyrhythms and fine conga playing by Guerrero. This is a totally fun album and very contagious. There is never a dull moment with lots of stellar contributions by the entire cast. But most of all there is the bright, inquisitive talents and spirit of Bria Skonberg, who promises to be a mighty musical force.

For more information, visit randomactrecords.com. Skonberg is at Kaye Playhouse May 21st. See Calendar.

The Music of America

Wynton Marsalis (Masterworks Jazz)by Alex Henderson

Forget the Pixel

Michael Dessen Trio (Clean Feed)by Stuart Broomer

So Is The Day

Bria Skonberg (Random Act)by Marcia Hillman

34 May 2012 | THE NEW YORK CITY JAZZ RECORD

It takes a wealth of ideas and inspiration to fill two CDs and saxophonist David Bindman justifies his large-canvas approach at every step on Sunset Park Polyphony. There are four substantial pieces on disc one, plus a six-part suite and two stand-alone pieces on disc two. Staying within 45 minutes on both discs, however, Bindman and his inspired sextet keep it lively and never lose focus. The orchestration, for three horns, piano, bass and drums, is boundlessly colorful and indeed polyphonic: complex intersecting patterns give Bindman’s work a dissonant harmonic outline, but also a melodic allure. Bindman also draws on Indian and African rhythmic traditions to create irregular cycles or “pulse groupings”, which he explains in some detail in the liner notes. From these the music takes on a perpetually unresolved quality but also a strong element of groove and swing. It’s an adventurous sound, though not wholly ‘free’ or ‘outside’. Heard mainly on tenor sax, Bindman switches to soprano for the closing “RH Reprise”, a variant of disc one’s “Robeson House Echoes”. The leader also gives ample space to trumpeter Frank London, trombonist Reut Regev, pianist Art Hirahara, bassist Wes Brown and drummer Royal Hartigan, a powerful lineup deployed to full advantage. Hartigan’s hand-drumming solo on the title track is a marvel of textural richness. The solo flights of London and Regev, respectively, on “Singing Bird Melody” and “Singing Bird Reprise”, give disc two’s “Landings Suite” a sense of pacing and proportion. In his notes, the composer reveals a political message that lies behind “Landings Suite”. Describing the growing social consciousness of a young fictional character called Eyepod, Bindman takes aim at “the current war being waged on humanity for the cause of capitalism/neocolonialism” - a hardline and one-dimensional view that is certainly his right to put forward, but somehow at odds with the subtlety of the music itself.

For more information, visit davidbindman.com. This group is at Sunset Park Library May 18th and Windsor Terrace Library May 19th. See Calendar.

Guillermo Klein, a musical Renaissance man adept at piano, guitar, vocals, composing and arranging, has led a vagabond existence, moving between Buenos Aires, Boston, New York and Barcelona before returning home. Two constants in his life are a distinctive artistic vision and Los Guachos (“the bastards”), a star-studded ensemble that has endured

virtually intact since their first gigs as Big Van at the original Smalls in 1995. Carrera, Klein’s seventh release for Sunnyside, reassembles brassmen Richard Nant, Taylor Haskins, Sandro Tomasi and Diego Urcola; reedmen Miguel Zenón, Bill McHenry, Chris Cheek and a rhythm section of Ben Monder, Fernando Huergo and Jeff Ballard, a posse of strong individualists who, under Klein’s baton, reveal yet another side of their multifaceted musical personalities. Like his previous work, Carrera features tuneful songs, unusual harmonies, subtle polyrhythms, intricate arrangements that transition effortlessly and the leader’s own impeccable accompaniment. Like Wayne Shorter, Klein has the remarkable ability to cloak stark melodies in startling chords: his arrangements of “Niños” (by Nant), “Mareados” (a classic tango), “ArteSano” (by Haskins) and the title track (his own) are paradoxes of intricate simplicity. Fine solos are offered by Cheek on “Mariana”, McHenry on “ArteSano”, Zenón on “Moreira” (which includes vocals by Klein) and Monder on the title track. A third constant in Klein’s life should be added: the high standard maintained in his recorded output.

For more information, visit sunnysiderecords.com. This group is at Village Vanguard May 29th-Jun. 3rd. See Calendar.

The tenth outing as a leader by Gary Smulyan finds the 2011 Downbeat and JazzTimes Critics’ Poll-winning baritone saxophonist in a fresh new setting - fronting a classic jazz organ quartet. Despite the palpably companionable combination of the big horn with the Hammond B3 keyboard, the configuration has been rarely heard in jazz, most notably on the George Benson Columbia recordings featuring Ronnie Cuber with [Dr.] Lonnie Smith. Smulyan, who possesses a rich sonorous sound, authoritative rhythmic drive, harmonically sophisticated inventiveness and an appealingly lyrical melodicism, sets a contemporary new standard for the grouping here, with Mike LeDonne behind the B3, his regular Smoke quartet partner Peter Bernstein on guitar and the ubiquitous drummer Kenny Washington, who plays with a crisp refreshing looseness. The disc opens with a novel arrangement of Bobby Hebb’s ‘60s smash hit “Sunny” played as funky waltz, the conversion of the song’s meter to 3/4 giving the popular piece an intriguing quality. “Up In Betty’s Room”, the first of two compositions by Don Patterson, a vastly underappreciated late organist and original inspiration for the date, is a soulful gospel-tinged shuffle reminiscent of Bobby Timmons’ “Dat Dere”. Pee Wee Ellis’ soulful swinger “Pistachio”, previously recorded by organist Rhoda Scott, is played as a calypso while the title track, by Smulyan, is an intricately flowing uptempo hardbop number. On the George Coleman burner “Little Miss Half Steps” the baritonist plays with a fleet fluency reminiscent of his primary influence Pepper Adams while on the beautiful Don Patterson-Sonny Stitt soul ballad “Aires”, he evinces a lush eloquence that recalls the great Harry Carney. Two originals by Smulyan complete the date. “Blues For D.P.”, his dedication to the aforementioned Patterson, is a lyrical blowing

vehicle that finds him soloing forcefully over the swinging rhythm section. The concluding “Heavenly Hours” is a smartly constructed amalgam that merges the melodies of “Epistrophy”, “Seven Steps To Heaven” and “My Shining Hour” into a rhythmic tour de force and a fitting close to this masterful date. Bari saxists seldom get to lead their own small bands on record dates (and even less often in clubs). Smul’s Paradise supplies compelling argument that it’s time for that to change for at least one of them.

For more information, visit caprirecords.com. Smulyan is at Village Vanguard Mondays with the Vanguard Orchestra. See Regular Engagements.

Since his arrival on the jazz scene, saxist Dave Liebman has proven himself a multi-faceted artist. The 2011 NEA Jazz Master’s autobiography was culled from interviews by jazz journalist and pianist Dr. Lewis Porter. It isn’t strictly chronological, since many topics overlap one another, but it is compelling reading for educators, musicians and fans. Liebman is open about nearly every facet of his life, from the lifelong effects of polio in one leg and relationships with fellow musicians to his transformation from sideman into a leader and jazz educator. Liebman discusses in detail some of the important musicians and teachers in his life. Saxophone teacher Joe Allard, while not a jazz instructor, inspired Liebman to keep returning to him for occasional “check-ups” well into his professional career. He studied briefly with Lennie Tristano but found him too abrasive, admitting his own immaturity kept him from realizing the benefits of the blind pianist’s methods. Liebman’s tenor playing was influenced by seeing John Coltrane play numerous times, yet he found his own voice when he began playing soprano sax. He raves about the lessons learned from drummer Pete La Roca while his description of Miles (who had him playing soprano without headphones on his initial session, thus unable to hear any of the electric instruments) provides an interesting contrast. Liebman also discusses the experimentation of the ‘70s loft scene, which also helped influence his playing. Liebman discusses his work with Richie Beirach - in Quest, as a duo and in other small groups - in great detail, including both their strengths as a unit and their conflicts, along with the unjust lack of recognition that he feels the pianist has gotten relative to himself. The leader also has strong praise for the gifted pianist Phil Markowitz, who teaches a course with him at Manhattan School of Music. Liebman includes only a fraction of his considerable discography in the appendix; a complete version can be found on his website.

For more information, visit rowman.com/Scarecrow. Liebman is at Joe’s Pub May 8th with Alon Yavnai and Brooklyn Conservatory of Music May 19th with WORKS. See Calendar.

What It Is: The Life of a Jazz Artist (Dave Liebman in Conversation with Lewis Porter) (Scarecrow Press)

by Ken Dryden

I N P R I N T

Sunset Park Polyphony

David Bindman Ensemble (s/r)by David R. Adler

Carrera

Guillermo Klein & Los Guachos (Sunnyside)by Tom Greenland

Smul's Paradise

Gary Smulyan (Capri)by Russ Musto

Both banjoist-guitarist Eugene Chadbourne and percussionist Warren Smith are politically outspoken, have an appetite for working across disparate musical genres and a great amount of respect for tradition. The program (Chadbourne solely on banjo) features nine pieces in a mixture of ‘free’ duet improvisations and Chadbourne originals, including such avant-hillbilly classics as the priceless “Checkers of Blood”, “Choppin’ down Weeds” and “New New War War”. Chadbourne’s banjo playing is squirrely and his lines (vocal and musical) don’t follow conventional rhythm, but of course the latter doesn’t matter too much because their barbed humor is what counts. “New New War War” is a wry protest song that first appeared in the era of Bush and Cheney; coupled with fluid and inventive dissonance and eliding, calloused strums, Chadbourne’s delivery is engaging and in true dialogue with Smith’s dry, shuffling beats. The vibraphone-banjo duet “Mourning of the Praying Mantis” mates full, resonant lamella and bright cadenzas with buzzing masses and accented plinks for an incredibly rich, concentrated sonic landscape. “Odd Time for Two” emphasizes the African origins of the banjo as Chadbourne engages it on the level of a microscopic zither, bouncing off and coming into a strange logic alongside Smith’s deep, fascinating marimba work. “Put Me Back in the River” bridges free improvisation and front-porch folk music, Smith rustling and booming with bass drum and triangle as Chadbourne spins a strange, multidirectional yarn on childhood experience. Chadbourne’s is an odd world and one that straddles gravity and absurdity, but it’s made especially nuanced through working with one of the most versatile percussionists in contemporary music.

For more information, visit engine-studios.com. Smith is at NYC Baha’i Center May 15th. See Calendar.

Maintaining his connection with younger international improvisers, grizzled British saxophonist Evan Parker has convened this trio with Korean-American cellist Okkyung Lee and American trumpeter Peter Evans. A CD of 11 duos and trios, The Bleeding Edge confirms that there’s no generation gap among creative stylists. Evans shows off experimental and atonal chops here, fluttering, spluttering and spitting tremolo and rubato sequences as well as unaccented air from his trumpet and piccolo trumpet. Lee, whose juddering percussive glissandi unite noise, improvisation and classical techniques, keeps the action streaming with staccato, sul ponticello and spiccato motions. Parker,

of course, has been a sound explorer since the mid ‘60s. Mellow variants are present along with more stark material. “Trio 3” for instance, is all about Evans’ high-pitched tremolo peeps meeting staccato chirps from the top range of Parker’s horn, both balanced on wide col legno cello lines. Yet “Trio 4” is as close to pleasingly lyrical as unmetered sounds can be. This blend of unforced soprano saxophone trills plus moderated grace notes from Evans creates a sort of muted sweetness connected by the cellist`s string harmonization, the piece concluding with brassy fanfares and multiphonic blowing. Two-person interaction such as “Duo 1” and “Duo 4” expose similar strategies, but downsized. On the latter, for instance, Lee’s spiccato stops and sharply angled lines push Evans from plunger resonation to gentle mouthpiece flutters. Similarly “Duo 1” mates Parker’s slurs and swoops with the cellist’s penetrating string stretches until together they build up to chromatic, harmonized cross-tones. With each sequence blended into a sound mosaic, the edges here may be bleeding, but with minimum bloodiness and maximum improvisational circulation.

For more information, visit emanemdisc.com/psi.html. Evans is at Zebulon May 21st. See Calendar.

Bending Bridges develops the vision from guitarist Mary Halvorson’s 2010 quintet debut Saturn Sings. Her music is focused on transformation and mutation while themes are often multiple, fluid rhythmic and harmonic bases to suggest shifting allegiances to postbop, pop and microtonal methodologies. The quintet with saxophonist Jon Irabagon and trumpeter Jonathan Finlayson is very clearly an extension of Halvorson’s trio with bassist John Hébert and drummer Ches Smith. In fact, several of the pieces here are played by just the trio. When Halvorson uses the full resources of the quintet, she develops almost suite-like structures with asymmetrical parts that seem to fuse composition and improvisation. Finlayson is thoughtfully probing on the extended “Love in Eight Colors”, a piece that has each soloist moving from unaccompanied to group dialogue. “Sea Cut like Snow” has a distinct compound of melodic directness and harmonic complexity. Each of the trio pieces is a tour de force for Halvorson the guitarist, often mixing traditional jazz guitar lines and sonorities with sudden electronic shifts. On the “Periphery of Scandal” these include both wildly fluctuating pitches and a wall of chords with the amp on overdrive, touching on bases that include Harry Partch and Frank Zappa. The best moments here are also genuine surprises, the music suddenly finding an unexpected zone of collective interaction, like the brilliant band blowout that concludes “Sinks When She Rounds the Bend”, the racing duo of Halvorson and Irabagon on the almost pensive “Sea Cut Like Snow” or the fractured three-way improvisation with Hébert and Smith on “Deformed Weight of Hands”. Bending Bridges is both distinctive and distinguished.

For more information, visit firehouse12.com. This group is at Cornelia Street Café May 19th. See Calendar.

One thing that the music of trombonist Nils Wogram and pianist Simon Nabatov’s duo on Moods and Modes demonstrates is the extent to which classical and jazz approaches have been merged among many players of this generation, especially Europeans. Where early “Third Stream” experiments often felt like attempts by trained musicians to graft some classical elements onto the body of jazz, an understanding of both traditions informs every aspect of the music here. Both can breeze through lines that would leave lesser musicians gasping for air and on pieces like Wogram’s opening title track, the effect is dazzling. Taken at a very bright 9/8 tempo, this tune sets the tone, with the two instruments moving through its unobvious harmonic structure not only confidently, but brashly. On most pieces, the focus remains on lines that shift around a lot harmonically with a lot of quick darting about melodically. The nearly unrelenting nature of this could get wearing were it not for the dynamic range employed and the fact that the program is broken up with several ballad-type numbers like Nabatov’s “Assuming”, which evokes some of the more song-like melodies of Herbie Nichols. Nabatov’s approach to Nichols is fascinating. He mostly sticks with material the pianist recorded for Blue Note in the mid ‘50s and at some point or other in each performance makes a reasonably literal reference to how the tune is played. But the way he takes off from them is less straightforward; he doesn’t follow the structures, as most musicians would, so much as construct dense collages with the harmonic, melodic and rhythmic elements. And the longer one spends with the video, the more sense Nabatov’s approach makes. After all, Nichols as an improviser was less involved with creating new melody than in constantly playing off the original theme and Nabatov extends this idea. He repeats passages, stretches them out, rearranges, rephrases and adds his own riff figures that he uses to great advantage, often as a way into the compositions. It took this listener several hearings to grasp some of the ways Nabatov interprets things and I’m still not sure I understand what the insistent riff that he interpolates into the originally placid “Sunday Stroll” signifies, but so what? He shows us side-paths we hadn’t known of and it’s obvious watching him that he’s still making new discoveries himself. Nabatov illuminates aspects of Nichols’ thinking that others have neglected, no mean achievement. Interestingly, though the Nichols set was a live performance and the duo was shot in a studio, the two have a very similar look, using a variety of close-up and mid-range shots, without ever getting too arty or distracting - good views of the performers with the occasional closeup of piano keys or hammers, all sensibly edited. For more information, visit panrec.com. Nabatov is at The Firehouse Space May 3rd and Korzo May 8th. See Calendar.

O N D V D

THE NEW YORK CITY JAZZ RECORD | May 2012 35

Odd Time

Eugene Chadbourne/Warren Smith (Engine)by Clifford Allen

The Bleeding Edge

Evan Parker/Okkyung Lee/Peter Evans (psi)by Ken Waxman

Bending Bridges

Mary Halvorson Quintet (Firehouse 12)by Stuart Broomer

Moods and Modes Nils Wogram/Simon

Nabatov (Plush Music)

Plays Herbie Nichols Simon Nabatov (Plush Music)

by Duck Baker

36 May 2012 | THE NEW YORK CITY JAZZ RECORD

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PLK_RoBU_2012.indd 1 07.02.12 16:18

The window afforded into the artistry of pianist Cecil Taylor by this new CAMJazz collection, like all of that label’s Black Saint/Soul Note reissue sets, is not that of a curated collection, greatest hits package or introductory sampler in any way except that it reflects producer Giovanni Bonandrini’s generally excellent tastes and talent for running a label. But it still allows for a fairly representative peek at the work of one of the masters of contemporary jazz and it comes at a more than reasonable price point as well. The four titles included here (spread across five compact discs) make for a wonderful cross section of Taylor’s work, even if the releases only reflect seven years of a recording career which has carried over five decades and counting. The first selection is no doubt the one of greatest historical interest. Historic Concerts is a 1979 meeting with the legendary drummer Max Roach, occupying

B O X E D S E T two of the set’s CDs. After a five-minute solo from each, the duo hunkers down together for an explosive exchange. It’s a fascinating session, almost a competition in a way, with each man seemingly determined to outrun the other. While such footraces don’t always result in the greatest good, Taylor and Roach are both on their toes and the tension is propulsive. The second disc is filled out (as was the original release) by a post-game radio profile, which includes interviews with each of the artists. Winged Serpent (Sliding Quadrants) is a 1984 large ensemble record similar in feel to his Cecil Taylor Unit and 3 Phasis, which is to say it works in waves of energy built on undulating musical phrases unfailingly bearing Taylor’s imprint. The 11-piece ensemble is seven horns strong (Enrico Rava, Tomasz Stanko, Jimmy Lyons, Frank Wright, John Tchicai, Gunter Hampel and Karen Borca) with bassist William Parker and the paired drummers Rashid Bakr and Andre Martinez but Taylor keeps a remarkable hold over the forceful gathering. All of the players are also credited with vocals and the album includes a wonderful group chant piece very much in keeping with the vocalese Taylor would explore to greater extents in later years. If this set is looked at as a primer (and it makes a good one, even if that’s not how it came to pass), it would have to include a solo set. For Olim, the one featured here, is a fine such offering. Taylor is at his most enigmatic when he’s alone onstage and this concert - recorded in Berlin in 1986 - is an excellent example, a nicely diverse set of eight pieces. Arguing one Taylor solo recording against another is a complex proposition. The 1981 release Garden would have to be considered one of his best, but For Olim

wouldn’t rank far behind. For Olim was recorded at the 1986 Workshop Freie Musik in Berlin and recordings from two other Taylor sets during that festival were paired to make the 1987 release Olu Iwa, which stands out as one of the finest titles in Taylor’s expansive discography. At 27 minutes, “Olu Iwa (Lord of Character)” is the shorter of the two cuts on the disc. It’s a beautiful study for what could almost be called a percussion quartet. It seems to explode Taylor’s piano playing (which has been described as “88 tuned drums”) onto a group setting, with William Parker on bass, Steve McCall on drums and Thurman Barker contributing beautiful marimba and additional percussion. It’s a sublime piece, with the interplay between Barker and Taylor especially pronounced. The next day, Taylor added three horns (saxophonists Peter Brötzmann and Frank Wright and trombonist Earl McIntyre) to the quartet, arriving at the version of his Unit heard on the 48-minute “Be Ee Ba Nganga Ban’a Eee!” Here again Taylor harnesses the energy of free improvisation while keeping structure and retaining his own indelible stamp. While it’s more incendiary than the quartet piece, the horns seem at certain points to come in as a section. It’s moments like these, the likes of which occur throughout the collection, that show there’s more method to his madness than for which he is often credited. And to his genius as well.

For more information, visit camjazz.com. A Cecil Taylor Tribute is at Harlem Stage Gatehouse May 8th-9th with Vijay Iyer, Amina Claudine Myers and Craig Taborn. Taylor himself plays solo there May 17th and at Issue Project Room May 19th. See Calendar.

The Complete Remastered Recordings

on Black Saint & Soul Note Cecil Taylor (Black Saint/Soul Note - CAMJazz)

by Kurt Gottschalk

Tuesday, May 1 êHugh Masekela/Larry Willis Jazz Standard 7:30, 9:30 pm $30êThe Heath Brothers Quartet: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Birdland 8:30, 11 pm $30-40• Randy Brecker’s Pop with David Sanchez, Kenny Werner, Adam Rogers, John Patitucci, Nate Smith, Amanda Brecker Blue Note 8, 10:30 pm $35• The Music of Duke Ellington and Dizzy Gillespie: Juilliard Jazz Orchestra with Frank Wess Dizzy’s Club 7:30, 9:30 pm $30• Essentially Ellington All Stars Dizzy’s Club 11 pm $10êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Quincy Phillips Village Vanguard 9, 11 pm $25• Sue Halloran and Ken Hitchcock with Ray Marchica; Ray Marchica Band Iridium 8, 10 pm $25• Jazz & Popular Song - Ethel Waters: Blues, Broadway, and Jazz: Michael Feinstein with Adriane Lenox Allen Room 7:30 pm $95-120• Karl Berger Workshop Orchestra The Jazz Gallery 9 pm $15• Jack Jeffers and the New York Classics with Antoinette Montague Zinc Bar 8, 10 pm $15• Jim Ridl Quartet with Mike Rodriguez, John Benitez, Donald Edwards 55Bar 10 pm• Spike Wilner solo; Eli Degibri Quartet with Aaron Goldberg, Greg Hutchinson, Barak Mori Smalls 6:30, 8:30 pm $20• Shai Maestro Trio with Jorge Roeder, Ziv Ravitz; Tammy Scheffer Sextet with Andrew Urbina, Dan Pratt, Chris Ziemba, Dan Foose, Ronen Itzik Shapeshifter Lab 7:30, 9 pm• Andrew D’Angelo/Kirk Knuffke Group; Tyler Blanton with John Ellis, Matt Clohesy, Nate Wood Korzo 9, 10:30 pm $5• Double Bass Double Voice: Nancy Harms, Emily Braden, Steve Whipple; Brianna Thomas Band Cornelia Street Café 8:30, 10 pm $10• Dmitry Baevsky Quartet; Maximo Bachata Y Merengue; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Jack Wilkins/Peter Bernstein Bella Luna 8 pm• Antonio Ciacca The Bar on Fifth 8 pm• Rotem Sivan Trio with Sam Anning, Daniel Dor Bowery Poetry Club 10 pm• Bryan and the Aardvarks Caffe Vivaldi 9:45 pm• Ryan Brennan Organ Trio with Matt Turowski, Haru Sakita; Mark Miller Septet with Cliff Lyons, Anton Denner, Nicki Denner, Sean Harkness, Gary Wang, Beaver Bausch Somethin’ Jazz Club 7, 9 pm $10• Mike Dease Big Band; Fukushi Tainaka Trio The Garage 7, 10:30 pm• Martin Loyato Shrine 6 pm

Wednesday, May 2êValery Ponomarev Our Father Who Art Blakey Big Band with guest Kenny Barron Zinc Bar 8, 10, 11:30 pm $15êAbraham Inc.: David Krakauer, Fred Wesley, SoCalled 92YTribeca 8:30 pm $20• Now vs Now: Jason Lindner, Panagiotis Andreou, Mark Guiliana Shapeshifter Lab 8 pmêRenku: Michael Attias, John Hébert, Satoshi Takeishi; Matt Darriau; Raya Brass Band Barbès 8 pm $10• Barbara Martinez with Cristian Puig, Gonzalo Grau, Sean Kupusa, Jose Moreno Smoke 7, 9, 10:30 • Sam Kulik The Stone 8 pm $10• Nate Radley Quartet with Loren Stillman, Matt Pavolka, Mark Ferber; Shane Endsley Drums Band with John Ellis, Mike Moreno, Dan Loomis Seeds 8:30, 10 pm $10• Bob Rodriguez Trio with Steve Varner, Bill Tesar Jazz at Kitano 8, 10 pm $10• Ryan Blotnick’s Saut-E Sarmad with Mat Maneri, Michael Blake, Perry Wortman, Randy Peterson Cornelia Street Café 8:30 pm $10• Akiko Tsuruga Trio with Mike DiRubbo, Joe Strasser An Beal Bocht Café 8, 9:30 pm• Sean Smith Quartet with John Ellis, John Hart, Russell Meissner 55Bar 7 pm• Maurício de Souza Quartet with Briana Cowlishaw, Dave Stryker, Iris Ornig The Lambs Club 7:30 pm• Rafi D’lugoff; Groover Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Holger Scheidt Caffe Vivaldi 7:15 pm• Xan Campos Trio; Alan Leatherman with Rick Germanson, Dave Ostrem, Bruce Edwards, Paul Amorese Somethin’ Jazz Club 7, 9 pm $10• Melanie Marod Flute 8 pm• Marc Devine Trio; Sharel Cassity Quartet The Garage 6, 10:30 pmêHugh Masekela/Larry Willis Jazz Standard 7:30, 9:30 pm $30êThe Heath Brothers Quartet: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Birdland 8:30, 11 pm $30-40• Randy Brecker’s Pop with David Sanchez, Kenny Werner, Adam Rogers, John Patitucci, Nate Smith, Amanda Brecker Blue Note 8, 10:30 pm $35• The Music of Duke Ellington and Dizzy Gillespie: Juilliard Jazz Orchestra with Frank Wess Dizzy’s Club 7:30, 9:30 pm $30• Essentially Ellington All Stars Dizzy’s Club 11 pm $10êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Quincy Phillips Village Vanguard 9, 11 pm $25• Jazz & Popular Song - Ethel Waters: Blues, Broadway, and Jazz: Michael Feinstein with Adriane Lenox Allen Room 7:30 pm $95-120• Eli Degibri Quartet with Aaron Goldberg, Greg Hutchinson, Barak Mori; Sound Quartet: Tivon Pennicott, Mike Battaglia, Spencer Murphy, Kenneth Salters Smalls 8:30, 11 pm $20• Antonio Ciacca The Bar on Fifth 8 pm• Zach Brock; Cyrille Aimee Rockwood Music Hall 6, 11 pm• Sax E and Pure Pressure Shrine 6 pm• Cecelia Coleman Big Band Saint Peter’s 1 pm $10

Thursday, May 3êPascal Niggenkemper Trio with Simon Nabatov, Satoshi Takeishi The Firehouse Space 8 pm $10êPeter Bernstein solo; Ben Allison Group ; Carlos Abadie Quintet Smalls 7:30, 10 pm 1 am $20• Grégoire Maret Quartet with Frederico Gonzalez Peña, Ben Williams, Clarence Penn and guest Raul Midón Jazz Standard 7:30, 9:30 pm $30êChris Corsano The Stone 10 pm $10• David Schnitter Quartet; Saul Rubin; Craig Wuepper Fat Cat 7, 10 pm 1:30 amêKlaus Suonsaari, Mikko Innanen, Frank Carlberg, Pat O’Leary Douglass Street Music Collective 8 pm $10• Osmany Paredes Quartet with Yunior Terry, Ludwig Afonso, Yusnier Sanchez The Jazz Gallery 9, 10:30 pm $15êJesse Stacken solo; 40Twenty: Jacob Garchik, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza I-Beam 8:30, 10 pm $10• Joel Forrester Barbès 9:30 pm $10• Ben van Gelder with Kyle Wilson, Joe Sanders, Craig Weinrib Cornelia Street Café 8:30 pm $10• Samuel Torres Group Shapeshifter Lab 8 pm• Castle Magic: Santi DeBriano, Harvie S, Essiet Essiet Bar Next Door 8:30, 10:30 pm $12• Gregorio Uribe Big Band Zinc Bar 10, 11:30 pm 1 am $15• Amy Cervini with Nadje Noordhuis, Pete McCann, Mark Lau, Ernesto Cervini; Sean Nowell and The Kung-Fu Masters with Brad Mason, Andy Hunter, Art Hirahara, Adam Klipple, Evan Marien, Marko Djordjevic 55Bar 7, 10 pm

• Peter Zak Trio with Paul Gill, Billy Drummond Jazz at Kitano 8, 10 pm $10• Jared Dubin Sextet; Cat Toren Band with Pat Redd, Ryan Ferreira, Tommy Crane; Cracked Vessel: Ben Syversen, Xander Naylor, Jeremy Gustin Williamsburg Music Center 9 pm $10• Nick Gianni’s Evolution Nublu 10 pm• Bob Rodriguez Group with Bill Tesar, Steve Varner; Rave Tesar Trio with Bill Tesar, Kermit Driscoll; Ark Ovrutski Trio with Roy Assaf, John Davis Somethin’ Jazz Club 7, 9, 11 pm $10• Fukui/Whipple Duo Tomi Jazz 9 pm $10• Denton Darien Trio Cleopatra’s Needle 7 pm• Rick Stone Trio; Dylan Meek Trio The Garage 6, 10:30 pm• Ali Ryerson Group with Pete Levin, Mike DeMicco, Mark Egan, Karl Latham Birdland 6 pmêThe Heath Brothers Quartet: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Birdland 8:30, 11 pm $30-40• Randy Brecker’s Pop with David Sanchez, Kenny Werner, Adam Rogers, John Patitucci, Nate Smith, Amanda Brecker Blue Note 8, 10:30 pm $35• The Music of Duke Ellington and Dizzy Gillespie: Juilliard Jazz Orchestra with Frank Wess Dizzy’s Club 7:30, 9:30 pm $30êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Quincy Phillips Village Vanguard 9, 11 pm $25• Antonio Ciacca The Bar on Fifth 8 pm• Xan Campos Trio Shrine 6 pm

Friday, May 4êToshiko Akiyoshi Trio with Paul Gill, Aaron Kimmel Jazz at Kitano 8, 10 pm $25êBuster Williams Spanish Sun-Flamenco Rising with Mark Gross, Adam del Monte, George Colligan, David Silliman, Gonzalo Grau Smoke 8, 10, 11:30 $35• Winard Harper Group with Bruce Harris, Michael Dease, Jon Beshay, Roy Assaf, Noah Jackson, Alioune Faye Smalls 10 pm $20• John McNeil’s Urban Legend with Bill McHenry, Steve Cardenas, Joel Martin, Rodney Green Cornelia Street Café 9, 10:30 pm $15êErik Friedlander Barbès 8 pm $10• Ted Rosenthal Trio with Noriko Ueda, Tim Horner Rubin Museum 7 pm $20êAmir ElSaffar Quintet with John Escreet, Francois Moutin, Dan Weiss The Jazz Gallery 9, 10:30 pm $20• Jazzheads Festival: Mark Weinstein AfroCuban Jazz Project; Gabriele Tranchina Group; Dave Frank solo; NYJazz Initiative The Players Club 7 pm $40• Jason Mears Quintet with Jonathan Goldberger, Angelica Sanchez, Kevin Farrell, Harris Eisenstadt I-Beam 8:30 pm $10• Nate Wooley/Joe Morris; Aaron Ryuko Shragge/Ben Monder; Nadje Noordhuis/James Shipp Village Zendo 8 pm $20êDaryl Sherman/Dan Levinson Knickerbocker Bar and Grill 9:45 pm $5• Ray Gallon Trio; George Burton; Will Terrill Quintet Fat Cat 6, 10:30 pm 1:30 am• Joe Giglio Trio with Rick Steffens, Eric Peters Bar Next Door 7:30, 9:30, 11:30 pm $12• NYU Jazz Orchestra plays Sy Johnson Skirball Center 8 pm• Simona Premazzi The Bar on Fifth 8 pm• KyungGu Lee Group with HyungJin Choi, Pablo Menares, Takehiro Shimizu; Eliane Amherd and Band; Derek Lucci with Jonathan Stein, Jonathan Ragonese and guests Somethin’ Jazz Club 7, 9, 11 pm $10• Gary Negbaur Tomi Jazz 9 pm $10• Anne Mironchik Alor Café 8 pmê2/3 Series: Josh Deutsch/Nico Soffiato; Crepuscular Activity: Yukari/Carlo Costa; Fester: Sean Ali/David Grollman Launch Pad Gallery 8 pm• Evan Schwam Quartet Cleopatra’s Needle 8 pm• Rob Edwards Quartet; Hot House The Garage 6:15, 10:45 pm• Grégoire Maret Quartet with Frederico Gonzalez Peña, Ben Williams, Clarence Penn and guest Raul Midón Jazz Standard 7:30, 9:30 pm $30êThe Heath Brothers Quartet: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Birdland 8:30, 11 pm $30-40• Randy Brecker’s Pop with David Sanchez, Kenny Werner, Adam Rogers, John Patitucci, Nate Smith, Amanda Brecker Blue Note 8, 10:30 pm $35• The Music of Duke Ellington and Dizzy Gillespie: Juilliard Jazz Orchestra with Frank Wess Dizzy’s Club 7:30, 9:30 pm $35• Essentially Ellington All Stars Dizzy’s Club 11:30 pm $20êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Quincy Phillips Village Vanguard 9, 11 pm $25• Jon Hatamiya Shrine 6 pm• Jazz at Noon: Art Baron The Players Club 12 pm• Thresholding 2012: Ellery Eskelin, Mark Dresser, Jim Black, Sarah Weaver NYU Steinhardt School 11 am

Saturday, May 5êMichael Bates’ Acrobat with Greg Tardy, Russ Johnson, Russ Lossing, Michael Sarin Cornelia Street Café 9, 10:30 pm $15êTravis Laplante Quartet with Mat Maneri, Michael Formanek, Randy Peterson; Little Women: Travis Laplante, Darius Jones, Andrew Smiley, Jason Nazary The Stone 8, 10 pm $10êMiles Okazaki Quartet with Mark Turner, Thomas Morgan, Dan Weiss The Jazz Gallery 9, 10:30 pm $20êJoel Harrison with John Escreet, Kermit Driscoll, Ben Wittman The Firehouse Space 8:30 pm $10• Jazzheads Festival: Bobby Sanabria Big Band; Jeff Lederer Sunwatcher; Randy Klein Two Duos with Alex Skolnick, Nik Munson The Players Club 7 pm $40• Gilad Hekselman Trio with Joe Martin, Justin Brown Bar Next Door 7:30, 9:30, 11:30 pm $12• Keith Loftis Group Sistas’ Place 9, 10:30 pm $25• Jack Glottman Quintet; Martino Atangana African Blue Note Sextet; Tal Ronen Fat Cat 7, 10 pm 1:30 am• Bernie Williams Quartet with Gil Parris Iridium 8, 10 pm $35• Michael Bank’s Big 7 with Simon Wettenhall, Mike Mullins, Paul Nedzela, Sam Burris, Matt Smith, Murray Wall, Steve Little; David Greer’s New Tuning System with Alessandro Fadini; Tom Wetmore Ensemble; Anthony Fung Somethin’ Jazz Club 5, 7, 9, 11 pm $10• Scot Albertson/Frank Owens; New Tricks Tomi Jazz 8, 11 pm $10• Masami Ishikawa Organ Trio Cleopatra’s Needle 8 pmêToshiko Akiyoshi Trio with Paul Gill, Aaron Kimmel Jazz at Kitano 8, 10 pm $25êBuster Williams Spanish Sun-Flamenco Rising with Mark Gross, Adam del Monte, George Colligan, David Silliman, Gonzalo Grau Smoke 8, 10, 11:30 $35• Jacquelyn Bonomo; Andy Farber Quartet; Winard Harper Group with Bruce Harris, Michael Dease, Jon Beshay, Roy Assaf, Noah Jackson, Alioune Faye Smalls 4, 7:30, 10 pm $20• Jason Mears Quintet with Jonathan Goldberger, Angelica Sanchez, Kevin Farrell, Harris Eisenstadt I-Beam 8:30 pm $10• Simona Premazzi The Bar on Fifth 8 pm• Daryl Sherman/Dan Levinson Knickerbocker Bar and Grill 9:45 pm $5• Grégoire Maret Quartet with Frederico Gonzalez Peña, Ben Williams, Clarence Penn and guest Cassandra Wilson Jazz Standard 7:30, 9:30 pm $30êThe Heath Brothers Quartet: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Birdland 8:30, 11 pm $30-40

• Randy Brecker’s Pop with David Sanchez, Kenny Werner, Adam Rogers, John Patitucci, Nate Smith, Amanda Brecker Blue Note 8, 10:30 pm $35• The Music of Duke Ellington and Dizzy Gillespie: Juilliard Jazz Orchestra with Frank Wess Dizzy’s Club 7:30, 9:30 pm $35• Essentially Ellington All Stars Dizzy’s Club 11:30 pm $20êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Quincy Phillips Village Vanguard 9, 11 pm $25• Carole Bufford with Vince Giordano and the Nighthawks Metropolitan Room 4 pm $25• Larry Newcomb Trio; Galen Pitman Quartet; Akiko Tsuruga Trio The Garage 12, 6:15, 10:45 pm

Sunday, May 6• 17th Annual Essentially Ellington Competition and Festival with guest Wynton Marsalis Avery Fisher Hall 7:30 pm $25êAnthony Coleman; Endangered Blood: Chris Speed, Oscar Noriega, Trevor Dunn, Jim Black Barbès 8 pm $10• Otto Hauser/Anders Griffen; Cracked Vessel: Ben Syversen, Xander Naylor, Jeremy Gustin and guest Don Godwin The Stone 8, 10 pm $10• Billy Newman Sextet with Ben Holmes, Michael Attias, Eric Schugren, Leco Reis, Conor Meehan Cornelia Street Café 8:30 pm $10• Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 amêMinerva Trio: JP Schlegelmilch, Pascal Niggenkemper, Carlo Costa Caffe Vivaldi 8:30 pm• Peter Leitch/Sean Smith Walker’s 8 pm• FASTER: Kayla Milmine/Brian Abbott; Frank Keeley’s Golden Rectangles; John Pietaro’s Radio Noir; Stan Nishimura Ensemble ABC No-Rio 6 pm $5• Arturo Vera/Ethan Mann; New York Korean Jazz Orchestra: Sung Min Park, Irwin Park, Chung Il Kim, Kyung Gu Lee, Sung Il Bae, Gul Jang, Hi Jong Lee, Tae Seog Yun, Jin Sang Yoo, Man Su Jung, Gun Yong Lee, Hyun Jeong Lee, Jee Yong Park, Ho Kyung Choi, Joonsam Lee, Joo Chan Im; Pan Asian Chamber Jazz Ensemble: Anne Drummond, Meg Okura, Helen Sung, Dezron Douglas, EJ Strickland Somethin’ Jazz Club 5, 7, 9, 11 pm $10• Shrine Big Band Shrine 8 pm• Bernie Williams Quartet with Gil Parris Iridium 8, 10 pm $35• Daryl Sherman Knickerbocker Bar and Grill 9:45 pm $5• Simona Premazzi The Bar on Fifth 8 pm• Grégoire Maret Quartet with Frederico Gonzalez Peña, Ben Williams, Clarence Penn and guest Cassandra Wilson Jazz Standard 7:30, 9:30 pm $30• Randy Brecker’s Pop with David Sanchez, Kenny Werner, Adam Rogers, John Patitucci, Nate Smith, Amanda Brecker Blue Note 8, 10:30 pm $35• The Music of Duke Ellington and Dizzy Gillespie: Juilliard Jazz Orchestra with Frank Wess Dizzy’s Club 7:30, 9:30 pm $30êRoy Hargrove Quintet with Justin Robinson, Sullivan Fortner, Ameen Saleem, Quincy Phillips Village Vanguard 9, 11 pm $25• Bonnie Kane/Chris Welcome; James Ilgenfritz/Mikko Innanen Downtown Music Gallery 6 pm• Peter Eldridge Band Saint Peter’s 5 pm• Kenny Werner NYU Ensemble Blue Note 12:30, 2:30 pm $24.50• Vicki Burns Trio with Saul Rubin, Tom Hubbard North Square Lounge 12:30, 2 pm• Evan Schwam Quartet; David Coss Quartet; Afro Mantra The Garage 11:30 am 7, 11:30 pm

38 May 2012 | THE NEW YORK CITY JAZZ RECORD

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THE NEW YORK CITY JAZZ RECORD | May 2012 39

Monday, May 7• Salsa Meets Jazz Revisited: A Benefit Tribute to Dave Valentin with Manny Oquendo’s Libre with Andy Gonzalez; Papo Vazquez’ Pirates and Troubadours; Sonny Fortune; Steve Turre Le Poisson Rouge 10 pm $25êBB&C: Nels Cline, Jim Black, Tim Berne Shapeshifter Lab 8 pm $15• Magos Herrera Sextet with Aaron Goldberg, Mike Moreno, Peter Slavov, Alex Kautz, Rogerio Boccato Dizzy’s Club 7:30, 9:30 pm $20• Jay Rodriguez Blue Note 8, 10:30 pm $15êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10êRemembering Jimmy Lyons: Karen Borca Quartet; William Parker/William Hooker; Sound Band: William Parker, Tor Snyder, Asim Barnes, Nicole Federici, Matt Lavelle, Kirk Knuffke, Pete Dragotta, Ras Moshe, Zak Sherzad, Yoni Kretzmer, David Moss, Max Johnson, Bernard Myers, Tiffany Chang Clemente Soto Velez Cultural Center 7:30 pm $22• The New School Afro-Cuban Jazz Orchestra directed by Bobby Sanabria Joe’s Pub 9:30 pm $15• Harry Allen Feinstein’s at Loews Regency 7 pm• David Amram and Co. with Kevin Twigg, John de Witt Cornelia Street Café 8:30 pm $10• Rick Rosato, Colin Stranahan, Glenn Zaleski; Ari Hoenig Group with Gilad Hekselman, Orlando Le Fleming, Shai Maestro; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20• Marianne Solivan; Dimitri Vassilakis’ Jazz Acts with Theo Hill, Essiet Essiet, Sylvia Cuenca, Michela Marino Zinc Bar 7, 9 pmêAmanda Monaco Three with Mark Wade, Nate Smith Domaine Wine Bar 8:30 pm• Dida Pelled Trio with Tal Ronen, Daniel Friedman Bar Next Door 8:30, 10:30 pm $12• Brandon McCune The Bar on Fifth 8 pm• Alex Hoffman Quintet; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Roy Assaf Somethin’ Jazz Club 10 pm $10• Howard Williams Jazz Orchestra; Ben Cliness Trio The Garage 7, 10:30 pm• Charles Brewer Trio; Micky Lee; Bart-Jan Hogenhuis; Roy Assaf Shrine 7 pm

Tuesday, May 8êCelebrating Cecil: Vijay Iyer, Amina Claudine Myers, Craig Taborn Harlem Stage Gatehouse 8 pm $10êUpcoming Hurricane: Pascal Niggenkemper, Simon Nabatov, Gerald Cleaver; Mark Dresser/Terry McManus Korzo 9, 10:30 pm $5êSteve Kuhn, Steve Swallow, Joey Baron Birdland 8:30, 11 pm $30-40• Dizzy Gillespie All-Star Big Band directed by Paquito D’Rivera Blue Note 8, 10:30 pm $35êGeri Allen Trio with Bob Hurst, Karriem Riggins Village Vanguard 9, 11 pm $25êJeff “Tain” Watts 4 Zinc Bar 8, 10 pm $15• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Manuel Valera Quintet with John Benitez, Tom Guarna, Mauricio Herrera, Eric Doob Dizzy’s Club 11 pm $10• Amina Figarova Sextet with Bart Platteau, Marc Mommaas, Ernie Hammes, Jeroen Vierdag, Chris “Buckshot” Strik Jazz Standard 7:30, 9:30 pm $20

• Daoud David Williams’ Spirit of Life NYC Baha’i Center 8, 9:30 pm $15• Alon Yavnai Big Band with Sam Sadigursky, Oscar Feldman, Donny McCaslin, Eli Degibri, Paul Nedzela, Diego Urcola, Itamar Borochov, Tatum Greenblatt, Brandon Lee, Rafi Malkiel, Noah Bless, Kaji Tokunori Kajiwara, Max Siegel, Haggai Cohen-Milo, Ziv Ravitz and guest Dave Liebman Joe’s Pub 9:30 pm $15• Harlem Jazz Shrines: Danny Mixon Showman’s 8:30, 10, 11:30 pm• Harlem Jazz Shrines - Blazing Tongues: The Singers & Writers of Lenox Lounge with Tulivu-Donna Cumberbatch Lenox Lounge 7 pm $10• Spike Wilner solo; Marco Panascia Group with Dayna Stephens, Daniela Schachter, Peter Mazza Smalls 6:30, 8:30 pm $20• Leif Arntzen Band with Michael Blake, Landon Knoblock, Ryan Blotnick, Michael Bates, Jeff Davis Cornelia Street Café 8:30 pm $10• Adam Schatz/Thomas White’s OptionCopter with Max Jaffe, Jeremy Gustin, Booker Stardrum, Ian Chang, Skye Steele, Brandon Seabrook, Spencer Zahn, Jas Walton, Kirk Schoenherr, Jonah Parzen-Johnson, Noah Garabedian, Kirk Knuffke, Curtis Hasselbring, Ross Edwards The Stone 10 pm $10• Stan Killian Quartet with Mike Moreno, Ugonna Okegwo, Donald Edwards; Noah Preminger Quartet with Ben Monder, Joe Martin, Colin Stranahan 55Bar 7, 10 pmêJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm• Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Kyoko Oyobe solo Jazz at Kitano 8 pm• One Soul Fellowship: Sean Nowell, Haengsoo Seol, Art Hirahara, Kyle Struve; Micky Lee Project with Ike Sturm, Gernot Bernroider Somethin’ Jazz Club 7, 9 pm $10• Lou Caputo Not So Big Band; Justin Lees Trio The Garage 7, 10:30 pmêBB&C: Nels Cline, Jim Black, Tim Berne Shapeshifter Lab 8 pm $15• Brandon McCune The Bar on Fifth 8 pm

Wednesday, May 9ê2012 Undead Music Festival Marathon Night and Tonic Reunion Show: Heather Greene and Ursa Minor; Jamie Saft’s New Zion Trio; The Rufuseniks; Vinicius Cantuaria Sextet; Billy Martin Improv with Shelley Hirsch, Erik Friedlander; Dougie Bowne’s Peninsula; Yuka C. Honda’s EUCADEMIX; White Out with Bill Nace; Elysian Fields; Steven Bernstein’s Sex Mob; Ben Perowsky’s Moodswing Orchestra with TK Webb, Danny Blume; Michael Blake; Mike Wolf; Vernon Reid, G. Calvin Weston, Jamaaladeen Tacuma Le Poisson Rouge 6:45 pm $55 ê2012 Undead Music Festival: Kris Davis Trio with Eivind Opsvik, Michael Sarin; Positive Catastrophe; Stabbing Eastward; Tony Malaby’s Paloma Recio with Ben Monder, Drew Gress, Flin van Hemmen; Chris Dingman’s Waking Dreams with Loren Stillman, Fabian Almazan, Ike Sturm, Jared Schonig; Gerald Cleaver’s Black Host with Darius Jones, Brandon Seabrook, Cooper-Moore, Pascal Niggenkemper; Jonathan Finlayson and Sicilian Defense with Shane Endsley, Miles Okazaki, Keith Witty, Damion Reid Sullivan Hall 7:30 pm $55ê2012 Undead Music Festival: Secret Architecture; Ohad Talmor’s Newsreel with Dan Weiss, Miles Okazaki, Shane Endsley, Jacob Sacks, Matt Pavolka; Nate Wooley Quintet with Josh Sinton, Matt Moran, Eivind Opsvik, Harris Eisenstadt; Greg Ward Trio with Joe Sanders, Damion Reid; Chicago Underground Duo: Rob Mazurek/Chad Taylor; Joe Sanders with Pat Carroll, Rodney Green; Val-Inc Kenny’s Castaways 7 pm $55êMidtown Jazz at Midday Gala Evening Concert with Art Baron, Joyce Breach, Catherine DuPuis, Barbara Carroll, Eric Comstock, Marion Cowings, Mauricio DeSouza, Carol Fredette, Chris Gillespie, Russ Kassoff Big Band, Ed Laub, Alex Leonard, Jay Leonhart, Boots Maleson, Junior Mance, Jann Parker, Bucky Pizzarelli, Daryl Sherman, Frank Tate, Marlene VerPlanck, Ronny Whyte Saint Peter’s 7 pm $25

• Ben Allison Band with Steve Cardenas, Rogerio Boccato and guest Robert Pinsky Kaye Playhouse 7:30 pm• The Big Band Theory: Hector Martignon’s Jazzics with Edmar Castañeda, Breda Feliciano, Joe Burgstaller, John Benitez, Vince Cherico, Samuel Torres, Christos Rafalides, Alex Han, Chelsea Baratz, Andy Hunter, Samuel Marchan Merkin Hall 8:30 pm $30êPete Zimmer Quartet with George Garzone, Peter Bernstein, Peter Slavov Smoke 7, 9, 10:30êDarius Jones, Tom Blancarte, Weasel Walter, Forbes Graham The Stone 10 pm $10• Jerome Sabbagh Quartet with Pete Rende, Simon Jermyn, Rudy Royston Cornelia Street Café 8:30 pm $10• Matt Pavolka’s Horns Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Mark Ferber Shapeshifter Lab 8 pm• Oscar Noriega with Trevor Dunn, Brandon Seabrook Barbès 8 pm $10• Brandon Wright Group with Helen Sung, Donald Edwards; Cameron Outlaw with Ben Williams, David Bryant, Billy Buss, Bilal Salaam Smalls 8:30, 11 pm $20• Olive Branch Festival: Itai Kriss; Eyal Maoz’ Edom The Center for Jewish Arts and Literacy 7:30, 9:30 pm $15• Harlem Jazz Shrines: Lonnie Youngblood and the Blood Brothers Showman’s 8:30, 10, 11:30 pmêHarlem Jazz Shrines: Stanley Crouch with Charli Persip, Ben Riley; TK Blue Charlie Parker Tribute Minton’s Playhouse 7, 10 pm• Nancy Valentine Group with John di Martino, Marco Panascia Jazz at Kitano 8, 10 pm $10• Caravel String Trio: Kristi Helberg, Miranda Sielaf, Jane Cords O’Hara Seeds 9 pm $10• Rafi D’lugoff; Pete Malinverni Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Matt Herskowitz Trio with Mat Fieldes, David Rozenblatt Drom 7:15 pm • Equilibrium: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, Dan Silverstone Caffe Vivaldi 8:30 pm• Paolo Tomaselli’s Crossroads with Hailey Niswanger, Pasquale Strizzi, Shin Sakaino, Alessio Romano Somethin’ Jazz Club 9 pm• Justin Rothberg Group Flute 8 pm• Natalia Bernal Trio; Will Terrill Quintet The Garage 6, 10:30 pmêCelebrating Cecil: Vijay Iyer, Amina Claudine Myers, Craig Taborn Harlem Stage Gatehouse 8 pm $10êSteve Kuhn, Steve Swallow, Joey Baron Birdland 8:30, 11 pm $30-40• Dizzy Gillespie All-Star Big Band directed by Paquito D’Rivera Blue Note 8, 10:30 pm $35êGeri Allen Trio with Bob Hurst, Karriem Riggins Village Vanguard 9, 11 pm $25êRuss Spiegel Orchestra; Jeff “Tain” Watts 4 Zinc Bar 7, 9, 10:30 pm 12 am $15• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Amina Figarova Sextet with Bart Platteau, Marc Mommaas, Ernie Hammes, Jeroen Vierdag, Chris “Buckshot” Strik Jazz Standard 7:30, 9:30 pm $20• Brandon McCune The Bar on Fifth 8 pm• Joe Breidenstine Quintet Shrine 6 pm• Champian Fulton Saint Peter’s 1 pm $10

40 May 2012 | THE NEW YORK CITY JAZZ RECORD

Thursday, May 10ê2012 Undead Music Festival: Medeski and Martin & Wood and guests Marco Benevento, So Percussion, Anthony Coleman, Marcus Rojas, Oren Bloedow, Vernon Reid, Charlie Burnham, Chuck Campbell, Miho Hatori, G Calvin Weston Brooklyn Masonic Temple 8 pm $55• Highlights in Jazz - We Call it Jazz: Christian McBride Big Band; Michael Wolff Trio with Harvie S, Victor Jones; Baby Jane Dexter Tribeca Performing Arts Center 8 pm $37.50-40• Harlem Jazz Shrines: Terri Lyne Carrington’s The Mosaic Project with Lizz Wright, Nona Hendryx, Ingrid Jensen, Tia Fuller, Mimi Jones, Helen Sung, Nir Felder Harlem Stage Gatehouse 7:30 pm $10êHarlem Jazz Shrines: Jeremy Pelt Dizzy Gillespie Tribute Minton’s Playhouse 10 pm• Paula West and George Mesterhazy Quartet with Ed Cherry, Barak Mori, Jerome Jennings Jazz Standard 7:30, 9:30 pm $25êAllison Miller’s Boom Tic Boom with Dan Tepfer, Marty Ehrlich, Todd Sickafoose Cornelia Street Café 8:30 pm $10• Lionel Loueke/Marcus Gilmore The Jazz Gallery 9, 10:30 pm $15• Tomoko Miyata Trio with Romero Lubambo, Helio Alves Jazz at Kitano 8, 10 pm $10• Avi Avital Trio with Uri Sharlin, Shane Shanahan Joe’s Pub 9:30 pm $20• Ehud Asherie; John Ellis Group Smalls 7:30, 10 pm $20• Nu Directions Chamber Brass: Thomas Madeja, Dawn Webster, Barry McCommon, Larry Toft, Gabe Gloubus-Hoenich, Mason Ingram The Firehouse Space 8 pm $10• Hendrik Meurkens Trio with Gustavo Amarante, Misha Tsiganov Bar Next Door 8:30, 10:30 pm $12 • Harlem Jazz Shrines: Lou Volpe Trio Showman’s 8:30, 10, 11:30 pm• Olive Branch Festival: Uri Gurvich Quartet with Asen Doykin, Peter Slavov, Francisco Mela; Frank London, Guy Barash, Eyal Maoz The Center for Jewish Arts and Literacy 7:30, 9:30 pm $15• Grant Stewart; Greg Glassman Quintet; Josh Evans Quartet Fat Cat 7, 10 pm 1:30 am• Ahleuchatistas; Les Rhinoceros; Weasel Walter, Joe Merolla, Sandy Ewen The Acheron/Anchored Inn Pub 8 pm $10• Arts & Sciences: Matt Nelson, Jacob Zimmerman, Michael Coleman, Jordan Glenn The Stone 10 pm $10• Jocelyn Medina Quartet with Pete McCann, Zack Lober, Paul Wiltgen Tea Lounge 9, 10:30 pm• Jill McManus/Christian Fabian Sofia’s 7 pm• Lyric Fury: Cynthia Hilts, Jack Walrath, Lily White, Leigh Stuart, Deborah Weisz, Lisa Parrott, Ratzo Harris, Scott Neumann; Noah MacNeil Quartet Somethin’ Jazz Club 7, 9 pm $10• Yuko Ito Trio Tomi Jazz 9 pm $10• Alan Rothenthal Trio Cleopatra’s Needle 7 pm• Dre Barnes Project; Anderson Brothers The Garage 6, 10:30 pm• Judy Wexler with Jeff Colella, Bill Moring, Steve Haas Birdland 6 pmêSteve Kuhn, Steve Swallow, Joey Baron Birdland 8:30, 11 pm $30-40• Dizzy Gillespie All-Star Big Band directed by Paquito D’Rivera Blue Note 8, 10:30 pm $35êGeri Allen Trio with Bob Hurst, Karriem Riggins Village Vanguard 9, 11 pm $25êJeff “Tain” Watts 4 Zinc Bar 9, 11 pm $15• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Manuel Valera Quintet with John Benitez, Tom Guarna, Mauricio Herrera, Eric Doob Dizzy’s Club 11 pm $10• Brandon McCune The Bar on Fifth 8 pm• Todd Herbert Quintet; Yvonne Moneira; Duke Bantu X Shrine 6 pm• Carole Bufford with Vince Giordano and the Nighthawks Metropolitan Room 4 pm $25

Friday, May 11êUndead Jazz Festival - Seeds Solo Acts Festival: Jacob Garchik; Greg Heffernan; Ohad Talmor; Miles Okazaki; Craig Taborn; Steve Lehman Seeds 9 pm $10êBilly Harper Quartet with Freddie Hendrix, Francesca Tanksley, Clarence Seay, Aaron Scott Smoke 8, 10, 11:30 $30• Música Nueva 5: Big Band Poetry Jam & Beyond: Afro Latin Jazz Orchestra with guests Angel R. Rodriguez, Sr., Sandra María Esteves, Tato Laviera, Odilia Rivera Santos, Caridad “La Bruja” De La Luz, Patty Dukes, RephStar, Christopher “Chilo” Cajigas, Lin-Manuel Miranda Symphony Space Peter Jay Sharp Theatre 8 pm $30-50êNew Orleans Celebration - The Music of Jelly Roll Morton: Marcus Roberts Octet with Rodney Jordan, Jason Marsalis, Alphonso Horne, Ron Westray, Stephen Riley, Ricardo Pascal, Joe Goldberg Rose Theatre 8 pm $30-120êNew Orleans Celebration - New Orleans Piano Kings: Jon Batiste, Henry Butler, Ellis Marsalis with Reginald Veal, Herlin Riley Allen Room 7:30, 9:30 pm $55-65êLost Jazz Shrines - Vocal Virtuosos of 52nd Street: Mr. B & Sassy... A Passionate Affair: the Music of Billy Eckstine and Sarah Vaughan with Allan Harris and Somi Tribeca Performing Arts Center 8:30 pm $25• Lenore Raphael with Hilliard Greene, Rudy Lawless, Ray Blue and guest Jerry Mandel NY Society for Ethical Culture 8 pmêGerald Cleaver’s Black Host with Darius Jones, Brandon Seabrook, Cooper-Moore, Pascal Niggenkemper Cornelia Street Café 9, 10:30 pm $15• Charlie Looker, Greg Fox, Jamie Saft; Glass Ghost: Eliot Krimsky/Mike Johnson The Stone 8, 10 pm $10• José James; Taylor McFerrin Le Poisson Rouge 7 pm $20• Harlem Jazz Shrines - Blazing Tongues: The Singers & Writers of Lenox Lounge with Gregory Generet Lenox Lounge 7 pm $10êHarlem Jazz Shrines: Barry Harris Thelonious Monk Tribute Minton’s Playhouse 10 pm• Nick Hempton Band with Jeremy Manasia, Marco Panascia, Dan Aran Smalls 10 pm $20• Travis Sullivan’s Björkestra Shapeshifter Lab 8 pm $10êEhud Asherie/Harry Allen Knickerbocker Bar and Grill 9:45 pm $5• Chembo Corniel Quintet Drom 6, 8:30 pm • Lonnie Youngblood Dance Party Jazz 966 8 pm $25• Lynette Washington/Dennis Bell Jazz NY with Jacques Schwarz-Bart, Dennis Bell, Alex Blake, Victor Jones Jazz at Kitano 8, 10 pm $25• Emilio Solla y La Inestable de Brooklyn with Terry Goss, Dan Pratt, John Bailey, Ryan Keberle, Meg Okura, Victor Prieto, Jorge Roeder, Eric Doob Zinc Bar 7 pm $15• Adriano Santos Trio with Eduardo Belo, Richard Padron Bar Next Door 7:30, 9:30, 11:30 pm $12• Neal Miner Trio; Fabio Mogera; Jared Gold Fat Cat 6, 10:30 pm 1:30 am• Scot Albertson/Keith Ingham; Scot Albertson Group with Sedric Choukroun, Ron Jackson, Keith Ingham Baruch College 7:30 pm $25• Kellylee Evans Apollo Music Café 10 pm • Harlem Jazz Shrines: Cynthia Holiday and Friends Showman’s 8:30, 10, 11:30 pm• Jack Furlong Quartet with Sean Gough, Roy Cumming, John O’Keefe; Jovan Johnson’s Strictly Audio with Michael Stephenson, Jonathan Thomas, Alex Claffy, Kyle Poole; Stevie Swaggz with Stephen Gladney, Rafeal Statin, Joe Harley, Tony Lannen, Owen Erickson Somethin’ Jazz Club 7, 9, 11 pm $10• Kayo Hiraki Tomi Jazz 9 pm $10• Don Slatoff Quartet Cleopatra’s Needle 8 pm• Kris Kaiser Alor Café 8 pm• Dave Kain Group; Kevin Dorn and the Big 72 The Garage 6:15, 10:45 pm

• Paula West and George Mesterhazy Quartet with Ed Cherry, Barak Mori, Jerome Jennings Jazz Standard 7:30, 9:30, 11:30 pm $30êLionel Loueke/Jeff “Tain” Watts The Jazz Gallery 9, 10:30 pm $15êSteve Kuhn, Steve Swallow, Joey Baron Birdland 8:30, 11 pm $30-40• Dizzy Gillespie All-Star Big Band directed by Paquito D’Rivera Blue Note 8, 10:30 pm $35êGeri Allen Trio with Bob Hurst, Karriem Riggins Village Vanguard 9, 11 pm $25• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Manuel Valera Quintet with John Benitez, Tom Guarna, Mauricio Herrera, Eric Doob Dizzy’s Club 12:45 am $20• Brandon McCune The Bar on Fifth 8 pm• Asako Takasaki Shrine 6 pm• Jazz at Noon: Maurice Goldberg The Players Club 12 pm

Saturday, May 12êSheila Jordan/Cameron Brown Cornelia Street Café 9, 10:30 pm $15ê Randy Weston’s African Rhythms Jazz 966 8 pm $25ê2012 Undead Music Festival - Improvised Round Robin Duets: Mark Helias, Brandon Seabrook, Hilmar Jensson, Allison Miller, Amir Ziv, Mike Pride, Bob Stewart, Cooper-Moore, Miles Okazaki, Marika Hughes, John Hollenbeck, Matthew Mottel, Bill McHenry 92YTribeca 9 pm $15êAhmed Abdullah’s Diaspora Sistas’ Place 9, 10:30 pm $25êTed Nash Quartet Jazz at Kitano 8, 10 pm $25êEarl Howard Ensemble with Mark Dresser, Ernst Reijseger, Miya Masaoka, Wu Wei, Alan Jaffe, Harris Eisenstadt; Tom Chiu/Conrad Harris Duo Roulette 8 pm $15• Wycliffe Gordon’s Jazz à la Carte with Kenneth L. Roberson, Maurice Hines, Savion Glover, Juilliard Jazz Orchestra, Theresa Thomason, Aaron Diehl, Philip Dizack, Natalie Cressman Apollo Theater 3, 8 pm $10• Marc Cary’s Cosmic Indigenous with Awa Sangho, Daniel Moreno, Sameer Gupta, Igmar Thomas Apollo Music Café 10 pm • Harlem Jazz Shrines: Havana San Juan Orchestra led by Louis Bauzo Harlem Stage Gatehouse 8, 10 pm $10• Harlem Jazz Shrines: Sarah McLawler and Les Femmes Jazz Showman’s 8:30, 10, 11:30 pmêHarlem Jazz Shrines: Winard Harper Max Roach Tribute Minton’s Playhouse 10 pmêGowanus Jazz Fest: Frank Carlberg’s Big Enigma with Christine Correa, Jeremy Udden, John Carlson, Matt Moran, Frank Carlberg, John Hébert, Michael Sarin, Ken Mikolowski; Kris Davis solo Douglass Street Music Collective 8:30 pm $15• Olive Branch Festival: Alon Nechustan The Center for Jewish Arts and Literacy 9:30 pm $15êMark Elf Trio; Walter Blanding Smalls 7:30, 10 pm $20• Vanderlei Pereira; Carlos Abadie Quintet; Nick Hempton Quartet Fat Cat 7, 10 pm 1:30 amê2/3 Series: Josh Deutsch/Nico Soffiato; Landon Knoblock/Elena Camerin; Jesse Stacken/Kirk Knuffke I-Beam 8 pm $10• Rick Stone Trio with Marco Panascia, Greg Hutchinson Bar Next Door 7:30, 9:30, 11:30 pm $12• DODO Orchestra: Maria Sokolovsky, Leonid Gelman, Dmitry Sokolovsky, Dmitry Ishenko, Boris Zeldin Drom 9:30 pm $15• Sunshine Soldier: Brad Henkel, Dustin Carlson, Booker Stardrum; Carlo Costa/Ryan Ferreira Sycamore 9 pm $5• Luiz Simas; The Jersey Jazz Trio: David Berends, Lance Sulton, Mike Ipri; George Heid III Somethin’ Jazz Club 7, 9, 11 pm $10• Eiko Rikuhashi Trio; Joonsam Lee Trio Tomi Jazz 8, 11 pm $10êVitaly Golovnev Quartet Cleopatra’s Needle 8 pm• The Blue Meanies Alor Café 8 pmêBilly Harper Quartet with Freddie Hendrix, Francesca Tanksley, Clarence Seay, Aaron Scott Smoke 8, 10, 11:30 $30• Música Nueva 5: Big Band Poetry Jam & Beyond: Afro Latin Jazz Orchestra with guests Angel R. Rodriguez, Sr., Sandra María Esteves, Tato Laviera, Odilia Rivera Santos, Caridad “La Bruja” De La Luz, Patty Dukes, RephStar, Christopher “Chilo” Cajigas, Lin-Manuel Miranda Symphony Space Peter Jay Sharp Theatre 8 pm $30-50êNew Orleans Celebration - The Music of Jelly Roll Morton: Marcus Roberts Octet with Rodney Jordan, Jason Marsalis, Alphonso Horne, Ron Westray, Stephen Riley, Ricardo Pascal, Joe Goldberg Rose Theatre 8 pm $30-120êNew Orleans Celebration - New Orleans Piano Kings: Jon Batiste, Henry Butler, Ellis Marsalis with Reginald Veal, Herlin Riley Allen Room 7:30, 9:30 pm $55-65êEhud Asherie/Harry Allen Knickerbocker Bar and Grill 9:45 pm $5• Paula West and George Mesterhazy Quartet with Ed Cherry, Barak Mori, Jerome Jennings Jazz Standard 7:30, 9:30, 11:30 pm $30• Lionel Loueke/Mark Guiliana The Jazz Gallery 9, 10:30 pm $15êSteve Kuhn, Steve Swallow, Joey Baron Birdland 8:30, 11 pm $30-40• Dizzy Gillespie All-Star Big Band directed by Paquito D’Rivera Blue Note 8, 10:30 pm $35êGeri Allen Trio with Bob Hurst, Karriem Riggins Village Vanguard 9, 11 pm $25• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Manuel Valera Quintet with John Benitez, Tom Guarna, Mauricio Herrera, Eric Doob Dizzy’s Club 12:45 am $20• Brandon McCune The Bar on Fifth 8 pm• Roz Corral Trio with Yotam Silberstein, Paul Gill North Square Lounge 12:30, 2 pm• Austin Walker Trio; Champian Fulton Trio; Virginia Mayhew Quartet The Garage 12, 6:15, 10:45 pm

THE NEW YORK CITY JAZZ RECORD | May 2012 41

Sunday, May 13• Ryan Sawyer, Colin Stetson, Nate Wooley, C. Spencer Yeh The Stone 8, 10 pm $10êOlive Branch Festival: Daphna Mor; Amir ElSaffar The Center for Jewish Arts and Literacy 7:30, 9:30 pm $15• The Restrictor: Angela Chambers, Adam Dym, Damien Olsen, Kevin Rozza, Anthony Delio The Firehouse Space 8 pm $10• Terry Waldo’s Gotham City Band; Ehud Asherie Quartet; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• Chembo Corniel Quintet Drom 5, 7:30 pm • Peter Leitch/Harvie S Walker’s 8 pm• Arts & Sciences: Matt Nelson, Jacob Zimmerman, Michael Coleman, Jordan Glenn; The Chives: Steven Lugerner, Matthew Wohl, Max Jaffe I-Beam 8 pm $10• Evan Gallagher Ensemble with Alan Brady, Blaise Siwula, Daniel Goode, Beth Schenk, Frank Keeley, Andy Haas, Leslie Ross, John McDonough, Peter Zummo, Kevin Schmidt, Anders Nilsson, David Watson, Jochem Van Dijk; Emmanuelle Zagoria and guests; Western Pennsylvania: Jeffrey Betten, Mike Secilia, Joseph Ripple ABC No-Rio 6 pm $5• Manuel Valera The Bar on Fifth 8 pm• Brad Clymer and The Everybody Trio with Gavin Harper, Matt McClellan, Jeffrey Schaeffer; Ariadna Castellanos Somethin’ Jazz Club 5, 7 pm $10• Faiz Lamouri; Steve Detroy Shrine 8 pm• Paula West and George Mesterhazy Quartet with Ed Cherry, Barak Mori, Jerome Jennings Jazz Standard 7:30, 9:30 pm $25• Dizzy Gillespie All-Star Big Band directed by Paquito D’Rivera Blue Note 8, 10:30 pm $35êGeri Allen Trio with Bob Hurst, Karriem Riggins Village Vanguard 9, 11 pm $25• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Sarah Buechi/Christoph Knoche; Daniel Levin solo Downtown Music Gallery 6 pm• Timo Vollbrecht Group Saint Peter’s 5 pm• Noriko Ueda Jazz Orchestra Blue Note 12:30, 2:30 pm $24.50êAmanda Monaco Three with Noah Baerman, Mark Wade Z Hotel 11 am• Lou Caputo Quartet; David Coss Quartet; Bossa Brasil: Maurício de Souza, Ben Winkelman, John Lenis The Garage 11:30 am 7, 11:30 pm

Monday, May 14• Purchase Jazz Orchestra with John Fedchock Conducted by Todd Coolman Dizzy’s Club 7:30, 9:30 pm $20êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10• Maryanne deProphetis with Frank Kimbrough, Ron Horton; Daniel Levin/Gianni Mimmo; Mike Pride’s From Bacteria to Boys with Jon Irabagon, Alexis Marcelo, Peter Bitenc and guest Jonathan Moritz Clemente Soto Velez Cultural Center 7:30 pm $22• Shimrit Shoshan and New School Jazz and Contemporary Music student groups New School Arnhold Hall 8 pm $10• Jamie Reynolds Trio with Gary Wang, Eric Doob; Ari Hoenig Group with Tivon Pennicott, Shai Maestro, Matt Penman; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20• Ned Goold; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Brianna Thomas Zinc Bar 7 pm $8• Sofia Tosello Trio Bar Next Door 8:30, 10:30 pm $12• Antonio Ciacca The Bar on Fifth 8 pm• Michael Eaton Somethin’ Jazz Club 10 pm $10• Howard Williams Jazz Orchestra; Eva Cortez The Garage 7, 10:30 pm• Roy Eaton Bryant Park 12:30 pm

Tuesday, May 15êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Joey DeFrancesco Trio with George Coleman, Paul Bollenback Birdland 8:30, 11 pm $30-40• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Don Braden Quintet Dizzy’s Club 11 pm $10• David Gilmore/Andy Emler Paris to New York Express with Francois Moutin, Marque Gilmore Jazz Standard 7:30, 9:30 pm $20êWarren Smith and the Composer’s Workshop Orchestra NYC Baha’i Center 8, 9:30 pm $15êMark Dresser Quintet with Rudresh Mahanthappa, Michael Dessen, Denman Maroney, Tom Rainey Cornelia Street Café 8, 10:30 pm $10êMatana Roberts/Ches Smith; Arrington de Dionyso/Thollem McDonas The Stone 8, 10 pm $10• Jazz & Popular Song - Cy Coleman: Bringing Jazz to Broadway: Michael Feinstein with Michele Lee, Tamara Tunie, Chuck Cooper Allen Room 7:30 pm $95-120• Orquesta Sarabia: Zafer Taweel, Igor Arias, Amir ElSaffar, Lefteris Bournias, Megan Weeder Gould, Hadar Noiberg, Jennifer Vincent, Tareq Abboushi, Uri Sharlin, Roberto Rodriguez David Rubenstein Atrium 8:30 pm• Olive Branch Festival: Reut Regev; Jonathan Greenstein The Center for Jewish Arts and Literacy 7:30, 9:30 pm $15• Spike Wilner solo; Marc Devine Trio Smalls 6:30, 8:30 pm $20• Luba’s Mixture; Joe Alterman Iridium 8, 10 pm $25• Karl Berger Workshop Orchestra The Jazz Gallery 9 pm $15• Ricardo Vogt/Leala Cyr Shapeshifter Lab 8 pm

• Jack Wilkins/Freddie Bryant Bella Luna 8 pm• Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am• Kyoko Oyobe Jazz at Kitano 8 pm• Stefania Tchantret The Bar on Fifth 8 pm• Robert Locke with Tom Landman, Tim Ferguson, Robert Weiss; Darrell Smith Somethin’ Jazz Club 7, 9 pm $10• Jazz Band Classic; Danny Walsh Quartet The Garage 7, 10:30 pm• Sebastian Boehlen Shrine 6 pm• Roy Eaton Bryant Park 12:30 pm

Wednesday, May 16êImproTech Paris/New York 2012: Roscoe Mitchell/David Wessel; Robert Rowe/ Esther Lamneck; George Lewis/Geri Allen; Georges Bloch/Laurent Mariusse; Raphael Imbert, Simon Sieger, Benjamin Lévy; Bernard Lubat/Gerard Assayag; Steve Lehman, Mari Kimura, Vijay Iyer; Jean-Baptiste Barrière/Margaret Lancaster; Steve Coleman/Gilbert Nouno Roulette 8 pm $10êWilliam Hooker with Matt Lavelle, Dave Ross, Adam Lane; Arrington de Dionyso/ Thollem McDonas Issue Project Room 8 pm $15êJohn Zorn Improv Night The Stone 8 pm $20• Fernando Otero Sextet with JP Jofre, Nick Danielson, Adam Fischer, Pablo Aslan, David Silliman Jazz Standard 7:30, 9:30 pm $20• Brian McKnight and The Duke Ellington Orchestra Blue Note 8, 10:30 pm $65êTeri Roiger Quartet with Frank Kimbrough, John Menegon, Steve Williams Jazz at Kitano 8, 10 pm $10• Olive Branch Festival: Hadar Noiberg; Rafi Malkiel The Center for Jewish Arts and Literacy 7:30, 9:30 pm $15• Chris Massey’s Nue Jazz Project with Melissa Aldana, Benny Benack III, Willerm Delsifort, Chris Talio; Freddie Bryant and Kaleidoscope with Jaleel Shaw, Melissa Aldana, Patrice Blanchard, Willard Dyson Zinc Bar 7, 10:30 pm 12 am $15êJosh Deutsch’s Pannonia with Zach Brock, Brian Drye, Gary Wang, Ronen Itzik; Augmented Reality: Roy Assaf, Jorge Roeder, Ronen Itzik Cornelia Street Café 8:30, 10 pm $10êFay Victor Ensemble with Anders Nilsson, Ken Filiano Barbès 8 pm $10• Fabio Morgera Group; Jeremy Manasia Trio Smalls 8:30, 11 pm $20• Eric Rassmussen 4tet with Pete McCann, Dave Ambrosio, George Schuller Seeds 10 pm $10• Rema Hasumi Two Bass Quartet with Sean Ali, Mike LaValle, Satoshi Takeishi Brooklyn Lyceum 8, 9:30 pm $10• Whitfield Extended; Don Hahn/James Zeller Sextet; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Maurício de Souza Quartet with Nancy Harms, Ben Winkelman, Iris Ornig The Lambs Club 7:30 pm• Catherine Dupuis with Russ Kassoff, Jay Anderson; Rebecka Larsdotter Somethin’ Jazz Club 7, 9 pm $10• Joe Saylor and Friends; Paul Francis Trio The Garage 6, 10:30 pmêBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Joey DeFrancesco Trio with George Coleman, Paul Bollenback Birdland 8:30, 11 pm $30-40• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Don Braden Quintet Dizzy’s Club 11 pm $10• Jazz & Popular Song - Cy Coleman: Bringing Jazz to Broadway: Michael Feinstein with Michele Lee, Tamara Tunie, Chuck Cooper Allen Room 7:30 pm $95-120• Stefania Tchantret The Bar on Fifth 8 pm• Megumi Hakuba Shrine 6 pm• Marlene VerPlanck Saint Peter’s 1 pm $10• Roy Eaton Bryant Park 12:30 pm

Thursday, May 17êBlixt: Raoul Björkenheim, Bill Laswell, Morgen Ågren The Stone 10 pm $10êCecil Taylor solo Harlem Stage Gatehouse 7:30 pm $45êA Great Night in Harlem: Quincy Jones; Randy Weston African Rhythms Trio; Dr. John; James Carter; Battle of the Saxes; Treme Brass Band; Rebirth Brass Band; Macy Gray; David Johansen; Stanley Jordan; Christian McBride; Geri Allen; Steven Bernstein; Essie Mae Brooks; Etta James Tribute; Howlin’ Wolf Tribute Apollo Theater 7 pm $55-1500êGil Evans Centennial Project Directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Donny McCaslin, Scott Robinson, Brian Landrus, Charles Pillow, Michael Rabinowitz, Alden Banta, Jesse Han, Adam Unsworth, Dave Peel, Augie Haas, Greg Gisbert, Laurie Frink, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, James Chirillo, Romero Lubambo, Frank Kimbrough, Rufus Reid, Lewis Nash, Dan Weiss, Mike Truesdell, Kate McGarry, Wendy Gilles Jazz Standard 7:30, 9:30 pm $25êJazz at Lincoln Center Orchestra New Works: Chris Crenshaw’s God’s Trombones; Sherman Irby’s Inferno Rose Theatre 8 pm $30-120• Rosi Hertlein, Joe Kubera, Joe McPhee Roulette 8 pm $10êJeff Davis Quartet with Chris Speed, Russ Lossing, Eivind Opsvik Cornelia Street Café 8:30, 10 pm $10• Queens Jazz Overground Launch: Amanda Monaco, Mika Mimura, Mark Wade, Brian Woodruff and guests Manducatis Rustica 7 pm• Camila Meza Trio; Ben and Frank Perowsky with Pete Malinverni, Aidan O’Donnel; Carlos Abadie Quintet Smalls 7:30, 10 pm 1 am $20• Olive Branch Festival: Dan Aran; Rashid Halihal The Center for Jewish Arts and Literacy 8, 9:30 pm $15• Dan Aran; Wayne Escoffery; Reid Taylor Fat Cat 7, 10 pm 1:30 am• Paul Beaudry and Pathways with Tim Armacost, Bennett Paster, Tony Jefferson Jazz at Kitano 8, 10 pm $10• Ferenc Nemeth Group with Chris Potter, Sam Yahel The Jazz Gallery 9, 10:30 pm $15• Stephane Wrembel Joe’s Pub 9:30 pm $22• Daryl Shawn The Firehouse Space 8 pm $10• Samir Zarif Trio with Zack Lober, Tommy Crane Bar Next Door 8:30, 10:30 pm $12• DCASD Trio; Vinnie Sperrazza Quartet; Signal Problems Williamsburg Music Center 9 pm $10• Andrew Shoniker Shapeshifter Lab 8 pm• Primordial Jazz Funktet: Maya Azucena, Dan Furman, Miki Hirose, Arun Luthra, Ariel de la Portilla, Luciana Padmore; Media Noche Trio + 1: Max Marshall, Coleman Cook, Ryan Knudsen, Hunter Diamond Somethin’ Jazz Club 7, 9 pm $10• Scot Albertson Trio with Freddie Bryant, Sean Conly Tomi Jazz 9 pm $10• Justin Lees Trio Cleopatra’s Needle 7 pm• Ryan Anselmi Quintet; Randy Johnston Trio The Garage 6, 10:30 pm• Omar Haddad Shrine 7 pm• Brian McKnight and The Duke Ellington Orchestra Blue Note 8, 10:30 pm $65êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Joey DeFrancesco Trio with George Coleman, Paul Bollenback Birdland 8:30, 11 pm $30-40• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Stefania Tchantret The Bar on Fifth 8 pm• Roy Eaton Bryant Park 12:30 pm

Judi Silvano

celebrates 20 years of recording with her 10th CD

Indigo Moods. Available now at

www.jazzedmedia.com & www.amazon.com

It is clear that Silvano has

lived these well-known songs and she delivers them with

both purity and raw emotion, supported by

trumpeter Fred Jacobs and pianist Peter Tomlinson.

“…infectious swing…style and elegance… melodic yet

melancholy…” - Critical Jazz.com

Please visit www.judisilvano.com for appearance dates, new videos, photos

and find me on Facebook.

AMANDA MONACOMonday, May 7Amanda Monaco 3with Mark Wade & Nate Smith- Domaine Wine Bar8:30 p.m.

Sunday, May 13Amanda Monaco 3with Noah Baerman& Mark Wade- Z Hotel, 11 a.m.

Thursday, May 17Queens Jazz Overground Soft Launch- Manducatis Rustica 7 p.m. Ph

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by Je

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AMANDAMONACO.COM

42 May 2012 | THE NEW YORK CITY JAZZ RECORD

Friday, May 18êWillie Jones III Quintet with Stacy Dillard, Warren Wolf, Donald Vega, Dezron Douglas Smoke 8, 10, 11:30 $30êEric Revis Trio with Kris Davis, Andrew Cyrille The Jazz Gallery 9, 10:30 pm $20êBarbara Carroll/Jay Leonhart Duo Jazz at Kitano 8, 10 pm $25• Gordon Beeferman/Jeff Arnal Duo with guest Evan Rapport; Nate Wooley Quintet Alpha with Josh Sinton, Matt Moran, Eivind Opsvik, Harris Eisenstadt I-Beam 8:30, 9:30 pm $10• Greg Osby, Shimrit Shoshan, Carlo De Rosa, Eric McPherson 92YTribeca 9 pm $15• Lynette Washington Jazz 966 8 pm $15• Dan Rufolo Trio with Bill Thoman, Arthur Vint and guest Rich Perry Cornelia Street Café 9, 10:30 pm $15• Tardo Hammer Trio; The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski Smalls 7:30, 10 pm $20• Dmitry Baevsky Trio with David Wong, Joe Strasser Bar Next Door 7:30, 9:30, 11:30 pm $12• Aaron Weinstein Knickerbocker Bar and Grill 9:45 pm $5• Melissa Aldana Quartet; Raphael D’Lugoff; Ben Meigners Quartet Fat Cat 6, 10:30 pm 1:30 am• Ed Cherry with Kyle Koehler, McClenty Hunter; Deon Yates Somethin’ Jazz Club 7, 9 pm $10• Jo-Yu Chen Duo Tomi Jazz 9 pm $10• Marc Devine Quartet Cleopatra’s Needle 8 pm• The Blue Vipers Alor Café 8 pm• Enoch Smith Jr. Misfits; Joey Morant Trio The Garage 6:15, 10:45 pmêGil Evans Centennial Project Directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Donny McCaslin, Scott Robinson, Brian Landrus, Charles Pillow, Michael Rabinowitz, Alden Banta, Jesse Han, Adam Unsworth, Dave Peel, Augie Haas, Greg Gisbert, Laurie Frink, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, James Chirillo, Romero Lubambo, Frank Kimbrough, Rufus Reid, Lewis Nash, Dan Weiss, Mike Truesdell, Kate McGarry, Wendy Gilles Jazz Standard 7:30, 9:30, 11:30 pm $30êJazz at Lincoln Center Orchestra New Works: Chris Crenshaw’s God’s Trombones; Sherman Irby’s Inferno Rose Theatre 8 pm $30-120• Brian McKnight and The Duke Ellington Orchestra Blue Note 8, 10:30 pm $65êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Joey DeFrancesco Trio with George Coleman, Paul Bollenback Birdland 8:30, 11 pm $30-40• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Don Braden Quintet Dizzy’s Club 12:45 am $20• Stefania Tchantret The Bar on Fifth 8 pm• David Bindman Ensemble with Frank London, Reut Regev, Art Hirahara, Wes Brown, Royal Hartigan Sunset Park Library 3:30 pm• Jazz at Noon: Warren Chiasson The Players Club 12 pm• Roy Eaton Bryant Park 12:30 pm

Saturday, May 19êCecil Taylor solo Issue Project Room 8 pm $55-150êMary Halvorson Quintet with Jonathan Finlayson, Jon Irabagon, Stephan Crump, Ches Smith Cornelia Street Café 9, 10:30 pm $15êDave Liebman and Scott Colley with WORKS: Michel Gentile, Daniel Kelly, Rob Garcia Brooklyn Conservatory of Music 8 pm $10êGowanus Jazz Fest: City Band: Alan Ferber, John Carlson, Douglas Yates, Jeremy Udden, Gary Wang, Mark Ferber, Brian Landrus, Kenny Pexton, Max Seigal, Ben Holmes, Albert Leusink, Nicholas Urie, Frank Carlberg; Endangered Blood: Chris Speed, Oscar Noriega, Trevor Dunn, Jim Black Douglass Street Music Collective 8:30 pm $15êSheryl Bailey Trio with Harvie S, Steve Johns Bar Next Door 7:30, 9:30, 11:30 pm $12êThe Exposed Blues Duo: Fay Victor/Anders Nilsson; Shayna Dulberger Quartet with Yoni Kretzmer, Chris Welcome, Carlo Costa Sycamore 9, 10 pm • Mark Manzcuk solo; Electric Red: Eran Asias, Harvey Valdes, Mark Koch, Cryptic 303, David Dovo I-Beam 8:30, 10 pm $10• Rodney Green; The Program of Deprogramming; Dmitry Baevsky Quartet Fat Cat 7, 10 pm 1:30 am• Robert Rutledge Tribute to Malcolm X Sistas’ Place 9, 10:30 pm $25• Jennifer Beckles and Bernard Linnette Trio with Sacha Perry, Ralph Hamperian University of the Streets 8 pm $10• Matt Panayides with Rich Perry, Fumi Tomita, Mark Ferber; Jeron White Quartet with Samuel King, Dimitri Nassar, B Dean Somethin’ Jazz Club 9, 11 pm $10• Akemi Yamada Trio; Angela Davis Trio Tomi Jazz 8, 11 pm $10• Satchamo Mannan Quartet Cleopatra’s Needle 8 pm• Jonathan Scales Fourchestra; Nick Gianni Shrine 8 pmêWillie Jones III Quintet with Stacy Dillard, Warren Wolf, Donald Vega, Dezron Douglas Smoke 8, 10, 11:30 $30êEric Revis Trio with Kris Davis, Andrew Cyrille and guest Darius Jones The Jazz Gallery 9, 10:30 pm $20êBarbara Carroll/Jay Leonhart Duo Jazz at Kitano 8, 10 pm $25• The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski Smalls 10 pm $20

• Aaron Weinstein Knickerbocker Bar and Grill 9:45 pm $5êGil Evans Centennial Project Directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Donny McCaslin, Scott Robinson, Brian Landrus, Charles Pillow, Michael Rabinowitz, Alden Banta, Jesse Han, Adam Unsworth, Dave Peel, Augie Haas, Greg Gisbert, Laurie Frink, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, James Chirillo, Romero Lubambo, Frank Kimbrough, Rufus Reid, Lewis Nash, Dan Weiss, Mike Truesdell, Kate McGarry, Wendy Gilles Jazz Standard 7:30, 9:30, 11:30 pm $30êJazz at Lincoln Center Orchestra New Works: Chris Crenshaw’s God’s Trombones; Sherman Irby’s Inferno Rose Theatre 8 pm $30-120• Brian McKnight and The Duke Ellington Orchestra Blue Note 8, 10:30 pm $65êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Joey DeFrancesco Trio with George Coleman, Paul Bollenback Birdland 8:30, 11 pm $30-40• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30, 11:30 pm $35• Don Braden Quintet Dizzy’s Club 12:45 am $20• Stefania Tchantret The Bar on Fifth 8 pm• Carole Bufford with Vince Giordano and the Nighthawks Metropolitan Room 4 pm $25• David Bindman Ensemble with Frank London, Reut Regev, Art Hirahara, Wes Brown, Royal Hartigan Windsor Terrace Library 1:30 pm• Daniela Schaechter Trio; Mark Marino Trio The Garage 12, 6:15 pm

Sunday, May 20• Chico Hamilton with Paul Ramsey, Nick Demopoulos, Evan Schwam, Mayu Saeki, Jeremy Carlstedt Drom 7:15 pm $15êMarilyn Lerner, Ken Filiano, Lou Grassi The Firehouse Space 8, 9:30 pm $10• Eldar Djangirov Trio with guest Pat Martino Blue Note 8, 10:30 pm $25êBad Touch, Loren Stillman, Gary Versace, Nate Radley, Ted Poor Cornelia Street Café 8:30 pm $10• Off the Cliff: Clarice Assad, João Luiz Resende, Keita Ogawa; The Magic Number: Zach Brock, Matt Wigton, Fred Kennedy The Stone 10 pm $10êMay 19th Ensemble: Bill Cole, Ras Moshe, Larry Roland, Tor Yochai Snyder, Dave Ross, Adesanya Akinyele; Ngoma Hill Brecht Forum 7 pm $20• Peter Leitch/Ugonna Okegwo Walker’s 8 pm• Simona Premazzi The Bar on Fifth 8 pm• Matt Garrison; Adrian Cunningham Quartet with Chris Ziemba, John Tate, Jeremy Noller Somethin’ Jazz Club 7, 9 pm $10• David Caldwell-Mason Shrine 8 pmêGil Evans Centennial Project Directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Donny McCaslin, Scott Robinson, Brian Landrus, Charles Pillow, Michael Rabinowitz, Alden Banta, Jesse Han, Adam Unsworth, Dave Peel, Augie Haas, Greg Gisbert, Laurie Frink, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, James Chirillo, Romero Lubambo, Frank Kimbrough, Rufus Reid, Lewis Nash, Dan Weiss, Mike Truesdell, Kate McGarry, Wendy Gilles Jazz Standard 7:30, 9:30 pm $25êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $30• Cindy Scott/Brian Seeger Saint Peter’s 5 pm• Juilliard Jazz Brunch Blue Note 12:30, 2:30 pm $24.50• Tribute To The Village Gate with Junior Mance and Buddy Dorough; Brandon Lewis/Renee Cruz Jam Fat Cat 2:30 pm 12:30 am• Roz Corral Trio with Roni Ben-Hur, Alex Gressel North Square Lounge 12:30, 2 pm• Eugene Marlow’s Heritage Ensemble Kupferberg Holocaust Center 1 pm• Iris Ornig Quartet; David Coss Quartet; Javier Nero Quartet The Garage 11:30 am 7, 11:30 pm

Monday, May 21êMark Murphy – A Life in Song: Sheila Jordan, Helen Merrill, Annie Ross, Sachal Vasandani, Roseanna Vitro, Tessa Souter, Rhiannon, Dena DeRose, George Mesterhazy, Sean Smith, Willard Dyson Blue Note 8, 10:30 pm $25êRalph Peterson 50th Birthday Celebration with Sean Jones, Steve Wilson, Eddie Bayard, Zaccai Curtis, Luques Curtis Dizzy’s Club 7:30, 9:30 pm $20êBria Skonberg and Dave Bennett with Derek Smith, Bucky Pizzarelli, Frank Tate, Jackie Williams Kaye Playhouse 7:15 pm $35êMingus Dynasty Jazz Standard 7:30, 9:30 pm $25êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10êPulverize the Sound: Peter Evans, Tim Dahl, Mike Pride; Dave Buddin solo; Sam Pluta solo Zebulon 9 pm• George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Dred Scott Trio with Ben Rubin, Tony Mason; Ari Hoenig Punkbop with Jonathan Kreisberg, Will Vinson, Danton Boller; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20• AZARES: Ryan Ferreira, Joe Morris, Darius Jones, Jean Carla Rodea, Gerald Cleaver; Katie Bull Group Project with Landon Knoblock, Joe Fonda, Jeff Lederer, Deric Dickens; Joe Chonto Group with David Tamura, Martin McDonald, Pete Mattheissen Clemente Soto Velez Cultural Center 7:30 pm $22

• Simon Jermyn Band; Eli Asher, Andrew Smiley, Greg Chudzik, Carlo Costa Sycamore 8, 9:30 pm $5• Memorial for Clem DeRosa Saint Peter’s 7:15 pm• Donald Vega The Bar on Fifth 8 pm• Nancy Harms; Senri Oe Zinc Bar 7, 9, 10:15 pm $8• Niki King Trio with Gene Ess, Thomson Kneeland Bar Next Door 8:30, 10:30 pm $12• Howard Williams Jazz Orchestra; Kenny Shanker The Garage 7, 10:30 pm• Todd Robbins Bryant Park 12:30 pm

Tuesday, May 22• Darcy James Argue’s Secret Society Le Poisson Rouge 10 pm $20êJoe Lovano US Five Birdland 8:30, 11 pm $30-40êFred Hersch/Miguel Zenón Jazz Standard 7:30, 9:30 pm $25• Juilliard Jazz Quintet: Ron Carter, Ron Blake, Rodney Jones, Frank Kimbrough, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30• Juilliard Jazz Ensemble Dizzy’s Club 11 pm $10êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Eldar Djangirov Trio with guest Pat Martino Blue Note 8, 10:30 pm $25• Charlie Hunter/Scott Amendola The Stone 10 pm $10• Kelley Suttenfield Band with Tosh Sheridan, Michael Cabe, Matt Aronoff, Brian Adler; Marianne Solivan Iridium 8, 10 pm $25• Wet Ink Ensemble: Erin Lesser, Alicia Lee, Alex Mincek, Kate Soper, Eric Wubbels, Joshua Modney, Miranda Sielaff, Victor Lowrie, Jessie Marino, Ian Antonio, Russell Greenberg, Jeff Snyder, Sam Pluta; Jacob Garchik Trio Littlefield 8 pm $15• Spike Wilner solo; Loren Stillman Group with Nate Radley, Gary Versace, Ted Poor Smalls 6:30, 8:30 pm $20• Saul Rubin; Nu D’Lux Sextet; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Louise Rogers/Rick Strong Cornelia Street Café 8:30 pm $10• David Rothenberg, Billy Gomberg, Garth Stevenson; Joe Moffett, Jack Wright, Evan Lipson, Andrew Drury The Backroom 8:30 pm $10• Art Lillard’s Heavenly Big Band Shrine 8 pm• Amanda Ruzza Group with Mauricio Zottarelli, Chris Stover, Lucas Pino, Alex Nolan, Mamiko Watanabe and guests David Binney, Camila Meza Zinc Bar 8, 10 pm• Carlo Costa Quartet with Frantz Loriot, Simon Jermyn, Jon Irabagon Caffe Vivaldi 7:15 pm• Jack Wilkins/Peter Mazza Bella Luna 8 pm• Kyoko Oyobe solo Jazz at Kitano 8 pm• PJ Rasmussen; Alex Wyatt with Kyle Wilson, Jon DeLucia, Danny Fox, Greg Ruggiero, Chris Tordini Somethin’ Jazz Club 7, 9 pm $10• Cecilia Coleman Big Band; Lamy Estrefi’s No Smoking Trio The Garage 7, 10:30 pm• Donald Vega The Bar on Fifth 8 pm• Todd Robbins Bryant Park 12:30 pm

Wednesday, May 23• Victor Jones Culturversy Zinc Bar 9, 10:30 pm 12 am $15• Donald Edwards Quintet Smoke 7, 9, 10:30êProject Trio: Eric Stephenson, Peter Seymour, Greg Pattillo Joe’s Pub 7:30 pm $14êLage Lund Quartet with Pete Rende, Ben Street, Craig Weinrib; Neal Caine Group Smalls 8:30, 11 pm $20• Leslie Pintchik Trio with Scott Harding, Michael Sarin Jazz at Kitano 8, 10 pm $10• Chris Tordini Trio with Jeremy Viner, Alex Wyatt; Todd Neufeld/Thomas Morgan Seeds 8:30, 10 pm $10• Noah Garabedian Barbès 8 pm $10• Rafi D’lugoff; Mike DiRubbo Quartet; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Andrew Gutauskas Quintet Brooklyn Lyceum 8, 9:30 pm $10• Ronen Itzik Flute 8 pm• Lee Feldman with Byron Isaacs, Bill Dobrow and geusts Somethin’ Jazz Club 7, 9 pm $15• Nick Moran Trio; Nueva Encarnacion The Garage 6, 10:30 pmêJoe Lovano US Five Birdland 8:30, 11 pm $30-40êFred Hersch/Ambrose Akinmusire Jazz Standard 7:30, 9:30 pm $25• Juilliard Jazz Quintet: Ron Carter, Ron Blake, Rodney Jones, Frank Kimbrough, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30• Juilliard Jazz Ensemble Dizzy’s Club 11 pm $10êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Eldar Djangirov Trio with guest Pat Martino Blue Note 8, 10:30 pm $25• Donald Vega The Bar on Fifth 8 pm• Antonio Mazzei Shrine 6 pmêDavid Chamberlain’s Band of Bones with Charley Gordon, Matt Haviland, Nate Mayland, Matt McDonald, Chris Rinaman, Bob Suttmann, Max Seigel, Dale Turk, Kenny Ascher, Jerry DeVore, Mike Campenni, Chembo Corniel, Kat Gang Saint Peter’s 1 pm $10• Todd Robbins Bryant Park 12:30 pm

LESLIE PINTCHIK TRIOWednesday, May 23rd 8:00 PM & 10:00 PM

The Kitano Hotel 66 Park Ave @ 38th St. NYC

(212) 885-7119 for reservations

“...enormous gifts as a composer, arranger and pianist.”All Music Guide

Leslie Pintchik - pianoScott Hardy - bassMIchael Sarin - drums

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New DVD/CD ComboLESLIE PINTCHIK QUARTET

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THE NEW YORK CITY JAZZ RECORD | May 2012 43

Thursday, May 24êJerry Gonzalez and The Fort Apache Band Blue Note 8, 10:30 pm $30êJean-Michel Pilc, Francois Moutin, Ari Hoenig Jazz at Kitano 8, 10 pm $10• Lenny Pickett with Michael Wolff, James Genus, John Hadfield Roulette 8 pm $15• Oz Noy Trio with Will Lee, Dave Weckl Iridium 8, 10 pm $30êDavid Virelles and Continuum with Jonathan Finlayson, Andrew Cyrille The Jazz Gallery 9, 10:30 pm $15• Joe Magnarelli Quartet; Dave Schnitter/Marti Mabin Fat Cat 7, 10 pm• Gregg August Group Smalls 10 pm $20• Tom Chang Quartet with Jason Rigby, Chris Lightcap, Gerald Cleaver Cornelia Street Café 8:30 pm $10• Curtis Hasselbring The Firehouse Space 8 pm $10• Carioca Trio: James Shipp, Mike LaValle, Ze Mauricio Bar Next Door 8:30, 10:30 pm $12• Memorial for Ernie Ensley Saint Peter’s 7 pmêTimo Vollbrecht Group Tutuma Social Club 8:30 pm• Celso and New York Friends; Travis Sullivan’s Casual Sextet Somethin’ Jazz Club 7, 9 pm $10• Shoko Amano Trio Tomi Jazz 9 pm $10• Jon Weiss Trio Cleopatra’s Needle 7 pm• Champian Fulton Trio; Alan Chaubert Trio The Garage 6, 10:30 pm• Christos Rafalides’ Manhattan Vibes with Sergio Salvatore, Mike Pope, Vince Cherico Birdland 6 pmêJoe Lovano US Five Birdland 8:30, 11 pm $30-40êFred Hersch/Julian Lage Jazz Standard 7:30, 9:30 pm $25• Juilliard Jazz Quintet: Ron Carter, Ron Blake, Rodney Jones, Frank Kimbrough, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Donald Vega The Bar on Fifth 8 pm• Harlem Speaks: Janis Siegel Jazz Museum in Harlem 6:30 pm • Yoshida Hajime Shrine 6 pm• Carole Bufford with Vince Giordano and the Nighthawks Metropolitan Room 4 pm $25• Todd Robbins Bryant Park 12:30 pm

Friday, May 25êQueens Jazz Orchestra directed by Jimmy Heath Flushing Town Hall 8 pm $20-40êDowntown Music Gallery 21st Anniversary Celebration: Nels Cline/Julian Lage; Kalabalik: Raoul Björkenheim, Anders Nilsson, Gerald Cleaver Le Poisson Rouge 7 pm $25êFred Hersch Trio with Dave Holland, Billy Hart Jazz Standard 7:30, 9:30 pm $30êMiles Davis Birthday Celebration with Jeremy Pelt, Larry Willis, Buster Williams, Louis Hayes Smoke 8, 10, 11:30 $35êLost Jazz Shrines - Vocal Virtuosos of 52nd Street: Nat “King” Cole - Long Live the King with Allan Harris Band with Jesse Jones Jr. Tribeca Performing Arts Center 8:30 pm $25êJohn Butcher solo; Twistycat: Ed Bear/Lea Bertucci Issue Project Room 8 pm $15

• David Bixler Group; Sam Newsome Quartet with Andy Milne, Gregg August, EJ Strickland Smalls 7:30, 10 pm $20êMatana Roberts with Liberty Ellman, Kevin Tkacz, Ches Smith The Jazz Gallery 9, 10:30 pm $20êYoni Kreztmer, Joe Fonda, Jeremy Carlstadt; TOTEM: Tom Blancarte, Andrew Drury, Bruce Eisenbeil I-Beam 8:30 pm $10êLage Lund Trio with Orlando Le Fleming, Jochen Reuckert Bar Next Door 7:30, 9:30, 11:30 pm $12• Amanda Baisinger with Ryan Scott, Pete Rende, Matt Brewer, Dan Rieser Cornelia Street Café 9, 10:30 pm $15• Eric Comstock/Barbara Fasano Quartet with Marco Panascia, Vito Lesczak Jazz at Kitano 8, 10 pm $25• Eugene Marlow’s Heritage Ensemble Kupferberg Nuyorican Poets Café 7:30 pm $12• Maria Guida with Mark Soskin, Essiet Essiet, Tony Jefferson Metropolitan Room 7 pm $15• Andre Matos Quartet with Aaron Kruziki, Petros Klampanis, RJ Miller; Todd Colby; Brinsk: Jeremy Viner, Nate Radley, Aryeh Kobrinsky, Jason Nazary; Bobby Avey Trio with Thomson Kneeland, Jordan Perlson Douglass Street Music Collective 8 pm $10• Jake Hertzog Trio with Harvie S, Victor Jones Somethin’ Jazz Club 9 pm $10• Daniela Schaechter Tomi Jazz 9 pm $10• Keiko Kurita Quartet Cleopatra’s Needle 8 pm• Ray Scro Alor Café 8 pm• Andrew Atkinson and Friends; Kevin Dorn and the BIG 72 The Garage 6:15, 10:45 pm• Moth To Flame Shrine 8 pmêJerry Gonzalez and The Fort Apache Band Blue Note 8, 10:30 pm $30• Oz Noy Trio with Will Lee, Dave Weckl Iridium 8, 10 pm $30êJoe Lovano US Five Birdland 8:30, 11 pm $30-40• Juilliard Jazz Quintet: Ron Carter, Ron Blake, Rodney Jones, Frank Kimbrough, Carl Allen Dizzy’s Club 7:30, 9:30 pm $35• Juilliard Jazz Ensemble Dizzy’s Club 11:30 pm $20êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Donald Vega The Bar on Fifth 8 pm• Clem Orth Organ Smarties Trio Fat Cat 6 pm• SYOTOS with Chris Washburne West Harlem Piers Park 12 pm• Todd Robbins Bryant Park 12:30 pm

Saturday, May 26• Steve Hudson Chamber Ensemble with Sara Caswell, Jody Redhage, Martin Urbach Cornelia Street Café 6 pm $20êJason Rigby’s Cleveland-Detroit Trio with Cameron Brown, Gerald Cleaver Cornelia Street Café 9, 10:30 pm $15• Benny Russell African Liberation Day Celebration Sistas’ Place 9, 10:30 pm $25• Tillery: Gretchen Parlato, Becca Stevens, Rebecca Martin The Jazz Gallery 9, 10:30 pm $20• Underground Horns; PitchBlak Brass Band; Zongo Junction 92YTribeca 9 pm $10• Avi Rothbard Quartet; Point of Departure Fat Cat 7, 10 pm• Sacha Boutros Quartet with John di Martino, Peter Washington, Lewis Nash Jazz at Kitano 8, 10 pm $25• Barry Greene Trio Bar Next Door 7:30, 9:30, 11:30 pm $12

êMarco Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi Brecht Forum 8 pm $15• Banda Magda Shapeshifter Lab 6 pm $10• Luis Ianes Group with Jonathan Moritz, Ivan Berenboim, Carlo Costa I-Beam 8 pm $10• Frank Senior with Deanna Witkowski, Nathan Webb; Gene Ess/Niki King Somethin’ Jazz Club 7, 9 pm $10• Chieko Honda Trio; Tobias Meinhart Trio Tomi Jazz 8, 11 pm $10• Art Lillard Quartet Cleopatra’s Needle 8 pmêFred Hersch Trio with Dave Holland, Billy Hart Jazz Standard 7:30, 9:30 pm $30êMiles Davis Birthday Celebration with Jeremy Pelt, Larry Willis, Buster Williams, Louis Hayes Smoke 8, 10, 11:30 $35• Joe Pino Quintet; Yaala Ballin Group; Sam Newsome Quartet with Andy Milne, Gregg August, EJ Strickland Smalls 4, 7:30, 10 pm $20êJerry Gonzalez and The Fort Apache Band Blue Note 8, 10:30 pm $30• Oz Noy Trio with Will Lee, Dave Weckl Iridium 8, 10 pm $30êJoe Lovano US Five Birdland 8:30, 11 pm $30-40• Juilliard Jazz Quintet: Ron Carter, Ron Blake, Rodney Jones, Frank Kimbrough, Carl Allen Dizzy’s Club 7:30, 9:30 pm $35• Juilliard Jazz Ensemble Dizzy’s Club 11:30 pm $20êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Donald Vega The Bar on Fifth 8 pm• Marsha Heydt Quartet; Brooks Hartell Trio; Virginia Mayhew Quartet The Garage 12, 6:15, 10:45 pm

Sunday, May 27êFred Hersch/René Marie Jazz Standard 7:30, 9:30 pm $30• Tillery: Gretchen Parlato, Becca Stevens, Rebecca Martin The Jazz Gallery 9, 10:30 pm $20• Terry Waldo’s Gotham City Band; The Flail; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 9 pm 12:30 am• Peter Leitch/Ray Drummond Walker’s 8 pm• Rocco John Iacovone Ensemble; Han-earl Park Ensemble with Catherine Sikora, Nick Didkovsky ABC No-Rio 6 pm $5• Manuel Valera The Bar on Fifth 8 pm• Jerry Gonzalez and The Fort Apache Band Blue Note 8, 10:30 pm $30• Oz Noy Trio with Will Lee, Dave Weckl Iridium 8, 10 pm $30• Juilliard Jazz Quintet: Ron Carter, Ron Blake, Rodney Jones, Frank Kimbrough, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30êBill Frisell’s Beautiful Dreamers with Eyvind Kang, Rudy Royston Village Vanguard 9, 11 pm $25• Jesse Dulman/Jason Candler; Martin Philadelphy solo Downtown Music Gallery 6 pm• Pentecost Jazz Mass: Ike Sturm Ensemble Saint Peter’s 5 pm• Young Joo Song with David Wong, Pete VanNostrand Blue Note 12:30, 2:30 pm $24.50• Double Bass Double Voice: Emily Braden, Nancy Harms, Steve Whipple North Square Lounge 12:30, 2 pm• Jay Rodriguez Dwyer Cultural Center 2 pm $20• Jazz Kids! with Amy Cervini 55Bar 2 pm $5• Michika Fukumori Trio; David Coss Quartet; Abe Ovadia Trio The Garage 11:30 am 7, 11:30 pm

JOE MCPHEE • THE THINGWILLIAM PARKER • SONNY SIMMONSSABIR MATEEN • KNEEBODYMATTHEW SHIPP • GERALD CLEAVERMARK DRESSER • DAVID S. WAREDARIUS JONES • ELLIOTT SHARPIVO PERELMAN • WHIT DICKEYHAMID DRAKE • J.D. PARRANSHEILA JORDAN & JAY CLAYTONROY CAMPBELL • HENRY GRIMESWADADA LEO SMITH • STEVE SWELLJOËLLE LÉANDRE • NICOLE MITCHELLREGGIE WORKMAN • ANDREW CYRILLEOLIVER LAKE • JASON KAO HWANGINGRID LAUBROCK • GREG TATEROB BROWN • KIDD JORDANCHARLES GAYLE • WILLIAM HOOKERPHEEROAN AKLAFF • BURNT SUGAR

Joe McPheeA Lifetime of Achievement

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@ ROULETTE509 Atlantic Ave., Brooklyn, NY

JUNE 11-17, 2012

ISION FESTIVAL

This Time Freedom

www.artsforart.org

44 May 2012 | THE NEW YORK CITY JAZZ RECORD

Monday, May 28êPapo Vazquez Mighty Pirates and Troubadours with Willie Williams, Rick Germanson, Dezron Douglas, Alvester Garnett, Anthony Carrillo, Carlitos Maldonado Dizzy’s Club 7:30, 9:30 pm $20• Reggie Washington’s Freedom with David Gilmore, Gene Lake Blue Note 8, 10:30 pm $15êSteven Bernstein’s Millennial Territory Orchestra The Stone 9 pm $10• Tiffany Chang’s Free Association with Jonah Parzen-Johnson, Ross Edwards, Evan Crane; Pet Bottle Ningen: Nonoko Yoshida, Dave Scanlon, Dave Miller; Rema Hasumi Trio with Darius Jones, Carlo Costa Clemente Soto Velez Cultural Center 7:30 pm $22• Davy Mooney Quartet with John Ellis, Matt Clohesy, Mark Ferber; Ari Hoenig Trio with Jean-Michel Pilc, Francois Moutin; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20• Peter Eldridge/Matt Aranoff Bar Next Door 8:30, 10:30 pm $12êFreddie Redd Birthday Bash; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Jazzmeia Horn Zinc Bar 7 pm $8• Antonio Ciacca The Bar on Fifth 8 pm• Howard Williams Jazz Orchestra; Alex Hoffman Quartet The Garage 7, 10:30 pm• Nick West Quartet Shrine 6 pm• Terry Waldo Bryant Park 12:30 pm

Tuesday, May 29êEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Henry Cole Dizzy’s Club 7:30, 9:30 pm $30êGrassella Oliphant Quintet with Willie Williams, Freddie Hendrix, Brandon McCune, Tom DiCarlo Dizzy’s Club 11 pm $10êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• Ravi Coltrane Quartet Birdland 8:30, 11 pm $30-40• David Kikoski Trio with Ed Howard, Al Foster Jazz Standard 7:30, 9:30 pm $20• Terese Genecco Little Big Band Iridium 8, 10 pm $25• Peter M Wyer’s The Invisible with Thomas Buckner, Matthew Shipp, Ralph Samuelson, Kevin Norton Roulette 8 pm $15• Andrew Rathbun Quartet with Phil Markowitz, Jay Anderson, Bill Stewart Cornelia Street Café 8:30 pm $10• Spike Wilner solo; Ray Gallon Trio Smalls 6:30, 8:30 pm $20• Sofia’s Heart: Marco Pignataro, Nando Michelin, Paolo Orlandi Shapeshifter Lab 7:30, 9 pm $12• Jack Wilkins/Howard Alden Bella Luna 8 pm• Andy Haas/Dee Pop Yippee Café 8:30 pm• Saul Rubin; Itai Kriss and the Salsa All-Stars; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Kyoko Oyobe solo Jazz at Kitano 8 pm• Elias Meister/Pancho Molina Somethin’ Jazz Club 9 pm $10• Paul Corn Big Band; Nick Finzer/Joe McDonough Quintet The Garage 7, 10:30 pm• Antonio Ciacca The Bar on Fifth 8 pm• Chris Massey’s Nue Jazz Project Shrine 6 pm• Terry Waldo Bryant Park 12:30 pm

Wednesday, May 30êDawn of Midi: Aakaash Israni, Amino Belyamani, Qasim Naqvi Roulette 8 pm $15êHenry Cole and the Afrobeat Collective; Gilad Hekselman Quartet with Mark Turner 92YTribeca 8 pm $15• Nicki Parrott Trio Jazz at Kitano 8, 10 pm $10• James Shipp’s Nos Novo with Jean Rohe, Becca Stevens, Jesse Lewis, Rogério Boccato Cornelia Street Café 8:30 pm $10• Russ Lossing Heavy Merge with Jason Rigby, Russ Lossing, Jeff Davis Seeds 10 pm $10êDave Ballou, Jason Robinson, James Ilgenfritz, George Schuller Barbès 8 pm $10• John Yao Brooklyn Lyceum 8, 9:30 pm $10• Sherrie Maricle Group; Dan Aran Group Smalls 8:30, 11 pm $20• Rafi D’lugoff; Richie Vitale Quintet; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Lizzie Thomas Flute 8 pm• Arthur Sadowsky and The Troubadours Somethin’ Jazz Club 9 pm $10• Kyoko Oyobe Trio; Vitaly Golovnev Quartet The Garage 6, 10:30 pm• Trevor Long Group Shrine 7 pmêEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Henry Cole Dizzy’s Club 7:30, 9:30 pm $30êGrassella Oliphant Quintet with Willie Williams, Freddie Hendrix, Brandon McCune, Tom DiCarlo Dizzy’s Club 11 pm $10êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• Ravi Coltrane Quartet Birdland 8:30, 11 pm $30-40• David Kikoski Trio with Ed Howard, Al Foster Jazz Standard 7:30, 9:30 pm $20• Antonio Ciacca The Bar on Fifth 8 pm• Barbara Carroll/Jay Leonhart Saint Peter’s 1 pm $10• Terry Waldo Bryant Park 12:30 pm

Thursday, May 31êTomasz Stanko Quartet with Dave Virelles, Thomas Morgan, Gerald Cleaver Jazz Standard 7:30, 9:30 pm $25• Duane Eubanks Quintet with Abraham Burton, Orrin Evans, Dezron Douglas, Eric McPherson Cornelia Street Café 8:30 pm $10êThurston Moore, Bill Nace, Joe McPhee Roulette 8 pm $20• Lukas Ligeti The Stone 8 pm $10• Sam Raderman with Tim McCall, Jon Roche, Luc Decker; Mike Ledonne Quartet with Eric Alexander, John Webber, Joe Farnsworth; Carlos Abadie Quintet Smalls 4, 10 pm 1 am $20êJerome Sabbagh Trio with Joe Martin, Rodney Green Bar Next Door 8:30, 10:30 pm $12• Stuart Popejoy’s Single Payer with Steve Swell, Avram Fefer, Sarah Bernstein, Kenny Wollesen The Firehouse Space 8 pm $10• Anna Webber’s Third Floor People; Cacaw; Jonathan Lindhorst Quartet Williamsburg Music Center 9 pm $10

• Jerry Costanzo and Trio with Steve Ash, Jennifer Vincent, Jimmy Madison Jazz at Kitano 8, 10 pm $10• Maria Neckham with Lars Dietrich, Samir Zarif, Will Vinson, Mariel Roberts, Aaron Parks, Nir Felder, Thomas Morgan, Colin Stranahan and guest The Jazz Gallery 9, 10:30 pm $15• Salim Washington Quartet; Gregg August; Ben Meigners Quartet Fat Cat 7, 10 pm 1:30 am• NY Jazz Force; Marla Sampson Somethin’ Jazz Club 7, 9 pm $10• Arthur Sadowsky Trio Tomi Jazz 9 pm $10• Roseanna Vitro Trio Cleopatra’s Needle 7 pm• Joe Pino Quintet; Steve Kortyka Quartet The Garage 6, 10:30 pmêEric Reed UNMONK Quintet with Seamus Blake, Etienne Charles, Matt Clohesy, Henry Cole Dizzy’s Club 7:30, 9:30 pm $30êGuillermo Klein Y Los Guachos with Chris Cheek, Bill McHenry, Miguel Zenón, Taylor Haskins, Richard Nant, Diego Urcola, Sandro Tomasi, Ben Monder, Fernando Huergo, Jeff Ballard Village Vanguard 9, 11 pm $25• Ravi Coltrane Quartet Birdland 8:30, 11 pm $30-40• Antonio Ciacca The Bar on Fifth 8 pm• Harlem Speaks: Daniel Bernard Roumain Jazz Museum in Harlem 6:30 pm • Terry Waldo Bryant Park 12:30 pm

R E G U L A R E N G A G E M E N T SMONDAYS

• 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• Quentin Angus Duo Tomi Jazz 8 pm• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm• Steve Coleman Presents The Jazz Gallery 9 pm $15• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm• 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• John Raymond Trio or Syberen van Munster Trio Bar Next Door 6:30 pm• Roger Lent Trio Jam Cleopatra’s Needle 8 pm• Iris Ornig Jam Session The Kitano 8 pm• Les Paul Trio with guests Iridium 8, 10 pm $35• Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm• Smoke Big Band; John Farnsworth Quartet Smoke 7, 9, 10:30 pm• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30

TUESDAYS• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU))• Bill Campbell and Friends Bar Next Door 8 pm $12• 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; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm• Iris Ornig Quartet Crooked Knife 7 pm• Yvonnick Prene Group Tomi Jazz 8 pm• Annie Ross The Metropolitan Room 9:30 pm $25• Robert Rucker Trio Jam Cleopatra’s Needle 8 pm• Slavic Soul Party Barbès 9 pm $10

WEDNESDAYS• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm• Roger Davidson/Pablo Aslan Caffe Vivaldi 6 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)• 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• Yuko Okamoto Trio Tomi Jazz 8 pm• David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10• Sam Raderman Quartet Smoke 11:30 pm• 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/Tony Decaprio American Folk Art Museum Lincoln Square 2 pm• Jordan Young Group Bflat 8:30 pm

THURSDAYS• Jason Campbell Trio Perk’s 8 pm• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)• JaRon & Emme One Fish Two Fish 7:30 pm• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm• Latin Jazz Jam Nuyorican Poets Café 9 pm• Gregory Porter; Jazz Meets HipHop Smoke 7, 9, 10:30, 11:30 pm• 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• Ken Fowser Quintet Smoke 12:30 am• Greg Lewis Organ Trio Night of the Cookers 10 pm• Kengo Nakamura Trio Club A Steakhouse 11 pm• Brian Newman Quartet Duane Park 10:30 pm• Frank Owens Open Mic The Local 802 6 pm• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT)• Bill Saxton and Friends Bill’s Place 9, 11 pm $15

SATURDAYS• 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 12:30 am• Skye Jazz Trio Jack 8:30 pm• Michelle Walker/Nick Russo Anyway Café 9 pm• Bill Wurtzel Duo Henry’s 12 pm

SUNDAYS• Bill Cantrall Trio Crescent and Vine 8 pm• 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• Annette St. John; Allan Harris; Jason Teborek Smoke 11:30 am, 7, 11:30 pm• Stan Killian Trio Ocean’s 8 8:30 pm• Bob Kindred Group Café Loup 12:30 pm• Alexander McCabe Trio CJ Cullens Tavern 5 pm• Junior Mance Trio Café Loup 6:30 pm• Peter Mazza Bar Next Door 8 pm $12• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30• Lu Reid Jam Session Shrine 4 pm• Vocal Open Mic; Ruth Brisbane; Johnny O’Neal solo Smalls 4, 7:30, 9:30 pm• Rose Rusciani Alor 11 am• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm• Annette St. John and Trio Smoke 11:30 am, 1, 2:30 pm• Secret Architecture Caffe Vivaldi 9:45 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

THE NEW YORK CITY JAZZ RECORD | May 2012 45

• 5C Café 68 Avenue C (212-477-5993) Subway: F to Second Avenue www.5ccc.com• 55Bar 55 Christopher Street (212-929-9883) Subway: 1 to Christopher Street www.55bar.com• 92YTribeca 200 Hudson Street (212-601-1000) Subway: 1, A, C, E to Canal Street www.92y.org• ABC No-Rio 156 Rivington Street (212-254-3697) Subway: J,M,Z to Delancey Street www.abcnorio.org• The Acheron/Anchored Inn Pub 57 Waterbury Street (718-576-3927) Subway: L to Montrose Avenue www.theanchoredinn.com• Alor Café 2110 Richmond Road, Staten Island (718-351-1101) www.alorcafe.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.anbealbochtcafe.com• Antibes Bistro 112 Suffolk Street (212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com• Antique Garage 41 Mercer Street (212-219-1019) Subway: N, Q, R, W to Canal Street• 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 West 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 to W. 4th Street• Avery Fisher Hall (at Lincoln Center) 1941 Broadway at 65th Street (212-875-5030) Subway: 1 to 66th Street www.lincolncenter.org• 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 4 15th Street and 7th Avenue, Brooklyn (718-832-9800) Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue www.bar4brooklyn.com• Bar Next Door 129 MacDougal Street (212-529-5945) Subway: A, C, E, F to W. 4th Street www.lalanternacaffe.com• The Bar on Fifth 400 Fifth Avenue (212-695-4005) Subway: 6 to 33rd Street www.jazzbaronfifth.com• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Baruch College 17 Lexington Avenue at 23rd Street (646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu• Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street• 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• Blackbird’s 41-19 30th Avenue (718-943-6898) Subway: R to Steinway Street blackbirdsbar.com• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street www.bluenotejazz.com• Bowery Poetry Club 308 Bowery (between 1st and Bleeker Streets) (212-614-0505) Subway: F to Second Avenue; 6 to Bleecker Street www.bowerypoetry.com• Brandy Library 25 N. Moore Street (212-226-5545) Subway: 1 to Franklin Street• Brecht Forum 451 West Street (212-242-4201) Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org• Brooklyn Conservatory of Music 58 Seventh Avenue Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org• Brooklyn Lyceum 227 4th Avenue (718-857-4816) Subway: R to Union Street www.brooklynlyceum.com• Brooklyn Masonic Temple 317 Clermont Avenue (718-638-1256) Subway: G to Clinton-Washington Avenues• Buona Sera 12th Street and University Place Subway: 4, 5, 6, L, N, R, Q, W to Union Square• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 2 to Nereid Avenue/238th Street• Café Carlyle 35 East 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, Q to W. 4th Street www.caffevivaldi.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 Center for Jewish Arts and Literacy 325 E. 6th Street (212-473-3665) Subway: 6 to Astor Place www.eastvillageshul.com• 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.visionfestival.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 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• Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria

• Crooked Knife 29 East 30th Street (212-696-2593) Subway: 6 to 33rd Street www.thecrookedknife.com• David Rubenstein Atrium Broadway at 60th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org• 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• Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com• 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• Dwyer Cultural Center 259 St. Nicholas Avenue (212-222-3060) Subway: D to 125th Street www.dwyercc.org• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: C, E to Spring Street www.earinn.com• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org• Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com• The Firehouse Space 246 Frost Street Subway: L to Graham Avenue www.thefirehousespace.org• Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Flute 205 W. 54th St.between 7th and Broadway (212-265-5169) Subway: B, D, E to 7th Avenue www.flutebar.com• For My Sweet Restaurant 1103 Fulton Street at Claver Place (718-857-1427) Subway: C to Franklin Avenue• 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• Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.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 East 164th Street (718-328-0166) Subway: 2, 5 to Prospect Avenue• 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• I-Beam 168 7th Street between Second and Third Avenues Subway: F to 4th Avenue www.ibeambrooklyn.com• Indian Road Café 600 West 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• Issue Project Room 110 Livingston Street Subway: 4, 5 to Borough Hall www.issueprojectroom.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 290 Hudson Street (212-242-1063) Subway: C, E, to Spring 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 West 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• Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207) Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu• Kellari Taverna 19 West 44th Street (212-221-0144) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us• Kenny’s Castaways 157 Bleecker Street between Thompson and Sullivan Subway: A, B, C, D, E, F, V to W. 4th Street• 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• Kupferberg Holocaust Center 222-05 56th Avenue (718-631-6262) Subway: F to 169th Street; E to Sutphin Boulevard/ Archer Avenue• The Lambs Club 132 W. 44th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com• Launch Pad Gallery 721 Franklin Avenue, Brooklyn (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org• Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: A, B, C, D, E, F to W. 4th Street www.lepoissonrouge.com• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-427-0253) Subway: 2, 3 to 125th Street• Littlefield 622 Degraw Street (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) Subway: 1 to 145th Street www.londelsrestaurant.com• McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com• Manducatis Rustica 46-33 Vernon Boulevard (718-937-1312) Subway: 7 to Vernon Boulevard-Jackson Avenue www.manducatisrustica.com• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam (212-501-3330) Subway: 1 to 66th Street-Lincoln Center www.kaufman-center.org• Metropolitan Room 34 West 22nd Street (212-206-0440) Subway: N, R to 23rd Street www.metropolitanroom.com• Minton’s Playhouse 208 West 118th Street (between St. Nicholas Avenue and Adam Clayton Powell Jr. Blvd) (212-864-8346) Subway: B, C to 116th Street• NY Society for Ethical Culture 2 W. 64th Street at Central Park West (212-873-2848) Subway: 1, 2 to 66th Street-Lincoln Center www.nysec.org• 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/nyc-bahai-center/jazz-night• NYU Steinhardt School 35 W. 4th Street, 6th Floor Subway: A, B, C, D, E, F, V to W. 4th Street www.nyu.edu• New School Arnhold Hall 55 West 13th Street (212-229-5600) Subway: F, V to 14th Street www.newschool.edu

• Night of the Cookers 767 Fulton Street, Brooklyn (718-797-1197) Subway: C to Lafayette Avenue• 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.northsquarejazz.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, V to Second Avenue www.nublu.net• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org• Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue (718-857-5555) Subway: B, Q to Seventh Avenue• One Fish Two Fish 1399 Madison Avenue (212-369-5677) Subway: 4, 5, 6 to 96th www.onefishtwofish.com• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com• 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• Rhythm Splash 673 Flatbush Avenue Subway: B, Q to Parkside Avenue• Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: F to Second Avenue www.rockwoodmusichall.com• Rose Theatre 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 West 17th Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• 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 West 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• 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• Skirball Center 566 LaGuardia Place at Washington Square (212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street www.nyu.edu• 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 53rd Street www.somethinjazz.com/ny• Sora Lella 300 Spring Street (212-366-4749) Subway: C, E to Spring Street www.soralellanyc.com• The Stone Avenue C and 2nd Street Subway: F to Second Avenue www.thestonenyc.com• Sullivan Hall 214 Sullivan Street (212-634-0427) Subway: A, B, C, D, E, F, V to W. 4th Street www.sullivanhallnyc.com• Sunset Park Library 5108 4th Avenue, Brooklyn (718-567-2806) Subway: R to 53rd Street• 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 and Peter Jay Sharp Theatre 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org• Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: N, R to Union Street www.tealoungeNY.com• Tomi Jazz 239 E. 53rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com• Triad 158 West 72nd Street, 2nd floor (212-787-7921) Subway: B, C to 72nd Street www.triadnyc.com• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org• Tutuma Social Club 164 East 56th Street 646-300-0305 Subway: 4, 5, 6 to 59th Street www.TutumaSocialClub.com• University of the Streets 130 East 7th Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org• Via Della Pace 48 East 7th Street and Second Avenue (212-253-5803) Subway: 6 to Astor Place• The Village Trattoria 135 West 3rd Street (212-598-0011) Subway: A, B, C, D, E, F 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• Village Zendo 588 Broadway (212-340-4656) Subway: B, D, F, M to Broadway-Lafayette Street www.villagezendo.org• 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• West Harlem Piers Park Riverside Drive and 130th Street Subway: 1 to 125th Street• Williamsburg Music Center 367 Bedford Avenue (718-384-1654) Subway: L to Bedford Avenue• Windsor Terrace Library 160 East 5th Street, Brooklyn (718-686-9707) Subway: F, G to Fort Hamilton Parkway www.brooklynpubliclibrary.org• Yippie Café Manhattan 9 Bleeker Street between Elisabeth and Bowery Subway: 6 to Bleeker Street• Z Hotel 11-01 43rd Avenue, Long Island City (212-319-7000) Subway: F to 21st Street-Queensbridge www.zhotelny.com• Zeb’s 223 W. 28th Street 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com• Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) Subway: L to Bedford Avenue www.zebuloncafeconcert.com• Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, C, E, F, Grand Street Shuttle to W. 4th Street www.zincbar.com

CLUB DIRECTORY

46 May 2012 | THE NEW YORK CITY JAZZ RECORD

(INTERVIEW CONTINUED FROM PAGE 6)

is the George Adams/Don Pullen Quartet, which you first joined in the late ‘70s, recorded around a dozen albums with and are the surviving member of since pianist Don Pullen’s passing in 1995 (drummer Dannie Richmond died in 1988, saxist Adams in 1992).

CB: That was the band of my lifetime! In the summer of 1979, the phone rang and it was Pullen, who I had been playing with in Beaver Harris’ 360 Degree Music Experience. I remember exactly where I was, where I was sitting. Wim Wigt had asked George and Don to put together a band in the wake of Charles Mingus’ passing and they immediately asked [former Mingus drummer] Dannie to play drums. Don wanted me to play bass. He said, “I think you can bridge the gap between the more inside stuff and the more outside stuff that I like doing.” I knew that my life had changed forever, though I couldn’t have known that it would change for 10 incredible years. I don’t think anyone knew the band was going to have that longevity, but it was explosive immediately. There was so much energy. And for a young bass player to get to make music with Dannie every night - there aren’t words to describe that... I learned so much; I named my band after him. I wish they were alive. I always say, “Those guys lived two days every day, so they all lived to be a hundred and ten!” Especially Dannie. Though Dannie was apparently a bit older than his passport said, his wife told me. I used to say nobody ever made it to 55, but I think Dannie actually made it to 57 or 58. And here I am going on 67 by the end of this year!

TNYCJR: You’ve worked and played with a fair share of significant drummers in addition to Richmond, Harris and Blackwell. How important are drummers in the band for you? It seems you would join just about any band because of the drummer…

CB: Well, yes! The drums are everything. If the drummer is mediocre and not happening, I can be playing anything and it won’t matter to the whole gestalt of the music. It started when I was a teenager sitting in front of Jimmy and Elvin, Paul Chambers and Jimmy Cobb, Mingus and Dannie. This music comes from the drums. The instrument has a decisive impact on all aspects of the music: coloring and shaping the melody, transitions of all sorts. And then there is the amazing variety and subtlety of each master drummer’s swing feel - infinite depth there, each so different and so much fun. Listening to and trying to figure out how to support and complement the drums - that’s always in the forefront of my consciousness. I remember a gig - Dewey Redman got Billy Hart to do a weekend at the old Birdland on 105th Street. I’d never played with Billy before. But when we finished, he said, “Man, you really hear what I’m doing.” That was a big compliment. It’s huge for me that I’ve had special relationships with great drummers. I got to play with my hero Philly Joe [Jones], my favorite guy from that era because I was such a Miles freak. And younger, newer guys - I got to make a record with [Jim] McNeely with John Hollenbeck, who is amazing; Gerald Cleaver now in Jason Rigby’s trio; Matt Wilson with Dewey’s later band... When I teach, I always say, “In this music, rhythm is job 1.”

TNYCJR: You’ve also had special musical relationships with some singers, most notably Sheila Jordan. I hadn’t realized that 1975 was your first recording with her (Confirmation, East Wind), which has your old friend Beaver playing drums. When did you and Sheila start to perform duo?

CB: That’s a great record. I can’t remember exactly

where I met her but she’s always been this huge supporter of me. Sheila asked me to do the bass and voice duo a LONG time ago. But I knew I wasn’t ready. The I’ve Grown Accustomed to the Bass record in 1997 was the first duo gig we ever did. It got recorded and she liked it so much she got Joe Fields [of HighNote Records] to put it out.

TNYCJR: It’s a very special connection you two have. To work with someone like Sheila must be a dream come true for anyone, not only musically - but also as a person. She is one of the most sincere and musical not to mention fun musicians you’ll ever come across.

CB: Absolutely. I love the transparency and delicacy ofthe duo with Sheila - the space, honoring the silences. She loves the sparse, nearly blank canvas the bass and voice offers. There’s been so much for me to learn about improvising, interacting, listening. “Less is more,” she always says. 15 years in I feel like I’m doing a better job. Really! It’s so challenging and so special. As Dewey used to say, “We dig a little deeper.” And Sheila always does. I got to experience Miles and Trane live, but not Bird, who was her good friend. Through her, I get to touch the origins of modern jazz. And I have no closer or better friend than Sheila. I’m just blessed all the way around with the people I’ve gotten to play with. I get to do both extremes: George and Don’s band and Joe [Lovano]’s bands involve some of the most intense, physical, athletic music imaginable and then Sheila is as delicate as could possibly be. I love them both. That’s the depth and breadth of this music!

TNYCJR: In addition to Jordan, what other vocalists have you worked with?

CB: Early on I got to play with Jay Clayton, who had a loft in the late ‘60s where we did some of the first loft concerts ever. In fact, the loft I had in Brooklyn I bought from her which helped to buy her house in Seattle, which then she sold to come back to the East Coast! And now we’ve got the Bebop to Freebop Band playing the Vision Festival in June with both Jay and Sheila. I got to play with Etta Jones briefly - what a thrill; an intense three months with Betty Carter; tours with the wonderful Maria Pia de Vito in Italy; Lisa Sokolov is a very special musician. I love the human voice, the immediacy of the connection - that’s why I have a singer in my Hear and Now band.

TNYCJR: And you’ve been a teacher - briefly in the early ‘70s in New York, but more consistently in the last decade.

CB: Every male person who graduated from college in 1969 was going straight to Vietnam. If you taught school in New York City, your deferment continued. I taught 5th and 6th grades in the South Bronx - the worst urban slum in the United States of America at that time. That was a hell of a three years. I quit teaching in 1972. It took me about three years to get back on the scene... I was Dave Holland’s first student, summer of ’70, after my first year of teaching. There was a legendary loft building on 19th Street - Liebman was on the top floor, Dave and family on the 2nd floor and Chick [Corea] on the 1st floor. Mike Brecker later lived in Holland’s space. My nerves were so shot that Dave had to get me on a macrobiotic diet for a couple of weeks before I could even practice for an hour. We had these one-hour lessons that lasted at least three hours - stuff I’m still working on!... And now I’ve kind of become the designated acoustic bass teacher of Rockland County - 5th grade through high school - which started at the Green Meadow Waldorf School where the commitment to music is such that they require all the kids to take private lessons on a band or orchestra

instrument. Then I have jazz students at the New School and I’ve enjoyed teaching at its summer workshop in Italy the last three years. It’s a simple truism that, when he or she is fully present, fully engaged, the teacher learns more than the student. Teaching has been such a positive growth engine for me. v

For more information, visit jazzhalo.be/homepagesframe.html. Brown is at Cornelia Street Café May 12 in duo with Sheila Jordan and 26th with Jason Rigby. See Calendar.

Recommended Listening: • George Russell - At Beethoven Hall (SABA-MPS, 1965)• Archie Shepp - Montreux One/Montreux Two (Arista-Freedom, 1975)• George Adams/Don Pullen Quartet - Song Everlasting (Blue Note, 1987)• Cameron Brown’s Hear and Now - Here and How, Vol. 1 & 2 (Omnitone, 1997)• Joe Lovano - Trio Fascination, Edition Two: Flights of Fancy (Blue Note, 2000)• Sheila Jordan/Cameron Brown - Celebration: Live at the Triad (HighNote, 2004)

(LABEL CONTINUED FROM PAGE 10)

with Guy, Plimley and Swiss drummer Lucas Niggli is a co-production in every sense: organizing, editing, financing etc,” she adds. Maya CDs are financed in different fashions. In the main, funds needed to release live concerts of improvised music come from CD sales. “However studio recordings like Aurora [with Guy, Fernández and percussionist Ramón López] and the baroque recordings are financed with the help of specific sponsors and from concert fees, our savings and sometimes sales of musical instruments,” Homburger notes. As for the musicians, the average form of compensation is mostly CDs they sell at gigs. “The history of musician-owned labels is a proud one,” notes Evan Parker, who was involved with Incus and now runs psi. “Barry and Maya have a specific musical agenda which relates baroque music to improvised music. This gives their label a unique place in the overall scheme. Because they’re practitioners, they’re sympathetic to the needs of their fellow musicians. Each musician-owned label allows the expression of an aesthetic that supports and perhaps illuminates aspects of the particular emphasis that each brings to the job.” Switzerland, where Homburger and Guy moved after nine years in Ireland, has also been beneficial for Maya Recordings. As the Swiss violinist states: “any business like designing, printing, distributing, etc. was more complicated in Ireland. Loads of things in Ireland are not handled in the so-called Swiss efficient way.” While pressing LPs for the collectors’ market remain one avenue left for Maya to explore, downloads of the imprint’s CDs can be accessed through Proper Music, its United Kingdom distributor. And projects continue to appear. Maya’s next release will be a live recording of the Glasgow Improvisers Orchestra playing Guy’s composition “Schweben”. When it comes to the administrative side, Homburger admits that sometimes the temptation to turn the whole company over to Intakt exists. “But when we receive personal reactions via emails from wonderful fans of the music in many countries or when we have special encounters after concerts during the stage sales of our CDs, we know that it’s worth all the effort,” she avers. v

For more information, visit maya-recordings.com

THE NEW YORK CITY JAZZ RECORD | May 2012 47

ON THIS DAY

Saxophonist Don Rendell came out of the English club circuit in the late ‘40s, working with John Dankworth and a visiting Stan Kenton. By the mid ‘60s, he was among many British jazz musicians creating something new on their side of the Atlantic (mostly in a quintet with trumpeter Ian Carr). He began his career as a recording leader about a year before this session, which features members of his original sextet - baritonist Ronnie Ross and pianist Damian Robinson - playing a short program of his (three pieces) and Robinson’s (one) originals.

Iconic avant garde guitarist Sonny Sharrock came out of the ‘60s groups of Pharoah Sanders, Marzette Watts and Herbie Mann. Black Woman was his debut as a leader and for his band Sharrock drew from the fertile free jazz scene of New York with players like pianist Dave Burrell, trumpeter Ted Daniel, bassist Norris Sirone Jones, drummer Milford Graves and then-wife Linda on vocals. The guitarist wrote four of the five pieces on the disc (alongside the traditional “Bialero”), including the epic “Portrait of Linda in Three Colors, All Black”.

The soul jazz genre would be a lot thinner without the remarkably prolific work of the tenor saxophonist. From his debut recording in 1959 on Prestige, Jackson (whose nickname was Gator) made over 30 albums by the time of this session for the relatively new Muse Records. Joining him is quite a cast: Mickey Tucker (keyboards), Bob Cranshaw (bass), Richard Landrum and Sonny Morgan (percussion), Freddie Waits (drums) and guitarist Pat Martino, who, as Pat Azzara, made his earliest recordings with Jackson in the ‘60s.

After a small discography for several different labels, trumpeter/composer Bill Dixon found a home on the Italian Soul Note imprint in the ‘80s-90s. For this album, Dixon put together a new band, keeping the rhythm section of Mario Pavone and Lawrence Cook from a 1981 session but adding two more basses - William Parker and Peter Kowald - plus alto saxist Marco Eneidi and tuba player John Buckingham. Dixon of course composed all the music, including a suite honoring Nelson and Winnie Mandela, the former then imprisoned.

A most unusual string trio this, with violinist Hans Burgener, bassist Barre Phillips and cellist Martin Schütz. Recorded live at the Aargauer Kunsthaus in Aarau, Switzerland, the album is four lengthy improvisations with evocative names like “Tidal Awakening”, “Evening Bamboo Growth”, “Steppes” and the title track. It is unknown how this group formed but one imagines the always exploratory Phillips, some two decades older than his compatriots, was the instigator. The trio would make another album six years later.

by Andrey Henkin

EponymousDon Rendell Quintet (Tempo)

May 16th, 1955

Black WomanSonny Sharrock (Vortex)

May 16th, 1969

Headed and GuttedWillis Jackson (Muse)

May 16th, 1974

ThoughtsBill Dixon (Soul Note)

May 16th, 1985

Looking Out Our WindowBurgener/Phillips/Schütz (For 4 Ears)

May 16th, 1992

BIRTHDAYSMay 1Ira Sullivan b.1931 †Shirley Horn 1934-2005Carlos Ward b.1940 James Newton b.1953 Kevin Hays b.1968 Ambrose Akinmusire b.1982

May 2†Pat Smyth 1923-83†Richard "Groove" Holmes 1931-91Eddy Louiss b.1941 Mickey Bass b.1943 Keith Ganz b.1972

May 3†John Lewis 1920-2001†Jimmy Cleveland 1926-2008Jymie 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 1928-2006Warren Smith b.1932 Don Friedman b.1935 Ron Carter b.1937 Chuck Folds b.1938 Rudresh Mahanthappa b.1971 Jeremiah Cymerman b.1980

May 5Kidd Jordan b.1935 Stanley Cowell b.1941 Jack Walrath b.1946 Pablo Aslan b.1962

May 6†Freddy Randall 1921-99†Denny Wright 1924-92Isla 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 1926-2003Arthur Blythe b.1940 Michael Formanek b.1958

May 8†Red Nichols 1905-65†Mary Lou Williams 1910-81†Jerry Rusch 1943-2003Keith Jarrett b.1945 Jon-Erik Kellso b.1964 Meinrad Kneer b.1970

May 9†George Simon 1912-2001†Dick Morrissey 1940-2000Dennis Chambers b.1959 Ricardo Gallo b.1978

May 10†Pee Wee Hunt 1907-79†Al Hendrickson 1920-2007†Mel Lewis 1929-90George Golla b.1935 †Julius Wechter 1935-99Mike Melvoin b.1937 Jimmy Ponder b.1946 Ahmed Abdullah b.1947 †Hans Reichel 1949-2011Alex Foster b.1953 Philip Harper b.1965 Jasper Hoiby b.1977

May 11†King Oliver 1885-1938†JC Higginbotham 1906-73†Oscar Valdambrini 1924-97John Coppola b.1929 Dick Garcia b.1931 †Freddie Roach 1931-80Carla Bley b.1938 Ralph Humphrey b.1944 Mikkel Ploug b.1978

May 12†Marshall Royal 1912-95†Don DeMichael 1928-82Gary Peacock b.1935 Klaus Doldinger b.1936 Trevor Tompkins b.1941

May 13†Maxine Sullivan 1911-87†Gil Evans 1912-88†Red Garland 1923-84Creed Taylor b.1929 Erick Moseholm b.1930 John Engels b.1935 Gregoire Maret b.1975

May 14†Sidney Bechet 1897-1959†Zutty Singleton 1898-1975†Skip Martin 1916-76Al Porcino b.1925 Jack Bruce b.1943 Virginia Mayhew b.1959 Frank Basile b.1978

May 15†Ellis Larkins 1923-2002Karin Krog b.1937 Oscar Castro-Neves b.1940 Omer Klein b.1982 Grace Kelly b.1992

May 16†Woody Herman 1913-87Eddie Bert b.1922 †Betty Carter 1930-98Billy Cobham b.1944

May 17†Paul Quinichette 1916-83†Dewey Redman 1931-2006†David Izenzon 1932-79†Jackie McLean 1932-2006Michiel Braam b.1964

May 18†Joe Turner 1911-85†Kai Winding 1922-83Jim McNeely b.1949 Weasel Walter b.1972

May 19Cecil McBee b.1935 Sonny Fortune b.1939 Richard Teitelbaum b.1939 Henry Butler b.1949 Michael Blake b.1964

May 20Tommy Gumina b.1931 Louis Smith b.1931 †Bob Florence 1932-2008Charles Davis b.1933 †Rufus Harley 1936-2006Victor Lewis b.1950 Ralph Peterson b.1962 Sheryl Bailey b.1966 Benjamin Duboc b.1969

May 21†Fats Waller 1904-43†Tommy Bryant 1930-82Marc Ribot b.1954 Lewis "Flip" Barnes b.1955

May 22†Sun Ra 1914-93†Elek Bacsik 1926-1993Giuseppi Logan b.1935 Dick Berk b.1939

May 23†Artie Shaw 1910-2004†Rosemary Clooney 1928-2002†Les Spann 1932-89Daniel 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 1919-58Max Bennett b.1928 †Gianni Basso 1931-2009Michael White b.1933 Archie Shepp b.1937 †Charles Earland 1941-99Francesco Cafiso b.1989

May 25Marshall Allen b.1924 †Miles Davis 1926-91†Piet Noordijk 1932-2011Gary 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 1937-2004David Torn b.1953

May 27†Albert Nicholas 1900-73†Jock Carruthers 1910-71†Bud Shank 1926-2009Ramsey Lewis b.1935 †Rufus Jones 1936-90†Niels-Henning Orsted- Pedersen 1946-2005Gonzalo Rubalcaba b.1963

May 28†Andy Kirk 1898-1992†Al Tinney 1921-2002†Russ Freeman 1926-2002Alfred Patterson b.1937 Claudio Roditi b.1946

May 29Freddie Redd b.1927 †Hilton Ruiz 1952-2006Jim 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 1935-2010Ann Hampton Callaway b.1959 Juan Pablo Carletti b.1973 Frank Rosaly b.1974

May 31†Red Holloway 1927-2012Albert “Tootie ”Heath b.1935 Louis Hayes b.1937 Marty Ehrlich b.1955 Eric Revis b.1967 Christian McBride b.1972

MARTY EHRLICH May 31st, 1955

Coming out of St. Louis, the reedman worked very early on with the Human Arts Ensemble, an offshoot of the Gateway to the West’s Black Artists’ Group. He met two of his mentors through this association: saxist Oliver Lake and, most importantly, saxist Julius Hemphill. Ehrlich studied with pianist Jaki Byard in Boston at the New England Conservatory before moving to New York in the ‘70s. He has been a sideman to such important figures as Muhal Richard Abrams and Leroy Jenkins and worked with peers like John Lindberg, Ned Rothenberg and Myra Melford. After Hemphill’s death in 1995, Ehrlich took over as Musical Director of his Sextet, honoring his legacy. In addition to other projects, he leads the 4 Altos group. - AH

BOB “BADGE” BADGLEY - The trombonist came out of Detroit’s famed Cass Tech High School. After playing in the army band in the ‘40s-50s, he relocated to Los Angeles where he played with Dizzy Gillespie, Maynard Ferguson, Oscar Peterson and others, later doing tours with Joe Williams. Badgley died Feb. 24th at 83.

WADE BARNES - Director of the 17-piece Brooklyn Repertory Ensemble and leader of his own The Bottom Line and Unit Structures, the drummer worked with Howard McGhee, Cecil Payne, Candido, Benny Powell, Archie Shepp, George Coleman, Sonny Fortune and Jon Faddis, among others. Barnes died Mar. 3rd at 57.

JOE BYRD - The bassist was not the most famous Byrd in his nest; that distinction goes to older brother/guitarist Charlie. Most of his discography was with his sibling but after Charlie’s death, Joe stepped out as a leader, usually with a guitarist. Byrd died Mar. 6th at 78.

JOE CIAVARDONE - Early work for the trombonist came with such leaders as Tommy Reynolds, Charlie Barnet and later Stan Kenton during the ‘50s. He later worked for other big band leaders like Benny Goodman, Artie Shaw and Count Basie and often played with singers, such as Ella Fitzgerald, Nat King Cole, Tony Bennett and Sarah Vaughan. Ciavardone died Mar. 26th at 83.

LOU COLUMBO - A fixture of the Massachusetts jazz scene, the trumpeter was part of the ‘50s big bands of Benny Goodman and Artie Shaw. Columbo owned the Roadhouse Café in Hyannis, Mass., where folks like Tony Bennett would stop in to perform. Columbo died Mar. 3rd at 84 from injuries sustained in a car crash.

SONNY IGOE - Benny Goodman, Woody Herman, Chuck Wayne and Charlie Ventura all employed the drummer in the ‘40s-50s, only a few years after he won a drumming contest organized by his stylistic antecedent Gene Krupa. In the ‘80s he co-led a big band with saxist Dick Meldonian. Igoe died Mar. 28th at 88.

DON INGLE - The son of Spike Jones alumnus Ernest ‘Red” Ingle, the trumpeter was also an accomplished wildlife journalist and a member of the bands Sons of Bix and Michigan Nighthawks, both devoted to the music of Bix Beiderbecke. Ingle died Mar. 9th at 81 in a house fire.

DICK KNISS - Popular music listeners will know the bassist’s complementary lines through decades of work with Peter, Paul and Mary as well as years with John Denver. But Kniss was a jazz bassist first, appearing on two excellent ‘60s Don Friedman albums and working with Woody Herman. Kniss died Jan. 25th at 74.

WARREN LUENING - The Big Easy trumpeter was a fixture in that city’s Parisian Room for many years. Luening later went on to work with Lawrence Welk and appeared as a section musician on albums by Lalo Schifrin, Jaco Pastorius, Diane Schuur and Bob Florence. Luening died Mar. 18th at 70.

FRANK MAROCCO - There haven’t been too many accordionists in jazz but Marocco was one of the first to bring the genre to the unwieldy instrument. He made a solo record for Verve in 1960 and one called Jazz Accordion for Discovery in 1979. But his discography in the pop, rock and soundtrack world is extensive. Marocco die Mar. 3rd at 81.

MIKE MELVOIN - The West Coast transplant had a long career playing piano and keyboards for leaders like Nancy Wilson, Oliver Nelson, Gabor Szabo, Herb Ellis, Stan Getz and others. But he is also known as an accomplished studio musician, songwriter/arranger and first active musician to become National President of the Recording Academy. Melvoin died Feb. 22nd at 74.

CHUCK METCALF - A longtime accompanist to vocalist Mark Murphy, the bassist worked with a wide swath of the jazz community, from Larry Coryell and Joe Pass to Art Farmer and Woody Shaw. His discography includes sessions with Doug Hammond, Bert Wilson, Gerry Grosz and a few albums as a leader. Metcalf died Jan. 11th at 81.

ANN MARIE MOSS - The Canadian vocalist worked in her native country during the ‘50s, most notably with Don Thompson. In 1959 she worked with Maynard Ferguson’s big band, then Count Basie, as well as briefly replacing Annie Ross in Lambert, Hendricks and Ross. Once married to fellow vocalist Jackie Paris, Moss died Feb. 29th at 77.

PAUL PLUMMER - Though his later years found him mostly as a local player in Indianapolis and occasional leader for Cadence Jazz, the saxophonist’s early work was in the fabulous early ‘60s groups of George Russell that recorded Outer View and The Stratus Seekers. Plummer died Jan. 17th at 73.

PETE SABERTON - The British pianist/keyboardist recorded during his career with countrymen Don Rendell, Eddie Parker, Mike Westbrook and Barry Guy. He was a composer for the London Jazz Orchestra, worked with Pete Hurt, Henry Lowther and Stan Sulzmann and was a longtime educator. Saberton died Mar. 21st at 61.

KHALIL SHAHEED - The Oakland, Calif. stalwart is best known for a long association with Buddy Miles but the trumpeter also worked with Woody Shaw, performed as a soloist with the Oakland East Bay Symphony Orchestra and led the Open Mind Ensemble. The founder of Oakland’s Oaktown Jazz Workshops and Jazz in the Schools Program died Mar. 23rd at 68.

HORST WEBER - Artists like Mal Waldron, Albert Mangelsdorff, Abdullah Ibrahim, Tommy Flanagan, John Scofield, Chet Baker, Ray Anderson, Terumasa Hino, Yosuke Yamashita, Aki Takase and many many others saw some of their most important work released on the German label Enja, co-founded in 1971 by Matthias Winckelmann and Weber, after the former made connections with the Japanese jazz scene as a visiting fashion designer and later worked as concert organizer in Germany. The label has released hundreds of recordings from a remarkably international and polystylistic roster. Weber died Feb. 24th at 78.

IN MEMORIAMBy Andrey Henkin

http://www.fimav.qc.ca