MARCH 2017—ISSUE 179
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
ELLA
FITZGERALD
Centenni-ella
WOM E N
I N JA Z
Z
I SS U E
SHERRIE
MARICLE
NICOLE
MITCHELL
KALI Z.
FASTEAU
DOROTHY
FIELDS
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Staff Writers
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Duck Baker, Fred Bouchard,
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Frank Stewart, Robert I. Sutherland-Cohen,
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nycjazzrecord.com
MARCH 2017—ISSUE 179
New York@Night
Interview : Sherrie Maricle
Artist Feature : Nicole Mitchell
On The Cover : Ella Fitzgerald
Encore : Kali Z. Fasteau
Lest We Forget : Dorothy Fields
LAbel Spotlight : Harbinger
VOXNEWS
In Memoriam
“Women in Jazz” CD Reviews
CD Reviews
Miscellany
Event Calendar
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6
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42
by m.j. lester
by robert bush
by andrew vélez
by clifford allen
by alex henderson
by donald elfman
by suzanne lorge
It must have been some cosmic joke that the inauguration of Donald Trump was followed, in
short order, by Black History Month and, now, Women’s History Month (to which we dedicate
this issue). In the past these celebrations have been filled with inspirational stories of obstacles
overcome and rights won, looking backwards at a dark history. Yet the ascension of a bigot and
misogynist to the highest office and the bigotry and misogyny he has unleashed across the
country make it clear that the history of blacks and women—as well as other oppressed groups
whose progress is in jeopardy—is still being written. The question is by whom? Jazz is but
a part of art and art is but a part of life but written into the DNA of jazz is struggle, whether
against American racism, Latin American authoritarianism or European nationalism. The
irony is that these month-long celebrations will continue in April when Jazz Appreciation
Month competes with Confederate History Month. Wonder which Trump will tweet about...
The centennial of Ella Fitzgerald’s birth is not only a chance to recall her contributions to jazz
but also an opportunity to reflect upon the state of the country in 1917 and the strides made
by blacks and women and other minorities over the past hundred years. How tragic then all
that movement is now under serious threat. Where will the country be next year, much less in
a hundred? That is a question we must answer with action.
On The Cover: Ella Fitzgerald (William P. Gottlieb / Courtesy of the Library of Congress)
Corrections: In last month’s CD Reviews, the Carmen Lundy album was incorrectly given
the subtitle A Song Cycle for These Dangerous Times thus affecting the review. Also the
track mentioning Patrice Rushen’s piano should have indicated it was Lundy playing.
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.
2 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
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WED MAR 22
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“VENUE OF THE YEAR” 2016 -NYCJR H“TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY”- NY MAGAZINE
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COLEMAN:
“BirthDAY celebration”
george COLEMAN QUINTET
BirthDAY
celebration
YOTAM SILBERSTEIN [3/4 ONLY] - PAUL BOLLENBACK [3/5 ONLY] - MIKE LEDONNE - JOHN WEBBER - GEORGE COLEMAN JR.
TUE-WED MAR 7-8
BEN WENDEL GROUP
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79TH B’DAY
celebration
DAVID WONG - BILLY DRUMMOND
WED MAR 29
camille bertault/dan tepfer
THU-SUN MAR 30-APR 2
CHANO DOMINGUEZ
SONIA FERNANDEZ- ISMAEL FERNANDEZ - ALEXIS CUADRADO - JOSE MORENO
duo
FEATURING CHARLES McPherson [3/1-3 ONLY]
JEB PATTON - DAVID WONG - CHUCK MCPHERSON [3/1-2 ONLY] - GEORGE COLEMAN JR. [3/3 ONLY]
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TAYLOR EIGSTI - PETER BERNSTEIN - LARRY GRENADIER - ERIC HARLAND
THU-SUN MAR 23-26
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BILLY HART QUARTET THE MOOD LOVE POTION electric ride
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SKERIK
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LEE PEARSON
MIKE RODRIGUEZ - DAYNA STEPHENS - KIYOSHI KITAGAWA - JOHNATHAN BLAKE
HJAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM - DIRECTED BY DAVID O’ROURKE H
NEW YORK @ NIGHT
F riday (Feb. 10th), Rose Theater: Dianne Reeves,
resplendent in a pink coat, rose-red dress, bright blue
high-heels and eye shadow, spangled earrings,
bracelets, rings and smile, was Valentine’s candy for
the eyes and ears. After her quartet opened with a
samba, the sexagenarian scatted over a slinky 3/4
Afrogospel vamp; brought out harmonica maestro
Grégoire Maret to riff over “The Man I Love”, the latter
dipping and bobbing like a bantam-weight boxer; and
sang her lyrics to Wayne Shorter ’s “Infant Eyes”,
introduced by pianist Peter Martin. “Nine”, a folksy
coming-of-age original replete with swooping soaring
vocal lines, was followed by Miles Davis’ “All Blues”,
launched by Reginald Veal’s gutbucket bass and
building to a rousing, take-it-back-to-church climax,
which ended as Reeves shuffled off stage, shoulders
shrugging, hips shaking, the crowd clapping on 2 and
3. A brief stretch and she was back (now dressed in
two-tone orange and black, with new earrings and
bracelets to match) for a duet with guitarist Romero
Lubambo and a cover of “That’s All”, another showcase
for her amazing scats, which ranged from bop-inflected
Fitzgeraldisms and McFerrin-esque yodels to soulful
shouts. After “I Concentrate On You” Reeves and
Maret again celebrated their intimate chemistry on the
transcendent “Heavens” (his tune, her lyrics). The set
closed with a slow, wordless tango and a neo-soul ode
to the audience, who sang phrases back to her as they
bathed her in LED phone-light.
—Tom Greenland
frank stewart
© R.I. Sutherland-Cohen / jazzexpressions.org
F or the closing night (Feb. 12th) of pianist Kris Davis’
weeklong stand at the venerable (and in its final year—
wow, that’s hard to write) Lower East Side venue The
Stone, a single hour-long set presented her in a trio
with tenor saxophonist Ingrid Laubrock and drummer
Tom Rainey for a program of four knotty compositions.
Rangy and executing interplay with turn-on-a-dime
precision, the trio found a space uniquely their own
but format-wise split the difference between the
Schlippenbach Trio and an imagined aggregation of
Wayne Shorter, Andrew Hill and Joe Chambers. This
group is the core of Laubrock’s quintet Anti-House and
the quartet LARK. Davis was somewhat muted,
especially compared to the choppy and aggressive
beats and subdivisions laid down by Rainey and
Laubrock’s thick, pillowy fulminations, but the attuned
ear could pick up her cellular twists and painstaking
runs on a prepared instrument or more effusive
floridity emerging once interleaved objects were
removed from the strings. The set was initially billed
as a saxophone-piano duet and in a number of instances
the trio was broken down into permuted parts, microphrase worries and clean, teetering brushwork or
breathy resonance and pulsing tessellations finding
common parallels. There is a reason that Davis,
Laubrock and Rainey are in demand and it’s closely
related to their complementary language—one that
hinges on absolute clarity and the obvious joy of
challenging one another. —Clifford Allen
Kris Davis @ The Stone
Dianne Reeves @ Rose Theater
Thomas Buckner ’s Interpretations Series has been
convened for 28 seasons since its beginning in 1990.
The goal is to present side-by-side new composition,
improvisation and electronic music with the idea that
a vision of borderless new music can occur. At Roulette
(Feb. 9th), were sets of music from the duo of flutist
Robert Dick and pianist Ursel Schlicht and the quartet
of percussionist Gustavo Aguilar, pianist Anthony
Davis and reed players JD Parran and Earl Howard.
Schlicht and Dick are both masters of expanded
technique—the piano’s strings getting as much
attention as the keyboard and a bevy of flutes from
piccolo to subcontrabass were employed with vocal
and percussive approaches broadening their expected
reach. The central piece of five and the title of their
latest disc The Galilean Moons (NEMU) consisted of
four parts, punchy thwacks to metallic howls and vocal
chuffs demarcating the room, and the duo closed with
the partly-recited “Dark Matter”, subcontrabass flute
towering as Dick declaimed Dadaist texts. For the
second set, Maine-based and Texas-rooted Aguilar
brought a dry pummel to his kit augmented by watery
laptop rhythms and samples of acoustic sound. In one
long piece opened by Parran’s nagaswaram and bells,
an incantatory focus held the quartet’s shiniest
moments in unaccompanied salvos (especially
Howard’s squirrelly alto monologue) or teasing duets
and electronic sequences appeared to ground dense
and otherwise rangy group interplay. (CA)
In homage to historic “drum battles” (Jazz at the
Philharmonic, 1952; Newport Jazz Festival, 1964),
Joe Farnsworth has challenged fellow stickmen to
friendly duels at Smoke. This year Kenny Washington
was the guest of honor, set up stage left, Farnsworth
right, both facing inwards, with Mike LeDonne (piano)
and Clovis Nicolas (bass) in back, Eric Alexander
(tenor saxophone) and Steve Davis (trombone) up
front. Friday’s (Feb. 10th) final set of three began with
LeDonne’s “Encounter”, an uptempo hardbopper on
which the drummers switched off behind soloists, then
traded ever shorter phrases with them in a complex
arrangement that kept the whole group on its toes. A
slower, gently swinging “Shiny Stockings” came next,
horns ad-libbing background figures, the drummers
more relaxed. Left alone, they played a tribute to Big
Sid Catlett based on Kenny Clarke’s “Mop Mop”, style
differences now brought into sharp relief: Farnsworth
busier and longer-winded, restless, relentless, as if late
for a subway train; Washington leaving more space,
taking more time, a yin force to Farnsworth’s yang.
“Tune Up”, played at a ferocious pace, was the most
exciting number, with more 8-, 4-, 2- and even 1-bar
exchanges coming so fast and furious that Alexander,
standing in the middle, jerking his gaze back and forth
between drummers, looked like he was at a ping-pong
match. Everyone played deep in the pocket on the last
number, Cedar Walton’s “Bleecker Street Theme”. Who
won the battle? All of us there did.
(TG)
4 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Celebrating the 2017 centennials of Dizzy Gillespie,
Ella Fitzgerald, Thelonious Monk and Tadd Dameron,
saxophonist/vocalist Camille Thurman, backed by the
Darrell Green Trio, put a contemporary spin on a
program of classic jazz at Dizzy’s Club (Feb. 7th).
Drummer Green, with David Bryant at the piano and
Lonnie Plaxico on bass, opened the show with his
swinging arrangement of Monk’s “Criss Cross”.
Thurman then joined the group, putting down her
tenor saxophone before stepping up to the microphone
to convey her tribute to Fitzgerald, a lively rendition of
“How High The Moon”, which began with a deliberate
medium tempo reading of the popular lyric before
delivering a soaring scat solo that demonstrated her
take on Fitzgerald’s iconic style. Green’s Caribbeanflavored arrangement of “My Heart Belongs to Daddy”,
his tribute to Gillespie (who recorded the piece on his
Have Trumpet Will Excite album), featured Thurman’s
warm tenor, at times recalling the classic sound of
Dexter Gordon. She then sang a moody romancetinged version of Dameron’s “You’re A Joy”. Buoyed
by Green’s tasteful brushwork and Bryant’s intuitive
comping, Thurman exhibited a maturity that belied
her years. Bryant’s improvised interlude beautifully
prefaced the singer ’s upbeat interpretation of Monk’s
“’Round Midnight”, which also featured a bluesy
Plaxico solo. The set concluded with a high-flying
arrangement of “Air Mail Special”, ending with
a climactic scat vocal-drum duet.
—Russ Musto
Peter Gannushkin/DOWNTOWNMUSIC.NET
Recipients of the 2017 Grammy Awards have been named.
Winners in relevant categories are: Best Contemporary
Instrumental Album: Culcha Vulcha—Snarky Puppy (Ground Up
Music); Best Improvised Jazz Solo: “I’m So Lonesome I Could
Cry” by John Scofield from Country For Old Men (Impulse!);
Best Jazz Vocal Album: Take Me To The Alley—Gregory Porter
(Blue Note); Best Jazz Instrumental Album: Country For Old
Men—John Scofield (Impulse!); Best Large Jazz Ensemble
Album: Presidential Suite: Eight Variations On Freedom—Ted
Nash Big Band (Motéma Music); Best Latin Jazz Album: Tribute
To Irakere: Live In Marciac—Chucho Valdés (Jazz Village); Best
Compilation Soundtrack For Visual Media: Miles Ahead—Steve
Berkowitz, Don Cheadle & Robert Glasper (Columbia/Legacy);
Best Instrumental Composition: “Spoken At Midnight” by Ted
Nash from Presidential Suite: Eight Variations On Freedom
(Motéma Music); and Best Album Notes: Sissle And Blake Sing
Shuffle Along—Ken Bloom & Richard Carlin (Harbinger
Records). Additionally, Ahmad Jamal and the late Nina Simone
received Lifetime Achievement Awards. For more information,
visit grammy.org.
A free screening of Night Bird Song: The Incandescent Life of
Thomas Chapin will take place at Jazz at Lincoln Center’s Irene
Diamond Education Center Mar. 10th at 7 pm. For more
information, visit thomaschapinfilm.com. Screenings of I Called
Him Morgan, a new documentary on the life and death of
trumpeter Lee Morgan (see review on pg. 38) will take place at
IFC Center Mar. 7th and Metrograph Theater Mar. 31st. For
more information, visit icalledhimmorgan.com.
Drummer Billy Martin will open his new performance/education
space Herman House, located in Englewood, NJ. on Mar. 4th. For
more information, visit billymartin.net/the-herman-house-presents.
The Robert D. Bielecki Foundation has announced 2017 grant
recipients: Americas Society ($10,000); Creative Music Studio
($11,500); ISSUE Project Room ($5,000); Microscope Gallery
($6,000); Intakt Jazz Festival (£2,000); Gebhard Ullmann
(€1,000); and Tomas Fujiwara ($1,500). Additionally a challenge
grant of $25,00 has been announced for The Jazz Gallery,
dependent on the venue raising $30,000 in its Sounds Of The
Future campaign by Mar. 8th. For more information, visit rdbf.org.
Lincoln Center for the Performing Arts has announced its second
class of Emerging Artists, including saxophonist Julian Lee
for Jazz at Lincoln Center. For more information, visit
LCEmergingArtistAwards.org.
Camille Thurman @ Dizzy’s Club
Min Xiao-Fen @ Brooklyn Conservatory of Music
A leader ’s name plus the number of people is the
band has been standard jazz nomenclature for decades.
So it was with the Ambrose Akinmusire Quartet at
Village Vanguard (Feb. 2nd), part of the trumpeter ’s
second-ever weeklong stand at the venerable club.
This simple identifying tag belied the complex
relationship between the leader and the three players
he chose to support him. Pianist Sam Harris, bassist
Harish Raghavan and drummer Justin Brown are not
merely a rhythm section—another reductionist term—
but components of Akinmusire’s musical totality.
Brown represents his aggression and speed of thought,
as the drummer often struggled to contain himself,
startling everyone with the occasional monumental
thwack. Raghavan is Akinmusire’s calm center, playing
lines that may seem static yet actually develop in
minimalist fashion, tethering the high-flying kite to
earth. And Harris channels the leader ’s emotional
core, pure not florid, lyrically cerebral, especially
evident during a few trumpet-piano pieces sprinkled
throughout. The music was unrecorded and some
tunes came from commissioning projects Akinmusire
has undertaken. The set was exactly an hour long,
which, again, is standard jazz duration; Akinmusire
made it feel, however, that he was counting the seconds
in his head to achieve a pre-ordained conclusion, not
wishing to add a single superfluous brushstroke to the
canvas he and his carefully selected palette of colors
had painstakingly painted before our eyes.
(AH)
W H AT ’ S N E W S
The Czech Center of New York will present two lectures by
producer Velibor Pedevski on famous Czech jazz musicians:
Miroslav Vitous (Mar. 16th) and Jan Hammer (Apr. 13th). For
more information, visit new-york.czechcentres.cz.
© 2017 Jack Vartoogian/FrontRowPhotos
O ne of the challenges of playing an uncommon
instrument is to make listeners overlook the novelty of
the tool and instead focus on its application. CooperMoore is a master of this tricky art and so is Chinese
pipa virtuoso Min Xiao-Fen (now living in Queens),
who performed a mesmerizing set at Brooklyn
Conservatory of Music (Feb. 4th) as part of the monthly
Brooklyn Jazz Wide Open series. It was hard, however,
not to focus on her various pipas and qinqins as they
were works of art without even being played, especially
one with delicate cranes for sound holes. One just had
to revel in the visual and aural spectacle as best one
could. For the first half of her performance, the subject
was Thelonious Monk and, even with the myriad
interpretations of the pianist’s work over the decades,
it became something new all over again, vigorous
strumming, delicate finger-picking and even rustic
slidework revealing hitherto unknown facets of pieces
such as “Misterioso”, played in pithy versions hovering
around five minutes each. Then Japanese percussionist
Satoshi Takeishi (a longtime NYC resident) was invited
to sit, cross-legged, on stage, surrounded by a variety
of instruments, from a a large frame drum to a teensy
electronics generator, to reprise their 2012 Dim Sum
(Blue Pipa) project. The lutes were also amplified and
anguished vocals were added in a wide-ranging
23-minute piece, which approached the alien with the
addition of Takeishi’s multi-purpose waterphone in an
extended workout.
—Andrey Henkin
D ee
Dee Bridgewater and Nicholas Payton joined
forces with the Gerald Clayton Trio to commemorate
the Dizzy Gillespie-Ella Fitzgerald centennial with
a concert dubbed “Jazz and Love” at the Metropolitan
Museum of Art’s Grace R. Rogers Auditorium (Feb.
10th). Payton and the trio got things started in grand
fashion with a pair of flag wavers out of the Gillespie
songbook: “Tour de Force” and “Shaw Nuff”; the
pieces, arranged for the occasion by Clayton, were as
rhythmically exciting and harmonically sophisticated
as when they first set the jazz world on its ear more
than a half century ago. Payton’s soulful trumpeting
proved him well-schooled in the Gillespie tradition, as
he smoothly interjected Dizzy-isms into his soaring
upper register and fat-toned midrange. Clayton too
demonstrated fluency with bebop, incorporating Bud
Powell-like voicings within a contemporary vocabulary.
Bassist David Wong and drummer Obed Calvaire are
also capable beboppers, the former soloing on the first
song and the latter on the second. Bridgewater joined
the quartet to sing a couple of Fitzgerald-associated
standards—“Mack The Knife” and “On The Sunny
Side Of The Street” and on Gillespie’s “Ooh-Shoo-BeDoo-Bee” she scatted with tonal authority, dueting
with Payton, who doubled on piano with Wong and
Calvaire on “Tin Tin Deo”. Clayton and Calvaire paired
off on “Con Alma”, then Bridgewater returned to end
things with a sweet “Embraceable You” and fiery
“A Night In Tunisia”. (RM)
Airmen of Note, the Jazz Ensemble of the United States
Airforce, is auditioning trumpeters for a vacancy. Materials for
application are due Mar. 17th and auditions take place Apr.
25th-27th. For more information, visit usafband.af.mil/careers.
Dates for New England Conservatory’s Jazz Lab, a one-week
intensive jazz program for students 14-18, have been
announced. The program will take place Jun. 25th-30th, 2017
and feature a faculty including NEC Jazz Studies Department
Chair Ken Schaphorst, pianist David Zoffer, bassist Rick
McLaughlin, trombonist/Jazz Lab Artistic Director Tim Lienhard
and guests The Bad Plus, Alex Brown. and Jason Palmer. For
more information, visit necmusic.edu/jazz-lab.
Saxophonists Peter and Will Anderson have initiated a
Kickstarter campaign to fund a tribute album to late Scottish
saxophonist/Jazz at Lincoln Center Orchestra stalwart Joe
Temperley and endow a scholarship in his name at the Juilliard
School of Music. For more information and to contribute, visit
kickstarter.com/projects/1107819185/blues-for-joe-tributealbum-scholarship.
It has been reported that Terraza 7, a club in the Jackson
Heights neighborhood of Queens for the past 15 years, will soon
close, another victim of outer-borough gentrification. For more
information, visit terrazacafe.com.
The Seattle Women’s Jazz Orchestra Fifth Annual Jazz
Contest for Women Composers is now accepting submissions.
The deadline is Jun. 18th. For more information, visit swojo.org.
Submit news to [email protected]
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
5
Garth Woods
I NTERVIEW
SHERRIE
MARICLE
by m.j. lester
S herrie Maricle is a drummer whose musical education
began with the clarinet. Eventually she moved on to her first
love, the drums, and began playing professionally in her
native Buffalo with bassist Slam Stewart. Maricle earned a
BA in music from SUNY-Binghamton and both an MA and
a Doctorate in jazz performance from NYU, where she also
held the position of Director of Percussion Studies. Maricle
directed Saturday jam sessions at The Village Gate from
1987 until its closure in 1993 and in 1987 began guestperforming and leading small groups with Peter Appleyard.
In 1992 she began her work with the newly formed DIVA
Jazz Orchestra, which she leads.
The New York City Jazz Record: As a young girl you
were turned away from the trumpet and studied
clarinet and then cello because you were told these
instruments were suitable for girls. How did you then
come to find drumming?
Sherrie Maricle: As a young child I was fascinated by
the drum line whenever I went to a parade in my town.
The fact that they were playing all the time appealed to
me. In junior high I got to see Buddy Rich and his
Killer Force Orchestra play when a music teacher in
my school took a few of us to the Binghamton Forum.
Rich was mesmerizing. His enthusiasm, explosive
action, creativity and sense of humor, plus the power
and the sound, made me realize that was the instrument
I had to play—and that experience was also my
introduction to jazz. When I told my mother I wanted
to play drums in a big band she thought it was a phase
but, to her credit, she supported me when the phase
didn’t end.
TNYCJR: You feel a connection to the drums. What is it
about them that is special to you?
SM: In ancient cultures drums were sacred and women
were the only ones allowed to play them. So I feel
a social connection to the drum as a means of
communication. I keep that in mind. It’s good to know
the evolution of your instrument. The drum has an
important cultural history as high art. But there’s
a trend I notice and that’s drumming as a sporting
event. I find that weird—to consider drumming as a
sport not an art. [Editor ’s Note: the World’s Fastest
Drummer Extreme Sport Drumming organization uses
the Drumometer to gauge speed; the event is televised
and held regularly worldwide.]
TNYCJR: Are there drummers besides Rich who have
influenced you as a musician?
SM: I’d have to say Philly Joe Jones, Mel Lewis and Jeff
Hamilton. They all share the same qualities of playing
with a very open groove. They’re relaxed and they
swing full out and that’s the most comfortable way of
hearing, through the fluidity of the phrasing. Their
musicality is mellifluous, seamless and their technique
is supportive. I also have to credit Ari Hoenig. He’s
changed the way we drum now with his creativity. For
one thing he has an ability to play pitch-perfect
melodies on the instrument. There aren’t so many true
innovations in jazz now, so what he does is truly
amazing.
TNYCJR: How significant was your first professional
gig?
SM: It was a transformative, lightbulb moment. I grew
up in Buffalo without a lot of resources, so I was
studying and practicing and working as a cashier in
a local supermarket. Through a friend of one of my
teachers I got the chance to work locally at the Eagles
Club with Bob Grover and The Tune Twisters. I’d
ridden my bike to the place and at the end of the gig
got paid $100 for four hours. I couldn’t believe it; I was
deliriously happy. This gig was the real start of my
commitment to play music, to live my passion.
TNYCJR: Then you got hooked up with Slam Stewart.
SM: Yes and that was also transformative. Through
Slam I was introduced to some of the greats of the jazz
world and eventually got to play with musicians such
as Bucky Pizzarelli, Nancy Wilson, Dee Dee
Bridgewater, Carmen Bradford, Slide Hampton,
Dr. Billy Taylor, Randy Brecker, Joe Williams, Clark
Terry and a lot more. And all of this led me to sitting in
with DIVA.
TNYCJR: Tell us how your relationship with DIVA
developed.
SM: The DIVA Jazz Orchestra was the inspiration of
the late Stanley Kay. He was originally a drummer and
then went into managing. He managed Buddy Rich,
created Hines Hines and Dad and managed Maurice
Hines... I was a pick-up drummer when I met Stanley
and he had this idea for forming DIVA. He wanted me
to be a part of it, so I was there from the beginning in
1992, but not the leader then. Actually that happened
because of Maurice. He said to Stanley, “she’s the
leader.” So Maurice and I kept in touch and when he
needed a drummer, it would be me. Then he had this
idea quite a few years ago for a show about his career,
Tappin’ Through Life, and he wanted DIVA to be
involved. I’d had experience music directing a show
before and I knew with Maurice the show would be
about the music. The band features prominently in the
show and everyone gets to shine in it too.
TNYCJR: So, you’d consider Tappin’ Through Life
a special experience?
SM: It’s been the best and I’d be happy to do it all the
time. Maurice is a brilliant performer with a huge open
heart. A big part of it has been finding amazing talent
6 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
wherever we go. We’ve found the most astounding
women playing jazz all over the country. In Atlanta we
were told we wouldn’t find any suitable players and,
guess what, we did. There were women there playing
under the radar and they were great. It’s wonderful to
find the talent and without fail we always have such
fun playing the show.
TNYCJR: Your experience begs the question about
women players in jazz, especially drummers.
SM: Women have always played in jazz and drummed.
It’s just that they’ve done it under the radar. Viola
(CONTINUED ON PAGE 50)
An EvEning with
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And CAmEron Brown (BASS)
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MICHAEL JACKSON
ARTIST FE ATURE
NICOLE
MITCHELL
Recommended Listening:
• Nicole Mitchell’s Black Earth Ensemble—
Xenogenesis Suite (A Tribute to Octavia Butler)
(Firehouse 12, 2007)
• Nicole Mitchell’s Black Earth Strings—
Renegades (Delmark, 2008)
• Nicole Mitchell’s Ice Crystal—
Aquarius (Delmark, 2012)
• Nicole Mitchell—Engraved in the Wind
(Rogue Art, 2012)
• Nicole Mitchell’s Sonic Projections—The Secret
Escapades of Velvet Anderson (Rogue Art, 2013)
• Nicole Mitchell/Tomeka Reid/Mike Reed—
Artifacts (482 Music, 2015)
by robert bush
N icole Mitchell is at the vanguard of the flute virtuoso
continuum demonstrated in the ‘60s by Eric Dolphy
and extended by James Newton (with whom Mitchell
studied). Her first college mentor was John Fonville at
UC San Diego, whom she recalls as “an amazing
teacher. His creative path had a great impact.” Her
personal favorites range from the envelope-pushing
Robert Dick on one end to the soul-jazz pioneer Bobbi
Humphrey on the other. Peter Margasak of The Chicago Reader describes
Mitchell as “the greatest living flutist in jazz” and
that’s a hard point to refute. She has collaborated with
Anthony Braxton, George Lewis, Jeff Parker, Myra
Melford and a slew of other top-drawer talent from the
creative music community. She has won the “Best
Flute” award in DownBeat and prestigious CalArts’
Herb Alpert Award in the Arts in 2011. After 20 fruitful
years in Chicago, where she joined the Association for
the Advancement of Creative Musicians (AACM) in
1995 and served as president from 2009-10, Mitchell
moved to California where she became a Professor of
Music at UC Irvine in the Integrated Composition,
Improvisation and Technology program. She has new
albums coming out this spring with the Tiger Trio
(with Melford and bassist Joëlle Léandre) and her
long-running Black Earth Ensemble.
The change in geography and culture has had some
inevitable influence, although Mitchell maintains ties
with her Chicago associates. “I would say that since
I moved to California I’ve done a lot more composing,
especially ‘through-composing’, stuff with no
improvising. That has really blossomed since I’ve moved
here. Another difference is that I’ve gotten the chance to
do these collaborations with [bassist] Mark Dresser and
[trombonist] Michael Dessen with Telematics [concerts
by musicians in different geographic locations through
Internet2 in real time]. I’ve also started doing some
video work, which is very new, since I came here. I think
these are ways to express myself creatively that are
possible because I’m not running around playing as
much as when I was in Chicago.”
But Mitchell has hit the ground running in
Southern California as well, establishing relations with
pianists Anthony Davis and Joshua White and as
a member of the Mark Dresser Seven. “We just
recorded Mark’s new album and it’s really exciting to
play his music, which is challenging and soulful at the
same time. That’s hard to balance, music that’s complex
without losing the groove. I’ve been working with
[bassist] Lisa Mezzacappa too, so that’s another
relationship. I’ve deepened my relationship with Myra
Melford. We have a trio album coming out with Joëlle
Léandre on Rogue Art called Unleashed. Those
relationships are really special and I’ve also been
developing relationships with [local] venues like the
World Stage and the Blue Whale where the music
carries on.”
Mitchell’s sound on the flute is singular and her
mastery of extended techniques makes her voice on the
instrument instantly identifiable. That mastery
obviously came from years of hard work. “I think the
sound of my instrument was really important to me as
a developing musician and there was a time when
I first went to college that I practiced 10 or more hours
a day—sometimes hours on just one note to get the
sound I wanted and it was frustrating! My experience
with bringing my voice into the flute [multiphonics]
probably took place over a 10-year period and there’s
still a lot more to discover with it. A lot of my
discoveries happen more on stage than they do when
I’m practicing. I think it starts with your heart—the
development of these sounds—it doesn’t start with the
intellect. You have to want to get that feeling across
and then somehow your body figures out how to do it.
When I first started to improvise, people used to say
that the flute wasn’t that expressive compared to
a saxophone or trumpet. That really annoyed me and
made me fight much harder to prove it wasn’t true!”
The outcome of the 2016 elections and the current
state of acrimony and divisiveness throughout the
country has inspired Mitchell to dig deeper in her
personal search for truth through music. “I think the
political climate has changed a lot over the years since
I’ve been here and that has impacted me artistically as
well. I have felt the need to have a clearer message in
my music—pure instrumental music hasn’t been
enough for me for a while. There is a desire to connect
with other things I want to express. For instance, I have
this new album coming out soon called Mandorla
Awakening, which was inspired by the anthropologist
Riane Eisler and her book The Chalice and the Blade.
For me, I’m interested in the collision of utopia and
dystopia. We have to be cognizant of how our ignorance
can affect people in their lives. One example is the
clash between the water protectors in North Dakota
versus the oil pipeline. Why can’t we create a society
that takes advantage of technology yet still supports
the earth?”
Activism is nothing new for Mitchell, who still
identifies with many of the lessons she learned from
her days with the AACM. She is still actively involved
in promoting projects that honor the legacy of that
spirit. “I organized a festival celebrating black women
in creative music last December. A lot of the women are
members [of the AACM], but not all of them. The idea
is to create a platform that puts black women front and
center in their expressions of creative music. In the
future I’d like to develop it beyond music and include
expressions of [all] black visionary women because
there are so many other aspects of creativity that I want
to spotlight. That’s also a part of the video work that
I’m doing—making a documentary about this as I’m
working on it. Our first concert had an overwhelming
response. People were very moved to hear what these
women had to say and to experience their music.” v
ALEXIS PARSONS TRIO
Alexis Parsons voice
Frank Kimbrough piano / Dean Johnson bass
Wednesday, March 1, 2017, 8p & 10p
Jazz At Kitano
66 Park Avenue at 38th Street
www.kitano.com
Reservations: 212.885.7119
“Alexis Parsons” (Best CDs of 2012) - DownBeat Magazine
“Parsons’ breathy, desultory delivery reminds us that
love is not a game to be entered into lightly.”
- John Ephland, DownBeat Magazine
For more information, visit nicolemitchell.com. Mitchell is
at National Sawdust Mar. 29th. See Calendar.
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
7
ON THE COVER
WILLIAM P. GOTTLIEB / LIBRARY OF CONGRESS
ELLA FITZGERALD
Centenni-ella
by andrew vélez
Ella Jane Fitzgerald, later to be called “Lady Ella” and
beloved as the “First Lady of Song”, was born Apr.
25th, 1917 in Newport News, Virginia, but her real
growing up was in Yonkers, New York. In 1934, after
some hardscrabble times, which included a period of
homelessness and singing on the streets of Harlem, she
began her ascendancy to world fame as a jazz singer
when, at 17, on a dare, she entered and won a 1934
contest at Harlem’s Apollo Theater. The prize was $25
and a job with Tiny Bradshaw’s band. Soon thereafter
Benny Carter introduced her to bandleader and
drummer Chick Webb. When he died in 1939, she took
over the band for two years, renamed Ella Fitzgerald
and Her Famous Band, before she eventually went
solo. From those early years on hers was always
a distinctive personal sound with a jazz musician’s
fresh sense of phrasing and rhythm.
During that first phase of her career she was
among the few major vocalists from the Swing Era to
embrace bebop, singing with Dizzy Gillespie, among
others. Decca Records had been Webb’s label and she
stayed with them until 1955 when producer Norman
Granz wooed her away for his then-brand-new
company Verve. It was a momentous change for both
and the beginning of a relationship that continued
until the singer ’s death in 1996. In celebration of
Fitzgerald’s centennial, Verve initiated an ambitious
schedule of reissues—in digital, CD and LP formats—
including the Songbook sets last month, continuing this
month with four volumes of Decca singles, then The
Complete Ella & Louis four-CD set in June and through
to Nov. 3rd, when The Complete Decca and Verve Albums
40+ CD boxed set will be released.
With Granz she became the ultimate presenter of
American popular song. Among her contemporaries
Sarah Vaughan was capable of velvety swoops, Betty
Carter had audaciousness that commanded awe and
Billie Holiday was a powerhouse of emotion. But
Fitzgerald—with her near-three-octave range combined
with flawless technique and instinctive musicianship—
was a wonderful and rare interpreter who could
perfectly run down a lead sheet yet be among the signal
improvisatory musicians in jazz. Common sense
readings of lyrics colored with unexpected musical
quotes plus her essential girlishness combined into a
unique ability to delight audiences. Any conversation
about Fitzgerald’s career must include reference to the
diversity of her musical settings, which ranged from
duets (Oscar Peterson, Joe Pass), big bands and small
groups to, of course, the three recorded pairings with
Louis Armstrong, beginning in 1956 with Ella and Louis.
Her longtime piano accompanist Tommy Flanagan
said, “Every musician who worked with her and I mean
the greatest like Dizzy felt they were enriched by her.
She made you realize how free you could be. With Ella
it was so pure…Eloquent without striving. It was just…
perfect.”
The beginning of the Granz era was immediately
memorable with The Cole Porter Songbook in 1956, the
first of the now-classic series. The material in these
recordings is superb, mostly written for Broadway and
Hollywood and orchestrated by the very best including
Buddy Bregman, Nelson Riddle and Billy Strayhorn.
The range of the Porter canon is enormous, with a mix
of wit, sensuality and intelligence, material that gave
Fitzgerald a chance to sing superbly with boundless
taste and sometimes saucy insouciance. A side effect of
the success of her Great American Songbook recordings
was to accelerate the racial integration of American
music-making (in 1958 she became the first AfricanAmerican woman to win a Grammy).
In 1957 Granz put her in the studio with Ellington
and Strayhorn to create what many consider to be the
greatest of all the songbooks, the only one where she
actually worked with creators of the songs. Willie
Cook, one of the trumpeters on that set, later observed,
“She did all those different composers’ songs and it
seemed like she was telling their story for them.”
Of working on the Ellington Songbook he recalled,
“She could get with…musicians…that she was working
with and fit in just like a glove with whatever they
were playing. Ella’s musical interpretation was more
like the musicians would play it.”
Fitzgerald’s nonpareil legacy is reflected in the
comments of singers from various generations. Twotime Grammy nominee Jane Monheit says, “I can tell
you that her Songbook albums were the records I really
loved and I love them as much now as I did when I was
tiny.” Asked if there was anything she would thank her
for, Monheit replies, “For showing me that a jazz singer
doesn’t always have to be full of sadness and longing.
That it can be just as much about joy.” (Monheit presents
an Ella centennial celebration at Birdland in late April.)
Acclaimed Italian songstress Roberta Gambarini,
who will fête Fitzgerald at Jazz at Lincoln Center ’s
Rose Theater in late April, says hers was the first voice
she could remember hearing on records and that what
is memorable is “her sound and her time. It’s really
two sides of the same coin. The sound is one of the
most beautiful and unadulterated and has a lot of ring
to it. At the same time it goes with her sense of time. I
mean Ella’s pocket, you can’t move her...the sense of
excitement and vitality and joy is created by her
timing...she set the standard for singing modern
popular song. [At the Granz Jazz at the Philharmonic
concerts] she really shines. It is her natural habitat,
improvisation and performances with musicians she
loved and had a relationship with.”
One of the three Grammys vocalist/composer/
actress Dee Dee Bridgewater won was for a tribute
called Dear Ella. Among the times they met was when
Fitzgerald was given a medal in Paris. At the reception
Bridgewater remembers, “Here was this woman being
honored sitting off in a little corner by herself.” It did
give them an opportunity for a “deep, deep,
conversation” Bridgewater has never forgotten.
“We talked about how difficult it was traveling and she
regretted not spending more time with Ray Brown, Jr.
and being a mother. And I should be careful and not
get myself caught up in promoters’ ulterior motives.
She gave me great quality time and it felt almost like
I was with family…And then of course I always say
8 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Ella ‘walked me’ to the Grammy podium…Whenever
I listen to Ella it is always uplifting. I can just get lost
in the joy and her incredible improvisational skills and
musicianship.”
Still another voice from an earlier generation,
veteran songstress Carol Sloane recalls, “When I was
a teenager, Ella’s voice was heard with welcome
regularity from my AM-FM Bendix radio. It sat on the
bedside table, allowing me to turn down the sound late
at night listening to DJs spinning those jazz platters.
Not surprisingly, I fully incorporated her influence on
my own singing: diction, intonation and choice of
material. Her clear and fastidious style made it
relatively easy to memorize songs and her method
became my ‘User’s Manual’, forming the basis of my
own repertoire. Her ballad interpretations, which were
stunning in their pristine, uncomplicated manner,
could and did break my heart. Her voice possessed an
enviable fluidity, a brilliant demonstration of her genius
in which she created improvisations equal to any major
jazz musician. She was simply my idol. Because I
bought her records and studied them with youthful
zeal, in my view we were and remain connected with
umbilical strength. …May she never be forgotten.”
She hasn’t been. In addition to this month’s
celebrations, her centennial month of April 2017 will
feature additional celebrations of her legacy: a special
event at the National Jazz Museum in Harlem; PopsEd:
Ella at 100 at various Bronx public schools; WBGO
Radio Gala Honoring Ella Fitzgerald and Ella and Louis
by the New Jersey Symphony Orch, both at New Jersey
Performing Arts Center; and “Happy 100th Ella!” with
Patti Austin at Brooklyn Center for the Performing Arts.
Worn out from long years on the road, heart
trouble and diabetes, Ella Fitzgerald passed away Jun.
15th, 1996 at 79. On countless nights she mopped her
brow with an ever-present hanky, exclaiming to
audiences in that endearingly girlish voice, “Thank
you, thank you so much.” No, Ella, thank you. Thank
you very much. v
For more information, visit ellafitzgerald.com. Fitzgerald
tributes are at The Cutting Room Mar. 5th, Schomburg
Center Mar. 6th, 13th, 20th and 27th, Jazz at Lincoln
Center’s Varis Leichtman Studio Mar. 11th and The Apollo
Theater Mar. 23rd. See Calendar.
Recommended Listening:
• Chick Webb/Ella Fitzgerald—The Complete
Chick Webb and Ella Fitzgerald Decca Sessions
(Mosaic, 1934-41)
• Ella Fitzgerald/Louis Armstrong—
Ella and Louis (Verve, 1956-57)
• Ella Fitzgerald—Sings The George and Ira Gershwin
Songbook (Verve, 1959)
• Ella Fitzgerald—Mack the Knife: Ella in Berlin
(Verve, 1960)
• Ella Fitzgerald/Duke Ellington—
Ella at Duke’s Place (Verve, 1965)
• Ella Fitzgerald/Oscar Peterson—
Ella & Oscar (Pablo, 1975)
THE APOLLO THEATER PRESENTS
A JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS PRODUCTION
ABBEY LINCOLN TRIBUTE
FEATURING
DEE DEE BRIDGEWATER, TERRI LYNE CARRINGTON,
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| #WOWApollo
In person at the Apollo Theater Box Office
By phone call Ticketmaster 800-745-3000
Online at Ticketmaster.com
For Groups Call (212) 531-5355
TICKETS ON SALE MARCH 1
2016-2017 Season Sponsors
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2/15/17 5:57 PM
Crystal Blake
ENCORE
KALI Z. FASTEAU
by clifford allen
Creative improvised music is, quite naturally, an area
of open exploration but that openness, while it allows
many activities to coexist within the artform, also gives
rise to situations in which artists escape broader notice.
Kali Z. Fasteau, a multi-instrumentalist, composer and
label owner (Flying Note) is just such a figure—
perpetually intriguing in the breadth of her activities,
yet the true nature of her art is somewhat unknowable
to those outside the music’s immediate creation.
Fasteau’s list of instrumental credits itself inspires
curiosity—voice, piano, cello, viola, drums, soprano
saxophone, mizmar, ney flutes, sanza, synthesizer—
and has led her to collaborate with vanguard musicians
like saxophonists Noah Howard and Kidd Jordan,
pianist Bobby Few, bassist William Parker, drummers
Warren Smith, Rashied Ali, Louis Moholo-Moholo and
Cindy Blackman and multi-instrumentalist Donald
Rafael Garrett (1932-1989), her first husband.
Celebrating her 70th birthday this month, Fasteau
was born Mar. 9th, 1947 into a musically fruitful
environment. In her early life “professional ‘classical’
musicians populated both sides of my lineage. This
happenstance perhaps justified and propelled me to
spontaneous composition, the opposite way of making
music and avoiding ‘Western’ musical notation, song
structures, specialization and hierarchical organization
of music and musicians. I sang and wrote music very
early, with formal piano lessons from age 6 [with Olga
Heifetz], cello at 8 and flute at 11. I loved singing both
soprano and baritone parts in school choirs. Later, at age
14 I dreamed I improvised on a Bach piece at a piano
recital; waking in the morning, I went to the piano and
music flowed from my fingers! I heard Miriam Makeba
when I was seven, seeding my love of music from other
lands. The beauty of timbres, rhythms and intonation
not regimented by ‘Western’ aesthetics affected me
deeply. Perhaps due to me being a left-handed woman
[therefore a well-connected right and left brain] and
raised as a free thinker, I have a ‘big picture’ mind that
transcends categories. My love and curiosity for
particular musics often shaped my itineraries in life.”
After growing up between Paris and New York,
Fasteau attended Reed College where her listening and
performing interests ran the gamut from jazz and soul
to blues and in graduate school she studied Carnatic,
Turkish, Indonesian and African musics. It was in San
Francisco where she met Garrett in 1971 and “it was
love at first sight! Rafael was already a feminist and
immediately put me in his band The Sound Circus. We
gigged a few days later with reed player Gerald Oshita
and drummer Oliver Johnson. Rafael had been
performing and recording with John Coltrane [as a
bassist and bass clarinetist] and hung out with John and
Alice during their sojourn on the West Coast. Their
musical marriage was in many ways an inspiration for
us.” Garrett and Fasteau soon formed The Sea Ensemble,
which recorded We Move Together for ESP in 1974 and a
pair of albums, After Nature and Manzara, for the Italian
leftist imprint Red Records in 1977. In 2000, an archival
double-disc containing sessions in Holland and Turkey
called Memoirs of a Dream was released on Flying Note.
They were a multi-instrumental duo that created their
own tradition while traveling through Europe and the
Mediterranean, blending Arabic, North and SubSaharan African, East and South Asian sonics with free
improvisation and a facility that transcended both jazz
and classical realms. Beyond that, the music of The Sea
Ensemble was life: “our carrying and playing bamboo
flutes was a passport to hearts, hospitality, smiles and
kinship everywhere, especially in non-European lands,
and this blended with our strong drive to experience
many cultures, musics, vibes and terrain.”
After 14 years of traveling, study and performance
overseas, Fasteau returned stateside in 1985 and
founded Flying Note a year later. 30 years later, the
label’s catalog of 17 releases represents varied
ensembles committed to free music. Whether on
cassette or CD, Fasteau’s releases have presented a
consistent graphic design and palette that speak to a
vision bright and to the point, much like the musical
contents. “I’ve always had strong tastes in music and
visual art. I especially enjoy sculpting sound and the
artistic
freedom
of
accomplishing
projects
independently. I returned to America primarily to
work with the many great musicians here who compose
spontaneously with heart. By tuning ourselves and
refining our skills, we develop sensitivity and intuition
to receive and translate energy into beautiful music
unique to the present moment. I give form to free-form
music by selecting and naming recorded music and
sequence pieces on the albums to greatest effect,
considering both flow and contrast. By designing the
graphics, I also express my taste in visual art.”
Being creative goes beyond what can be documented
by recording or live performances though and Fasteau’s
job is living as a creative being. “My lifelong love of
nature is now more passionate than ever, as I see the
devastating assaults of industry. At a young age I
acquired a healthy skepticism of conventional medicine
and began my continuing research in natural remedies
and nutrition. Every day I make music, dance and take
long walks, plus long-distance swimming in
summertime. 17 years ago I added Falun Gong [energy
cultivation] to my daily Tai-Chi practice. I’ve learned to
heed and completely trust my body’s wisdom.”
Bringing the vivid color and lively sound of feeling to
audiences throughout New York and worldwide,
Fasteau carries with her the transformational spirit
cultivated by innovative musicians going back to the
beginning of the last century. v
For more information, visit kalimuse.com.
Recommended Listening:
• The Sea Ensemble—We Move Together
(ESP-Disk’, 1974)
• Kali Z. Fasteau—Worlds Beyond Words (Special Guest
Rashied Ali) (Flying Note, 1987-89)
• Kali Z. Fasteau—An Alternate Universe
(Flying Note, 1991-92)
• Kali Z. Fasteau—Camaraderie (Flying Note, 1997)
• Kali Z Fasteau/Kidd Jordan/
Newman Taylor Baker—Live at the Kerava Jazz
Festival: Finland (Flying Note, 2007)
• Kali Z. Fasteau—Piano Rapture
(Flying Note, 2012-13)
LEST WE F ORGE T
DOROTHY FIELDS
by alex henderson
Dorothy Fields was one of Tin Pan Alley’s most
prolific lyricists, penning the words to numerous
standards in the ‘20s-40s. While Fields had a strong
connection to Broadway, Hollywood and popular
music, her lyrics have received a considerable amount
of attention by jazz vocalists over the years.
Born in Allenhurst, New Jersey on Jul. 15th, 1905
and raised in New York City, Fields came from a family
heavily involved in the arts: her father, an immigrant
from Poland, became a vaudeville comedian in the late
19th century and went on to produce Broadway shows
in the early 1900s-10s and both of her older brothers
became Broadway writers as well.
Composer J. Fred Coots, who Fields met in 1926,
proved to be a valuable connection when, in 1928, he
introduced her to Jimmy McHugh. With McHugh
composing the melodies and Fields writing the lyrics,
their partnership resulted in a long list of standards,
which include “I Can’t Give You Anything But Love”,
“Diga Diga Doo” and “I Must Have That Man” (all
included in the musical revue Blackbirds of 1928) in the
late ‘20s and “Exactly Like You”, “On the Sunny Side of
the Street”, “Don’t Blame Me” and “I’m in the Mood
for Love” in the ‘30s. Fields’ association with another
Tin Pan Alley icon, Jerome Kern, proved just as
lucrative, resulting in ‘30s standards such as “The Way
You Look Tonight”, “Pick Yourself Up” and “A Fine
Romance”.
When Fred Astaire and Ginger Rogers sang the
latter in the 1936 film Swing Time, Fields achieved
superstar status as a lyricist. The song was recorded by
everyone from Billie Holiday in 1936 and Joe Williams
in 1956 to Ella Fitzgerald and Louis Armstrong as a
1957 duet. Fitzgerald revisited “A Fine Romance” on
her 1963 album Ella Fitzgerald Sings the Jerome Kern
Songbook, which featured Nelson Riddle arrangements
and also included “The Way You Look Tonight” and
the Kern-Fields songs “Remind Me” and “You Couldn’t
Be Cuter”.
Bandleader Duke Ellington was an early proponent
of Fields’ work, recording vocal versions of “Diga Diga
Doo” and “Bandanna Babies” (also from Blackbirds of
1928) in the late ‘20s and instrumental versions of
McHugh and Kern melodies co-written with Fields.
Jazz instrumentalists have been voracious
consumers of the Kern and McHugh songbooks and
one of the most interesting examples of a McHughFields gem taking on a whole new life came when
saxophonist James Moody recorded an instrumental
version of “I’m in the Mood for Love” in 1949. The
lyrics that singer Eddie Jefferson wrote for Moody’s
improvised saxophone solo resulted in “Moody’s
10 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Mood for Love”, a definitive example of vocalese.
Fields kept busy long after Tin Pan Alley’s heyday,
collaborating with composer Albert Hague in the 1959
Broadway musical Redhead and Cy Coleman on
musicals including Sweet Charity in 1966 and Seesaw in
1973. One of the best-known songs from Fields’ late
period was Sweet Charity’s “If My Friends Could See
Me Now”, originally performed by Gwen Verdon on
Broadway and receiving a hit disco makeover from
singer Linda Clifford in 1978.
Fields was 68 when she died of a heart attack in
New York City on Mar. 28th, 1974. v
A tribute to Fields is at 92nd Street Y’s Lyrics and Lyricists
series Mar. 18th-20th. See Calendar.
Recommended Listening:
• Oscar Peterson—Plays the Jimmy McHugh Songbook
(Verve, 1959)
• Ella Fitzgerald—Sings the Jerome Kern Songbook
(Verve, 1963)
• Dorothy Fields—An Evening With Dorothy Fields
(DRG, 1972)
• Mark Murphy—Sings Mostly Dorothy Fields and
Cy Coleman (Audiophile, 1977)
• Daryl Sherman—I’ve Got My Fingers Crossed:
A Celebration of Jimmy McHugh (Audiophile, 1990)
• Various Artists—The American Songbook Series:
Dorothy Fields (Smithsonian, 1995)
L ABEL SPOTLIGHT
HARBINGER
by donald elfman
The essence of Harbinger Records is, say its founders,
“The Great American Songbook—in particular songs
of stage screen and cabaret.” The writers, the
performers from classic to contemporary and the
tradition of musical theater from whence timeless
melodies and lyrics come define the label’s reason for
being. The founders are Ken Bloom, a theater historian,
playwright, author and archivist, and Bill Rudman, an
educator, radio personality and producer. Says Bloom,
“Some of the vocalists in our catalog can certainly be
considered jazz vocalists. Consider the late Maxine
Sullivan, the [late] legendary Barbara Carroll, Nancy
Harrow, Mark Murphy. These are jazz artists without
any question. Even some of the so-called cabaret
singers can be considered jazz singers in that they have
harmonic sensibilities and are often accompanied by
improvisers... And, of course, we have done new
recordings with singers such as Stacy Sullivan and
Barbara Fasano that are clearly in the jazz world.”
Rudman goes on to note, “The American song and the
American theater have a jazz sensibility. It’s about an
original art form and a feeling of freedom. And, of
course, the great jazz players have long played and
continue to improvise on these songs.”
Bloom began his theater career in Washington, DC
as a vital person—producer, director, marketer, public
relations—of the New Playwrights Theatre of
Washington. In addition, he did radio shows in DC and
Live in Athens, Greece
Mark Murphy
Busy Being Free
Barbara Fasano
then when he moved to New York. Rudman was the
Associate Director in charge of education at the Great
Lakes Theater Festival in Cleveland, Ohio and
a pioneer in the notion that theater was truly
a community venture. The two men met at a conference
of the Federation for the Extension and Development
of the American Theater in the late ‘70s. Bloom
remembers, “We were on a bus going somewhere and
Bill started whistling the song ‘Happy Hunting Horn’
from Pal Joey and stopped and I continued the song. We
started to talk, discovered many common interests and
decided then and there to start a record label.” Rudman
informed Bloom that he had a recording of Geraldine
Fitzgerald doing her show Street Songs at Playhouse
Square in Cleveland. The recording was on a cassette
and, amazingly, was recorded on the wrong side of the
tape. The tape worked, an LP was made and it got a
rave review by critic John S. Wilson on the front page
of the arts section of The New York Times. Thus
Harbinger Records was born in 1983.
Soon another opportunity for recording presented
itself. The movie The Cotton Club was about to be
released and Rudman and Bloom wanted to find
a connection to the music of that club and that era.
Bloom knew biographer Edward Jablonski and, with
his help, had done a show of Harold Arlen-Ted Koehler
songs. “We found Maxine Sullivan, who had actually
played The Cotton Club, and got her to make
a recording of these songs. It was nominated for
a Grammy!” The arrangements were by Sullivan’s
music director Keith Ingham. And the band featured,
among others, Phil Bodner on reeds and Marty Grosz
on guitar.
Harbinger Records has continued to thrive. Bloom
Stranger in a Dream
Stacy Sullivan
and Rudman know their audience and the Harbinger
product reaches it. Says Rudman, “This has never been
a money-making project for us. We do it because we
love the music, the tradition and the idea that, as the
name Harbinger suggests, we have this to look forward
to.” To further that notion, the label is now a subsidiary
of The Musical Theater Project, a non-profit foundation
Rudman had founded in Cleveland to produce
educational programming to encourage an appreciation
of musical theater as an art form. And to give further
substance to its position as a serious and ongoing label,
Harbinger now has Naxos as a distributor.
Harbinger is informed by an approach to
“archaeology” that one can find in the apartment in
New York where Bloom lives and works. It’s a
storehouse of books, posters, recordings and more that
celebrate the world that Harbinger documents in
recordings.
And what of those recordings? To begin, think of
a songwriter from the American Songbook and they
are represented here. Some examples: Mostly Mercer,
a collection of Johnny Mercer songs sung by the likes
of Rosemary Clooney, Jennifer Holliday, Anita O’Day
and Eydie Gorme; Sublimities, piano recordings and
radio appearances by Cy Walter; and Burke Beautiful,
lyrics of Johnny Burke performed by Sharon Paige and
Keith Ingham.
There’s the Hidden Treasures series with rare
demos and more from great writers like Sheldon
Harnick (Fiddler on the Roof, She Loves Me), John Kander
(Cabaret, Chicago) and Hugh Martin (Meet Me in St.
Louis). And legendary performances from singers
Mabel Mercer and Susan Johnson.
(CONTINUED ON PAGE 50)
The Great Songs from The Cotton Club
Maxine Sullivan
Sing Shuffle Along
Sissle & Blake
VOX NEWS
THE FIRST LADY OF SONG
by suzanne lorge
Last month Verve released several of the Ella
Fitzgerald Songbook and Decca recordings as Mastered
for iTunes (MFit) files. Listeners can now hear
remastered recordings of Ella’s voice more faithful to
the original analog recordings than any editions to
date. Recent innovations in technology, driven by
listeners’ preference for digital downloads, allow for
this enhanced audio experience. Verve’s re-release of
these historically important, technologically superior
recordings arrives just in time.
Fitzgerald would have turned 100 on Apr. 25th.
Already the tributes are in full swing mode: The Apollo
kicked off its commemorative series, “100: The Apollo
Celebrates Ella”, with a blockbuster concert back in
October 2016. The series continues (Mar. 23rd) with
“Live Wire: Ella! A Centennial Celebration”, a
discussion on the life of the iconic singer at the theater
where she got her start back in 1934. Dr. Farah Jasmine
Griffin, professor of English and African-American
Studies at Columbia University, will moderate.
Jazz at Lincoln Center also offers an Ella tribute
with “WeBop Family Jazz Party: Dizzy & Ella” (Mar.
11th). This interactive educational event will focus on
the music that Fitzgerald created with Dizzy Gillespie
and give the next generation of listeners their first taste
of tunes like “Salt Peanuts” and “A-Tisket A-Tasket”.
Kids get to move, sing, play instruments and listen to
stories during the 45-minute session.
With their February release, Laughing At Life (Anzic
Records), Duchess solidifies their reputation as one of
the most exciting (and whimsical) swing vocal groups
to emerge in recent years. The three vocalists—Amy
Cervini, Hilary Gardner and Melissa Stylianou—are all
known as solid solo performers in their own right yet
are able to nail the sweet spot between individual
expression and group harmony. Oded Lev-Ari’s
carefully choreographed arrangements and the singers’
complementary vocal timbres help to establish the
group dynamic; the singers joke easily together and
willingly share the spotlight with one another. From the
infectious drive of the first tune, “Swing Brother Swing”,
to the quiet charm of “Dawn”, a first-time recording of
the little-known tune by singer Vet Boswell, each track
is unfailingly engaging. Trombonist Wycliffe Gordon
puts in a star turn on one of the standout tracks—a
sweet, slow rendition of “Stars Fell on Alabama”—and
clarinetist Anat Cohen contributes virtuosic solo lines to
the relentless swing of “Everybody Loves My Baby”.
The recording is full of tongue-in-cheek moments, but
don’t be fooled. The talent here is serious.
On Mar. 24th, Grammy-winner Eliane Elias will
release her next CD, Dance of Time (Concord),
a satisfying jumble of bossas and sambas that Elias
sings sometimes in Portuguese, sometimes in English,
sometimes in both. The Brazilian singer-pianist opens
the album with the engaging classic “O Pato” (the
duck) played at a bright, syncopated clip, the smooth
vocals standing in contrast to her high-energy piano
soloing. The album contains some other intriguing
twists: “You’re Getting to be a Habit with Me” as
a sensuous, laid-back samba and “Speak Low” in
a double-time feel with R&B backing vocals by singer
Mark Kibble. To create this album, recorded in Brazil,
Elias brought several impressive friends and mentors
from both Brazil and the U.S. into the studio: pianist
Amilton Godoy, singer-guitarists João Bosco and
Toquinho, trumpeter Randy Brecker and vibraphonist
Mike Mainieri. Elias’ current tour takes her to Birdland
(Mar. 28th-Apr. 1st).
Rome Neal’s Banana Puddin’ Jazz will present
bassist/producer Kim Clarke’s Lady Got Chops Jazz
Festival in honor of Women’s History Month. Sis-Stars,
a group comprising singers Sheryl Renee, Patsy Grant
and Joy F. Brown are set to deliver an evening of
powerhouse vocals at Nuyorican Poets Café (Mar. 4th).
Avant garde pianist Mara Rosenbloom will join
with singer-percussionist Anaïs Maviel and bassist
Adam Lane (together, the Mara Rosenbloom Flyways)
to perform a musical setting of Twenty-One Love Poems
by feminist writer Adrienne Rich at Ibeam Brooklyn
(Mar. 10th). v
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
11
I N ME MORIA M
NAT HENTOFF
ELIANE
ELIAS
Tom Pich / Courtesy of the nea
DANCE OF
TIME
by andrey henkin
N at Hentoff, eminence grise of jazz critics, who was an
A beautiful and stunning take on
classic Brazilian songs featuring
bassist Marcelo Mariano;
guitarists Marcus Teixeira and
Conrado Goys; drummers Edu
Ribeiro and Celso de Almeida;
and percussionists Gustavo di
Dalva and Marivaldo dos Santos.
Eliane Elias Live!
Birdland
March 28 - April 1st
Tickets/Info: birdlandjazz.com
www.elianeelias.com
editor, author, producer, champion for social and
criminal justice and inaugural National Endowment
for the Arts (NEA) Jazz Master for Jazz Advocacy, died
Jan. 7th at 91.
Hentoff was born Jun. 10th, 1925 in Boston and
stayed there to study, first at Northeastern and then
Harvard University, during which time he hosted
a radio program. In a 2003 interview with Molly
Murphy for the NEA, Hentoff recalled his earliest jazz
work: “When I was 19, there was a place called the Ken
Club...and the Savoy...where I practically lived...I’d
gone into radio at WMEX, and I had a regular jazz
show, because they couldn’t sell that time. And we
started to do remotes from the Savoy. So I got to know
a lot of the musicians, both on and off the air.
I interviewed a number of them and began writing,
first for a very small jazz magazine.” After studies
abroad, Hentoff returned to the States and worked as
Associate Editor for DownBeat Magazine from 1953-57,
followed by three years as Co-Editor for Jazz Review.
During the latter period, Hentoff was also A&R
Director for Candid Records in 1960-61, producing
such seminal albums as Charles Mingus’ Newport
Rebels, Cecil Taylor ’s The World of Cecil Taylor, Steve
Lacy’s The Straight Horn Of Steve Lacy and Max Roach’s
We Insist! Freedom Now Suite.
Hentoff’s liner notes graced hundreds upon
hundreds of albums, from Stan Getz’ Jazz At Storyville
(Royal Roost, 1952) to
Scott Hamilton/Rossano
Sportiello’s Midnight At Nola’s Penthouse (Arbors,
2010), on labels such as Atlantic, Columbia, World
Pacific, Contemporary, Verve, Blue Note, Bethlehem,
Prestige and dozens of others. He also did numerous
interviews, profiles and album reviews for publications
as varied as The New Yorker and The New Republic as
well as full-length books like Jazz Country (1965), Jazz:
New Perspectives on the History of Jazz by Twelve of the
World’s Foremost Jazz Critics and Scholars (1974), Boston
Boy: Growing Up with Jazz and Other Rebellious Passions
(1986), Listen to the Stories: Nat Hentoff on Jazz and
Country Music (1995); and American Music Is (2004). In
addition to his writing on music, Hentoff wrote articles
and books championing social and criminal justice
causes, including free speech, the Bill of Rights and the
pro-life movement.
Speaking about his elevation to the status of Jazz
Master, Hentoff combined his two passions: “Deeply
honored as I am by this award, it could not have come
to me but for these creators of this quintessential
American language that has become international. As
the Constitution—very much including its Bill of
Rights—is the orchestration of our liberties, jazz is
‘The Sound of Surprise’ that is the anthem of our
freedom.”
12 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
BUDDY BREGMAN (Jul. 9th, 1930—
Jan. 8th, 2017) The composer, arranger
and producer released albums for Verve
and World Pacific and collaborated
(both
via
arrangements
and
bandleading) in the ‘50s-60s with Bing
Crosby (Bing Sings Whilst Bregman
Swings, Verve, 1956), Annie Ross (Gypsy, World Pacific
1959), Ella Fitzgerald (Sings The Cole Porter Song Book,
Verve, 1956), Carmen McRae (Porgy And Bess,
Brunswick, 1959), Oscar Peterson (Soft Sands, Verve,
1957), Anita O’Day (Anita, Verve, 1957), Count Basie
(The Greatest! Count Basie Plays...Joe Williams Sings
Standards, Verve, 1956) and Buddy Rich (This One’s For
Basie, Norgran, 1956). Bregman died Jan. 8th at 86.
BUDDY GRECO (Aug. 14th, 1926—Jan.
10th, 2017) The vocalist, who got his
start with the late ‘40s band of Benny
Goodman, had his own releases on
Columbia, Epic, Reprise and other
labels more in the ‘50s jazz-pop vein
and was also married to and
collaborated with jazz-pop singer Lezlie Anders in the
late ‘90s-early Aughts. Greco died Jan. 10th at 90.
BILL HORVITZ (May 12th, 1947—Jan.
15th, 2017) The guitarist (and brother to
Wayne Horvitz) released a handful of
albums from 1980 into the new
millennium on Theatre for your Mother,
Dossier, Ear-Rational, Marblecone,
Music & Arts, Evander and Rastascan to
go along with sessions led by John Zorn, Peter Kuhn
and Butch Morris. Horvitz died Jan. 15th at 69.
JAKI LIEBEZEIT (May 26th, 1938—Jan.
22nd, 2017) The German drummer was
best known for founding Can, the
pioneering Krautrock band, and helping
define the motorik beat and whose
earliest credits were with the seminal
mid ‘60s Manfred Schoof Quintet and
the first iterations of Alexander von Schlippenbach’s
Globe Unity Orchestra. Liebezeit died Jan. 22nd at 78.
ROD MASON (Sep. 28th, 1940—Jan.
8th, 2017) The trumpeter was involved
in his native England’s trad jazz scene
as part of the Monty Sunshine Band and
his own co-led unit with Ian Wheeler
and was then a stalwart in Europe first
as part of the Dutch Swing College
Band and then his own albums for Black Lion, Timeless
and Sentinel. Mason died Jan. 8th at 76.
CHARLES “BOBO” SHAW (Sep. 15th,
1947—Jan. 16th, 2017) The drummer
and founding member of the St. Louisbased Black Artists Group had albums
with his Human Arts Ensemble for
Freedom, Black Saint and Moers Music
and credits under Lester Bowie, Oliver
Lake, Frank Lowe, Leroy Jenkins, Joseph Bowie, Billy
Bang and Anthony Braxton. Shaw died Jan. 16th at 69.
CHUCK STEWART (May 21st, 1927—
Jan. 20th, 2017) The photographer ’s
work was included in hundreds of
releases since the ‘50s for EmArcy,
Roost, Roulette, Argo, Columbia, Verve,
Sonet, Chess, Bethlehem, Riverside, Vee
Jay, Pacific Jazz, Impulse, Mercury, ESPDisk’, Mainstream, Atlantic, His Master ’s Voice,
Milestone, Blue Note, Flying Dutchman, CTI, Freedom,
Cobblestone, Savoy, Prestige, Concord, Soul Note,
Candid and hatART, among others. Stewart died Jan.
20th at 89. v
PATTI
AUSTIN:
BROOKLYN
ARTS
CENTER for the PERFORMING
AT BROOKLYN COLLEGE
ELLA NOW AND THEN
A Centennial Celebration of the First Lady of Song
Sat, Apr 22, 2017 at 8pm, $36-$55
BrooklynCenter.org or 718-951-4500
2
Supported by:
Whitman Theatre at Brooklyn College
to Flatbush Avenue / on-site paid parking available
A Con Edison
Music Masters
Series Event
CHARITO
& JOHN DI MARTINO TRIO
CHARITO - vOCAl
JOHn dI MARTInO - pIAnO
BORIs KOzlOv - BAss
MARK TAylOR - dRuMs
THuRsdAy, MARCH 2, 2017
dOORs: 5 pM / sHOw: 6 pM $25
pResenTIng
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CHARITO.COM
CD REVIEWS
Live at the Hungry Brain
The Urge Trio (Veto Records)
Chicago Sessions
Silvia Bolognesi (Fonterossa)
by John Sharpe
Cellist Tomeka Reid has only one leadership entry in
her discography but her supple propulsion and poised
angularity crop up in an increasingly wide variety of
situations, as evidenced by two discs, which give
insight into different aspects of her artistry. Reid features alongside two reed players, fellow
Windy City denizen Keefe Jackson and Swiss visitor
Christoph Erb, as part of The Urge Trio, in a concert
recorded live at Chicago’s Hungry Brain club in
October 2015 and released on Erb’s Veto imprint. They
mine a determinedly egalitarian seam across the single
34-minute, fully improvised set. As an integral part of
the three-way interaction, Reid doesn’t seek a high
profile. That’s apparent from the start amid the barely
audible susurrations, drones and pops. Her repeated
cello abrasions braid into Jackson’s shrieked
exclamations and Erb’s tenor drone. Although she
follows up with scratchy cello, then nimbly plucked
runs in tandem with Jackson’s tenor, everyone
resolutely stays in the realm of percussive texture
rather than melody or rhythm. As the piece progresses,
the exchanges come in waves of overblown juddering
and skittering bow work. While much of the dense
interweaving takes complementary form, there is some
contrast, as when Reid scrapes a high whistle to pitch
against the ruminative tenor saxophone/bass clarinet
axis. At times there’s a sense that the horns periodically
rein themselves in, as hinted by the spirited duet of
screeches and clarion calls when left to their own
devices. Reid joins in a careening upper register arco
and lowers the temperature first to a simmer, then an
intermittent boil with strums and bent notes, before
a peak of piping reeds and deep bowed cello to end.
On Chicago Sessions, Reid lines up in the company
of two other Midwest stalwarts in drummer Mike Reed
and trumpeter Russ Johnson under the banner of Italian
bassist Silvia Bolognesi. Since 2009 both women have
been collaborators in the collective trio Hear In Now.
Perhaps as a result, Bolognesi’s writing fully exploits
Reid’s facility at moving between lead and support,
sometimes, as in “Departure”, even within the space of
a few bars. While the title might imply a blowing date,
the quartet digs into a program of five tuneful originals
by Bolognesi. Her writing makes the most of the
resources available, weaving layers of counterpoint
around a melodic core, as in the attractive “It’s Not The
Sea”, where Reid plays a prominent role, picking out a
high figure filling in the gaps in a bouncy groove,
before later contributing a jaunty pizzicato solo.
Vocalist Dee Alexander appears on three of the five
pieces, supplemented by the voice of Italian singer
Emiliano Nigi on the final track. Reid often sets out the
thematic material in unison with downbeat but fluent
trumpet, phrasing together behind Alexander’s
wordless vocals on “Vision”. The multi-sectioned
“Languages/Sounds Colours and Words” serves as a
summation of the approaches taken, moving between
free, song and groove. While Reid sounds most at home
on the inside components, her sawing towards the end
suggests further developments are surely afoot.
For more information, visit veto-records.ch and
silviabolognesi.com/fonterossa. Tomeka Reid is at Roulette
Mar. 2nd with Taylor Ho Bynum and Mar. 20th as a leader and
National Sawdust Mar. 29th with Nicole Mitchell. See Calendar.
Speechless
Champian Fulton (Posi-Tone)
by Scott Yanow
Champian Fulton has become known as a talented
swing-to-bop pianist who sings and an appealing
singer who also plays piano. Her two skills are equal
and complementary.
The well-titled Speechless is a bit different from her
previous recordings in that it is the first comprised
entirely of instrumentals. Not having to perform songs
that fit her voice has freed her to write new originals
and put the focus on her piano. While bassist Adi
Meyerson and drummer Ben Zweig are excellent in
support and take a few brief solos, the spotlight is
squarely on the piano player. Fulton contributes nine
originals along with a fresh interpretation of Leo
Woods’ “Someone Stole My Gal”. Her piano style and
writing is creative within the hardbop tradition.
“Day’s End” opens the CD with Fulton playing in
pianist Erroll Garner ’s style. The happy relaxed slowto-medium tempo piece is a perfect vehicle for her to
emulate Garner ’s chord voicings, melodic improvising
and the way he swung with wit. “Lullaby For Art” is a
tribute to drummer Art Blakey, the minor-toned cooker
utilizing the chord changes of “Lullaby Of The Leaves”,
Fulton’s voicings worthy of pianist Red Garland.
Although “Somebody Stole My Gal” originated in the
‘20s, her version is boppish, with plenty of speedy runs
from her right hand.
“Dark Blue” is a ballad that she plays with warmth
while “Tea And Tangerines” shows the similarities
between “Tea For Two” and “Tangerine”, presented as
a jazz waltz. “Later Gator” pays tribute to soul jazz
saxophonist Lou Donaldson and is a catchy minor
blues that is also a bit funky. After the thoughtful
ballad “Pergola”, “Happy Camper” is more in pianist
Horace Silver ’s style, at least in its rhythmic melody
and structure. Fulton concludes the enjoyable set with
the midtempo blues “That’s Not Your Donut” and an
uptempo romp “Carondeleto’s”, in tribute to the
Missouri hometown of late trumpeter Clark Terry.
For more information, visit posi-tone.com. This project is at
Smoke Mar. 2nd. See Calendar.
Secular Hymns
Madeleine Peyroux (Impulse!)
by Mark Keresman
American-born French-raised jazz singer Madeleine
Peyroux has a lovely voice strongly reminiscent of the
iconic Billie Holiday. But whereas some singers would
leave it at that—after all, if you must sound like
someone it may as well be someone great—Peyroux
takes Holiday’s phrasing, sly, slightly breathy and a
gentle slurring of syllables with a hint of a Southern
drawl and channels it into her own distinctive
direction.
Secular Hymns finds Peyroux recording live (sans
14 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
audience) with her touring band of guitarist Jon
Herington and bassist Barak Mori, with the singer
playing guitar as well. She draws upon a different
Great American Songbook: scrappy dark-night blues
(Willie Dixon), traditional American song (Stephen
Foster), New Orleans rhythm & blues (Allen Toussaint),
gospel (Sister Rosetta Tharpe) and contemporary folk
(Townes Van Zandt, who could have given Leonard
Cohen lessons on how to be forlorn), with a detour into
British reggae (Linton Kwesi Johnson). The musical
framing is lean and intimate, giving Peyroux room to
open up the songs her way and, as Holiday did, make
them hers.
She takes gravelly-voiced bard Tom Waits to a
place of Parisian elegance, the feverishly oblique yet
vivid lyrics rendered with sardonic gentility. On the
other hand, “Everything I Do Gon’ Be Funky” slips
and slides like a hepcat on an alcohol-blessed
dancefloor, Herington’s wiry electric lines crackling
and popping like a too-hot pot of gumbo. “Shout Sister
Shout” is a gospel-charged swinger with decidedly
earthy lyrics while the acoustic, ruminative, hopeful
“Trampin’” soulfully looks for a way to heaven. The
slinky “If The Sea Was Whiskey” features some keening
slide guitar, Peyroux proudly celebrating her appetites
with lusty abandon and a big, bottomless tone. “Hello
Babe” finds her purring like Eartha Kitt, albeit with an
occasional piercing, bittersweet quality.
Secular Hymns is as much a compendium of
American roots styles as it is a jazz album, a set
acknowledging assorted traditions and erasing
so-called barriers between them…and oh, that voice,
like a fine wine getting better with age.
For more information, visit impulse-label.com. Peyroux is
at Town Hall Mar. 4th. See Calendar.
Akua’s Dance
Akua Dixon (Akua’s Music)
by Terrell Holmes
Akua Dixon has earned a reputation as a first-call
cellist, but on Akua’s Dance she showcases her talent
mainly on the baritone violin, a rarely heard instrument
with noticeably deeper tones. Dixon skillfully explores
the sonorities of the instrument, accompanied by a
stellar rhythm section of guitarist Freddie Bryant,
bassist Kenny Davis and drummer Victor Lewis.
Dixon, an accomplished composer, includes a pair
of songs from her opera about a New Orleans voodoo
queen named Marie Laveau. “I Dream a Dream” has an
African rhythm reminiscent of “Another Star” by Stevie
Wonder and some deft Jack-be-nimble guitar phrasing.
The title track is a sensual tango whose dialogue
between Dixon and Bryant and the foundation of Davis’
drumming gives it a warm texture and balance.
A figure that echoes the intro of “A Night in
Tunisia” runs through “Dizzy’s Smile”, Dixon’s loving
tribute to trumpeter Dizzy Gillespie; some brisk
walking by Davis ensures that Diz is strutting as he
smiles. Bryant’s excellent arrangement of the spiritual
“I’m Gonna Tell God All of My Troubles” features
Dixon’s subdued but hopeful playing, which supports
Bryant’s own thoughtful embroidery. Dixon’s measured
vocals on Abbey Lincoln’s reflective ballad “Throw It
Away” make the lyrics sound appropriately lived-in.
And the quartet, particularly the thunderous Lewis,
shows off its chops full-tilt on the samba “Don’t Stop”.
There is a trio of songs where Dixon plays cello,
joined by guitarist Russell Malone and the redoubtable
bassist Ron Carter, who lend their own brands of string
genius. The lighter texture of the cello imbues the ballad
“If My Heart Could Speak to You” with a wistful quality,
especially Dixon’s skyscraping ending that reaches and
reaches and reaches. A splendid dialogue between
Malone and Carter energizes the waltz “Orion’s Gait”
and Carter’s stunning arco introduction to “Afrika!
Afrika!” shows why he has reigned as one of our musical
kings for decades. His resonance drives Dixon’s
impassioned playing and Malone’s hard swinging.
Akua’s Dance is a vibrant journey from Africa to
Argentina to New Orleans, from the sanctity of the
black church to the secular world of jazz. Dixon’s
voicing and fluidity are enviable. One gets the feeling
that she isn’t simply playing her instruments as much
as she is singing through them and this vocal quality is
exhilarating and beautiful.
For more information, visit akuadixon.com. This project is
at Sistas’ Place Mar. 11th. See Calendar.
Connecting Spirits
Roberta Gambarini with Heath Brothers Band
(Groovin’ High)
by George Kanzler
Subtitled
Roberta Gambarini Sings The Jimmy Heath
Songbook with The Heath Brothers Band, this album
showcases a baker ’s dozen of Heath’s tunes; six with
his own lyrics, four with Gambarini’s and three with
other collaborators. Heath is a jazz composer first and
even though all of the tunes here have lyrics, the music
doesn’t conform to easy vocal tropes and forms. This
makes Gambarini’s authoritative singing here a
complete vocal triumph. Her command of tone and
timbre are not as bravura as a Sarah Vaughan or Dianne
Reeves, but are just as creative and accomplished. And
throughout the album, the core Heath Brothers Band
(Jimmy, tenor and soprano saxophones; brother Albert
“Tootie” Heath, drums; bassist David Wong and pianist
Jeb Patton), as well as judiciously employed guests,
perfectly complement Gambarini’s voice, Heath’s
tenor often caressing her vocals with obbligati.
A theme that runs through Heath’s songs is the
importance of music in life. It receives its most tender
declaration on the opening track “Without Song”,
a delicate paean to the power of song delivered by
Gambarini in lovely legato line with just piano
accompaniment before a tenor solo and second
go-around with the quartet. Gambarini’s ability to
bring coherence to slow, intricate melodies, weaving
them into a narrative line, is as impressive as that of
an art singer: she negotiates “A Mother ’s Love” with
flowing ease; coasts delicately through the maze-like
chromaticism of “Ellington’s Stray Horn”; and
navigates the complex chord changes of “A Harmonic
Future” with aplomb.
But Gambarini is not just a fine art and ballad
singer, she is also a lusty swinger with a bottom range
employed as much or more than the soaring high notes
we have come to expect from jazz singers on uptempo
pieces. She brings a rougher vibrato and attitude to the
funky “Life in the City”; channels the subject (Sarah
Vaughan) of “A Sassy Samba” in both the ranging
melody and some spectacular scatting; and contributes
her own wide-ranging vocalese line to the hardbopping
“The Thumper”. On that latter tune, as well as two
others, trumpeter Freddie Hendrix provides a perfect,
brassy foil to Heath’s solos.
Connecting Spirits is a perfect template for how to
showcase both a great jazz musician’s compositions
and a great jazz singer ’s voice.
For more information, visit groovinhighrecords.com.
Gambarini is at Blue Note Mar. 15th-19th and Mar. 27th as
part of the 7th Annual James Moody Jazz Scholarship Of
New Jersey Youth Benefit. See Calendar.
UNEARTHED GEM
Live at the 4 Queens
Shirley Horn (Resonance)
by Andrew Vélez
The happy occasion of a “new” Shirley Horn
recording arrives through the unearthing of tapes
from a 1988 performance at the 4 Queens in Las
Vegas. Now defunct, it was a little club that garnered
a jazz following from 1982-96. Here the pianist/
vocalist is nestled in the familiar comfort of longtime
cohorts Charles Ables (bass) and Steve Williams
(drums). The set here opens with a luxuriantly
wordless trio take on Randy Weston’s “Hi-Fly”. Just
music, but oh what music! It’s a swinging and
carefree rendition with Ables lending close note-fornote support.
Those who know Horn mainly for her famously
slow tempos may be surprised at how swift they
sometimes are on this set. Cole Porter ’s “You’d Be
So Nice to Come Home To” becomes a swinging
uptempo number. Rather more familiar Horn is her
warm, transparent voice with Antonio Carlos JobimNewton Mendonça’s “Meditacao” (“Meditation”
here with English lyrics by Norman Gimbel), as her
piano shadings merge as one with her singing. Horn
was a master at using pauses and silence between
notes. A line like “...So I will…wait…for you...
meditating how sweet life will be…when…you
come back to me”, is repeated three times, each with
different inflections. By the time it draws to a close
with wordless sounds blending purrs and coos, the
listener has been spun ever so gently into a musical
web that is inescapable.
Yet her “Boy From Ipanema” is more vigorously
flirtatious than is usual for that classic. When she
sings of the tall and handsome young man passing,
she gives out a “uhmmmm”, the libidinal message
of which is quite, quite clear. With the Billie Holiday
classic “Lover Man” she takes a slow piano lead-in
before questioning, “I don’t know why…but I’m
feeling so sad.” It’s genuinely meditative and
questing for an answer, her piano providing varying
soft and emphatic punctuation.
Horn seems especially relaxed in this intimate
setting and her strength as a live performer is
evident on Ray Charles’ “Just for a Thrill”. The
unique nuanced expressiveness of her dead slow
tempos and pauses between notes are spellbinding,
depth charges.
For more information, visit resonancerecords.org
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
15
G LO B E U N I T Y: J A PA N
Nagi
Hiromi Suda (Blujazz)
Wish Board
Katsuko Tanaka (Katsuko Music)
A Result of the Colors
Megumi Yonezawa Trio (Fresh Sound-New Talent)
by Tom Greenland
J apan has long been home to some of the world’s
greatest jazz fans so it’s only fitting that the nation’s
artists now improvise for a global audience.
Vocalist Hiromi Suda hails from Yamanishi.
Nagi continues in the vein of her earlier work by
paying homage to great Brazilian composers, but
also brings more of her original songs and vision to
the fore. The covers are greatly aided by Romero
Lubambo’s supple acoustic guitar and Anne
Drummond’s lithe flute, but the principal attraction
is Suda’s voice: clarion-toned, with little or no
vibrato, exuding a youthful exuberance belying the
somber lyrics. One senses she understands these
songs’ deeper sentiments and that her youthfulness
doesn’t equate to naïveté. Her own songs, sung in a
breathier style reminiscent of folk-rockers like Joni
Mitchell, round out the other half of the set. English
translations of the Japanese lyrics reveal her affinity
for poetic allusion and understated nostalgia.
Pianist Katsuko Tanaka, originally from Osaka,
now a New Yorker, recently released Wish Board, her
second CD, with bassist Corcoran Holt and drummer
Willie Jones III. Like Suda, she’s acquired an affinity
for and facility with Brazilian music, heard on her
cover of Milton Nascimento-C.C. Mariano’s “Don
Quixote” and on the well-constructed title track, but
much of the other music is hard-swinging with blues
overtones. Although she’s not breaking any stylistic
sound barriers, Tanaka infuses all of her music with
a distinctive legato touch, relaxed but poised, light
but assertive, suggesting that rather than trying to
impress her audience with pyrotechnics she is
playing for sheer joy. “With Eyes of Truth”, the title
track (another reworking of “rhythm changes”) and
especially the Ahmad Jamal-inspired “Have Peace
in Your Heart” all bounce along with infectious
buoyance while her tasteful take on Tadd Dameron’s
“If You Could See Me Now” sparkles flawlessly.
Pianist Megumi Yonezawa, hailing from
Hokkaido, displays a more progressive approach
(honed by associations with Greg Osby and Meg
Okura) on A Result of the Colors, her leader debut.
It’s tempting to compare her to Bill Evans, as her
graceful intelligence, incisive romanticism and
existential moodiness all echo the late maestro’s
oeuvre. Moreover, her phrases often end prematurely,
tailed by lingering silences that seem to beg
questions of trio mates bassist John Hébert and
drummer Eric McPherson. The former is only too
willing to respond, often with extended asides or
authoritative disquisitions of his own, prompting
a high level of group interplay, which, again, recalls
Evans’ collaborations with Scott LaFaro and Paul
Motian. Yonezawa has a unique way with ballads,
best heard on the standard-esque “Sketch” and freer
“Epilogue”; her “Nor Dear or Fear” is a quirky but
catchy line written over “rhythm changes”.
For
more
information,
visit
hiromisuda.com,
katsukotanaka.com and freshsoundrecords.com. Suda is
at Subrosa Mar. 9th. Tanaka is at Mezzrow Mar. 14th
and Hillstone Mar. 18th. See Calendar.
Composer in Residence
Cecilia Persson/Norrbotten Big Band (Prophone)
by Donald Elfman
In 2014, Cecilia Persson was the Artist-in-Residence
for the Norrbotten Big Band and this extraordinary
album documents a live concert from November of
that year. The bold, extended compositions present
stunning written passages, a dazzling array of colors
and textures and a flexible framework wherein
dynamics and solo statements are open for exploration.
It’s dedicated to the Swedish city of Luleå, the big
band’s homebase.
“Lulu” means “eastern water” and, according to
Persson, “occurs for the first time in a document from
1327.” (It’s also a nickname for Luleå.) An aggressive
ensemble chord opens the piece and is soon augmented
by small additions from different sections and members
of the band, showcasing the composer ’s sense of shape
and dynamics and the ensemble’s ability to crafting
a narrative that rushes forward, creating its own logic.
The band settles into a throbbing, cacophonous groove,
which quiets to a place where tenor saxophonist KarlMartin Almqvist intones a solo both tender and
forceful.
“Stad I Aska” (City in Ashes) is Persson’s evocative
portrait of a newspaper account of an 1887 fire that
destroyed much of the city. Sections and players from
those sections create a sound environment suggestive
of a sleeping city about to be rudely awakened. Håkan
Broström on soprano gives the clarion call.
“Laba & Manen” is a 16-minute odyssey with brass
and woodwind solos integrated into a deft suite while
“Till Bengt Hallberg”, dedicated to the memory of the
late Swedish pianist/composer, is darkly elegiac and
features a gorgeous, melancholy and introspective solo
from pianist Alexander Zethson.
This is a striking and original example of the
intelligence and invention of the big band tradition as
it moves into the 21st century and the world.
For more information, visit norrbottenbigband.com
Infinitude
Ingrid and Christine Jensen (with Ben Monder)
(Whirlwind)
by Fred Bouchard
Think on open northlands and envision big sky
country as you hear the sisters Jensen explore their
elemental music in this halcyon, farseeing suite. Ingrid
(trumpet) and Christine (reeds), raised in rural British
Columbia close to arms-wide nature, mesh as
organically as an aquarelle landscape. Christine
summed it up: “I’m trees, she’s water.” Also: Christine
writes more, Ingrid solos more. They spin Infinitude
with longtime collaborators in bassist Fraser Hollins
and drummer Jon Wikan, inviting guitarist Ben
Monder, like Ingrid a Maria Schneider Orchestra alum,
to their glacial geologic timewarp. “Blue Yonder” flies
16 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
far and fast, “Swirlaround” slow-melts at an amiable
trot, pulls up smartly at a yawning cliff, then resumes.
Monder ’s “Echolalia” pits snappy drum tattoo and
guitar tremolo under smooth, hauntingly repeated
horn lines that lead to Ingrid’s stunning tale, expanded
by Monder. A soulful bass solo on “Octofolk” leads to
a duo with purling alto, then enlivened with guitar
glissandi.
“Duo Space” invokes rippling falls (Ingrid)
furrowing deep through limestone rifts (Monder ’s
mandolin-like hammertone guitar) toward earth’s
core, then segues smoothly to Kenny Wheeler ’s “Old
Time”, linking horns in a gritty, Native American blues
over hard-stick toms. Soprano and trumpet weave
hand-in-hand along “Hopes Trail”, a languid waltz,
switching leads between grand pauses as big as third
eyes and fleet guitar fills. “Trio: Garden Hour” captures
in still-life pure trumpet, swirling soprano and
tintinnabulant hammertone, then edges into a bright
waltz to “Margareta”.
The Jensens’ floaty, fly-by worldview shifts in and
out of focus, here hazy fog, there scintillating icestorm, now crystalline unison, then piquant dissonance,
spun of a piece from billion-year Archean cratons and
fleeting memories of childhood in Northern realms.
For more information, visit whirlwindrecordings.com
My Moments
Barbara Dennerlein (Bebab)
by Ken Dryden
G erman organ player Barbara Dennerlein began
attracting critical acclaim in the late ‘80s, showing
a healthy respect for the greats who preceded her on
the instrument but also displaying a sense of adventure.
For the past 15-plus years, Dennerlein has focused on
recording for her Bebab label, so American fans can be
forgiven if they haven’t run across her many releases,
which are more widely distributed in Europe. But she
is not to be overlooked, truly one of the most innovative
organ players of the 21st century, especially on this
unusual CD.
My Moments is an unaccompanied concert setting
of a diverse set of stunning originals for both Hammond
B3 and pipe organ. Downhome “Bluesy” could be
a tribute to any number of Dennerlein’s inspirations
while “Sensitivity” has a warm Bossa nova
undercurrent but quickly becomes a powerhouse
technical showcase. Dennerlein’s virtuoso pedaling
keeps up with her furious attack on the blistering blues
“Black And White”.
Dennerlein’s compositions for pipe organ sound
improvised and don’t readily show the blues influence
of her Hammond B3 pieces; in a blindfold test,
“Fantasia Acusticum” could be attributed to classical
player Anthony Newman. This dramatic piece allows
Dennerlein to make use of the instrument’s many
sound options in an inspired performance. “Blues in
the Pipeline”, swinging like mad, sounds like a playful
blend of Fats Waller and Dick Hyman. “Symphony In
Minor” is a lively extended work initially feeling like
a classical piece in a cathedral until a jazzy bassline
with a bit of blues is added. The piece continues to
shift back and forth between the genres. “Get It On” is
pure fun, playful funk built from a simple, infectious
riff. This music is also available on a DVD edition.
For more information, visit barbaradennerlein.com
Les Deux Versants Se Regardent
Eve Risser White Desert Orchestra (Clean Feed)
by Stuart Broomer
Ante Luceum
Iro Haarla (ECM)
by John Sharpe
Eve Risser is a young French pianist who has
distinguished herself as part of the French Orchestre
National de Jazz and with a trio recording called En
Corps (Dark Tree), which revealed her as a brilliant free
improviser. Les Deux Versants Se Regardent presents her
other sides, as the leader of a 10-member mini-orchestra
and as a remarkable composer drawing inspiration
from geology, gemstones and the atmosphere. It also
reveals the range and invention of an emerging
generation of French improvisers.
The opening title composition, 20 minutes long,
possesses depth and subtlety. Moving from pure
percussion sonics to minimalist melody, it suggests
both the textural richness of Gil Evans—there are
shared roots in French modernism—and the mark of a
first-rate jazz composer: the ability to bridge
composition and improvisation, integrating the
distinctive styles and extended techniques of her
musicians as well as their skills. In this piece, it’s
percussionist Sylvain Darrifourcq, bassoonist Sophie
Bernado, trumpeter Eivind Lønning and flutist
Sylvaine Hélary who contribute their sounds and lines
to the totality, resulting in work that is distinctly
contemporary while recalling the evocative lyricism of
Evans’ Sketches of Spain and a few equivalent works.
The pieces that follow go further afield in their
methodology and their expressive breadth. After a solo
introduction by guitarist Julien Desprez in which he
achieves the same scattershot brilliance with the
fretboard that he usually gets with his pedal board,
“Tent Rocks” is distinctly bright and playful. The dense
and tumultuous “Eclats” includes a stunning
exploration of bass saxophone fundamentals and
harmonics by Benjamin Dousteyssier while the
obliquely thoughtful alto saxophone of Antonin Tri
Hoang dovetails with the repeating motifs and
expanding complexity of “Earth Skin Cut”.
From the coloristic use of winds like bass flute and
piccolo trumpet to a compositional vocabulary
encompassing Messiaen and the spectral harmonists,
Risser is constructing her own idiom.
Light—its presence and absence—looms large in
northern latitudes, both as a subject and metaphor. So
consider a piece for jazz quintet and symphony
orchestra entitled “Before The Dawn”. Finnish pianist
and harpist Iro Haarla meets expectations and more.
Her rich orchestrations, which encompass ethereal
tone poems, shimmering strings and romantic,
expressive flourishes, emerge from and provide context
for the work of her quintet.
Although Haarla largely takes a back seat across the
four separate but linked pieces, her guidance ensures
that the two ensembles gel. “Songbird Chapel” acts as a
majestic curtain-raiser. With Haarla on harp, the quintet
sets out the tuneful thematic material, Trygve Seim’s
soprano saxophone calmly pontificating in folksy vein,
before the orchestra amplifies and extends the original
motifs. Here and elsewhere Mika Kallio’s unexpected
percussion accents prick up the ears.
On “Persevering With Winter”, bassist Ulf
Krokfors’ deep vocalized bowing and the brooding
Norrlands Operans Symfoniorkester create a
mysterious opening, building, Sibelius-like, to a slowmoving crescendo. When the quintet reasserts itself,
Seim’s bleating tenor, initially supported by Haarla’s
jazzy comping, later intertwines with Hayden Powell’s
heraldic trumpet.
Such interaction also informs the most animated
sections for the quintet, which arrive in the last two
pieces. Seim in particular features on “...And The
Darkness Shall Not Overcome It...”. His sliding
microtonal soprano, folksy again but with an oriental
tinge, opens the proceedings, then returns for a
luminous triumphal ending threaded through the
swirling orchestra.
Finally, portentous piano introduces the dramatic
title track, ominous orchestral fanfares giving way to
gentle unfurling tenor and poignant trumpet, before
more jostling interplay punctuated by horn and string
interjections. But rather than delve into the detail,
perhaps the best way to appreciate the program is to
let its luxuriant filmic sweep wash over you.
For more information, visit cleanfeed-records.com
Here on Earth
Jenny Scheinman (Royal Potato Family)
by Mark Keresman
V iolinist
Jenny Scheinman is a musician whose
creativity cannot be limited or defined by one genre or
style. In one aisle, she’s worked with Bill Frisell, ROVA,
Allison Miller and Christian McBride; in another, with
singer/songwriters Ani DiFranco, Lucinda Williams
and Norah Jones. Her own albums encompass jazz,
folk, bluegrass and combinations thereof. Here On
Earth, featuring originals entirely, falls into the latter
category while leaning to traditional American acoustic
sounds. At her back is the company of fellow eclectic
types in Frisell and Robbie Fulks (a superbly witty altcountry songster, though he does not sing here).
“Delinquent Bill”, a duet with guitarist Danny
Barnes, is a blues-laden near-shuffle, Scheinman
combining the elongated, scratchy tone of bluegrass
fiddle with the suave, swinging assurance of jazz string
players such as Joe Venuti and Billy Bang. “Annabelle
and the Bird” is a moody modal slice of folk, a link
between the trad folk of the British Isles and American
mountain dwellers—Robbie Gjersoe’s guitar shimmers
like a mirage, inserting blue notes here ‘n’ there, fluidly
improvising with Scheinman while providing steady
rhythm. “The Road to Manila” is an elegant waltz in
which the range of violin evokes the deep woody strains
of a cello and even an accordion. “Bark, George!” could
have been inspired by the classical works incorporating
traditional folk riffs by Aaron Copland and Charles
Ives; Scheinman plays a lilting yet sardonic hoedown
while Frisell conjures bittersweet dissonances that goes
against the grain of the idyllic violin line as much as
buoys it. “Broken Pipeline” is a cross between a waltz
and a lament, Scheinman playing a lurching, driven,
ominous melody atop Barnes’ crisply picked acoustic
guitar and Frisell’s moderately psychedelic lines.
Take heed, jazz brethren: there’s precious little
swing here, but lots of heartfelt, sometimes primal
Americana. If you can appreciate David Grisman and
Bill Monroe along with Oregon and Frisell’s genreblurring platters, this Earth is well worth a visit.
For more information, visit royalpotatofamily.com. This
project is at Metropolitan Museum Grace Rainey Rogers
NYCJR12thPageAd0317.qxp_Layout
1 1/31/17 9:39 AM Page 1 Auditorium Mar. 17th. See Calendar.
For
more information, visit ecmrecords.com
Diane Moser’s
Composers
Big Band
20th
Anniversary
Concert and
Celebration!
Photo:
Chris Drukker
TRUMPETS
J A Z Z C L U B
Wednesday, March 22 • 8-11 p.m.
For more info:
dianemosermusic.com
March 3 @ ibeam
www.ibeambrooklyn.com
8pm DUO – Carol Liebowitz (p), Nick Lyons (alto sax)
9pm QUARTET – Carol Liebowitz, Nick Lyons,
Ken Filiano (b), Michael Wimberly (dr)
Carol Liebowitz/Nick Lyons
F IRST SET
FIRST SET
Carol Liebowitz/Nick Lyons
Carol Liebowitz (piano), Nick Lyons (alto sax)
“This is a great duo”
—Bruce Lee Gallanter, Downtown Music Gallery
“hypnotically engaging”
—Roger Farbey, All About Jazz
PAYNE LINDAL LIEBOWITZ
BILL
E VA
CAROL
P AY N E
LINDAL
LIEBOWITZ
Bill Payne (clarinet), Eva Lindal (violin),
Carol Liebowitz (piano)
“high caliber musicianship and
intelligent, electrifying artistry”
—Hrayr Attarian, All About Jazz
6 Depot Square Montclair, NJ 07042
For reservations, call 973-744-2600
www.trumpetsjazz.com
lineartrecords.com
available on CD BABY,
iTUNES, AMAZON
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
17
2648 West Grand Boulevard
Claire Daly (Glass Beach Jazz)
by Terrell Holmes
The strongest clue about baritone saxophonist Claire
Daly’s new album lies in its subtitle: Jazz Interpretations
of Classic Motown 45s. The reference to a bygone era
underscores her strong emotional connection to those
spinning wax circles and the songs therein. Daly seems
to know that her listeners know the songs as well as
she does and will be replaying them in their heads. The
key is to maintain the Berry Gordy creed without being
slavishly tethered to them. And she succeeds big time.
Daly’s supple bari transforms The Four Tops’
“Loving You Is Sweeter Than Ever” into serious
uptempo bop, her dialogue with guitarist Jerome
Harris on the melody leading to her bouncing solo.
Daly transforms The Miracles’ “I Second That Emotion”
into a shoulder-weaving Calypso line dance. Daly is
equally soulful on the flute, showing off her formidable
chops on “The One Who Really Loves You” by Mary
Wells, played with an invigorated riff on a classic style.
She also delivers a sleek version of The Marvelettes’
classic “The Hunter Gets Captured by the Game”,
which has a nicely ironic pastoral intro.
Daly’s rendering of The Jackson Five’s “I Want You
Back” may be described as Caribbean bebop, featuring
masterful pizzicato by bassist Mary Ann McSweeney.
Daly’s baritone assuming the role of Eddie Kendricks’
falsetto on “I’m Gonna Make You Love Me”, the
Supremes/Temptations summit meeting, is a delightful
play on opposites. Jimmy Ruffin’s “What Becomes of the
Brokenhearted” is appropriately blues-laden and ends
perfectly on an unresolved note. Daly takes a more
melodically flexible approach on “Cloud Nine”. After an
intro that nods toward Marvin Gaye’s “Trouble Man”,
the band fires off some jazz-funk salvos. The passion and
grittiness of Daly’s playing ignites The Temptations’
cautionary tale and makes it the album highlight.
Taking on an institution like Motown, like the
works of Miles or Monk, is a formidable task. Familiarity
and reverence can be a blessing or a burden. Daly steps
up to that tightrope and boogaloos across it. She puts
interesting twists on timeless music but doesn’t overdo
it, leaving the tunes both familiar and fresh.
For more information, visit clairedalymusic.com. This
project is at Dizzy’s Club Mar. 21st. See Calendar.
Dobbeltgænger
Julie Kjær 3 (Clean Feed)
by Stuart Broomer
J ulie Kjær is a London-based Danish reed player who
has toured with Paal Nilssen-Love’s Large Unit.
Recorded at London’s Vortex club, her leader debut
presents her sticking to alto saxophone at the helm of a
trio with a veteran English rhythm section of John
Edwards and Steve Noble. The program consists of her
hard-bitten originals with a single improvisation. Each
of the compositions includes short rhythmic phrases,
punchy and precise, leading to tight-knit, fractured
lines that seem boiled down from longer reflections.
Kjær belongs to a long line of alto players who are
essentially laconic: her sound is dried-out with
individual notes and truncated phrases, which can
possess the brevity and intensity of a cry or a curse, the
pitch of every note inflected for maximum impact.
There’s a composition called “Alto Madness” that
might reference an obscure Jackie McLean LP from the
‘50s (though it’s the freer ‘60s McLean who is more
likely to come to mind) or Sonny Rollins and John
Coltrane’s better-known Tenor Madness. Either way it
suggests deep roots in a long tradition that includes
fellow Dane John Tchicai and Roscoe Mitchell and at
the contemporary limits French saxophonist Jean-Luc
Guionnet. Kjær is an expressionist who reduces her
content for maximum intensity.
The style is set from the opening “Out of Sight”
with freebop dialogues built around tensile bass
ostinatos and varying drum patterns, all three asserting
a kind of polyrhythmic kinship with Rollins’ early
trios, setting a specific and mobile bounce over which
solos and duos unfold naturally. The sole wholly
improvised piece, “Pleasantly Troubled”, is distinct for
its sometimes swirling passages of alto and bowed
bass, but there’s the same sense of dialogue and direct
address that conditions the rest of the music, at one
point Kjær punching out monotone rhythmic patterns.
Named in this gazette as one of 2016’s “Best Debuts”,
this CD presents a compelling new voice.
For more information, visit cleanfeed-records.com
Rasengan!
Santos Silva/Wodrascka/Meaas Svendsen/Berre
(Barefoot)
by John Sharpe
Rasengan! captures a first time meeting for Portuguese
trumpeter Susana Santos Silva with a crew of fellow
adventurers comprising Norwegian bassist Christian
Meaas Svendsen and drummer Håkon Berre and
French pianist Christine Wodrascka. It’s a continuous
36-minute improvised performance from Oslo’s 2016
Blow Out festival demarcated into two tracks. While
Silva has appeared on a number of albums that allow
her poetic side full expression—This Love (Clean Feed,
2015) with Slovenian pianist Kaja Draksler springs to
mind—here she traverses the outer limits. Although
the rest of the group contains no slouches, the date
comes to life when Silva raises her horn to her lips. The
bright sonorities almost inevitably cast the brass as the
focal point.
Silva explores the audacious language of a Peter
Evans or Nate Wooley, but situates her buzzes, hums
and double- and triple-tonguing among more
conventional contours. As such she is the main source
of melodic inspiration in a session otherwise dominated
by percussive timbres. Wodrascka supplies the
momentum for much of the set, imparted by her
rhythmic chording and edgy undertow. At times she
even adds a structural element to the flow, as with the
repeated three-note motif towards the end of the set.
Berre maintains a tappy clatter, diverging into bowed
cymbals and drum heads, generally coloring rather
than driving the band while Meaas Svendsen alternates
between the resonant pizzicato introducing the disc
and an abrasive drone that blends well with trumpet.
18 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
“Sweatshirt” proceeds by way of open interplay,
by turns exclamatory and dense. One early highpoint
arrives with sudden trumpet swells like notes played
backwards, echoed by similar arco swipes and scraped
cymbals, underpinned by choppy two-handed piano
lines. After that crescendo of excitement comes the
unavoidable lull, uneasy piano matched by grumbling
arco ushering in a hypnotic disorientating mood. Silva
remains at the heart of the interaction as she splutters
like a pressure cooker at the start of “Death By
Candiru” before straying into abstract muted lyricism
prior to a spiky, animated ensemble finish.
For more information, visit barefoot-records.com
B OXED SE T
A Woman’s Work...
Joëlle Léandre (Not Two)
by Clifford Allen
It’s always seemed appropriate that pianist Burton
Greene titled one composition off of his 1969 BYGActuel LP Aquariana “Basses Painters”, which
spotlighted the work of Bèb Guerin and Dieter
Gewissler. There was something about the former ’s
deep, gutsy arco swooping through the crackle of
otherwise
unoccupied
vinyl
space—utterly
expressive, gestural, furrowed and passionate. Barre
Phillips, too, on his 1968 solo bass LP Journal
Violone—deft, spry and kneading a bulwark of an
instrument like malleable impasto. Born in 1951,
French bassist Joëlle Léandre occupies this tradition
as well, though initially her work split the difference
between acting as an interpreter of postwar string
composition and free music. In league with players
like Stefano Scodanibbio and Bertram Turetzky, she
had pieces written for her by John Cage and Giacinto
Scelsi and performed the music of Iannis Xenakis,
Jacob Druckman and others.
But it as an improviser that Léandre is better
known and she comes by this honestly. In a
conversation with Franck Médioni (in the fascinating
book-CD-DVD package Solo, published by Kadima
Collective in 2012), Léandre says, “in playing, I’m
into the interaction of slow/fast, of loud/soft;
sometimes leaden material, broken, then lighter,
tension and release, I would say. Also into ruptures
of sound, then lyrical with more velocity. I worked
a lot on the fragment… It’s an organic pleasure,
a jubilation that comes more from jazz, from free
jazz, than from written music, where there’s this
obligation to read, to render perfectly the text on the
music-stand.” Léandre plays free and, in response,
orchestrally whether or not there’s a mass of sound
beyond her bass, voice and the immediate focus of
rushed air, sweat and rosin, a tactile dialogue
between person and instrument. If for someone like
guitarist Derek Bailey solo playing was “research”
rather than improvisation (which depends on
collective interaction), Léandre unaccompanied is
far from playing alone.
For her 65th year, the Polish label Not Two has
presented Léandre in a lavish eight-disc boxed set
titled A Woman’s Work… and in addition to one disc
of unaccompanied bass and vocal music, finds her in
duets with such players as guitarist Fred Frith,
trumpeter Jean-Luc Cappozzo, saxophonist Evan
Parker, pianist Agustí Fernández, violist Mat Maneri,
vocalist Lauren Newton, percussionist Zlatko
Kaučič, a quartet with Parker, Fernández and Kaučič
and the trio Les Diaboliques with pianist Irène
Schweizer and vocalist Maggie Nicols. Other than
the solo bass disc, which was recorded in 2005, the
remainder of the set was recorded more recently. Les
“There is a place of innovation, of improvisation, of impossible. That’s
where our survival is. Many have dipped to drink its power. Darkness
is the beauty and will always be. New worlds and words can change
this illusionary one. Enter.” – Nicole Mitchell
Diaboliques is a long-running and theatrical trio that
grew out of the Feminist Improvising Group and
European Women’s Improvising Group, initially
conceived (in part) as a queer woman’s antidote to
the quintessentially straight male focus of much
creative music. Their 2015 performance in Moscow
as heard in this set is far-ranging and detailed,
Nicols’ husky swoops and lilts dovetailing with
Schweizer ’s stippled jounce and the bassist’s
grumbling bowed glissandi on the opening salvo
and over the course of six pieces the trio moves into
droning plinks, balletic stomps and pinched, whining
declamations.
Cappozzo, a member of the Globe Unity
Orchestra who has also performed with Léandre in
both small units and a ten-piece ensemble, is
a superb duet partner and his scrunched flits and
gulps are a wonderful match for open strings and
tousled harmonics. His phrasing moves between
melodic jazz stanzas and breathy abstraction,
interleaving and cresting Léandre’s vibrating spruce
waves with ease. She notes in the accompanying
booklet that duets are her preferred mode of
performance (absent are poet Steve Dalachinsky and
flutist Nicole Mitchell, both of whom have recorded
stunning albums with the bassist) and it’s no surprise
most of these eight discs bring her into direct
communication with another individual—the
peppery glint of Parker ’s tenor or Frith’s dustbowl
preparations—and these conversations are presented
as gamely fresh challenges. A woman’s work is
certainly never done and for Joëlle Léandre, it
appears that she’s just getting warmed up.
For more information, visit nottwo.com
ALEXIS COLE
Mandorla Awakening II: Emerging Worlds, the new album
from Nicole Mitchell’s Black Earth Ensemble
ALEXIS COLE: NOw’S ThE TImE
mARCh 5Th, 6 Pm
TEdd FIRTh / dAvId FINCk / ERIC hALvORSON
May 5, 2017
fperecs.com
¤
¤
FPE Records
facebook.com/fperecs
ALEXISCOLE.COm
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
19
Beautiful!
Charles McPherson (Xanadu-Elemental Music)
by Duck Baker
Charles McPherson’s career got off to a fast start. He
was just 20 when he moved from Detroit to New York
in 1959 and within a year he was working with bassist
Charles Mingus. That association would last until 1972
and it is natural that it will always be the one for which
the alto saxophonist is best known. Even at that early
stage, McPherson’s adherence to the gospel of Charlie
Parker made him a bit of a throwback and he has
remained a bebopper at heart throughout his career.
But that is not to say that he was ever a mere imitator.
McPherson may have spoken the language Bird
defined, but he had his own story to tell.
During the ‘60s McPherson made six Prestige
records for producer Don Schlitten and when the latter
got the Xanadu label up and running in 1975, it didn’t
take long for the two men to reunite. Beautiful was the
first of four records McPherson made for Xanadu and
is a solid outing guaranteed to please anyone who likes
straightahead modern jazz. The rhythm section of
Duke Jordan, Sam Jones and Leroy Williams is superb
and McPherson relishes the opportunity to showcase
his rich tone on a program of standards. An early debt
to Johnny Hodges, possibly filtered through Sonny
Criss, is apparent, but the point is not the influences
but what our protagonist does with them, which is to
turn in confident improvisations full of nicely turned
ideas. McPherson is the kind of player that people
overlook because one must really tune in to hear how
engaged he is, always finding a subtle way to punctuate
or alter a phrase.
The CD concludes with a bonus track that didn’t
appear on the original LP, a trio version of “All God’s
Chillun Got Rhythm”, confirming the importance of
Jordan to the proceedings. Every note and every
gesture seems perfect, delivered with elegant grace
and a minimum of fuss. It must have been a treat for
McPherson to work with the pianist who added so
much to so many of his idol’s classic records.
For more information, visit elemental-music.com.
McPherson is at Jazz Standard Mar. 1st-3rd with George
Coleman. See Calendar.
Harlem Hieroglyphs
Jay Hoggard (JHVM)
by John Pietaro
This double-disc release by vibraphonist extraordinaire
Jay Hoggard stands as a salute to Harlem’s roots and
culture. Stringing together original compositions and
a few key covers offering an overview of the music’s
journey, Hoggard presents selections of what was once
commonly thought of as nightclub jazz and bits of
funky R&B too. With this timewarp, you’d almost
think New York City rents were affordable again. But Harlem Hieroglyphs is far from a museum piece.
Hoggard speaks with pride of this one-time Lenape
village of (as he reminds us in the liner notes) Manna
Hatta island. The music within swings and sits
comfortably in the canon, with gorgeously recorded
vibraphone sharing the frontline with the alto and
soprano saxophones of the much-lauded Gary Bartz.
The album opens with Frank Loesser ’s “If I Were
a Bell”, which Hoggard states was important to him
symbolically, considering his ax. Played in a Sunday
brunch feel, as opposed to other selections that carry
on well past midnight, this is the kind of standard one
still hears echoing through 125th Street—as well as 7th
Avenue South. No matter the lateness of the hour, it is
an excellent example of the heritage of our city’s jazz
tradition: small-group swing themes, progressive
strains and some delightfully boppish heads. “Sonic
Hieroglyphs” exemplifies the latter, with the leader ’s
runs up and down the bars feeling like the ascension of
Milt Jackson. At several points, his melodic duels with
Bartz are reminiscent of the classic Bags and Trane
album (another example is “Airegin”, which contains
melodic statements of considerable length and
rapidity). And Hoggard also manages to conjure Lionel
Hampton and perhaps Red Norvo at other points; his
lack of vibrato, until certain special moments, speaks
to the latter connection.
Throughout, the rhythm section is exemplary:
pianist/organ player James Weidman (replaced by Nat
Adderley, Jr on six of the cuts), bassist Belden Bullock
and drummer Yoron Israel are integral components in
top form. The closing cut, “Disposable Consumption”
(who couldn’t love that title?), is a killer, seemingly
twisting cool school into a complex suite that leaves
one awaiting another section by the time the disc ends.
group workout on Antonio Carlos Jobim’s “Chega de
Saudade”, featuring fine solo turns from Martin and
Cruz, and the emotional reading of “Volver”, a tango
that Simon’s father used to sing.
Simon and his sympathetic partners do an
exemplary job throughout the album of putting
a contemporary, personal spin on classic material,
making the case for these tunes from the Latin
American Songbook to be played as standards by all
jazz artists.
For more information, visit sunnysiderecords.com. Simon is
at National Sawdust Mar. 2nd as part of a tribute to
Mercedes Sosa. See Calendar.
NANCY
VALENTINE
SINGS THE mUSIC
oF BILLY STRAYHoRN
Featuring
HarrY aLLen - tenor sax
witH
JoHn di Martino trio
JoHn di Martino - Piano
Boris KozLov - Bass
MarK taYLor - druMs
wednesdaY, MarcH 22 nd
jazz at kitano
2 sets: 8PM & 10PM
($17 CoVER + $20 mINImUm)
66 pARk AVENUE @ 38TH STREET
RESERVationS HiGHLY SUGGEStED!
TEL: 212-885-7119 / kITANo.Com
a mEmoRabLE SinGER poiSED to makE an impoRtant
impact on tHE mUSic ScEnE. - Scott Yanow
NANCYVALENTINEjAzz.Com
For more information, visit jayhoggard.com. Hoggard is at
Roulette Mar. 2nd with Taylor Ho Bynum. See Calendar.
Latin American Songbook
Edward Simon (Sunnyside)
by Joel Roberts
V eteran
pianist Edward Simon’s latest release is
a love letter to the music of his childhood. Growing up
in Venezuela, Simon was exposed to a wide spectrum
of music from across South America, as well as the
Caribbean, all of which made an indelible impression
on the young artist, informing the musician he is to
this day.
The 47-year-old Simon, who has played in the past
with the likes of Greg Osby, Bobby Watson, Terence
Blanchard and the SFJAZZ Collective, fluidly melds
a modern jazz sensibility with a deep affection for
traditional folk music. The new album is a bookend in
some ways to Simon’s 2014 release Venezuelan Suite,
expanding the focus from just his homeland to the
entire continent and beyond. The seven songs Simon
covers are classic compositions representing six
different countries and multiple styles, including
Brazilian Bossa nova, Argentinean Tango and Cuban
Bolero, as well as tunes from Puerto Rico, Chile and his
native land.
Simon leads his long-standing trio of bassist Joe
Martin and drummer Adam Cruz through the diverse
set with a warm, lyrical and easily appealing piano
style. He plays with drama and flair on Astor
Piazzolla’s passionate “Libertango” and with a subtle
mastery on the gorgeous Cuban ballad “En la Orilla
del Mundo”. Other highlights include the energetic
20 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
R
e
c
o
m
m
e
n
d
e
d
• Michaël Attias Quartet—
Nerve Dance (Clean Feed)
• Ernest Dawkins New Horizons Ensemble
(featuring Vijay Iyer)—Transient Takes (s/r)
• Harris Eisenstadt—Recent Developments
(Songlines)
• Satoko Fujii—Invisible Hand (Cortez Sound)
• Champian Fulton—Speechless (Posi-Tone)
• Noah Preminger— Meditations on Freedom
(Dry Bridge)
• Andreas Schaerer—The Big Wig
(ACT Music)
• Idrees Sulieman Quartet—The 4 American
Jazz Men in Tangier
(Groovin’ High-Sunnyside)
• Trio 3—Visiting Texture (Intakt)
• Miroslav Vitous—Ziljabu Nights
(Live at Theater Gütersloh) (Intuition)
Laurence Donohue-Greene, Managing Editor
n
e
w
• Roberto Fonseca—Abuc (Impulse!)
• Led Bib—Umbrella Weather (RareNoise)
• Robert Dick—Our Cells Know (Tzadik)
• Ellery Eskelin/Christian Weber/
Michael Greiner—
Sensations of Tone (Intakt)
• Miklós Lukács/Larry Grenadier/
Eric Harland—Cimbalom Unlimited
(BMC Records)
• Madness Tenors—Be Jazz for Jazz (Cristal)
• Cecilia Persson/Norrbotten Big Band—
Composer in Residence (Prophone)
• Eve Risser White Desert Orchestra—
Les Deux Versants Se Regardent (Clean Feed)
• Matthew Shipp Trio—Piano Song
(Thirsty Ear)
• Miroslav Vitous—Ziljabu Nights
(Live at Theater Gütersloh) (Intuition)
Andrey Henkin, Editorial Director
r
e
l
e
a
s
e
s
Masters Legacy Series Volume 1 (featuring Jimmy Cobb)
Emmet Cohen (Cellar Live)
by Scott Yanow
Emmet Cohen is an excellent bop-based pianist who
works in the trios of bassist Christian McBride and
drummer Ali Jackson and has gained experience with
a variety of allstars including Jimmy Heath and Brian
Lynch. Cohen is both a masterful accompanist and a
soloist whose swinging style is reminiscent of Wynton
Kelly, Red Garland and other late ‘50s masters.
The Masters Legacy Series is designed to honor
surviving jazz legends. Volume 1 features veteran
drummer Jimmy Cobb, best known for his years
(1958-62) with Miles Davis. Cohen and Cobb are joined
by bassist Yasushi Nakamura with alto saxophonist
Godwin Louis guesting on two numbers.
Cobb was on famous recordings of several
numbers: “Flamingo” was on his very first session,
recorded with Earl Bostic in 1951; “Two Bass Hit”
recalls his classic rendition with Miles Davis; “On The
Trail” was recorded with Joe Henderson and Wynton
Kelly; and he was on “Hard Times”, David “Fathead”
Newman’s hit. In addition to the standards, Cohen
contributes three originals to the program.
While Cobb takes several short solos and a slightly
longer one on “Concerto For Cobb”, Cohen is the main
soloist. The performances, which could easily hail
from 1962, contain many highlights. “Two Bass Hit”
follows the framework of the Davis Sextet’s version
even though performed by the trio. Louis displays an
original tone on “Folk Song” (a Cohen original in the
vein of “Dear Old Stockholm”) and “Hard Times”.
“When I Fall In Love” is a fine showcase for Cohen’s
ballad artistry. It is a joy having the somewhat obscure
“If This Isn’t Love” (taken as a cooker) and “Flamingo”
being revived. And while “Concerto For Cobb” is not
really a concerto, the uptempo piece (with an unusual
bridge) has one of the drummer ’s best solos.
For more information, visit cellarlive.com. This project is at
Smalls Mar. 3rd-4th. See Calendar.
Make Noise!
Jeremy Pelt (HighNote)
by Phil Freeman
Trumpeter Jeremy Pelt led a superb quintet with
saxophonist JD Allen, pianist Danny Grissett, bassist
Dwayne Burno and drummer Gerald Cleaver for four
albums between 2008-12. Since then, he’s preferred to
have new personnel—and a new approach—on every
album (he releases one every January). This year is it
up-and-coming star Victor Gould (piano), Vicente
JOIN US
AT T H E
CULTURAL CENTER
OF THE LYCÉE FRANÇAIS
DE NEW YORK
TWO VOICES
FROM
FRANCOPHONIE:
Archer (bass), Jonathan Barber (drums) and Jacquelene
Acevedo (percussion). The latter is the first player
heard; she introduces the album-opening title track
with a near-minute-long percussion solo. The piece
itself is a hard-swinging slice of Woody Shaw-esque
hardbop. Barber and Acevedo drive the band with
force and precision, never getting in each other ’s way.
Gould’s solo is focused and melodic and Pelt sticks to
the horn’s middle register for the most part, his notes
full-bodied and well chosen.
“Digression”, the only outside composition, comes
from pianist Simona Premazzi, who played on Pelt’s
2015 release Tales, Musings and Other Reveries. It’s
a mellow ballad showcasing the band’s fundamental
unity. Archer takes a lengthy solo that somehow never
lets the primary rhythmic impulse fade away and
Gould does a superb job of providing a melodic anchor.
Pelt solos with a gentle but probing intellect, seamlessly
linking two- and three-note phrases together like he’s
discovered a way to breathe through his ears.
Barber ’s solo, “Introduction to Evolution”, gets its
own track on the CD, but don’t worry—it’s only two
minutes long. The piece itself has the time-fracturing
feel of Miles Davis’ ‘60s quintet, with the drummer
slicing up the beat and pianist and percussionist both
absent for the first half of its 5:45 running time. This
permits Pelt to bob and weave, alone in the center of
the ring, occasionally leaping into the horn’s upper
register like he’s been startled. Gould’s solo, by
contrast, has a Latin feel, tinged with romanticism.
Pelt’s annual dispatches get every year off to a
good start. Make Noise!, which also introduces his new
working band, is no exception.
For more information, visit jazzdepot.com. Pelt is at Smoke
Mar. 3rd-5th with Willie Jones III. See Calendar.
ALL THE BEST FROM
THE BLACK FOREST
Gino Sitson &
Marie-Jo Thério
Wednesday,
March 8, 2017 7:00pm
Reservations:
lfny.org/concerts
Presented with the Organisation Internationale
de La Francophonie
(212) 369 1400 | W W W.L F N Y.O R G
REFOREST THE LEGEND
MPS_Anzeige_Ella_Fitzgerald_NYCJR_g.indd 1
VINYL /
DIGITAL
16.02.17 16:17
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
21
Frescalalto
Lee Konitz (Impulse!)
Olden Times (Live at Birdland Neuburg)
Lee Konitz/Kenny Wheeler Quartet (Double Moon)
by Clifford Allen
Alto saxophonist Lee Konitz will be 90 in October and
is one of the few remaining players to have encountered
Charlie Parker as a peer (Bird was just shy of seven
years his senior) while coming up in the ranks of bebop
saxophonists. Far from limiting himself to the Great
American Songbook or jazz standard fare, Konitz has
spent decades exploring what bop made possible,
through his studies with pianist Lennie Tristano or
collaborations with open-ended modernists. He
continues to perform with unsurpassed depth well
into what most would call their autumnal period.
Frescalalto is Konitz’ first album for Impulse!,
which is somewhat surprising given the label’s 55-year
history and penchant for presenting vanguard
saxophonists. Joined by the established rhythm section
of bassist Peter and drummer Kenny Washington along
with pianist Kenny Barron, Konitz’ tart quaver is
granted supple heft on a program of eight standards
and originals. One shouldn’t expect to hear the dry,
fluid burble and obscured bar lines of Konitz 40, 20 or
even 10 years ago—he’s gamely behind the beat on
“Thingin’”, chortling with sharp abstraction before the
rhythm section shoves forward with a light bounce
and a trade of greasy fours—but his tone and
improvising are pure and honest. “Darn That Dream”
finds Konitz singing the melody in a warm, lightly
gruff voice in duet with Barron’s gentle glints before
he switches to alto for a brief solo. “Out of Nowhere” is
among the most open and spry of the set, alto pushing
with breathy force against a muscular, swinging yaw
while Barron’s jovial blues and the bassist’s resonant
hum separate wind from another vocal melody. If the
improvisations presented on Frescalalto are the
indicator of late-period Konitz, then his music is alive
and well in the 21st century.
18 years ago, Konitz met up with trumpeter Kenny
Wheeler (1930-2014), pianist Frank Wunsch and bassist
Gunnar Plümar for a live set released as the aptly-titled
Live at Birdland Neuberg. With some slight variation in
titles and track lengths, the set has been reissued as
Olden Times, a brilliantly-recorded example of
drummerless bebop and the almost chamber-like
sparseness employed by some in Konitz’ circle. The
saxophonist and trumpeter had recorded just three
years before for ECM on the album Angel Song, and
Wunsch and Plümer are more than up to the challenge
of propelling and carpeting without a drummer present.
Both horns are rendered with full precision, Wheeler’s
clarion crinkle splayed out over a strumming chordal
vista on “Where Do We Go From Here” as Wunsch’s
romanticism echoes in the directions of Keith Jarrett and
Martial Solal. Konitz grants his solo a laid-back heave,
emphatic and held in glorious suspension as he makes
a pass at “Star Eyes”. The tunes are on the rangy side
with the staple “Thingin’” nudging close to the
15-minute mark, each of the musicians taking an
acappella stand before merging in a unison, staccato call
and the composer’s tough, ebullient keen. There’s no
question that the Konitz of this tune in 1999 and in 2017
is the same interpreter, hitting with strident conviction
no matter how sure the body is of its own ability.
For more information, visit impulse-label.com and
challengerecords.com. Konitz is at Brooklyn Conservatory
of Music Mar. 4th. See Calendar.
22 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
www.intaktrec.ch | Distributed by Naxos America | Mailorder: www.naxosdirect.com | Amazon.com
iTunes Store | Available in NYC: Downtown Music Gallery | Download-Shop: intaktrec.bandcamp.com
intakt records
Intakt CD 278 / 2017
aki takase – daVid MUrraY
CHERRY – SAKURA
Aki Takase: Piano | David Murray: Tenor Saxophone, Bass Clarinet
Intakt CD 285 / 2017
stePHan crUMP – inGrid LaUBrock – corY sMYtHe
SENSATIONS OF TONE
Stephan Crump: Acoustic Bass | Ingrid Laubrock: Tenor and Soprano Saxophones | Cory Smythe: Piano
Intakt CD 282 / 2017
trio 3
VISITING TEXTURE
Andrew Cyrille: Drums | Reggie Workman: Bass | Oliver Lake: Saxophone
March 21 – 26, 2017: Village Vanguard, New York City
OO INTAKT RECORDS IN LONDON
VORTEX JAZZ CLUB, 16. bis 27. April 2017
Barry Guy Birthday Celebration with Maya Homburger – Barry Guy, Howard Riley Trio with Barry Guy and Lucas Niggli, Barry Guy – Evan Parker, Jürg Wickihalder Beyond, Aki
Takase – Ingrid Laubrock, Alexander von Schlippenbach Plays Monk, Ingrid Laubrock Sleepthief, Irène Schweizer – Louis Moholo Moholo, Aki Takase – Rudi Mahall, Lucas Niggli – Jan
Galega Brönnimann – Aly Keïta, Omri Ziegele Where’s Africa feat. Louis Moholo Moholo, Irène Schweizer – Maggie Nicols, Noisy Minority feat. Percy Pursglove, Sylvie Courvoisier – Mark
Feldman – Evan Parker, Sylvie Courvoisier – Mark Feldman Duo, Omri Ziegele – John Edwards – Mark Sanders, Sarah Buechi – Lauren Kinsella – John Edwards – Hannah Marshall, Sarah
Buechi Shadow Garden, Christoph Irniger Pilgrim, Stefan Aeby Trio, Aki Takase – Rudi Mahall, Florian Egli Weird Beard, Trevor Watts – Dieter Ulrich, Steve Beresford – Julian Sartorius,
Pierre Favre DrumSights, Pierre Favre Solo, Schlippenbach Trio with Evan Parker and Paul Lovens, et al.
Mediapartner: Jazzwise | Program: www.intaktrec.ch/london
Alba
Markus Stockhausen/Florian Weber (ECM)
by Mark Keresman
Sometimes
the acorn does not fall far from the
figurative tree. Trumpeter Markus Stockhausen, who
straddles the spheres of notated and improvised
music(s), is the son of avant garde icon Karlheinz
Stockhausen, one of the most significant composers of
the 20th century, while pianist Florian Weber is the son
of a music professor and an opera singer who went on
to study with John Taylor and Paul Bley. Together,
Stockhausen and Weber weave a subtly glorious
tapestry of luminous lyricism.
Alba consists of 15 concise originals. While
Stockhausen’s poetic tone might evoke early ‘60s Miles
Davis, his style itself does not, impacted by European
classical music as much as jazz. “Mondtraum” begins
with a simple, somewhat Christmas tune-like melody
and Stockhausen’s harmonious horn work (he
alternates between trumpet and flugelhorn), forlornly
crooning an almost folk-like hymn to a chilly, starry
sky, looking toward the Bethlehem in your mind with
a warm, wide tone vaguely calling to mind a French
horn. “Beifreiung” has Stockhausen’s Miles-hinted
horn gliding over Weber ’s genial bob-and-weave,
slightly blues-flavored chords.
The breathtakingly lovely “Resonances” finds
Stockhausen unaccompanied, drawing forth almost
flute-like sounds before building to a brassy yet elegiac
crescendo. “Surfboard” has rolling fugue-like piano
chords, Stockhausen making with a breezy, Pacific
Coast highway idyll that ‘50s Chet Baker would have
been proud to call his own. While it starts off as
a restive ballad, “Zephir” gradually builds into an
elegant slice of midtempo bebop, Weber swinging
pensively, Stockhausen melancholic, both building to
an expanse wherein restorative sunlight can shine.
Subdued, intimate, thoughtful though laced with
an almost naïve playfulness, Alba is ECM chill-out jazz
of the highest order.
For more information, visit ecmrecords.com. Weber is at
Cornelia Street Underground Mar. 1st with Mareike
Wiening and Brooklyn Conservatory of Music Mar. 4th
with Lee Konitz. See Calendar.
The New Breed
Jeff Parker (International Anthem)
by Robert Bush
F ormer Chicago-based guitarist Jeff Parker has
recently relocated to Los Angeles and this album
reflects a renewed interest in samples and beat-making
with a remarkably democratic West Coast ensemble of
electric bassist Paul Bryan, saxophonist Josh Johnson
and drummer Jamire Williams. Both Johnson and
Parker also contribute lots of textural keyboards.
The disc begins with “Executive Life”, as scratchy
record sounds wash over throbbing bass. Johnson and
Parker play dreamy unisons in a manner recalling
early Weather Report (think Sweetnighter and Mysterious
Traveler) melding with a more hip-hop aesthetic. “Here
Comes Ezra” is infused with Parker ’s unique approach
to modal harmony and dominated by the heartbeatlike kick drum. Bobby Hutcherson’s “Visions” leans on
the guitarist’s use of distortion and some jump-cut
choreography clashing against mangled keyboards but
grounded by the organic swirl of Williams’ brushes.
Most of the material avoids the classic head-soloshead format so it is kind of a relief when “Jrifted” shifts
from volume pedal swells and ethereal harmonies into
conventional features for Parker (who sounds a lot like
Sonny Greenwich on this one) and Johnson (who has
mastered the concept of pensive agitation). Bryan gets
a welcome showcase on “How Fun It Is To Year Whip”,
another beat-dominated tune reminiscent of a lot of the
music on the Pat Metheny Group’s 1995 session We
Live Here.
The conversational ambiance that weaves through
“Get Dressed” is a nice touch, as is the crackling snare
and extended guitar solo in the Grant Green tradition.
It all comes together on the closing number, “Cliché”,
where Jobim comes crashing into J Dilla. This tune
features the guitarist’s daughter Ruby on vocals, who
comes across with solid intonation and limber acuity.
Johnson also gets some prime real estate to blow over
and he acquits himself well.
For more information, visit intlanthem.com. Parker is at The
Stone Mar. 4th-5th with Oscar Noriega. See Calendar.
Transient Takes
Ernest Dawkins New Horizons Ensemble
(featuring Vijay Iyer) (s/r)
by Robert Iannapollo
Chicago reed player Ernest Dawkins is perhaps not as
well known as some of his peers who emerged from
the Association for the Advancement of Creative
Musicians (AACM). Until recently, he was a longstanding member of drummer Kahil El’Zabar ’s Ethnic
Heritage Ensemble and has led his own bands, most
notably the New Horizons Ensemble since 1992.
A group with fluctuating personnel, it has released ten
albums of strong, AACM-style jazz. Pianist Vijay Iyer
emerged in the ‘90s and has amassed an impressive
discography for ACT and ECM, several entries of
which have topped the year-end polls in the last
decade. What’s impressive about Iyer is his penchant
for immersing himself in the music and groups of
others, including funk collective Burnt Sugar and
Wadada Leo Smith’s Golden Quintet.
Transient Takes came about in a most casual
manner. In 2013, Iyer went to hear Dawkins at a New
York concert. The two met and Iyer agreed to record
with Dawkins’ New Horizons Ensemble. The program
consists of three Dawkins compositions, the rest
improvised on the spot. Tracks are programmed in the
sequence in which they were played. The openers
(“Dawkness” and “And The Light”, both Dawkins
compositions) are of a similar stripe: energy music
played with an intensity and focus that belies the
unfamiliarity of the players. Dawkins’ playing (on
either tenor or alto saxophone) is an attractive mix of
the lyrical line and the ebullient shout and the rhythm
section of Junius Paul (bass) and Isaiah Spencer
(drums) slips into their role with ease.
It’s great to hear Iyer in this context, one in which
24 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
he has rarely been captured but that he clearly relishes.
He digs in with gnarled chords that blend nicely with
the rhythm section and prod Dawkins. By the middle
of the program (“South Side Breakdown”, the other
Dawkins composition), the band is firing on all
cylinders and sounds like a working group. The
program ends with two duets between Dawkins and
Iyer, simply titled “V & E” and “E & V”, a perfect
conclusion indicating a future full set of duets would
be a fine idea.
For more information, visit ernestdawkins.com. Vijay Iyer
is at Merkin Concert Hall Mar. 4th as part of the Ecstatic
Music Festival. See Calendar.
Now Hear This!
Ken Fowser (Posi-Tone)
by Ken Dryden
K en Fowser has a healthy respect for past jazz masters
while forging new harmonic directions of his own. The
saxophonist studied with Harold Mabern, Ralph
Lalama, Grant Stewart and Eric Alexander. Now Hear
This! features the identical top-notch band featured on
his previous CD for Posi-Tone: trumpeter Josh Bruneau,
pianist Rick Germanson, bassist Paul Gill and drummer
Jason Tiemann.
A prolific composer, Fowser brought 11 strong
originals to the session and the familiarity of the
musicians likely made it an easy date. One of the
remarkable things about the players is that they
consistently solo with gusto, displaying a gift for
melody and interplay, without resorting to excessive
choruses. The chemistry between Fowser and Bruneau
is readily apparent while the rhythm section packs
a punch as well. It is also clear that the leader knows
how to pace a set with a variety of styles and tempos to
avoid wearing out the listener, something all too often
overlooked by young musicians.
The quintet bursts with energy in “Blast Off”,
potent hardbop featuring sizzling yet brief solos by
Fowser, Bruneau and Germanson. A salute to Mabern,
“Blues For Mabes”, has a sassy, soulful air with a Latin
undercurrent and a playful reference by Germanson to
Dizzy Gillespie. Frenetic “The View From Below” is an
intense workout powered by the rhythm section’s
inventive support as much as the inspired solos. Laidback Bossa nova “One And Done” showcases the
lyrical side of Bruneau and Fowser. The catchy
hardbop title track would have been right at home in
Art Blakey’s Jazz Messengers songbook and is a perfect
set closer for gigs. The title “Ready The Mops” might
give the impression of a late-night blues, but that’s far
from the case: the quintet fires on all cylinders, leaving
listeners wanting more.
For more information, visit posi-tone.com. Fowser is at Fat
Cat Mar. 9th and The Django Mar. 10th, 17th and 24th. See
Calendar.
Bright Eyes
Victor Provost (Paquito)
by Elliott Simon
W ith
the exception of adding island coloration to
a tune or its curious place in jazz fusion, steel pan is
not a significant jazz instrument. Since 2011
(Her Favorite Shade of Yellow), however, Victor Provost
has gone about changing that. Provost is a steel pan
virtuoso and his runs and arpeggios would make the
best bop saxophonist jealous. His sophomore effort,
Bright Eyes, takes his concept to the next level. His
skills in combination with a variety of guests generally
make up for the instrument’s inherent shortcomings in
dynamic range.
Provost’s pan playing is vibraphone-like and his
core group of pianist Alex Brown, bassist Zach Brown
and drummer Billy Williams, Jr. are at their best when
they treat it as such. Opener “Eastern Standard Time”
is an example of that, hearkening back to the pan’s
place in jazz fusion with Tedd Baker ’s tenor saxophone
and John Lee’s very cool guitar spot-on in relation to
the pan’s unique timbre. The title cut features Baker
along with vibraphonist Joe Locke for elegant melodic
interplay and is a session highlight. Despite Provost’s
mastery sometimes things don’t totally gel. The pan
seems out of its element on “Fitt Street” and while alto
saxophonist Paquito D’Rivera adds excellent solo work
to “Homenaje” the tune does not offer much else.
Ballads like the beautiful “Twenty” and touching
“Ella Nunca Tiene Una Ventana” both profit from
Paulo Stagnaro’s added percussive color and generate
piano/pan voicings that are unique and heartfelt while
“Song For Chelle” is a stand-out, a serious composition
benefiting from a creative “Intro” setting up boundarypushing musicality. Closer “La Casa de Fiesta” is an
aptly titled burner ending the session on a high note,
courtesy of Ron Blake’s soprano saxophone and
Etienne Charles’ trumpet.
flavored “Rise Up”. Metheny’s sidemen lay out on
a 10-minute solo medley of gems from the past such as
“Last Train Home”, “Phase Dance”, “Minuano (Six
Eight)”, “Midwestern Night’s Dream” and “Omaha
Celebration” (the latter from his 1975 leader debut
Bright Size Life).
Metheny has enjoyed a long career, building
a diverse, far-reaching catalogue over the years. The
Unity Sessions is a rewarding demonstration of how
unpredictable his Unity Group could be.
For more information, visit nonesuch.com. A Metheny
Q&A and tribute is at Le Poisson Rouge Mar. 10th as part
of the Alternative Guitar Summit. See Calendar.
For more information, visit sunnysiderecords.com. This
project is at The Jazz Gallery Mar. 9th. See Calendar.
The Unity Sessions
Pat Metheny (Nonesuch)
by Alex Henderson
P at
Metheny’s Unity Group could have had a onealbum history, but the reaction to 2012’s Unity Band
and the tour that followed it was so positive that the
veteran guitarist went on to record a second album,
2014’s Kin, and release The Unity Sessions DVD in 2015.
This two-CD set, essentially an audio-only version of
the DVD, was recorded in a New York City theater but
without a live audience. The Unity Sessions is neither
a live album in the traditional sense nor a studio
recording, although is representative of what audiences
heard on the tour for Kin. The guitarist leads a cohesive
lineup consisting of Chris Potter (tenor and soprano
saxophone, bass clarinet, flute and guitar), Giulio
Carmassi (acoustic piano, synthesizer, flugelhorn and
backing vocals), Ben Williams (acoustic and electric
basses) and Antonio Sanchez (drums).
Material previously included on Unity Band and
Kin
is
performed,
although
with
different
improvisations. Melodic offerings such as “We Go
On”, “This Belongs to You” and “Sign of the Season”
recall Metheny’s work with keyboardist Lyle Mays
during the ‘80s and Carmassi’s occasional background
vocals are not unlike the wordless, Brazilian-minded
improvisations singer Pedro Aznar brought to the
group back then. But Metheny and Mays didn’t have
a star saxophonist and Potter ’s attractive sound is
a major asset to these performances.
Much of The Unity Sessions is best described as
fusion with postbop leanings, but Metheny makes
some exciting detours into the avant garde on
“Genealogy”, Ornette Coleman’s “Police People” and
the intense “Go Get It” (which combines free jazz with
some hard-rock shredding à la Steve Vai and Joe
Satriani). The double-disc also includes everything
from an exuberant hardbop workout on Ray Noble’s
“Cherokee” and Japanese-like mood of “Come and
See” to Al Di Meola-ish moments on the flamenco-
PRESENTS
AKIKO
TSURUGA
TRIO
F R I D A Y, M A R C H 2 4 , 2 0 1 7
7:00PM
AARON DAVIS HALL
West 135th Street & Convent Avenue
(129 Convent Avenue)
Tickets: $20 Regular / Students & Seniors $10
Hailing from Osaka, Japan, this Hammond B3 jazz organist
has been a mainstay in the New York jazz scene since 2001.
Charlie Sigler on guitar and McClenty Hunter on drums join
Akiko in a soulful evening of swinging jazz – don’t miss it!
“One of the most talked about and acclaimed jazz organists
on the scene today!” –Allegro Music
For more information
www.citycollegecenterforthearts.org or (212) 650-6900
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
25
Talking Trash
Pascal Niggenkemper Le 7ème Continent (Clean Feed)
by Stuart Broomer
Bassist Pascal Niggenkemper’s Le 7ème Continent takes
its name from a peculiar environmental phenomenon:
the “seventh continent” is a mass of plastic waste that
ocean currents have assembled in the Northern Pacific.
It would be easy enough to launch a musical
diatribe against the degradation of the environment by
a wasteful consumer culture, filled with much breastbeating and screeching saxophones. Niggenkemper ’s
musical meditations, however, take a radically different
form. Even the instrumentation suggests a certain
multiplicity of perspectives: the group is effectively a
series of duos or a double trio with Joachim Badenhorst
and Joris Rühl (clarinets), Eve Risser and Philip Zoubek
(prepared pianos) and Niggenkemper ’s bass matched
at times with Julián Elvira’s subcontrabass flute and on
one track Constantin Herzog’s bass.
Amplification,
preparation
and
extended
techniques count for much here; this often sounds like
electronic and percussion music. It often develops
around drones, whether produced by bowing, feedback
or circular-breathing. Niggenkemper uses his resources
very differently from piece to piece. The title track—
with the most ‘natural’ sounds—has jagged, spritely
clarinet lines set against disordered ragtime piano. The
clarinets predominate on “135°W - 155°W & 35°N 42°N”, using circular-breathing and multiphonics to
create drones and pulses while the prepared pianos of
“Gyres Océaniques” are a virtual percussion orchestra.
The expansive long tones and tinkling metallic
percussion of “Plastisphere” move toward an ultimate
unison both original and beautiful while the engaged
trios of “Ideonella sakaiensis” have great intensity,
resonating with the name, a recently discovered
bacteria that breaks down PET plastics into harmless
substances. That feeds into what is most remarkable
about this music’s relationship to its subject matter.
Inspired by the scale and mystery of both the planet
and our excess, Niggenkemper brings a certain sense of
awe to his subject, a sense that no matter how terrible
our waste there is something extraordinary about our
ability to conspire with currents to create any kind of
continent, however unintentional our act. The final
“Kinetic Islands” is a languorous, New Orleansflavored blues, more romance than dirge, as if
Niggenkemper has found in that circling mass of trash
something wonderful about our creative potential.
For
more
information,
visit
cleanfeed-records.com.
Niggenkemper is at ShapeShifter Lab Mar. 13th. See Calendar.
Paul West (bass) and Lewis Nash (drums). Longo has
been on the scene for many years, releasing albums
starting in the early ‘70s for Mainstream, P-Vine, Pablo
and, since the late ‘90s, his own Consolidated Artists
Productions, touring on and off with Dizzy Gillespie
from the late ‘60s to mid ‘70s and, more recently,
presenting a weekly jazz series at the John Birks
Gillespie Auditorium of the NYC Baha’i Center.
The material consists of songs from musical theater,
pop standards and jazz compositions by Dizzy Gillespie,
Thelonious Monk and Oscar Pettiford to go along with
four Longo originals.
Longo’s laid-back style allows him space to build
his solos (as in Gillespie’s “Just A Thought”, one of two
tunes by his former boss) flush with the lyricism and
playfulness inherent in his spirit, as with Monk’s
“Brilliant Corners” where he, West and Nash have
extra fun with the time signatures. Longo’s original
compositions consist of less-is-more melodies in an
uptempo blues format (“Conflict Of Interest”), Latin
feel (“Why Not Me”) or balladry (the title composition).
Each song (especially the more familiar selections)
is presented in a refreshing manner, be it with tempo
changes as on the aforementioned “Brilliant Corners”
or Longo’s phrasing style on the Charles StrouseMartin Charnin opener “Tomorrow” from the musical
Annie, which emphasizes the melody via Nash’s mallet
work. West’s lyrical bass is featured in his solo on
fellow bassist Pettiford’s “Bohemia After Dark” and
Nash, a complete drummer with equal rhythmic and
melodic facility, features delicate brushwork on the
closer, Eubie Blake’s golden oldie “Memories of You”,
wherein everything old is new again.
For more information, visit jazzbeat.com. Longo is at NYC
Baha’i Center Mar. 14th. See Calendar.
Academy Records
& CDs
Cash for new and used
compact discs,vinyl
records, blu-rays and
dvds.
We buy and sell all
genres of music.
All sizes of collections
welcome.
For large collections,
please call to set up an
appointment.
Only Time Will Tell
Mike Longo (Consolidated Artists Productions)
by Marcia Hillman
Mike Longo is a master of the classic piano trio format
and continues to demonstrate it on his new album with
26 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
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12 W. 18th Street NY, NY 10011
212-242-3000
He’s available now! Call Steve’s cell at 630-865-6849.
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Nobody Does It Better
The CCM Orchestra as James Bond (featuring
Steven Bernstein) (Summit)
by Donald Elfman
Nobody Does It Better is the realization of an ambition
of Scott Belck to have his Cincinnati Conservatory of
Music Orchestra play what he calls Steven Bernstein’s
“decidedly tweaked renditions” of music John Barry
wrote for James Bond films. Bernstein’s Sex Mob had
done a 2001 recording of this music and this effort
converts those charts to big band format. Bernstein and
the Cincinnatian are clearly up to it.
The set starts with Bernstein’s “Dr. Yes”, guitar,
organ and the orchestra introducing the slinky theme.
Joe Wittman’s wailing guitar is featured prominently,
adding color to the full ensemble and in a powerful
solo. Sam Lauritsen soars on trumpet in amusing
contrast to the slithering of Bernstein’s slide trumpet.
The music is mostly familiar themes from the films
and some incidental music accompanying dramatic
scenes. “Bond with Bongos” features the line that
started the whole brand; a repeated note from Joe
Duran’s baritone saxophone is followed by brass and
flutes, pushed along by Nick Amering’s bass,
percussionist Shane Jones giving new definition with
his vibrant thumping. The celebratory Marvin
Hamlisch-Carole Bayer Sager title track, originally
sung by Joni Mitchell, is played tongue firmly in cheek
by Bernstein, with tenor saxophonist Josh Kline and
Duran getting deep into the fun. Duran arranged two
more of the famous themes, “You Only Live Twice”
and “Thunderball”: the former is a playful waltz with
dark undertones and lovely solos by Lauritsen and
tenor saxophonist Dan Erbland while the latter is
smokily evocative thanks to Chris Ott’s trombone.
This smart recording stands as a beautiful
collaboration between talented young musicians and
adventurous arrangements of much-loved material.
For more information, visit summitrecords.com. Steven
Bernstein is at Bar Lunàtico Mar. 2nd, National Sawdust
Mar. 15th as part of the Alternative Guitar Summit and The
Stone Mar. 28th-Apr. 2nd. See Calendar.
Tectonics: Fourth Blood Moon (featuring Eric Mingus)
Elliott Sharp (Enja/Yellowbird)
by Tyran Grillo
V ocalist
Eric Mingus joins New York’s Downtown
chameleon Elliott Sharp for a thought-provoking
mosaic of social justice, worthy angst and honest
reflection. With an array of guitars, basses, synths,
electronics, percussion and other gadgetry at his
M A R 1 –2
MAR 20
nicole henry: a time for love
michael bisio: accortet
MAR 3–5
MAR 21
mvp jazz quartet
remembering james williams and
mulgrew miller
M A R 6 M O N DAY N I G H T S W I T H W B G O
loston harris
claire daly quintet
MAR 22
tynan davis
MAR 23
stanley cowell quartet
MAR 7
M A R 2 4 –2 6
tessa souter quintet
victor goines quartet with
don vapple
MAR 8–9
houston person & eric person
MAR 27
M A R 1 0 –1 2
msm jazz orchestra
ted nash quintet
MAR 28
MAR 14
brubeck institute jazz quintet
little johnny rivero & his giants
MAR 29
M A R 1 5 –1 6
emilio solla & bien sur!
aaron goldberg trio with
leon parker
MAR 30
trio m: myra melford,
mark dresser, and matt wilson
M A R 1 7–1 9
michele rosewoman: new yor-uba
swing by tonight
set times
7:30pm & 9:30pm
jazz.org / dizzys
Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc
28 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
fingertips, Sharp provides more than enough
atmosphere for Mingus to chew on and the flavors of
their labors are as poignant as they are savory.
Titles like “We Stand Back And Watch”, “Don’t Get
Me Started” and “Mr. Trouble” are enough to clue the
listener in on the politics herein and expectations on
that front don’t disappoint. Wielding capitalism’s
leftover bones as his oars, Mingus rows a vessel of
keen insight into troubled waters. His voice combines
the soulfulness of a Jimi Hendrix with the experimental
fortitude of a David Moss.
Styles are as varied as these musicians’ résumés.
“Neither Guns Nor Money” recalls the dirges of Bryn
Jones (a.k.a. Muslimgauze) while closer “Going Home”
is an R&B-inflected vision for the future. Both feed into
the album’s mission against hatred. Rather than focus
on those who lord power over us, these songs remind
us of the forces that have power over them.
Further highlights include: “Back In The Day
Blues”, a scathing navigation through a cityscape of
false idols; “Know Much More” (check the timely
refrain, “I don’t want to know much more right now”);
and “Five Weird Tricks”, all of which affirm the duo’s
interlacing of critique and corrosion. The latter
prophetically holds the sun of recent events in its
hands and endures the burn in our stead as it ushers
past hopes into an uncertain future.
Here is an historical moment turned inside out, so
that we may check ourselves before taking up arms on
either side of the wall and to which we are bid to respond,
not through earthly mundanities, but by the power of
nature calling beyond the sphere of our influence.
For more information, visit enjarecords.com. Sharp is at
National Sawdust Mar. 15th with Joel Harrison as part of
the Alternative Guitar Summit. See Calendar.
Les Indignés
C.B.G. (Trytone)
Sensations of Tone
Ellery Eskelin/Christian Weber/Michael Griener
(Intakt)
by Ken Waxman
J ourneys inside the Wayback Machine characterize
these CDs by tenor saxophonist Ellery Eskelin and two
different European rhythm sections. Les Indignés was
recorded in 2011 when the saxophonist joined C.B.G.
while Sensations of Tone mingles improvisations with
hot jazz standards from the ‘20s-30s.
Guitarist Guillermo Celano and drummer Marcos
Baggiani, Amsterdam-based Argentineans, have led
C.B.G., with different personnel, for a decade. Les
Indignés, like splashing Tabasco sauce on Dutch herring,
is piquant but a bit unsatisfying. Eskelin often dribbles
his notes with indolent slurs while the guitarist and
drummer are more hard-edged. “Bin Laden’s Trial” for
instance, a guitar feature, swells with buzzing reverb
and whammy bar and Baggiani sounding like he is
nailing skins to his drumheads while Eskelin reedtongues harshly to match them. On “Bicicleta Boy”,
Baggiani and Dutch bassist Clemens van der Feen lay
down a constant backbeat, the guitarist’s sizzling
upwards string pops limiting Eskelin to contrapuntal
trills until he gathers the strength to challenge the others
with emotional altissimo cries. Tunes like “Parcelas
Desiguales” and “Demagogical Dreams of a Beautiful
World” come together more notably, with the pace
slowed down to balladry. The former has a candied
melody that is pulled, taffy-like, into mouth-watering
and ear-pleasing shapes through trebly guitar chording
or chewy saxophone snuffles, bowed bass as the bonding
factor, while the latter is a foot-tapping shuffle with
Eskelin’s squeezed reed lines harmonizing expressively
with Celano’s exuberantly bouncy chording.
The shared history of Eskelin, Swiss bassist Christian
Weber and German drummer Michael Griener, a working
unit since 2011, allows the three to improvise with the
timing of a well-honed Marx Brothers routine on
Sensations of Tone. This comfort level is obvious as early
as opener “Orchard and Broom”, where Griener’s
aggressive rim shots and rolls and Weber’s rappelling
basslines complement Eskelin’s slurping melodicism.
The other instant compositions follow comparable
strategies. The saxophonist expresses his laid-back
romanticism via breathy slurs while his sidekicks’ sonic
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toughness prevents the slurps from turning sloppy.
Breathy reed smears are put in proper proportion by
Weber’s lingering spiccato string clicks on “Dumbo”
while detuning and irregular vibrations from bassist and
saxophonist stretch “Ditmas Avenue” with timbral
ingenuity. Griener’s clock-like ticking and sudden pops
strip the sentimentality from the saxophonist’s tone on
“Cornelia Street”.
Bing Crosby sang “China Boy” with Paul
Whiteman’s quasi-Dixieland band, but this trio’s
approach would probably have baffled him. Eskelin is
sleek with notes held longer than expected and doubletongue variations, staccato phrasing, freak notes and
supple basslines modernizing the tune. Songs by Bennie
Moten, Jelly Roll Morton and Fats Waller also move
intuitively but are more sophisticated, Griener saluting
“Baby” Sommer as much as Baby Dodds while Weber’s
command of low-pitched melody is the Jetsons to
Dixieland bull fiddlers’ Flintstones. Eskelin produces a
notably relaxed solo on “Moten Swing”, as contemporary
as it is elementary. This ability to adapt and innovate
simultaneously is his mark on these discs.
For more information, visit trytone.org and intaktrec.ch.
Eskelin is at Cornelia Street Underground Mar. 15th with
Stephan Crump. See Calendar.
Hear & Now
Nick Finzer (Outside In Music)
by George Kanzler
This engrossing new album from a sextet led by
trombonist Nick Finzer carries an epigraph on the CD
package: “Transformation can only take place
immediately / the revolution is now, not tomorrow.”
And the titles of the eight originals by Finzer suggest
recent events have shaped his music in a socio-political
way. But as with the best cause-inspired jazz, political
commitment is not necessary to appreciate the music.
Finzer uses the easy familiarity of a postbop
uptempo theme, “We The People”, to introduce the
ensemble’s tumbling, racing rhythms propelling solos
from the leader, pianist Glenn Zaleski and guitarist
Alex Wintz. Open trombone intones the theme of “The
Silent One” over slow, sprung rhythms with guitarpiano rising chords, Finzer and tenor saxophonist
Lucas Pino soloing as the rhythms heat up. Duke
Ellington’s “Single Petal Of A Rose” features the
bookended theme, usually done as a piano solo, limned
by plunger-muted trombone followed by bass clarinet
(Pino), Zaleski soloing in the middle and Finzer
overdubbing open and muted trombones on the coda.
Variety abounds among the six final tracks, as
Finzer mines Mingus expressionism, especially on the
multi-themed, elegiac “New Beginnings”, replete with
a Dave Baron bass solo cushioned in horns, and
Ellingtonian impressionism, most tellingly on the
closing ballad “Love Wins”, where the ensemble
billows with yearning. Tandem soloing by trombone
and tenor highlight “Again and Again”, Finzer
alternating between open and cup-muted horn. The
latter also appears in the lovely “Lullaby For An Old
Friend” while the uptempo vibe returns on “Race To
The Bottom” and “Dance of Persistence”, both driven
by inspired drumming from Jimmy Macbride and
boasting exhilarating solos from trombone and tenor.
For more information, visit outsideinmusic.com. This
project is at Smalls Mar. 22nd. See Calendar.
Donny
McCaslin
GREAT
JAZZ AT
CARNEGIE
HALL
Saturday, April 1 at 9 PM
Donny McCaslin
Donny McCaslin’s intense, high-flying
saxophone playing spearheads an
exciting electro-acoustic quartet—
featuring members who performed on
Blackstar, David Bowie’s final album—
that busts through boundaries that
separate jazz and electronica. Doors
open one hour before the concert, and
the first 200 ticket holders receive a
voucher for a free drink.
This concert and The Shape of Jazz series are made possible by
The Joyce and George Wein Foundation in memory of Joyce Wein.
Presented by Carnegie Hall in partnership with Absolutely Live
Entertainment LLC.
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JAZZ RECORD
| MARCH
2017
295:24 PM
CUNEIFORM
RECORDS
w w w. c u n e i fo r m re c o rd s. c o m
Sélébéyone
Steve Lehman (Pi)
by Tom Greenland
THE MICROSCOPIC SEPTET
Been Up So Long It Looks Like Down To Me:
The Micros Play The Blues
Voted the #5 jazz group in the 59th annual
DownBeat critic’s poll, they combine swing,
energy and humor in a distinctive way.
“The finest retro-futurists around.” – The Village Voice
CHICAGO/LONDON UNDERGROUND
featuring ROB MAZUREK
A Night Walking Through Mirrors
Rob Mazurek (trumpet and electronics) and
Chad Taylor (drums andelectronics) meet
Alexander Hawkins (piano) and
John Edwards (double bass).
If our government wanted to create a think tank to
strategize progressive improvisational music (perhaps
it has?), alto saxophonist and CalArts professor Steve
Lehman would probably make the short-list of
potential recruits. Sélébéyone is bedded on the cerebral
funk of the M-BASE school, rife with mercurial meters
and asymmetrical rhythms, anchored by keyboardist
Carlos Homs, bassist Drew Gress and drummer
Damion Reid, augmented by Lehman and soprano
saxophonist Maciek Lasserre’s supple lines lacing the
morphing textures and two very different rappers out
front: local alternative hip-hopper HPrizm (aka High
Priest, a founding member of the Antipop Consortium)
and Gaston Bandimic, a Senegalese wordsmith who
‘spits’ in the distinctive Dakarian dialect, a mashup of
Wolof, French and Arabic. Mixer Andrew Wright is one
last essential ingredient in this heady stew.
Heavily influenced by French spectral composition
(where form follows the physical properties of sound)
and by what trombonist George Lewis has termed an
“Afrological” approach to improvisation, Lehman’s
musical imagination also draws on the drum
programming, sampling and sound design of hip-hop,
especially its more iconoclastic adherents. The result
is, as the album’s Senegalese title translates, an
“intersection”. HPrizm’s clever internal rhymes and
layered meanings are immediately accessible to
English speakers, but Bandimic’s are more opaque,
requiring a perusal through the online translations to
uncover the many proverbs and ancestral and spiritual
references enriching his oratory. His “Shaking the cat’s
tail doesn’t make him eat” or “When you step in the
mouth of an anaconda, you better be ready” offer
a poignant counterpoint to HPrizm’s proverbs
(“Walking through fire either scars you or it charges
you”), ancestral references and poetics of urban angst
(“Scattered ash, empty cigars on park benches, Stared
at my reflection in project elevator mirrors”). A rich,
densely layered work, this musi-cultural confluence
rewards repeated listening.
For more information, visit pirecordings.com. This project
is at Merkin Concert Hall Mar. 27th as part of the Ecstatic
Music Festival. See Calendar.
THE ED PALERMO BIG BAND
The Great Un-American Songbook, Volumes I & II
(2 x CDs)
The 18 piece Ed Palermo Big Band tackle great,
much-loved British rocksongs from the 60s
and beyond...and win!
Before you buy, listen at
cuneiformrecords.bandcamp.com
Buy these and thousands of other
interesting releases at our online store:
waysidemusic.com
Still Life With Trouble
The Jazz Passengers (Thirsty Ear)
Oh Yeah Ho!
Papanosh (Enja/Yellowbird)
Nearness and You
Roy Nathanson (Clean Feed)
by Kurt Gottschalk
Roy Nathanson’s Jazz Passengers may have slowed
their collective pace with age, but the gait of late
shouldn’t be taken as a sign of growing weakness.
Still Life With Trouble is only the third record they have
released in the last decade but when the old band
comes around again, it’s worth paying them some
mind. The album marks the band’s 30th anniversary
30 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
(with some changes in personnel) and it’s a pleasure to
report that Nathanson still suffers no shortage of ideas.
There are a couple of soulful slow songs, as per usual
sung by trombonist Curtis Fowlkes (including a warm
rendition of The Main Ingredient’s “Everybody Plays
the Fool”) but there’s also surprising hints at Latin
jazz, most notably in Nathanson’s “Trouble”. That
groove-upon-groove is abetted by Ben Perowsky, who
has been added as a second drummer alongside E.J.
Rodriguez, rounding out the violin (Sam Bardfeld),
vibraphone (Bill Ware), saxophone, trombone melodic
frontline. The album ends with a double-hit of songs
by Ware: “Friends” is a near-perfect testament for all of
the singers (and non-singers) in the band that could
have fallen out of a Bob Hope/Bing Crosby vehicle
while “Spring Flowers” is a catchy bit of jazz circus
psychedelia that will make you want to start the album
over from the beginning again.
If The Jazz Passengers have the warmth and
knowledge of old comrades, Papanosh comes off with
the wonderfully brash arrogance of a group of young
guns. The French five-piece is joined by Nathanson
and trombonist Fidel Fourneyron on Oh Yeah Ho! for
a bold live outing with more than a little Mingus in the
mix. They open with an exciting, slightly sloppy
“Los Mariachis”, pushed into new realms by some
blistering organ, before taking advantage of Nathanson
the poet with his “Snow Day” set to Mingus’ “Canon”.
They also take on “Peggy’s Blue Skylight” and a couple
of originals, but what makes the disc special is their
reworkings of one of Mingus’ worst and then one of
his best long-form pieces. They take the turgid
“The Clown” as an opportunity for a Nathanson
recitation talk about meeting Mingus who, as he makes
clear, was anything but a clown. The disc closes with a
riotous take on what is easily one of Mingus’ most
underrated works, the expansive 1977 suite “Cumbia
& Jazz Fusion”. They play it with love, like a gang of
punks that ain’t stopping for no one.
Nearness and You falls, in a sense, between the
Passengers and Papanosh discs. It’s mostly old friends
but largely in new environs. Nathanson used a week’s
residency at The Stone in 2015 to record a series of
duets (and one trio) and wove from the recordings
a pair of suites that use extrapolations from Hoagy
Carmichael’s “The Nearness of You” as a recurring
theme. With fellow Passenger Fowlkes and pianists
Anthony Coleman, Myra Melford and Arturo O’Farrill,
guitarist Marc Ribot and trombonist Lucy Hollier,
Nathanson works through an array of spiky
improvisations of a sort almost as ‘standard’ as the old
chestnut they use as an anchor.
For more information, visit thirstyear.com, jazzrecords.com/enja
and cleanfeed-records.com. The Jazz Passengers are at Roulette
Mar. 28th. See Calendar.
“Paints a kaleidoscopic portrait . . . inherently fascinating.”
—The Wire
“Through dozens of interviews and painstaking research
that included full access to the ample personal archive of
percussionist Juma Sultan, a pivotal figure in the movement—
refreshingly moves beyond reductionist notions.”
—Village Voice
“A beautiful book, a free jazz study at its best.”
—Robin D. G. Kelley, author of Thelonious Monk
“Brilliantly reconstructs the loft jazz scene through a
community history of rare depth, insight, and creativity.”
—Ingrid Monson, Harvard University
Paperback, 272 pages, $29.95
Available Now
For new title announcements, sign up for our monthly Music e-newsletter:
ucpress.edu/go/enews
twitter: @ucpress | facebook.com/ucpress | ucpress.edu/go/music
Juxtaposition
Vinnie Sperrazza (Posi-Tone)
Message in Motion
Peter Brendler (Posi-Tone)
by David R. Adler
Over the Rainbow
Chano Dominguez (Sunnyside)
by Thomas Conrad
We know it’s the rhythm section that drives a band. If you are among those of us who are new to Chano
MAR 31–APR 1, 7PM & 9:30PM
Joshua Redman with Ron Miles,
Scott Colley, and Brian Blade.
THE APPEL ROOM
PHOTO BY FRANK STEWART
JOSHUA REDMAN
STILL DREAMING
MAR 17–18, 8PM
FREE TO BE: JAZZ OF THE ’60s
& BEYOND
Jazz at Lincoln Center Orchestra with Wynton
Marsalis and music director Walter Blanding
performs the music of Dave Brubeck, Charles
Mingus, Sonny Rollins, and more. Blanding will
also premiere his new work, The Happiness
of Being.
ROSE THEATER
APR 5, 7PM • APR 6, 7PM & 9PM
MICHAEL FEINSTEIN:
THE UNFORGETTABLE
NAT “KING” COLE
Michael Feinstein with Denzal Sinclaire,
Loston Harris, and the Tedd Firth Big Band.
THE APPEL ROOM
APR 7–8, 8PM
BUDDY RICH CENTENNIAL:
CELEBRATING THE JAZZ DRUM
Jazz at Lincoln Center Orchestra with
Wynton Marsalis and music director Ali
Jackson present new arrangements of
Rich’s music and premiere Jackson’s Living
Grooves: A Journey in Jazz Rhymes.
ROSE THEATER
venue
frederick p. rose hall
box office
broadway at 60th st.,
ground fl.
centercharge
212-721-6500
JAZZ.ORG
@jazzdotorg
It’s all the more interesting when the same one drives
two different ones. Bassist Peter Brendler and drummer
Vinnie Sperrazza, appearing on each other ’s latest
efforts, are a good case in point: they have a versatile,
polished, hard-swinging affinity always suiting the
creative moment. Sperrazza’s Juxtaposition features a
quartet with pianist Bruce Barth and tenor saxophonist
Chris Speed, players you wouldn’t normally connect
but whose rapport is consistently engrossing. The
same can be said for Brendler ’s Message in Motion, a
followup to Outside the Line from 2014 with the same
band. Tenor saxophonist Rich Perry and trumpeter
Peter Evans hail from different corners of the scene but
they bring unshakable precision and richly contrasting
solo personalities to the table. The addition of guitarist
Ben Monder on 4 of 10 tracks alters the sonic profile
considerably, particularly on “Lucky in Astoria”.
Barth, an underappreciated master, gives
Juxtaposition a more conventionally beautiful sound and
fuller harmonic spectrum. Speed’s relaxed feel, warm
and nuanced tone and utterly cliché-free vocabulary is
also reason enough to seek the album out. The program
starts and finishes with blues, from “Chimes” to “Say
the Secret Word”, so the sense of tradition is strong end
to end. Sperrazza’s writing shows impressive range:
there’s a dark and abstract harmonic color reminiscent
of Wayne Shorter on the title track, a slow rubato ode,
while “One Hour” and “Warm Winter” have an offkilter swing and melodic logic recalling Herbie Nichols.
The waltzes “Hellenized” and “House on Hoxie Road”
are lyrical and radiant as well. The band is just as
invested in the covers: an elegantly reharmonized
“Somewhere” from West Side Story; a fresh look at “Alter
Ego” by late pianist James Williams; and a wonderfully
dissonant and ethereal “This Night This Song” by the
Tony Williams Lifetime.
Message in Motion favors a free-ish bop aesthetic
out of the gate with the lowdown shuffle “Splayed”
and Calypso-ish “Angelica”, a classic from the album
Duke Ellington & John Coltrane. Perry, not unlike Speed,
has a deep swing feel and a searching, wholly
unrepetitive approach to playing lines. On a bright
walking tune like “Very Light and Very Sweet”, based
on “Sweet and Lovely” changes, he’s almost the straight
man to Evans, whose more experimental rhythmic and
tonal instincts push the envelope. The chemistry
between Brendler and Sperrazza is most apparent on
“Easy Way Out”, an affecting song by the late singersongwriter Elliott Smith, brought down to C from the
original D-flat. The arrangement starts with bass
playing the melody over quiet brushes. Monder enters,
in the only horn-less trio cut of the session, to deliver a
lustrous performance, full of melodic sensitivity. Alice
Coltrane’s “Ptah the El Daoud”, which paired Ron
Carter and Ben Riley back in 1970, also highlights
Brendler and Sperrazza at their best, transforming the
singable minor-key theme into a march of sorts. If it’s
Perry channeling Joe Henderson here, then Evans is
Pharoah Sanders. His breath effects and half-valving,
summoning tones between a voice and a violin, bring
about one of the disc’s most extraordinary moments.
For more information, visit posi-tone.com. Sperrazza’s project
is at Cornelia Street Underground Mar. 31st. See Calendar.
32 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Dominguez, Over the Rainbow will arrive as a major
surprise. He sounds like no one else alive.
Most of the important Spanish-speaking pianists
are from Cuba. Dominguez is from the Andalusia
region of Spain, the birthplace of flamenco. His use of
those rhythms and harmonies within jazz improvisation
is the most obvious aspect of his uniqueness. But his
dense, fiercely percussive lyricism draws on many
cultural sources. Other than two of his originals, there
are no songs by Spanish composers here. Dominguez
prefers classics from Latin America like “Gracias a la
Vida” (Violeta Parra of Chile), “Hacia Donde” (Marta
Valdés of Cuba) and “Los Ejes de Mi Carreta”
(Atahualpa Yupanqui of Argentina). He transforms
them. His piano language contains ornate European
formalism, set free in the moment, with a Spanish
accent. The Valdés and Yupanqui pieces open as
halting, hovering ballads, but then a formidable left
hand stabs countermelodies and flamenco crescendos.
And when his vision encompasses songs by North
Americans, it is revelatory. He intermittently
acknowledges the stride bounce of “Evidence”, but
spills new content all over Monk, in an ecstasy of
celebration. Above all, Dominguez is a storyteller. His
flamenco roots are revealed in his flair for the dramatic.
John Lewis wrote “Django” for a great Gypsy artist,
lost too soon. Flamenco music was created by the
Gypsies of southern Spain. Dominguez’ narrative
sweeps you up in its poignancy and majesty.
This album comes from a 2012 solo recital at the
Palua Falguera in Barcelona. Tracks were recorded
before and during the concert. The acoustics of the
venue are excellent. Dominguez’ instrument sings in
this space, the notes hard and clear. Fortunately, an
audience was present for the final haunting title track.
Dominguez slowly shares and arrays “Over the
Rainbow”, fragmenting and reconfiguring Harold
Arlen’s masterpiece, retaining its essence as a fragile,
brave arc of faith.
For more information, visit sunnysiderecords.com. Dominguez
is at Jazz Standard Mar. 30th-Apr. 2nd. See Calendar.
Araminta
Harriet Tubman (Sunnyside)
by John Pietaro
H arriet Tubman, a power trio founded in 1998 and
named for the pioneering female revolutionary who
battled slavery from the inside, casts musical liberation
as a weapon. They have recorded significant works
including a chilling rendition of ‘”Strange Fruit”,
which featured Cassandra Wilson’s vocal. Araminta
offers the trio with the prized catch of trumpeter
Wadada Leo Smith on several cuts. This is a collection
that draws on the Black experience and in Brandon
Ross’ guitar one hears the anguish and the rebellion of
field hollers, prayer songs, the blues, rebellious chant,
Trane-like sheets of sound and Hendrix-ian exploration.
But this is a coalition effort, with the ‘front man’-role
constantly shifting between Ross, monster bassist
Melvin Gibbs and master drummer JT Lewis. Opener “The Spiral Path to the Throne” features
Smith’s horn tearing into the soundscape. The sound is
most inviting when Smith towers over the band, which,
pulsating at a quiet boil, seem to be waiting to pounce.
The orchestral quality this trio seeks out in any setting
and, especially when communing with the likes of
Smith or Wilson, sets discipline against abandon.
Listen for selections like “Taken” and “Ne Ander”.
Lewis is as funky as he is complex, churning out
uptempo freebop and pounding rock as well as
measured, sparse time-steps. Much the same can be
said of Gibbs, whose basslines transform into melodic
statements, double stops and mournful laments while
never losing sight of the downbeat. Of special mention
is the cut “Nina Simone”, calling on the memory of the
powerhouse vocalist/activist. A slow, sad build
containing hidden fire, the trio and Smith testify
through a soaring trumpet melody, searing guitar lines
and the kind of slow, seductive rhythmic pattern that
purposely keeps you guessing.
This release is a must for radicals of every stripe.
There is a danger to Smith’s addition, however: one is
tempted to get far too comfortable in the quartet’s
veritable magic. Unless the guys are willing to commit
right now to this format!
For more information, visit sunnysiderecords.com. Brandon Ross
and JT Lewis are at The Jazz Gallery Mar. 18th. See Calendar.
The Duo—Live!
NHØP/Mulgrew Miller (Storyville)
by Joel Roberts
This glorious partnership between two jazz giants got
its start as a one-off 1999 studio recording celebrating
Duke Ellington’s 100th birthday meant to be given
away as a free promo CD. Whatever its unlikely origin,
the pairing of Danish bassist Niels-Henning Ørsted
Pedersen and Mississippi-born pianist Mulgrew Miller
proved to be a valuable one, resulting in an acclaimed
world tour and now this previously unreleased twodisc CD of those long-lost dates.
From the start, the musicians, who had never met
before their European summit, evince an easy and
natural rapport, as they romp through a set of standards
leaning heavily on Ellington. Miller draws on his
gospel roots on the opener, Benny Golson’s “Whisper
Not”, while NHØP takes center stage, beautifully
stating the theme on the next tune, Ellington’s classic
ballad “Sophisticated Lady”. He is also front and
center on another Duke ballad, “Mood Indigo”, before
a somewhat sprawling take on Jerome Kern’s “All The
Things You Are” and a spirited “Take the ‘A’ Train”.
The second disc continues in the same vein,
starting with nuanced readings of Kern’s “I’m Old
Fashioned” and Ellington’s “In My Solitude”, before
closing with crowd-pleasing versions of “Autumn
Leaves” and “Caravan”.
The tunes are certainly familiar, often overly so,
but the mastery of the two artists, their sterling
improvisations, wit and uncanny ability to swing make
their collaboration anything but commonplace. Though
they both died far too young (Pedersen at 58 in 2006
and Miller at 57 in 2013), this album stands as a
reminder of their marvelous talents and a testament to
their brief but brilliant union.
For more information, visit storyvillerecords.com. A tribute
to Miller with Donald Brown, Ray Drummond, Marvin
“Smitty” Smith and Bobby Watson is at Dizzy’s Club Mar.
3rd-5th. See Calendar.
Open at
7 pm!
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CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ!
LOCATED IN THE
OF TRIBECA
CRAFT COCK
THE NEW YORK CITY JAZZ RECORD | MARCH 2017 33 LOCAT
Live Vol. 1
John Raymond & Real Feels (Shifting Paradigm)
by Phil Freeman
In 2016, Minnesota trumpeter John Raymond formed
Real Feels with guitarist Gilad Hekselman and
drummer Colin Stranahan. Their self-titled debut
included versions of the jazz standard “Donna Lee”
and The Beatles’ “Blackbird” as well as “Atoms for
Peace” by Radiohead and songs from the folk and
gospel repertoire like “This Land is Your Land”, “I’ll
Fly Away” and “Scarborough Fair”. Then they hit the
road. The result is this six-track CD, featuring five
pieces recorded at BLU Jazz in Akron, Ohio and one
from the Blue Whale in Los Angeles, California.
The group performs four songs from the album—
“I’ll Fly Away”, “Atoms for Peace”, “Amazing Grace”
and “This Land is Your Land” and essay interpretations
of “Minor Silverstein”, by another Minnesotan, bassist
Chris Morrissey, and The Beatles’ “Yesterday”.
Stranahan launches the album with a taut, martial
call to arms, setting up a strutting gospel-parade beat,
atop which Hekselman builds a funk groove at the low
end of his guitar ’s range. When Raymond enters, he
lets the melody slowly unfurl with a lush, full tone
(he plays flugelhorn throughout) before jumping into
a melodic but exciting solo. The whole point of Real
Feels’ music is to draw listeners in through familiar
songs, then capture their imaginations with the
emotional expressiveness of the improvisational
extrapolations. The hooting and hollering heard from
the audience between songs here proves they’re
accomplishing that goal.
As the album progresses, Stranahan emerges as
the group’s most powerful weapon. His skittering,
drum ’n’ bass-ish beats allow Raymond to turn the
melody of “Atoms for Peace” into something soaring
and beautiful, but he is just as capable of laying back,
as he does, brushes in hand, on a meditative and lyrical
version of “Amazing Grace”. Hekselman, of course, is
more than just a middleman; his guitar stings
throughout and on the trio’s explosive version of “This
Land is Your Land”, his chords clang like Richard Serra
sculptures suddenly pushed over.
For more information, visit johnraymondmusic.net. This
band is at Rockwood Music Hall Mar. 21st. See Calendar.
Our Cells Know
Robert Dick (Tzadik)
by Mark Keresman
Robert
Dick’s work blurs the lines between
composition and improvisation and he uses extended
34 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
techniques to draw forth a range of sounds one may be
hard-pressed to believe emanate from a flute. On Our
Cells Know, Dick concentrates entirely upon the
sculptural contrabass flute.
“On the Restless Seas of Time” begins with cyclic
percussive sounds like a marimba. This is followed by
almost clarinet-like tones and vocalese, then some
deep sawing racket and fierce blowing with a serrated
edge, deepening to a cello, then more vocalized noises,
rising to cinematic levels, as if the listener was floating
upon tempestuous waves near islands with restless
inhabitants. “Aura Aurora” is a lonely dirge—it’s easy
to imagine a person sitting atop a mountain wailing
this lament, only to be joined by someone from afar
playing a harp or maybe percussion? With the wind
through the trees it’s hard to tell but it’s a journey full
of beautiful mystery.
There’s another voyage into the realm of simulated
percussion with “Afterimage, Before”, a dedication to
the notorious jazz/rock drummer Ginger Baker,
wherein Dick sounds as if he is both behind a drum kit
and playing the berimbau (a South American string
instrument played as a percussive); as with some of
Baker ’s efforts, there’s a strong suggestion of West
African rhythms. Some further overblowing suggests
electric guitar feedback—apt as Baker was one-third of
the power trio Cream—then gently builds to a
dramatic, rock-like ending.
This
is
an
impressionistic,
occasionally
nonconcrete, always evocative, lively album and Dick
frequently has a rhythmic impetus in mind, stated or
implied, playing with intensive yet understated fervor.
For more information, visit tzadik.com. Dick is at The Stone
Mar. 21st-26th, including with this project on Mar. 26th.
See Calendar.
No Coming, No Going (The Music of Peter Kuhn, 1978-79)
Peter Kuhn (NoBusiness)
The Other Shore
Peter Kuhn Trio (NoBusiness)
Our Earth/Our World
Peter Kuhn/Dave Sewelson/
Gerald Cleaver/Larry Roland (pfMENTUM)
by Robert Bush
P eter
Kuhn, who became something of a free jazz
underground legend, released several classic freebop
albums nearly 40 years ago including Livin’ Right on
Big City Records in 1979, Ghost of a Trance on hatHUT
in 1981 and The Kill on Soul Note in 1982. But by 1985,
he had virtually disappeared from the music scene.
Thanks to interest from the Lithuanian label
NoBusiness, Kuhn’s first recording has been packaged
with an astonishing, previously unreleased live date
duet with drummer Denis Charles in the form of No
Coming, No Going.
Kuhn’s maiden voyage features Charles, the
redoubtable bassist William Parker and the twin
trumpet frontline of Toshinoro Kondo and Arthur
Williams, Kuhn focusing on Bb and bass clarinet
exclusively. Everyone is screaming on this date and
both trumpeters reflect different ways of dealing with
the influence of Lester Bowie. Kuhn channels Steve
Lacy on the smaller clarinet and Eric Dolphy on the
larger horn. “Red Tape” distills the ‘70s freebop “timeno-changes” into its finest vintage, Kuhn whinnying
like a man possessed and the trumpets stretching the
limits of tonality and timbre like saltwater taffy.
But the jewel of the release comes on Disc 2, the
duet with Charles, who has never got the recognition
he earned. This is a monumental document that Kuhn
didn’t know was recorded until Ed Hazell found the
tape and approached him about releasing it. The
interaction between Kuhn and Charles is raw, intimate
and intuitive. You can hear the influence of Anthony
Braxton and Perry Robinson in the reed player ’s
extended solo on “Stigma”. There’s nowhere to hide in
a drum/reed duet and yet each moment of this
exchange is riveting. Like his peers Ed Blackwell and
Billy Higgins, Charles exudes a feeling of dance at its
most joyful expression and his deep roots in Art Blakey
and Max Roach are never far away. Kuhn adds tenor
saxophone to his reed arsenal and on “Drum Dharma”,
the spirit of Albert Ayler is clear and dominant.
Fast forward 36 years and Kuhn has reemerged
with a vengeance—featuring a brand-new San Diego
based trio with veteran drum master Nathan Hubbard
and introducing the remarkable contrabass virtuoso
Kyle Motl.
The Other Shore is a freely improvised session that
takes Kuhn’s playing to another level. His bass clarinet
chants
with
an
agitated
simmer
on
“Is Love Enough?” and he manages to sneak a quote
from “Nature Boy” in over resonant double-stops and
feathery brushes. Bb clarinet chirps and growls on
“Causes & Conditions” as the bassist saws over the
arrhythmic swells of the drums. The leader switches to
tenor for a wide comic vibrato on “Unsung Heroes”,
which sprints gleefully into the altissimo register over
the furious walking bass, but Hubbard holds back,
preferring to color and flow rather than go for an
obvious swing groove. Kuhn adds alto saxophone to
his quiver on “Volition”, with an acidic, Jimmy Lyonstype flair that orbits tangentially with the throbbing
strum of the bass. Hubbard gets a chance to explore
here and he responds with a wonderfully conceived
and architecturally sound solo.
That same year (2015) found Kuhn returning to
New York to play a one-nighter at the Vision Festival,
reuniting with musical soulmate Dave Sewelson
(baritone and sopranino saxophone) in a quartet with
bassist Larry Roland and drum wizard Gerald Cleaver,
released as Our Earth/Our World. Aside from Sewelson
and Kuhn, no one had ever played together.
All hell breaks loose on the 26-minute opener “Our
Earth”, where Kuhn’s post-Ayler screaming sermon
wraps like a python around the gruff bellow of
Sewelson’s baritone as each man reaches for the
heavens. Cleaver opens “Our World” with a stunning,
extended drum solo laced with logic and dynamics.
Roland begins “It Matters” with an acappella feature
before the horns return to prod each other into a higher
consciousness. Amazingly enough, there were no
tunes, no discussion, no plans. Kuhn and Sewelson
have an incredible simpatico going, the result of many
hours together, and the music they create depends on
listening at the virtuoso level. One could only wish
that this concert had been captured in higher fidelity—
something to hope for next time.
For more information, visit nobusinessrecords.com and
pfmentum.com. Kuhn is at 5C Cultural Center Mar. 11th
and Muchmore’s Mar. 16th, both in quartets with Dave
Sewelson. See Calendar.
Chasing After The Wind
Gregory Tardy (SteepleChase)
Consider The Blues
Will Goble (OA2)
by Ken Dryden
thoughtful arrangements of folk songs, reworkings of
standards and classic jazz works, along with his
creative originals. His band for this session includes
Tardy, pianist Louis Heriveaux and frequent
collaborator Dave Potter on drums.
The decades-old “Another Man Done Gone” is
powered by the soulful, expressive vocal of Tabreeca
Woodside, who makes this troubling song—originally
sung by chain gangs—her own, with Goble’s dramatic
scoring and Tardy’s vocal-like tenor adding to the
protest. The tension is relieved a bit with the leader ’s
darting “Johnson’s Magic Umbrella”, dedicated to
pianist Austin Johnson, with whom he has worked in
the Jason Marsalis Quartet, the musicians negotiating
the playful tune’s many sudden twists and turns with
ease. The late piano great Mary Lou Williams is
recognized with her emotional “Dirge Blues”, Goble
and Potter providing a superb rhythmic canvas to
enable Heriveaux to conjure Williams’ spirit at the
piano. The leader takes a fresh approach to George
Gershwin’s timeless “It Ain’t Necessarily So” (from the
opera Porgy and Bess) by opening with an
introspective solo, which leads to its well-known
theme in a roundabout fashion, interweaving
surprising interludes between choruses and giving
Tardy plenty of space for improvising. The lush ballad
“Belle Isle”, written for Goble’s wife, is also a detour
from the blues menu as Tardy delivers a lyrical
performance worthy of the master he has become over
the past two decades. The standard “Three Little
Words” is pure swing and lots of fun without sounding
the least bit old-fashioned.
For more information, visit steeplechase.dk and
origin-records.com. Tardy is at Greenwich House Music
School Mar. 4th with Michael Bates. See Calendar.
Since his debut as a leader in 1992, tenor saxophonist
Gregory Tardy has shown continuous growth as a
composer and improviser. The New Orleans native is
a veteran of bands led by Elvin Jones, Tom Harrell,
Betty Carter, Andrew Hill and Dave Douglas, among
many others, and has worked hard to develop his own
voice on tenor while also returning to clarinet. His
decade-plus work as a leader for SteepleChase has
produced a number of acclaimed CDs.
For his latest release Chasing After The Wind, Tardy
celebrates a reunion with his old friend, trumpeter
Alex Norris, joined by pianist Bruce Barth, bassist Sean
Conly and drummer Jaimeo Brown, adding flutist Sam
Sadigursky on some tracks.
Tardy’s compelling compositions merit high
praise. “The Evidence of Things Not Seen” is a stunning
opener, an ambitious, multi-faceted work that
transforms from a quiet, soulful ballad into intense
postbop, buoyed by exotic ensemble passages and
furious solos. “Companion of My First Heartbeat” is a
tender ballad in tribute to Tardy’s mother, a vocalist
who stimulated his interest in music throughout his
youth. With his skill on clarinet, one would never
guess that it wasn’t the leader ’s main instrument and
Norris and Barth round out the work with equally
thoughtful solos. Tardy’s intriguing setting of Andrew
Hill’s “Ashes” captures the depth of the late pianist’s
work as the band masters its intricate nature. The title
track is built upon a joyful simple riff while pianist
Donald Brown’s infectious Caribbean-flavored “A
Dance For Marie Do” features Norris, Tardy (on
clarinet) and Barth alternating the lead in this delightful
piece. On tenor, Tardy shows his interest in jazz greats
of the past with his warm rendition of Benny Carter ’s
ballad “Janel” and explosive treatment of Eddie
“Cleanhead” Vinson’s “Tune Up”, a work long
attributed to Miles Davis. Bassist Will Goble offers a heavy dose of blues on
Consider The Blues, his second CD as a leader, featuring
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
35
Bhangra Pirates
Red Baraat (Rhyme & Reason)
by Eliott Simon
Wed, Mar 1
MAREIKE WIENING QUINTET 8PM
Rich Perry, Florian Weber, Alex Goodman, Johannes Felscher
YUHAN SU QUINTET 9:30PM
Matt Holman, Alex LoRe, Petros Klampanis, Nathan Ellman-Bell
Thu, Mar 2
ROB GARCIA QUARTET 8PM & 9:30PM
Noah Preminger, Gary Versace, Vicente Archer, Rob Garcia
Fri, Mar 3
JEFF DAVIS AUTHORITIES BAND 9PM & 10:30PM
Jon Irabagon, Russ Johnson, Drew Gress, Jonathan Goldberger
Sat, Mar 4
PETROS KLAMPANIS SEPTET 9PM & 10:30PM
Julian Shore, Maria Manousaki, Gokce Erem,
Carrie Frey, Caleigh Drane, John Hadfield
Sun, Mar 5
DJANGO AT CORNELIA STREET: DAN LEVINSON 8:30PM & 10PM
Koran Agan, Josh Kaye, Eduardo Belo; Koran Agan, host
Tue, Mar 7
VOXECSTATIC: MARY FOSTER CONKLIN 8PM
Deanna Witkowski, Ed Howard
VOXECSTATIC: PAUL JOST QUARTET 9:30PM
Jim Ridl, Dean Johnson, Tim Horner; Deborah Latz, curator
Wed, Mar 8
JON DE LUCIA QUARTET, CD RELEASE:
AS THE RIVER SINGS 8PM & 9:30PM
Greg Ruggiero, Sean Smith, Billy Mintz
Thu, Mar 9
STRANABAND 8PM & 9:30PM
Colin Stranahan, Glenn Zaleski, Gilad Hekselman, Rick Rosato
Fri, Mar 10
PETER BRENDLER QUARTET 9PM & 10:30PM
Walt Weiskopf, Zach Lapidus, Billy Drummond
Sat, Mar 11
MAT MANERI QUARTET 9PM & 10:30PM
Lucian Ban, John Hébert, Randy Peterson
Sun, Mar 12
MICHAEL BLANCO QUARTET 8:30PM & 10PM
John Ellis, Kevn Hays, Clarence Penn
Tue, Mar 14
TEST SUBJECTS 8PM
Billy Test, Marc Mommaas, Ron Horton, Marty Kenney, Curtis Nowosad
CURTIS NOWOSAD QUINTET 9:30PM
Duane Eubanks, Andrew Renfroe, Michael King, Barry Stephenson
Wed, Mar 15
STEPHAN CRUMP’S RHOMBAL 8 & 9:30PM
Ellery Eskelin, Adam O’Farrill, Tyshawn Sorey
Thu, Mar 16
IGOR LUMPERT & INNERTEXTURES 8PM & 9:30PM
Jonathan Finlayson, Chris Dingman, Drew Gress, Kenny Grohowski
Fri, Mar 17
SONG YI / VITOR / ROGERIO TRIO 9PM
Song Yi Jeon, Vitor Gonçalves, Rogério Boccato
SONG YI JEON QUINTET 10:30PM
Song Yi Jeon, Vitor Gonçalves, Kenji Herbert, Rick Rosato, Alex Wyatt
Sat, Mar 18
MICHAËL ATTIAS QUARTET 9PM & 10:30PM
Aruán Ortiz, John Hébert, Nasheet Waits
Sun, Mar 19
KATHRYN CHRISTIE QUARTET, MUSIC OF DJAVAN 8:30PM & 10PM
Kathryn Christie, Q Morrow, Matt Aronoff, Ross Pederson, Helio Alves
Billy Newman, host
Tue, Mar 21
RYAN KEBERLE & CATHARSIS 8PM & 9:30PM
Camila Meza, Scott Robinson, Ed Perez, Henry Cole
Wed, Mar 22
SEBASTIAN NOELLE QUINTET 8PM & 9:30PM
Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss
Thu, Mar 23
ALAN FERBER NONET 8PM & 9:30PM
Philip Dizack, Alan Ferber, Loren Stillman, Lucas Pino,
Charles Pillow, Nir Felder, Bryn Roberts, Matt Pavolka, Mark Ferber
Fri, Mar 24
Sat, Mar 25
GILAD HEKSELMAN ZUPEROCTAVE 9PM & 10:30PM
Sam Yahel, Kush Abadey
Sun, Mar 26
BEN PEROWSKY TRIO 8:30PM & 10PM
Chris Speed, Michael Formanek
Tue, Mar 28
STREAMS 8PM & 9:30PM
Yago Vazquez, Scott Lee, Jeff Hirshfield
Wed, Mar 29
ANDREW RATHBUN QUARTET 8PM & 9:30PM
Tim Hagans, Matt Pavolka, Tom Rainey
Thu, Mar 30
KYLE NASSER SEXTET 8PM & 9:30PM
Loren Stillman, Jeff Miles, Dov Manski, Nick Jost, Allan Mednard
Fri, Mar 31
VINNIE SPERRAZZA QUARTET,
CD RELEASE: JUXTAPOSITION 9PM & 10:30PM
Chris Speed, Bruce Barth, Pete Brendler
Red Baraat is an instrumentally heavy aggregation
fronted by Sunny Jain, who plays a two-sided drum or
dhol. The sound of this Indian-informed party band is
bright, tight and powerful. In addition to Jain, who is a
madman on his instrument, drummers Chris Eddleton
and Tomas Fujiwara, percussionist Rohin Khemani
and sousaphonists John Altieri and Jon Lampley
rhythmically propel the program. The addition of
guitarist Jonathan Goldberger and the use of effects on
the dhol and sousaphone electrify the sound with a bit
of surf, rock, blues and sitar in the mix.
Horns that include saxophonists Jonathon Haffner
and Mike Bomwell, trumpeters Sonny Singh and MiWi
La Lupa and trombonist Ernest Stuart are very much in
sync with Jain’s quick tempos, starts and stops. The
band is also not averse to throwing in some camp
combined with Jain’s impressive konokkol enunciation.
“Gaadi of Truth” is reminiscent of The B-52s and the
rendition of the Indian music video web phenomenon
“Tunak Tunak Tun”, which Red Baraat previously
covered on Chaal Baby (2010), further reimagines and
invigorates the tune with a heavily textured
arrangement at breakneck speed. Here and on opener
“Horizon Line”, Lampley’s articulation on his
unwieldy horn is exceptional.
The voicings throughout this session have a clarity
not usually found on so-called party brass band
releases. “Bhangale” is arranged with precise sound
layers and features a funky solo from guest guitarist
Delicate Steve (Marion) while the very pretty “Se Hace
Camino” provides a Latin take on the format. The title
cut is an anthemic heavy metal swashbuckler composed
by Khemani with the pop-tinged closer “Layers”
providing a beautiful dénouement.
Bhangra Pirates transports the listener to a unique
worldly festival. For those who have not yet been there
get ready and fasten your seatbelts.
For more information, visit rhyme-reason.com. This band is
at BRIC Media House Mar. 9th and Le Poisson Rouge Mar.
16th. See Calendar.
return to New York City in 2010, O’Neal’s health has
improved along with his visibility in jazz, his presence
felt in Smalls, Smoke and other venues. O’Neal is Back
is his first studio effort in over a decade.
Stylistically, the album is not a major departure
from his ‘80s-90s output. O’Neal still fluctuates between
hardbop piano virtuoso and bluesy, smoky torch singer.
Forming an intimate trio with bassist Luke Sellick and
drummer Charles Goold, O’Neal is featured as a hardswinging bop instrumentalist on the Cole Porter
standard “I Concentrate on You” and Bill Pierce’s
“Sudan Blue”, which demonstrates his virtuosity.
O’Neal is Back is mostly a vocal album and a laidback mood often prevails. While “Tight” matches the
exuberance of “Sudan Blue”, O’Neal is relaxed and
introspective on “With Every Breath I Take” and the
ballads “Maybe Today” and “First Time on a Ferris
Wheel” (made famous in Berry Gordy’s 1985 movie
The Last Dragon). The latter is a major departure from
the version that Smokey Robinson and the late Syreeta
Wright recorded for the soundtrack, redone here as
torch jazz all the way. O’Neal has long been known for
his ability to sing and play the blues in a jazz context
and he does exactly that on “Let Me Love You” and
“It’s Too Late”. While the former swings aggressively,
the latter is quiet and plaintive. Whether O’Neal is
feeling passionate or gently reflective, Sellick and
Goold offer skilled accompaniment.
With O’Neal is Back, long-time admirers will be
happy to see this album picking up where his ‘80s and
‘90s releases left off.
For more information, visit abeatrecords.com. O’Neal is at
Ginny’s Supper Club Mar. 2nd, 23rd and 30th, Smalls
Mar. 5th and 19th and Smoke Saturdays. See Calendar and
Regular Engagements.
March 7th
Cecilia Coleman Big Band
March 14th
Mike Longo’s NY State
of the Art Jazz Ensemble
Special concert for
UN conference of Women
March 21st
Paul Hefner Group
O’Neal is Back
Johnny O’Neal Trio (abeat)
by Alex Henderson
The history of jazz is full of survivors who ran into
hard times but bounced back. Veteran pianist/singer
Johnny O’Neal fell into relative obscurity after leaving
New York City in 1986 and returning to his native
Detroit, where he contracted HIV in 1998. To make
matters worse, O’Neal lost his health insurance and his
access to medication in 2009, which caused his
condition to deteriorate considerably (if anyone is
a poster child for why the protections of the Affordable
Care Act need to continue, it’s O’Neal). But since his
36 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
March 28th
Jay D’Amico Trio
New York Baha’i Center
53 E. 11th Street
(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night
Planktonic Finales
Stephan Crump/Ingrid Laubrock/Cory Smythe
(Intakt)
by Stuart Broomer
Planktonic
Finales documents the second meeting of
bassist Stephan Crump, saxophonist Ingrid Laubrock
and pianist Cory Smythe in a program of free
improvisations or, much more appropriately, collective
compositions. Each of the 11 pieces bears the mark of
continuous formal attention. The result is satisfying,
freshly-minted chamber music.
The opening “With Eyes Peeled” sets an immediate
tone of abstract lyricism to which the three seem to
return as their most natural mode: Laubrock presents
eerily isolated harmonics gradually finding support in
Crump’s bowed, lower-register long tones and
Smythe’s light keyboard flurries, the whole gradually
evolving into a kind of sustained ballad. “Tones for
Climbing Plants” continues the reflective pattern, the
title possibly suggested by Crump’s ascending lines in
a solo passage eventually leading to another glorious
Laubrock reverie. The trio’s breadth is most apparent
in the 12-minute “Sinew Modulations”, a continuous
unfolding in which both the lead and the rhythmic and
harmonic shape of the music keep shifting, each
musician generating strong new paths for the piece to
follow. Crump’s special gravity anchors the episodic
“Three-Panel”, moving from lower-register solo to
a duet with Laubrock’s skittering soprano to a trio
passage that has Smythe contrasting bombastic clusters
with fragile upper-register chords.
Smythe’s organizing strengths come increasingly
to the fore as the music progresses, creatively exploiting
the piano’s percussive possibilities as well as its range
and harmonic possibilities, whether using sparse
chords, dense clusters or the clouds of strummed
strings. Whether or not the pieces are presented in the
order they were recorded, there’s a strong sense of
development here, an emerging group language
formed by highly developed, strongly empathetic,
mobile musical personalities. The concluding
“Inscribed in Trees” highlights one of the group’s
strongest territories, Laubrock singing warmly through
the dense consonance of Smythe’s scalar runs.
For more information, visit intaktrec.ch. Crump is at City
Winery Mar. 2nd, Cornelia Street Underground Mar. 15th
and Le Poisson Rouge Mar. 10th with Liberty Ellman/Miles
Okazaki as part of the Alternative Guitar Summit. Laubrock
is at Roulette Mar. 2nd with Taylor Ho Bynum. See Calendar.
Atmosphères
Tigran Hamasyan/Arve Henriksen/
Eivind Aarset/Jan Bang (ECM)
by Tyran Grillo
As is common to ECM’s finest recordings of this
century, Atmosphères represents the spirit of producer
Manfred Eicher through its seemingly inevitable
unfolding. Eicher is a listener above all and his ability
to coax that same level of regard from and between
musicians in the studio, when it works this well, is
marvelous. The label’s penchant for unprecedented
collaborations, surprising yet organic by gentle force
of suggestion, plays out here in the quartet of Tigran
Hamasyan (piano), Arve Henriksen (trumpet), Eivind
Aarset (guitar) and Jan Bang (live sampling, samples).
Those familiar with Hamasyan’s work won’t be
surprised to find the Armenian pianist planting seeds
of his homeland’s most celebrated composer, Komitas
Vardapet (1869-1935), into this album’s otherwise
spontaneous field. The beloved melodies of “Garun a”
and “Tsirani tsar” especially highlight the synergistic
core of Henriksen (whose tone often leans toward
reed-like registers) and Hamasyan, although it was the
latter ’s collaborations with Bang at Norway’s Punkt
Festival in 2013 that prompted Eicher toward this
project’s realization. Bang’s sampling, whether banked
or
real-time,
in
combination
with Aarset’s
airbrushing, adds depth and vision to the overall
soundscape at hand.
Vardapet aside, ten freely improvised “Traces”
make up the bulk of this two-disc album and are where
the fullest possibilities of this quartet are achieved. The
ambience of “Traces I” opens the album on the softest
of feet, swelling ever so gradually into audible life.
Whether in the intonations of “Traces IV” or the misty
layers of “Traces X”, each musician speaks to the other
in whispers, true to the album’s titular spirit. Not all is
mist and drift, however, as tracks such as “Traces II”,
“Traces VI” and “Traces VII” speak of underlying
tensions and earthly forces at work in powerful
harmony. This restlessness is always at the mercy of
some distant prayer, one cradled like a candle from
night to dawn, even as its flame dances frantically in
the wind of unanswerable questions.
For more information, visit ecmrecords.com. Henriksen is at
Le Poisson Rouge Mar. 27th with Supersilent. See Calendar.
Deep Memory
Barry Guy/Marilyn Crispell/Paul Lytton (Intakt)
by Ken Waxman
Suspended
between expressive romanticism and
energetic atonality, the fourth CD by bassist Barry Guy,
pianist Marilyn Crispell and drummer Paul Lytton
(the latter pair both turning 70 this month) confirms
the solidity of this sporadically assembled trio and its
suitability as vehicle for Guy’s compositions. Deep
Memory’s seven pieces throb with reflections on the
draftsmanship and color application of selected works
by British artist Hughie O’Donoghue, whose paintings
provide the track titles and cover image.
O’Donoghue’s highly abstracted figure paintings
are musically echoed as the players meld swinging
tonality with departures from the expected, yet never
lose momentum. A tune such as “Return of Ulysses”
balances Crispell’s double-time kinetics with
regularized patterns from the piano’s lowest pitches,
which maintain the theme even as she creates new
variations, as if making indentations on cooling
asphalt. Crispell was initially influenced by Cecil
Taylor, so a piece like “Dark Days” approximates
Taylor ’s jagged power, especially when coupled with
Guy’s spiccato string slices, but she is also enough of
a melodicist to throw in references to the bagpipe air
“The Campbells Are Coming”.
“Sleeper”, initially played with tortoise-lumbering
deliberation, showcases the pianist’s pedal-pressured
soundboard vibrations plus hard patterns from Lytton.
Cymbal smacks and piano glissandi prod the melody
to triple its pace in its final two minutes.
Throughout the CD, the three are like fine art
restorers of neglected canvases. The ambulatory
allusions they bring to the material via buzzes, stretches
and echoes sonically brighten themes suggested by
O’Donoghue’s mostly murky colors—a key instance of
this is titled “Silenced Music”— communicative music
due to the sophisticated interaction.
For more information, visit intaktrec.ch
IN PRINT
Loft Jazz Improvising in the 1970s
Michael C. Heller (University of California Press)
by Ken Waxman
Unlike styles named for locations (Kansas City,
West Coast) or sounds (Bop, Stride), New York’s
Loft Jazz movement of the ‘70s was defined by real
estate. Large industrial lofts in SoHo, the result of
policies that allowed large swathes of the southern
part of the city to be neglected waiting for potential
redevelopment, were soon legally (or not) occupied
by artists drawn by expansive spaces and minimal
costs. Many lofts housed experimental jazz
musicians, who hosted sessions that eventually
became regular concert series. Soon not only were
locals like drummer Juma Sultan, saxophonist Sam
Rivers and trumpeter James DuBois presenting door
gigs but adventurous players from the Midwest
with more business savvy and California music
emigrants were sharing the spotlight. Using
interviews and archival research, Michael G. Heller
examines the scene’s rise and eventual fall from
historical, pedagogical and sociological perspectives.
In the spirit of musician self-sufficiency and
African-American empowerment of the time, one
galvanizing factor was the NYC arrival of the 1972
Newport Jazz Festival without local musician input.
A multi-borough counter festival then legitimatized
spaces that became Studio Rivbea, Ladies Fort, Ali’s
Alley and Studio We, among others. Discovered by
the jazz media, the movement’s zenith was probably
the acceptance of 1976’s multi-LPs, Wildflowers, The
New York Loft Jazz Sessions. But even at that point
impetus was being lost, schisms over music industry
cooperation and the idea of fair wages emerged,
as did competition among lofts. And, as multiinstrumentalist Cooper-Moore notes, often these
community ideas didn’t stretch past the musicians’
peers. Eventually, rising rents and new development
gentrified the area out of artists’ reach at the same
time as mainstream clubs and European festivals
welcomed more adventurous players,
Heller itemizes what differentiated Loft Jazz
from other styles and how its creation, dissemination
and demise affected innovative jazz. One crucial
aspect is the designation itself. As saxophonist
Hamiett Bluiett notes: “remember what we were
playing was ‘musician’s jazz’, not ‘building jazz’.”
For more information, visit ucpress.edu
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
37
Monk Work
Evidence (Actuelle)
Monk ‘N’ More
Simon Nabatov (Leo)
Monk Dreams Hallucinations and Nightmares
Frank Carlberg Large Ensemble (Red Piano)
by George Kanzler
J ust in time for the centennial celebration of his birth,
these three albums offer varied approaches to, and
perspectives on, Thelonious Monk’s music. The most
straightforward comes from Evidence, a Montréal
based trio that essays 11 of Monk’s compositions on
Monk Work, taking interpretive cues from Monk’s own
recordings. The unusual twist? Evidence is pianoless,
consisting of a saxophonist, electric bassist and
drummer. Simon Nabatov supplies the piano on his
solo CD Monk ‘N’ More and alternates five Monk works
he recorded in 1995 on piano with five pieces of his
own recorded in 2013 on piano and live electronics.
Frank Carlberg’s Monk Dreams Hallucinations and
Nightmares features a 16-piece band, plus a singer on
two tracks and a poet/reader on another, doing one
Monk composition but referencing Monk’s works and
words on the other nine tracks.
There is little overlap of Monk’s works among the
three albums, although “Skippy” and “Pannonica”
appear on both the Evidence and Nabatov. And
Nabatov also essays “Light Blue”, a source for
Carlberg’s cubistic “A Darker Shade of Light Blue”.
Nabatov and Monk’s styles and technique have little in
common; the former plays with overt virtuosity, more
Art Tatum/Oscar Peterson than the latter, and tends to
speed up tempos, as on “Pannonica”, where his soloing
flies along. In contrast, Evidence’s take on the tune
honors Monk’s original ballad tempo, electric bassist
Pierre Cartier recalling Wilbur Ware’s warm acoustic
sound, Jean Derome’s baritone saxophone full of ballad
gravitas. In fact, the Evidence trio—drummer Pierre
Tanguay rounds it out—seems deeply committed to
preserving and honoring Monk’s music as almost
archival repertoire. With Derome alternating on
baritone and alto, they play their Monk with definite
affection for the master ’s original recordings and
approach. Evidence’s Monk Work will be a comfortable
listen for Monk fans.
Nabatov’s Monk ‘N’ More is more enjoyable as an
example of the pianist’s command and virtuosity, a
display of outstanding solo piano acumen. And on
what he calls “Electroacoustic Extensions” (four of
them plus “Sunrise Twice Redux” comprise the 2013
piano-live electronics recordings) he very subtly
incorporates electronic waves and drones, as well as
delicate distortions, onto what remains largely solo
piano excursions. Although they have little in common
with the Monk tunes, they offer a more personal
perspective on Nabatov as a questing, creative artist.
Carlberg has a lot of fun with Monk tunes and what
the liner notes call “Monk-like shapes” in his inventive
composing-arranging for his Large Ensemble (Kirk
Knuffke, John Carlson, Dave Smith, Jonathan Powell,
Alan Ferber, Brian Drye, Chris Washburne, Max Seigal,
John O’Gallagher, Jeremy Udden, Sam Sadigursky,
Adam Kolker, Brian Landrus, Christine Correa,
Johannes Weidenmueller, Michael Sarin, Paul Lichter
and JC Sanford). But don’t go looking for a template in
the Monk Orchestra Town Hall concert recordings.
Carlberg owes much more to Mingus big band music,
with its accelerandos, retardandos and polyphonic nearcacophony, than to Monk, with Gil Evans another prime
(tonal, timbral) influence. His titles reference Monk in
punning, rhyming ways, most notably “Dry Bean Stew”
(“I Mean You”). The one Monk composition on the CD,
“‘Round Midnight”, is a sumptuous, Evans-influenced
chart in a concerto mode, wrapping orchestral colors
around Knuffke’s heavily featured cornet. Knuffke
is also featured on “International Man of Mystery”,
a piece that employs the same interval of a sixth upon
which “Misterioso” is based. “Sphere” is a jaunty romp
through semi-chaotic ensemble passages, with passing
references to “Straight No Chaser” and fervid solos
from trombonist Washburne and alto saxophonist
Udden. Sarin’s drums, especially the toms, dominate
“No Fear, My Dear”, stately winds and brass referencing
“Ruby, My Dear” around a lyrical Kolker tenor solo.
“Beast” pulses with echoes of “Ugly Beauty”, wah-wah
muted brass ushering in Ferber’s compelling open
LOU CAPUTO NOT SO BIG BAND
ZINC BAR - MARCH 22ND
SAINT PETER’S CHURCH - APRIL 26TH
“...pulsing organism of a band. Their charts are sophisticated, their
arrangements complex. And, boy, can they blow!” - Don McNeil
Tried and true swingers, they can take you around the block with a bunch
of stops in between, all of which are played to perfection.” -Chris Spector
LOUCAPUTO.COM
38 MARCH 2017 | THE NEW YORK CITY
RECORD
16/02/17 JAZZ
17:51
AbeatRecordsSIXTH PAGEesT.indd 1
trombone solo. Three tracks revolve around words:
“Rhymes” features Clark Coolidge’s poem “Rhymes
with Monk”, performed by Paul Lichter as the band
rises behind to engulf him in Monk musical quotes;
frequent Carlberg collaborator Correa sings lyrics
derived from two cryptic Monk verbal quotes: “You
Dig” and “Always Night”. The former consists of “You
got to dig it, to dig it. You dig?”, the latter “It must
always be night, otherwise they wouldn’t need the
light.” While his music may have multiple sources and
influences, Carlberg is decidedly on Monk’s wavelength.
For more information, visit actuellecd.com, leorecords.com
and redpianorecords.com
ON SCREEN
I Called Him Morgan
Kasper Collin (Filmrise/Submarine Deluxe)
by Scott Yanow
The murder of trumpeter Lee Morgan on Feb. 18th,
1972 by his wife Helen shocked the jazz world. The
story seems simple, the tale of a man who left his
wife for a younger woman and was then killed.
However that never seemed like the full tale and
what ever happened to Mrs. Morgan?
I Called Him Morgan, a 91-minute film directed
by Kasper Collin, fills in all of the details. Helen
Morgan was a regular at New York’s jazz clubs and
her apartment was a hangout for musicians who
enjoyed her cooking and hospitality. She met Lee
Morgan when he was down and out. They became
close, she helped him beat his drug habit and was a
constant asset in his career. However she was 14
years older than the trumpeter and by late 1971 he
had gotten a girlfriend, leading to his murder at
Slug’s Saloon in New York’s Alphabet City. After
being arrested, Helen Morgan pleaded guilty to
second-degree manslaughter, spent a surprisingly
brief time in jail and was released on probation.
Larry Reni Thomas, an adult education teacher,
was very surprised to discover in 1988 that one of
his students was the widow of Lee Morgan. He
asked to interview her and, after eight years, Helen
Morgan finally said yes, just a month before she
passed away. Her comments and stories about her
life and relationship with her husband are fascinating
as are the stories told in interviews with such key
figures as saxophonists Wayne Shorter, Billy Harper
and Bennie Maupin, bassists Jymie Merritt, Paul
West and Larry Ridley, drummers Charli Persip and
Albert “Tootie” Heath, Helen’s son, and even Lee
Morgan’s girlfriend Judith Johnson.
This expertly-edited film tells both of the
Morgans’ life stories through footage of the era,
interviews, brief performance clips and their own
words. It is a suspenseful documentary with no
slow moments, keeping viewers who always
wondered about the Morgans on the edge of their
seats.
For more information, visit icalledhimmorgan.com. This
film will have two local screenings: Mar. 7th at IFC
Center and Mar. 31st at Metrograph Theater. For more
information, visit ifccenter.com/series/stranger-thanfiction-winter-2017 and metrograph.com
Nerve Dance
Michaël Attias Quartet (Clean Feed)
by Stuart Broomer
Nerve Dance presents alto saxophonist Michaël Attias’
latest group, a quartet with frequent co-workers John
Hébert (bass) and Nasheet Waits (drums) along with
a newcomer, Cuban-born pianist Aruán Ortiz. It’s a
remarkably tight-knit band. In part, that’s based on
certain common values and sources. One is Andrew
Hill: Hébert and Waits worked with the pianist together
and separately and he is clearly an influence on Ortiz
as pianist and Attias the composer, both of whom are
fond of complex rhythmic and harmonic structures,
fusing patterns and bits into powerful dynamic wholes.
Another shared influence is Ornette Coleman: Ortiz
has recorded his compositions and Attias’ lines have
a variety that suggests Coleman, from short, wispy
sotto voce phrases to cascading, singing figures alive
with shifting inflections.
In a sense, it’s very much a composer ’s record.
Attias wrote 9 of the 11 tracks, Hébert the other two;
some tracks are interrelated, handling the same
materials in different ways. The ethereal and brief
“Boca de Luna”, etched by Attias alone on alto and
minimalist supporting piano, introduces the developed
version of the materials, “Moonmouth”. The two parts
of “Nerve & Limbo”—one slowed down to a dirge-like
pace, the other an edgy rhythmic complex driven by
Ortiz and worthy of Hill—later become the basis of
“Le Pèse-Nerfs” and “Ombilique”. “Dream in a
Mirror”, a tribute to Coleman, is a minor key recasting
of his “The Clergyman’s Dream”. Hébert’s “Rodger
Lodge” has a distinctly relaxed lyricism of its own.
Complexity and composition, however, don’t
operate in a vacuum. They focus and feed the
realization of vital music through the dynamic of
group improvisation. The pieces reflect intense and
elusive psychological states and develop those moods
through a simultaneous adherence to demanding
patterns and a spirit of improvised dialogue. Every
minute is alive, whether a solo spot for Waits or Hébert
or the ensemble in full flight.
For more information, visit cleanfeed-records.com. This
project is at Cornelia Street Underground Mar. 18th. See
Calendar.
A Special Rapport
Peter Leitch Quartet (Reservoir)
by George Kanzler
G uitarist Peter Leitch retired from performing in 2015
due to health problems. Up until then he was one of
The Big Apple’s mainstays of bop/hardbop-based
mainstream jazz. His approach is based on clarity,
a warm singing tone and indefatigable swing. The
apropos title of this reissued album references the
camaraderie of the quartet heard here, which often
appeared together during the period this CD was
recorded, Summer 1993, at Rudy Van Gelder ’s studio.
Joining Leitch are the late John Hicks (piano), Ray
Drummond (bass) and Marvin “Smitty” Smith (drums).
The ease and fluidity expressed in the teamwork of
this quartet is only half of the pleasure of listening. The
other appealing factor is the strength and distinction of
the repertoire. Bookending the program are pieces by
two giant influences on the musicians: Charlie Parker ’s
“Relaxin’ at Camarillo” kicks things off in bright
fashion at scintillating bebop tempo while John
Coltrane’s fast “Lazy Bird” caps off the album with
clean, racing lines from Leitch and Hicks plus a snappy
round of fours between them and Smith.
Surrounding two Leitch originals—”Avenue B”,
a fast riff tune, and “Blues On The West Side”, a modern
blues—at the center of the nine tracks are two familiar
standards: Gordon Jenkins’ “Goodbye”, caressed by
solo guitar and eventually joined by subdued rhythm
section, and Fats Waller ’s “Jitterbug Waltz”, infused
with a 6/8 feel indebted to Coltrane’s approach to “My
Favorite Things”.
Hicks’ nascent jazz standard “Naima’s Love Song”
sways to a Bossa beat and Ahmad Jamal’s “New
Rhumba” recalls the Gil Evans-Miles Davis
collaboration, although based here on Jamal’s trio
chart. A Billy Strayhorn duo (guitar and piano) medley
stresses the poignant primacy of the melodies:
“A Flower Is A Lovesome Thing” and “Lotus Blossom”.
For more information, visit reservoirmusic.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
39
M ISCELLANY
ON THIS DAY
by Andrey Henkin
Live at the Hi-Hat
Stan Getz Quintet (Fresh Sound)
March 8th, 1953
Released over six decades after it
happened, this two-disc live set from
the famed Boston club (extant from
1937-59 and site of a number of mostly
posthumous recordings) is the earliest
document of tenor saxophonist Stan
Getz working with trombonist Bob
Brookmeyer. This then-new quintet
(active for about a year and then
revived in 1961) is filled out by Getz’
regular pianist and bassist of 1952 in
Duke Jordan and Bill Crow plus
drummer Al Levitt. The 14 tracks
contained herein are all jazz and
songbook standards.
Inspired Abandon
Lawrence Brown’s All-Stars (Impulse!)
March 8th, 1965
Apart
from the rhythm section of
Jimmy Jones, Richard Davis and
either Gus Johnson or Johnny Hodges,
Jr., trombonist Lawrence Brown’s All
Stars is comprised of fellow Duke
Ellington alumni: Ray Nance, Cat
Anderson, Buster Cooper, Jimmy
Hamilton, Johnny Hodges, Russell
Procope, Harold Ashby and Paul
Gonsalves. Confirming its status as a
moon orbiting the Ellington sun is the
inclusion of Ellington standards like
“Mood Indigo” and “Do Nothin’ Till
You Hear From Me” to go along with
several tunes by the elder Hodges.
First Encounter
Mal Waldron (Victor)
March 8th, 1971
The Cry
Steve Lacy +6 (Soul Note)
March 8th, 1988
Eponymous
Jon Gordon Quartet (Chiaroscuro)
March 8th, 1992
Pianist Mal Waldron and bassist Gary
One of the many albums the late
soprano saxophonist Steve Lacy made
for this Italian label, the two-disc set
finds him with old friends in vocalistwife Irène Aebi and bassist JeanJacques Avenel along with new
associates Tina Wrase (reeds), Petia
Kaufman (harpsichord), Cathrin
Pfeifer (accordion) and Daniel Gioia
(percussion). Lacy’s originals utilize
texts of Women’s Rights (in Muslim
societies) advocate Taslima Nasrin.
For this live recording, Lacy also
included a set dresser and costumer
for what he called a “jam opera”.
For what would be his first U.S. label
Peacock, born 10 years apart, meet for
the first and only time on record for
this outing for the Japanese Victor
imprint. Completing the trio is
drummer Hiroshi Murakami, who
had worked with Waldron a month
earlier in support of singer Kimiko
Kasai. Waldron contributes three
songs, “She Walks in Beauty”, “The
Heart of the Matter” and “Walkin’
Way”, none which appear elsewhere
in his discography, with the same for
Peacock’s “What’s That”. Why there
was no second encounter is a mystery.
release after a debut for Norway’s
Taurus, alto/soprano saxophonist Jon
Gordon celebrates his roots by
featuring legendary alto saxophonist
Phil Woods, who inspired him as a
teenager and later became his teacher,
on four of the ten tracks found here,
including Woods’ inspirational “Pass
It On, Jon”. The rest of the band are
Gordon’s contemporaries in pianist
Kevin Hays, bassist Scott Colley and
drummer Bill Stewart, playing
Gordon originals, standards and Joe
Lovano’s “Land of Ephesus”.
BIRTHDAYS
March 1
†Glenn Miller 1904-44
†Teddy Powell 1906-1993
†Benny Powell 1930-2010
Gene Perla b.1940
Ralph Towner b.1940
Vinny Golia b.1946
Norman Connors b.1947
Elliott Sharp b.1951
March 6
†Red Callender 1916-92
†Howard McGhee 1918-87
†Wes Montgomery 1925-68
†Ronnie Boykins 1935-80
Charles Tolliver b.1940
Peter Brötzmann b.1941
†Robin Kenyatta 1942-2004
Flora Purim b.1942
Dom Minasi b.1943
Ayelet Rose Gottlieb b.1979
March 11
†Miff Mole 1898-1961
†Mercer Ellington 1919-96
†Ike Carpenter 1920-98
†Billy Mitchell 1926-2001
†Leroy Jenkins 1932-2007
Vince Giordano b.1952
Judy Niemack b.1954
March 16
†Ruby Braff 1927-2003
†Tommy Flanagan 1930-2001
Keith Rowe b.1940
John Lindberg b.1959
Woody Witt b.1969
March 17
†Paul Horn 1930-2014
†Grover Mitchell 1930-2003
†Karel Velebny 1931-89
Jessica Williams b.1948
Abraham Burton b.1971
Daniel Levin b.1974
March 12
†Sir Charles Thompson
1918-2016
March 7
†Hugh Lawson 1935-97
Alexander von Schlippenbach Ned Goold b.1959
b.1938
Peter Knight b.1965
Herb Bushler b.1939
March 13
March 8
†Dick Katz 1924-2009
†George Mitchell 1899-1972
Roy Haynes b.1926
Dick Hyman b.1927
†Blue Mitchell 1930-79
George Coleman b.1935
Michael Jefry Stevens b.1951
†Gabor Szabo 1936-82
Akira Tana b.1952
†James Williams 1951-2004
Terence Blanchard b.1962
Biggi Vinkeloe b.1956
Shoko Nagai b.1971
Anat Fort b.1970
March 14
March 9
†Joe Mooney 1911-75
†Ornette Coleman 1930-2015
†Les Brown 1912-2001
†Keely Smith 1932-2015
†Sonny Cohn 1925-2006
Kali Z. Fasteau b.1947
†Mark Murphy 1932-2015
Zakir Hussain b.1951
†Shirley Scott 1934-2002
†Thomas Chapin 1957-1998
Dred Scott b.1964
Erica von Kleist b.1982
March 15
March 10
†Jimmy McPartland 1907-91
†Bix Beiderbecke 1903-31
†Spencer Clark 1908-1998
†Pete Clarke 1911-75
†Harry James 1916-83
†Don Abney 1923-2000
†Bob Wilber 1928-2006
Louis Moholo-Moholo b.1940
Charles Lloyd b.1938
Mino Cinelu b.1957
Marty Sheller b.1940
Bill Gerhardt b.1962
Joachim Kühn b.1944
Ofer Assaf b.1976
Anne Mette Iversen b.1972
March 2
†Eddie “Lockjaw” Davis
1921-86
†Doug Watkins 1934-62
Buell Neidlinger b.1936
Bob Neloms b.1942
Wolfgang Muthspiel b.1965
March 3
†Barney Bigard 1906-80
†Cliff Smalls 1918-2008
†Jimmy Garrison 1934-76
Luis Gasca b.1940
March 4
†Don Rendell 1926-2015
†Cy Touff 1927-2003
†Barney Wilen 1937-96
David Darling b.1941
Jan Garbarek b.1947
Kermit Driscoll b.1956
Albert Pinton b.1962
Dana Leong b.1980
March 5
†Gene Rodgers 1910-87
†Bill Pemberton 1918-84
†Dave Burns 1924-2009
†Lou Levy 1928-2001
†Wilbur Little 1928-87
†Pee Wee Moore 1928-2009
David Fiuczynski b.1964
March 18
†Al Hall 1915-88
†Sam Donahue 1918-74
Bill Frisell b.1951
Joe Locke b.1959
March 19
†Curley Russell 1917-86
†Lennie Tristano 1919-78
Bill Henderson b.1930
Mike Longo b.1939
David Schnitter b.1948
Chris Brubeck b.1952
Michele Rosewoman b.1953
Eliane Elias b.1960
March 22
†Fred Anderson 1929-2010
John Houston b.1933
†Masahiko Togashi 1940-2007
George Benson b.1943
March 23
†Johnny Guarnieri 1917-85
Dave Frishberg b.1933
†Dave Pike 1938-2015
†Masabumi Kikuchi 1940-2015
Gerry Hemingway b.1950
Stefon Harris b.1973
March 24
†King Pleasure 1922-81
Dave MacKay b.1932
†Kalaparusha Maurice McIntyre 1936-2013
Steve Kuhn b.1938
Paul McCandless b.1947
Steve LaSpina b.1954
Renee Rosnes b.1962
Dave Douglas b.1963
Joe Fiedler b.1965
March 25
Cecil Taylor b.1929
†Paul Motian 1931-2011
†Larry Gales 1936-95
†Lonnie Hillyer 1940-85
Makoto Ozone b.1961
March 20
†Marian McPartland 1920-2013
†Sonny Russo 1929-2013
March 26
Harold Mabern b.1936
†Abe Bolar 1908-2000
Jon Christensen b.1943
†Flip Phillips 1915-2001
†Andy Hamilton 1918-2012
March 21
†Brew Moore 1924-73
†Hank D’Amico 1915-65
†James Moody 1925-2010
Mike Westbrook b.1936
Maurice Simon b.1929
Herbert Joos b.1940
Lew Tabackin b.1940
Amina Claudine Myers b.1942 Hiromi b.1979
March 27
†Pee Wee Russell 1906-69
†Ben Webster 1909-73
†Sarah Vaughan 1924-90
†Harold Ashby 1925-2003
†Bill Barron 1927-89
†Burt Collins 1931-2007
Stacey Kent b.1968
March 28
†Paul Whiteman 1890-1967
†Herb Hall 1907-96
†Thad Jones 1923-86
Bill Anthony b.1930
†Tete Montoliu 1933-97
Barry Miles b.1947
Donald Brown b.1954
Orrin Evans b.1975
Jen Shyu b.1978
March 29
†George Chisholm 1915-97
†Pearl Bailey 1918-90
Allen Botschinsky b.1940
†Michael Brecker 1949-2007
March 30
†Ted Heath 1900-69
Lanny Morgan b.1934
Karl Berger b.1935
Marilyn Crispell b.1947
Dave Stryker b.1957
Frank Gratkowski b.1963
Dan Peck b.1983
March 31
†Santo “Mr. Tailgate” Pecora 1902-84
†Red Norvo 1908-99
†Freddie Green 1911-87
†Jimmy Vass 1937-2006
Christian Scott b.1983
MARILYN CRISPELL
March 30th, 1947
Though born in Philly, the
pianist’s career began with
players out of the avant
garde scene of Chicago in
Leo Smith, Roscoe Mitchell
and, most significantly,
Anthony Braxton, with
whom she worked off and
on from 1978-93, mostly as
part of a quartet with Mark
Dresser
and
Gerry
Hemingway. She made her
debut as a leader for
Cadence in 1981 in groups
featuring violinist Billy
Bang and then went on to
record for FMP, Leo, Victo,
Music & Arts, Matchless,
Okka, ECM, Black Saint,
Intakt and Tzadik, among
others. She has also worked
regularly with bassists such
as Reggie Workman, Barry
Guy, Joëlle Léandre and
Gary
Peacock
in
a
discography approaching
500 sessions. -AH
CROSSWORD
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5
6
7
10
8
2
3
ACROSS
4
9
11
12
14
13
16
17
18
19
21
22
23
15
20
24
25
26
27
28
By Andrey Henkin 1. Swedish cellist ____ El-Habashi
5. Skitch Henderson and Doc Severinsen
both led this network’s orchestra
8. ‘70s German pop-jazz saxophonist Jochen
10. Drummer Terri Lyne
12. German trombonist Rolf
13. Coltrane’s tribute to his longtime bassist
14. Defunct music camp based in CT
16. Violinist ____ Deng who recorded with
Jane Monheit and Diana Krall
17. 1974 Tsuyoshi Yamamoto Three Blind Mice
album Blues For ____
18. Sons of Sound Productions catalogue prefixes
19. Erskine Hawkins Orchestra 1939 single
”____ Living “I””
21. This label, best known for its Allman Brothers
albums, also released two ‘70s LPs by
Eddie Henderson
25. Trumpeter Al Hirt performed during
halftime at this sporting 1967 event
26. Benny Goodman tune “Seven Come ____”
27. Shakuhachi player Rothenberg
visit nycjazzrecord.com for answers
40 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
28. Peter De Rose-Carl Sigman standard
“Buona ____” popularized by Louis Prima
DOWN
1. German saxophonist Max on hatOLOGY
2. 1966 Bola Sete New Brazilian Trio Fantasy album
3. Washington, D.C. neighborhood of Blues Alley
4. Natl. of trumpeter Amir ElSaffar
5. Jazz educators can become this (abbr.)
6. Bassist Guy and keyboardist Miles
7. Monk’s “____ with Nellie”
8. Colorado pianist Art Lande runs this ens.
9. ____.com, official website for the writers of
“Getting to Know You”
11. Roaratorio included prints on this
Japanese medium in recent Joe McPhee LPs
15. Swiss organ player Heinz ____
20. NYC-based jazz photograher Farber
22. Swedish ‘30s-40s bandleader Derwin
23. Red River Entertainment catalogue prefixes
24. “____ Mukhtarr Mustapha”, track from 1972
Stanley Cowell ECM album Illusion Suite
25. Strata-East catalogue prefixes
Wayne Shorter Weekend • April 21-23
Jazz greats salute one of their own: Newark’s famed saxophonist and composer in concert!
Wallace Roney
Joe Lovano
Cécile McLorin Salvant
Wayne Shorter’s The Universe–
A Concerto for Miles
By Wallace Roney Orchestra
Featuring Buster Williams,
Lenny White and Patrice Rushen
Cécile McLorin Salvant
with Sullivan Fortner
and The Emmet Cohen Trio
Friday, April 21 at 7:30pm
Weather Report and
Beyond Reimagined
Christian McBride, Rachel Z,
Joe Lovano, Steve Wilson,
Omar Hakim and Manolo Badrena
Saturday, April 22 at 8pm
Thursday, April 20 at 7:30pm
Dorthaan’s Place
Sunday Jazz Brunches
NJPAC’s series of intimate jazz
brunches returns, curated and
hosted by jazz champion and WBGO
legend Dorthaan Kirk, Newark’s
“First Lady of Jazz.”
NICO Kitchen + Bar • 11am & 1pm
Rob Paparozzi
Esperanza Spalding
Christian McBride
& Esperanza Spalding:
One on One
Sunday, April 23 at 3pm
Wayne Shorter Quartet
Wayne Shorter Quartet
with special guests
Herbie Hancock and
Gretchen Parlato
Sunday, April 23 at 7pm
March 12
Blues, harmonica and more from
NJ’s Rob Paparozzi.
The Bucky Pizzarelli
and Ed Laub Duo
April 2
The accomplished guitar
duo perform American
Songbook selections.
For tickets & full schedule visit njpac.org or
call 1.888.GO.NJPAC Groups 973.297.5804
One Center Street, Newark, NJ
NEW JERSEY PERFORMING ARTS CENTER
9.5x12_NYCJazzRecord_feb_njpac_2016.indd 1
Wayne Shorter Weekend events are produced with and co-sponsored by the Institute of Jazz Studies at Rutgers University-Newark.
1/19/17 10:43 AM
CALENDAR
Wednesday, March 1
êGeorge Coleman Birthday Celebration with Charles McPherson, Jeb Patton,
David Wong, Chuck McPherson Jazz Standard 7:30, 9:30 pm $35
êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King
Village Vanguard 8:30, 10:30 pm $30
êDonald Harrison Mardis Gras Celebration with Henry Butler, Theo Croker, Zaccai Curtis,
Max Moran, Joe Dyson
Blue Note 8, 10:30 pm $35
• Nicole Henry’s A Time For Love with David Cook, Ben Williams, Jonathan Barber,
Avi Rothbard
Dizzy’s Club 7:30, 9:30 pm $40
• Barry Stephenson
Dizzy’s Club 11:30 pm $5
• John Pizzarelli Trio
Birdland 8:30, 11 pm $50
• Meshell Ndegeocello
Iridium 8:30 pm $50
êTim Berne, Mary Halvorson, Oscar Noriega
The Stone 8:30 pm $20
êTravis Laplante’s Battle Trance with Patrick Breiner, Matthew Nelson, Jeremy Viner
and guest Gerald Cleaver
Roulette 8 pm $20
• Amy Cervini and Janis Siegel with Jesse Lewis, Matt Aronoff, Ross Pederson;
Adam Rogers, Matt Penman, Ben Perowsky and guests
55Bar 7, 10 pm
• Frank Kohl; Tony Hewitt/Pete Malinverni
Mezzrow 8, 11 pm $20
• Robert Edwards Quintet with Joe Magnarelli, Adam Birnbaum, Dave Baron,
Aaron Kimmel; Dan Pratt Quartet with Michael Eckroth, Matt Clohesy
Smalls 7:30, 10:30 pm $20
• Miki Yamanaka; Groover Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
• Mareike Wiening Quintet with Rich Perry, Florian Weber, Alex Goodman,
Johannes Felscher; Yuhan Su Quintet with Alex Lore, Petros Klampanis,
Nathan Ellman-Bell
Cornelia Street Underground 8, 9:30 pm $10
• Rale Micic Quartet with Nitzan Gavrieli, Ugonna Okegwo, E.J. Strickland
An Beal Bocht Café 8, 9:30 pm $15
• Alexis Parsons Trio with Frank Kimbrough, Dean Johnson
Jazz at Kitano 8, 10 pm $17
• Greg Diamond Nuance with Edward Perez, Juan Felipe Mayorga
Terraza 7 8 pm $10
• Tsuyoshi Yamamoto Trio; Arthur Sadowsky Duo
Tomi Jazz 8, 11 pm $10
• Sebastian Acosta
Silvana 6 pm
Thursday, March 2
êLou Donaldson
Blue Note 8, 10:30 pm $35
êSex Mob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen
Bar Lunàtico 8:30, 10 pm $10
• Taylor Ho Bynum’s PlusTet with Dave Ballou, Stephanie Richards, Nate Wooley,
Vincent Chancey, Steve Swell, Bill Lowe, Jim Hobbs, Ingrid Laubrock, Matt Bauder,
Stuart Bogie, Dana Jessen, Jean Cook, Tomeka Reid, Jay Hoggard, Adam Matlock,
Mary Halvorson, Ken Filiano, Tomas Fujiwara Roulette 8 pm $20
êTrio Hornito: Oscar Noriega, Brandon Seabrook, Tom Rainey
The Stone 8:30 pm $20
êChampian Fulton Quartet with Dor Samoha, Fukushi Tainaka, Stephen Fulton
Smoke 7, 9, 10:30 pm $12
• Women In Music—Tribute To Mercedes Sosa: Pedro Aznar, Magos Herrera and
Edward Simon Trio
National Sawdust 7 pm $34
• Josh Green Cyborg Orchestra with Josh Plotner, Charles Pillow, Steve Kenyon,
Todd Groves, Jay Hassler, Denise Stillwell, Christine Kim, John Lake, John Challoner,
Alan Ferber, Chris Misch-Bloxdorf, Michael Verselli, Will Holshouser, Sungwon Kim,
Brian Courage, Josh Bailey National Sawdust 10 pm $34
êBill Ware/Stephan Crump
City Winery 7 pm
êJohnny O’Neal
Ginny’s Supper Club 7:30, 9:30 pm $20
• Rob Garcia Quartet with Noah Preminger, Gary Versace, Vicente Archer
Cornelia Street Underground 8, 9:30 pm $10
• Lafayette Harris; Spike Wilner Mezzrow 8, 11 pm $20
• Tim Hegarty Quintet with Charlie Sigler, Ben Rosenblum, Vincent Dupont, Winard Harper;
Nick Hempton Band
Smalls 7:30, 10:30 pm $20
• Ivan Renta Quintet; Saul Rubin Zebtet; Paul Nowinski
Fat Cat 7, 10 pm 1:30 am
• Marta Sánchez with Roman Filiu, Jerome Sabbagh, Rick Rosato, Daniel Dor
Owl Music Parlor 7:30 pm $10
• Hendrik Meurkens Quartet with Mike LeDonne, Chris Berger, Pete Van Nostrand
Jazz at Kitano 8, 10 pm $17
• Flavio Silva Trio with Alex Apolo Ayala, Kush Abadey; Kevin Clark Trio with Jeff Reed,
Sylvia Cuenca
Bar Next Door 6:30, 8:30, 10:30 pm $12
• The Jazz Composers Showcase The Jazz Gallery 7:30, 9:30 pm $15
• Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino
Club Bonafide 7:30, 9:30 pm $15
• Dennis Joseph Trio
Cavatappo Grill 9, 11 pm $10
• Terraza 7 Big Band
Terraza 7 9 pm $10
• Ken Simon Duo
Cleopatra’s Needle 7 pm
• Raquel Rivera Duo
Tomi Jazz 9 pm $10
• Leah Hinton
Shrine 7 pm
• Supermambo
Guadalupe Inn 8 pm $5-10
êGeorge Coleman Birthday Celebration with Charles McPherson, Jeb Patton,
David Wong, Chuck McPherson Jazz Standard 7:30, 9:30 pm $35
êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King
Village Vanguard 8:30, 10:30 pm $30
• Nicole Henry’s A Time For Love with David Cook, Ben Williams, Jonathan Barber,
Avi Rothbard
Dizzy’s Club 7:30, 9:30 pm $40
• Barry Stephenson
Dizzy’s Club 11:30 pm $10
• Charito and John di Martino Trio with Boris Kozlov, Mark Taylor
Birdland 6 pm $25
• John Pizzarelli Trio
Birdland 8:30, 11 pm $50
• Meshell Ndegeocello
Iridium 8:30 pm $50
• Adam Rogers, Matt Penman, Ben Perowsky and guests
55Bar 10 pm
êGuillermo Gregorio/Art Bailey
Silvana 6 pm
Friday, March 3
êEddie Palmieri—Celebrating 80 Years: Salsa Orchestrasè with Herman Olivera,
Nelson Gonzalez, Joseph Gonzalez, Brian Lynch, Charlie Sepulveda, Jonathan Powell,
Jimmy Bosch, Doug Beavers, Luques Curtis, Vicente “Little Johnny” Rivero,
Camilo Molina, Nicky Marrero; Latin-Jazz Orchestra with Brian Lynch,
Charlie Sepulveda, Jonathan Powell, Jimmy Bosch, Doug Beavers, Louis Fouche,
Jeremy Powell, Ivan Renta, Luques Curtis, Vicente “Little Johnny” Rivero,
Camilo Molina, Nicky Marrero
Rose Theater 8 pm $45-135
êDjango A Gogo: Stephane Wrembel, Al Di Meola, Stochelo Rosenberg, Larry Keel,
Ryan Montbleau, David Gastine, Nick Anderson, Thor Jensen, Ari Folman Cohen
Isaac Stern Auditorium 8 pm $19-175
êDave Douglas Metamorphosis with Wadada Leo Smith, Oliver Lake, Marc Ribot,
Myra Melford, Mark Dresser, Andrew Cyrille, Susie Ibarra
The Appel Room 7, 9:30 pm $65-85
êRemembering James Williams And Mulgrew Miller—MVP Jazz Quartet: Donald Brown,
Ray Drummond, Marvin “Smitty” Smith, Bobby Watson
Dizzy’s Club 7:30, 9:30 pm $40
• Barry Stephenson
Dizzy’s Club 11:30 pm $10
êSteve Coleman’s Reflex with Anthony Tidd, Sean Rickman
The Jazz Gallery 7:30, 9:30 pm $35-45
êJay Clayton/Sheila Jordan Bebop to Freebop with John di Martino, Cameron Brown
Jazz at Kitano 8, 10 pm $32
• David Berkman
Mezzrow 8 pm $20
êTardo Hammer Trio with Lee Hudson, Clifford Barbaro; Emmet Cohen Trio with
Yasushi Nakamura, Jimmy Cobb Smalls 7:30, 10:30 pm $20
• Uri Vallès López Quintet; Jared Gold/Dave Gibson; Ray Gallon
Fat Cat 6, 9 pm 1:30 am
êWillie Jones III Quintet with Ralph Moore, Jeremy Pelt, Eric Reed, George Delancey
Smoke 7, 9, 10:30 pm $38
êOscar Noriega Quartet with Brandon Seabrook, Trevor Dunn, Dan Weiss
The Stone 8:30 pm $20
• David Buchbinder Odessa/HavanaLe Poisson Rouge 7 pm $25
• Clark Gayton and The SuperslicksBar Lunàtico 8:30, 10 pm $10
êJeff Davis Authorities Band with Jon Irabagon, Russ Johnson, Drew Gress,
Jonathan Goldberger
Cornelia Street Underground 9, 10:30 pm $10
• Tomoko Omura/Yuhan Su; Karolina Beimcik, Miki Yamanaka, Noah Garabedian,
Jimmy Macbride, Rafal Sarnecki ShapeShifter Lab 7, 8:15 pm $15
• Philip Dizack
Minton’s 7 pm $10
• Brian Pareschi and BP Express Club Bonafide 7:30, 9:30 pm $15
êThe Music of Chick Corea: Michael Cochrane with Kevin Farrell, Jeremy Noller,
Eli Asher
Bloomingdale School of Music 7 pm
• Sebastian Noelle Trio with Matt Clohesy, Mark Ferber Bar Next Door 7:30, 9:30, 11:30 pm $12
• RITA with Bruce Harris
Ginny’s Supper Club 7:30, 9:30 pm $20
êMatt Darriau’s Yo Lateef with Peck Allmond, Arthur Kell, Steve Johns, Mez Row
Owl Music Parlor 7:30 pm $10
• Leila Bordreuil’s Void and Dismissal with Austin Julian, Tamio Shiraishi, Julia Santoli;
Leila Bordreuil/Bill Nace
Issue Project Room 8 pm $10
• Carol Liebowitz/Nick Lyons Duo; Carol Liebowitz, Nick Lyons, Ken Filiano,
Michael Wimberly
Ibeam Brooklyn 8, 9 pm $15
• Cynthia Sayer/Conal Fowlkes Knickerbocker Bar and Grill 9:45 pm $3.50
• Craig Brann Trio
Tomi Jazz 9 pm $10
• Jeremy Bosch
Guadalupe Inn 8 pm $5-10
êLou Donaldson
Blue Note 8, 10:30 pm $35
êGeorge Coleman Birthday Celebration with Charles McPherson, Jeb Patton,
David Wong, George Coleman, Jr.Jazz Standard 7:30, 9:30 pm $35
êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King
Village Vanguard 8:30, 10:30 pm $30
• John Pizzarelli Trio
Birdland 8:30, 11 pm $50
• Meshell Ndegeocello
Iridium 8:30 pm $50
• Jon Sheckler Trio
Shrine 6 pm
Saturday, March 4
êLee Konitz Quartet with Florian Weber, Jeremy Stratton, George Schuller
Brooklyn Conservatory of Music 7:30 pm $25
• Madeleine Peyroux
Town Hall 8 pm $50-125
êDon Byron, Blair McMillen, Cornelius Dufallo, Wendy Sutter Roulette 8 pm $20
êThums Up: Vijay Iyer, Himanshu Suri, Rafiq Bhatia, Kassa Overall; Arooj Aftab Group
with Leo Genovese, Jorn Bielfeldt, Yusuke Yamamoto
Merkin Concert Hall 7:30 pm $25
êMichael Bates Shostakovich Project with Russ Johnson, Greg Tardy, Russ Lossing,
Michael Sarin
Greenwich House Music School 7:30 pm $15
• Allan Harris
Ginny’s Supper Club 7:30, 9:30 pm $20
• Mark Sherman Group
Jazz at Kitano 8, 10 pm $32
• Petros Klampanis Septet with Julian Shore, Maria Manousaki, Gokce Erem, Carrie Frey,
Caleigh Drane, John Hadfield
Cornelia Street Underground 9, 10:30 pm $10
êGilad Hekselman Band
The Django at The Roxy Hotel 7:30 pm
• Lady Got Chops Festival/Banana Puddin’ Jazz: Sheryl Renee, Joy F. Brown, Patsy Grant
with Kim Clarke, Taylor Moore
Nuyorican Poets Café 9:30 pm $20
êPlay Party: Oscar Noriega, Jeff Parker, Trevor Dunn, Ben Perowsky
The Stone 8:30 pm $20
êMonk in Motion: David Gibson with Freddie Hendrix, Theo Hill, Alex Claffy,
Kush Abadey
Tribeca Performing Arts Center 7:30 pm $30
êJerome Sabbagh Trio with Joe Martin, Billy Drummond Bar Next Door 7:30, 9:30, 11:30 pm $12
• Amino Belyamani
Owl Music Parlor 7:30 pm $10
• Pamela Hamilton Group
Sistas’ Place 9, 10:30 pm $20
• Kimberly Thompson Quartet; Paola Quagliata’s Jazzin’ Around Baroque
The Cell 8, 9:30 pm
• Bayo Fayemi; Keenyn Omari Williamsburg Music Center 10, 11:15 pm $10
• Svetlana and The Delancey Five Joe’s Pub 9:30 pm $20
• Carlos Cueva Trio with Edward Perez, Juan Felipe Mayorga
Terraza 7 9:30 pm $10
• Steve Carrington Quintet; Raphael D’lugoff Quintet; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am
• Audrey Silver with Mike Eckroth, Steve LaSpina; Jovino Santos Neto with Itaiguara,
Mauricio Zottarelli Club Bonafide 7:30, 9:30 pm $10
• The Truthseekers; Kokichi Yanagisawa Trio; Sharp Tree Trio
Tomi Jazz 6, 8, 11 pm $10
• Michika Fukumori Trio
Cleopatra’s Needle 8 pm
• Paolo Stagnaro; Takenori Quartet Guadalupe Inn 8 pm 12 am $5-10
êEddie Palmieri—Celebrating 80 Years: Salsa Orchestrasè with Herman Olivera,
Nelson Gonzalez, Joseph Gonzalez, Brian Lynch, Charlie Sepulveda, Jonathan Powell,
Jimmy Bosch, Doug Beavers, Luques Curtis, Vicente “Little Johnny” Rivero,
Camilo Molina, Nicky Marrero; Latin-Jazz Orchestra with Brian Lynch,
Charlie Sepulveda, Jonathan Powell, Jimmy Bosch, Doug Beavers, Louis Fouche,
Jeremy Powell, Ivan Renta, Luques Curtis, Vicente “Little Johnny” Rivero,
Camilo Molina, Nicky Marrero
Rose Theater 8 pm $45-135
êDave Douglas Metamorphosis with Wadada Leo Smith, Oliver Lake, Marc Ribot,
Myra Melford, Mark Dresser, Andrew Cyrille, Susie Ibarra
The Appel Room 7, 9:30 pm $65-85
êRemembering James Williams And Mulgrew Miller—MVP Jazz Quartet: Donald Brown,
Ray Drummond, Marvin “Smitty” Smith, Bobby Watson
Dizzy’s Club 7:30, 9:30 pm $45
• Barry Stephenson
Dizzy’s Club 11:30 pm $20
êSteve Coleman’s Reflex with Anthony Tidd, Sean Rickman
The Jazz Gallery 7:30, 9:30 pm $35-45
• David Berkman
Mezzrow 8 pm $20
êTommy Campbell Vocal-Eyes; Emmet Cohen Trio with Yasushi Nakamura,
Jimmy Cobb; Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal
Smalls 7:30, 10:30 pm 1 am $20
êWillie Jones III Quintet with Ralph Moore, Jeremy Pelt, Eric Reed, George Delancey
Smoke 7, 9, 10:30 pm $38
• Cynthia Sayer/Conal Fowlkes Knickerbocker Bar and Grill 9:45 pm $3.50
• Philip Dizack
Minton’s 7 pm $10
êLou Donaldson
Blue Note 8, 10:30 pm $35
êGeorge Coleman Birthday Celebration with Yotam Silberstein, Mike LeDonne,
John Webber, George Coleman, Jr.Jazz Standard 7:30, 9:30 pm $35
êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King
Village Vanguard 8:30, 10:30 pm $30
• John Pizzarelli Trio
Birdland 8:30, 11 pm $50
• Eric Comstock/Jay Leonhart
Birdland 6 pm
• Middle School Jazz Festival with guest Victor Lewis
Brooklyn Music School 12 pm
• Gabrielle Stravelli Trio with Michael Kanan, Pat O’Leary
Cavatappo Grill 12 pm
Sunday, March 5
êLouis and Ella!: Trent Armand Kendall and Natasha Yvette Williams with Eli Asher,
Sean Nowell, Mark Berman Belden Bullock, Brian Floody
The Cutting Room 6:30 pm $20-25
êVic Juris Trio with Jay Anderson, Billy Drummond; Le Boeuf Brothers
55Bar 6, 9:30 pm
êPhoenix: Oscar Noriega, Jeff Parker, Dezron Douglas, Pheeroan akLaff
The Stone 8:30 pm $20
• Chris Flory; John Merrill
Mezzrow 8, 11 pm $20
• Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Johnny O’Neal Trio
with Ben Rubens, Itay Morchi; Richie Vitale Quintet; Hillel Salem
Smalls 4:30, 7:30, 10:30 pm 1 am $20
• Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
• Michael Mwenso’s Melting Pot with Chris Pattishall Joe’s Pub 9:30 pm $20
• Jacob Varmus; Peyton Pleninger Williamsburg Music Center 9, 10:15 pm $10
42 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
• Dan Levinson, Koran Agan, Josh Kaye, Eduardo Belo
Cornelia Street Underground 8:30, 10 pm $10
• Chase Baird Group with Nir Felder, Julian Pollack, Dan Chmielinski, Adam Arruda;
Kevin Harris Project with Juan Mayorga, Dan Blake, Matt Garrison
ShapeShifter Lab 8:15, 9:30 pm $10
• The Highliners
Tomi Jazz 8 pm $10
• Kristina Koller
Minton’s 7 pm $10
• Shrine Big Band
Shrine 8 pm
• Mike Sailors Pocket Sized OrchestraRadegast Hall 7 pm
• Hendrik Helmer Trio with Geoff Burke, George Papageorge
Symphony Space Bar Thalia 7 pm
êRemembering James Williams And Mulgrew Miller—MVP Jazz Quartet: Donald Brown,
Ray Drummond, Marvin “Smitty” Smith, Bobby Watson
Dizzy’s Club 7:30, 9:30 pm $35
êWillie Jones III Quintet with Ralph Moore, Jeremy Pelt, Eric Reed, George Delancey
Smoke 7, 9, 10:30 pm $38
êLou Donaldson
Blue Note 8, 10:30 pm $35
êGeorge Coleman Birthday Celebration with Paul Bollenback, Mike LeDonne,
John Webber, George Coleman, Jr.Jazz Standard 7:30, 9:30 pm $35
êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King
Village Vanguard 8:30, 10:30 pm $30
êAlexis Cole’s Now’s the Time with Tedd Firth, David Finck, Eric Halvorson
Birdland 6 pm $30
êLady Got Chops Festival: Musique Libre Femmes Quartet: Cheryl Pyle, Jamie Baum,
Claire Daly, Claire De Brunner
Downtown Music Gallery 6 pm
• Fabian Almazan and Rhizome Saint Peter’s 5 pm
êCharlie Burnham solo
440Gallery 4:40 pm $10
• Christian Artmann with Laszlo Gardony, Johannes Weidenmueller, Jeff Hirshfield
Spectrum 3 pm
• Roz Corral Trio with Gilad Hekselman, Matt Clohesy
North Square Lounge 12:30, 2 pm
Monday, March 6
êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!:
Brandee Younger, Jean Baylor, Camille Thurman, Courtney Bryan, Dezron Douglas,
Kassa Overall
Schomburg Center 7 pm $30
êMcCoy Tyner
Blue Note 8, 10:30 pm $45
• Loston Harris with Gianluca Renzi, Mike Lee
Dizzy’s Club 7:30, 9:30 pm $30
êMingus Big Band
Jazz Standard 7:30, 9:30 pm $25
• Calixto Oviedo Cuban Jazz Train with Yosmel Montejo, Jonatan Montes, Aldo Salven,
Lily Hernández
Subrosa 8, 10 pm $15
• Jochen Rueckert Quartet
Bar Lunàtico 8:30, 10 pm $10
• Balkan Peppers: Brad Shepik, Seido Salifoski, Kenny Warren, Ethan Helm,
Jesse Byrom
Sisters 9 pm
• Sean Wayland; Henry Hey
55Bar 7, 10 pm
• Marc Devine
Mezzrow 8 pm $20
• Brian Melvin’s Bimebop with Danny Walsh, Dave Stryker, Essiet Essiet; Ari Hoenig Trio;
Jonathan Barber
Smalls 7:30, 10:30 pm 1 am $20
• Ben Paterson Duo; Theo Hill; Billy Kaye Jam
Fat Cat 6, 9 pm 12:30 am
• Paul Jubong Lee Trio with Tony Lannen, Diego Maldonato; Valentina Marino Trio with
Mark Marino, Cameron Brown Bar Next Door 6:30, 8:30, 10:30 pm $12
• Anti Social Music Drinks Alone: Patrick Castillo/Mihai Marica; Ty Citerman;
Andrea La Rose/Domenica Fossati; Pat Muchmore; Charles Waters/Domenica Fossati
Delroy’s Café and Wine Bar 9, 10 pm $10
• Yoshiki Miura; Jasper Duts Duo Tomi Jazz 8, 11 pm $10
• Glenn Crytzer Trio
Radegast Hall 8 pm
• Andrew Kushnir Trio
Silvana 6 pm
Tuesday, March 7
êBucky Pizzarelli Trio
Cavatappo Grill 6, 8 pm $15
êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40
êBill Frisell Trio with Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Ben Wendel Group with Gerald Clayton, Joe Martin, Kendrick Scott
Jazz Standard 7:30, 9:30 pm $35
• Keyon Harrold and Friends with Nir Felder, Shedrick Mitchell, Burniss Travis and
guests Bilal, BIG K.R.I.T.
Blue Note 8, 10:30 pm $25
êTessa Souter with Adam Platt, Yotam Silberstein, Sean Smith, Billy Drummond
Dizzy’s Club 7:30, 9:30 pm $35
• Adam Moezinia
Dizzy’s Club 11:30 pm $5
• Cecilia Coleman Big Band
NYC Baha’i Center 8, 9:30 pm $15
êI Don’t Hear Nothin’ but the Blues: Jon Irabagon, Ava Mendoza, Mick Barr, Mike Pride
The Stone 8:30 pm $20
êTim Berne, Matt Mitchell, Dan Weiss; Anna Webber, Teddy Klausner, Devin Gray
Korzo 9, 10:30 pm
• Voxecstatic: Mary Foster Conklin with Deanna Witkowski, Ed Howard;
Paul Jost Quartet with Paul Jost, Jim Ridl, Dean Johnson, Tim Horner
Cornelia Street Underground 8, 9:30 pm $10
êChampian Fulton; Miki Yamanaka/Adi Meyerson
Mezzrow 8, 11 pm $20
êTheo Hill Trio; Frank Lacy Group; Jovan Alexandre
Smalls 7:30, 10:30 pm 1 am $20
• Saul Rubin Zebtet; Willie Martinez y La Familia; Craig Wuepper
Fat Cat 7, 9 pm 12:30 am
• Sam Zerna Trio with Jay Rattman, Fabio Ragnelli; Caroline Davis Trio with John Tate,
Jay Sawyer Bar Next Door 6:30, 8:30, 10:30 pm $12
• Sari Kessler with John di Martino, Yoshi Waki, Alvester Garnett
55Bar 7 pm
• Angelo Di Loreto solo
Jazz at Kitano 8 pm
• Natalie Dietz Duo; Keri Johnsrud Tomi Jazz 8 11 pm $10
Wednesday, March 8
êCharlie Hunter
Rockwood Music Hall Stage 3 8:30 pm $15
êPerson2Person: Houston Person and Eric Person with Zaccai Curtis, Corcoran Holt,
McClenty Hunter
Dizzy’s Club 7:30, 9:30 pm $35
• Adam Moezinia
Dizzy’s Club 11:30 pm $5
êJon Irabagon Organ Trio with Gary Versace, Nasheet Waits
The Stone 8:30 pm $20
• Gino Sitson and Marie-Jo Thério Lycée Français de New York 7 pm $35
• Guilherme Monteiro
Bar Lunàtico 8:30, 10 pm $10
• Vicki Burns Quartet with Art Hirahara, Sam Bevan, Phil Stewart
Jazz at Kitano 8, 10 pm $17
êGilad Hekselman; Tony Hewitt/Pete Malinverni
Mezzrow 8, 11 pm $20
• Owen Howard Trio with Jason Rigby, Matt Clohesy; Luke Sellick’s Alchemist with
Chris Ziemba, Andrew Renfroe, Benny Benack III, Jordan Pettay, Billy Drummond
Smalls 7:30, 10:30 pm $20
êRaphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
• Grey McMurray with Clarice Jensen, Qasim Naqvi; Hank Roberts/Gerald Cleaver
Rye 9:30, 10:30 pm
• Jon De Lucia Quartet with Greg Ruggiero, Sean Smith, Billy Mintz
Cornelia Street Underground 8, 9:30 pm $10
• Kenny Brooks Duo
Tomi Jazz 11 pm $10
• Roger Davidson
Caffe Vivaldi 6:45 pm
• Brianna Paolino
Guadalupe Inn 8 pm $5-10
êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40
êBill Frisell Trio with Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Ben Wendel Group with Kevin Hays, Joe Martin, Kendrick Scott
Jazz Standard 7:30, 9:30 pm $35
• Keyon Harrold and Friends with Nir Felder, Shedrick Mitchell, Burniss Travis and
guests Bilal, BIG K.R.I.T.
Blue Note 8, 10:30 pm $25
• Art Lillard’s Heavenly Big Band Saint Peter’s 1 pm $10
Thursday, March 9
êHighlights In Jazz—Salute to David Amram: Paquito D’Rivera; Jimmy Heath;
Earl McIntyre; Bobby Sanabria; David Amram Quartet with Kevin Twigg, René Hart,
Adam Amram
Tribeca Performing Arts Center 8 pm $50
• Roy Haynes 92nd Birthday Celebration
Blue Note 8, 10:30 pm $45
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street
Jazz Standard 7:30, 9:30 pm $30
êStanley Jordan
Baryshnikov Arts Center 8 pm $25
êJon Irabagon Trio with Mark Helias, Barry Altschul
The Stone 8:30 pm $20
• Victor Provost’s The Bright Eyes Project with Jacques Schwarz-Bart, Robert Rodriguez,
Zach Brown, Ulysses Owens, Jr. The Jazz Gallery 7:30, 9:30 pm $15
êRed Baraat; Huntertones
BRIC Media House 8 pm $18
• Willerm Delisfort; Spike Wilner Mezzrow 8, 11 pm $20
• Klemens Marktl Sextet with John Ellis, Tim Armacost, Joseph Doubleday,
Dave Kikoski, Boris Kozlov; Mike Clark Group; Sarah Slonim with Endea Owens,
M’Balia Singley, Adam Moezinia, Ben Zweig
Smalls 7:30, 10:30 pm 1 am $20
• Carlos Abadie Sextet; Greg Glassman Quintet; Ken Fowser
Fat Cat 7, 10 pm 1:30 am
• Gregor Huebner’s El Violin Latino with Klaus Mueller, Itaiguara Brandao,
Jerome Goldschmidt
Jazz at Kitano 8, 10 pm $17
• Stranaband: Colin Stranahan, Glenn Zaleski, Gilad Hekselman, Rick Rosato
Cornelia Street Underground 8, 9:30 pm $10
• Ryan Carraher Group
ShapeShifter Lab 7 pm $10
• Steve Shapiro ElectriQuartet
Club Bonafide 7:30 pm $15
• Evan Sherman Big Band
Ginny’s Supper Club 7:30, 9:30 pm $20
• Nicole Zuraitis
55Bar 7 pm
• Hiromi Suda’s Nagi with Romero Lubambo, Anne Drummond, Julian Shore,
Haggai Cohen-Milo, Rogério Boccato Subrosa 7:30, 9:30 pm $20
• Carolyn Leonhart Quintet with Myron Walden, Helen Sung
Smoke 7, 9, 10:30 pm $12
• Los Aliens: Ricardo Gallo, Andrés Jiménez, Sebastián Cruz, Dylan Kaminkow
Jamaica Center for the Arts 8 pm $10
• Mark Sherman Duo
City Winery 7 pm
• Jeff Miles Trio with Julian Smith, Tim Bulkley; Nadav Remez Trio with Tamir Schmerling,
Colin Stranahan
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound:
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20
• Sam Raderman Quartet
Cavatappo Grill 9, 11 pm $10
• Arnan Raz; Beekman
Williamsburg Music Center 9, 10:15 pm $10
• MJ Territo Trio with David Pearl, Lee Marvin
Symphony Space Bar Thalia 9 pm
• Greg Merritt Trio
Tomi Jazz 9 pm $10
• Jason Prover Sneak Thievery Orchestra
Radegast Hall 8 pm
• Joel Fass Duo
Cleopatra’s Needle 7 pm
• MJ Territo Trio with David Pearl, Lee Marvin
Symphony Space Bar Thalia 7 pm
• Salsondria
Guadalupe Inn 8 pm $5-10
êCharlie Hunter
Rockwood Music Hall Stage 3 8:30 pm $15
• Person2Person: Houston Person and Eric Person with Zaccai Curtis, Corcoran Holt,
McClenty Hunter
Dizzy’s Club 7:30, 9:30 pm $40
• Adam Moezinia
Dizzy’s Club 11:30 pm $10
• Axel Tosca Laugart
Birdland 6 pm $25
• Gary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40
• Bill Frisell Trio with Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Jeremy Powell
Silvana 6 pm
• Gabe Condon Band
Shrine 6 pm
Friday, March 10
êAlternative Guitar Summit—Celebrating Pat Metheny: Nels Cline Trio with
Jorge Roeder, Gerald Cleaver; Liberty Ellman/Miles Okazaki Quartet with
Stephan Crump, Damion Reid; Rez Abbasi Trio with Michael Glam, Sameer Gupta;
Joel Harrison String Choir with Liberty Ellman, Christian Howes, Zach Brock,
Tanya Kalmanovich, Hank Roberts; Nir Felder Trio with Matt Penman, Jimmy Macbride;
Mike Moreno Trio with Doug Weiss, Kendrick Scott; Camila Meza/James Francies
Le Poisson Rouge 6:30 pm $25
êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet,
Darrell Green
Smoke 7, 9, 10:30 pm $38
êTed Nash Quintet with Warren Wolf, Gary Versace, Rufus Reid, Matt Wilson
Dizzy’s Club 7:30, 9:30 pm $40
• Adam Moezinia
Dizzy’s Club 11:30 pm $10
• Duduka Da Fonseca Brazilian Express with Maucha Adnet, Billy Drewes, Helio Alves,
Matt Penman
Jazz at Kitano 8, 10 pm $32
êJack Wilkins Trio with Andy McKee, Mike Clark
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Joan Belgrave
BAMCafé 9 pm
êJoanne Brackeen/Cecil McBee
Knickerbocker Bar and Grill 9:45 pm $3.50
êEsa Pietila with David Lopato, Joe Fonda, Harvey Sorgen
The Loft of Thomas Rochon 7:30 pm $20
êJon Irabagon Ensemble with Tim Hagans, Hank Roberts, Matt Mitchell, Chris Lightcap,
Dan Weiss
The Stone 8:30 pm $20
• Gerald Clayton
Mezzrow 8 pm $20
• Bruce Williams Sextet with Josh Evans, Brandon McCune, Chris Berger, Vince Ector;
Myron Walden Momentum
Smalls 7:30, 10:30 pm $20
• Emma Dayhuff; Chris Beck Quintet; Avi Rothbard
Fat Cat 6, 9 pm 1:30 am
• Charles Altura Quartet with James Francies, Rick Rosato, Marcus Gilmore
The Jazz Gallery 7:30, 9:30 pm $22
• Peter Brendler Quartet with Walt Weiskopf, Zach Lapidus, Billy Drummond
Cornelia Street Underground 9, 10:30 pm $10
• Ken Fowser Quintet
The Django at The Roxy Hotel 7:30 pm
êMara Rosenbloom Flyways with Anaïs Maviel, Adam Lane
Ibeam Brooklyn 8 pm $15
êEmmet Cohen
Minton’s 7 pm $10
• Jonathan Powell/Louis Fouché Latin Project
Ginny’s Supper Club 7:30, 9:30 pm $15
• Jocelyn Medina Group with Art Hirahara, Pete McCann, Evan Gregor, Mark Ferber;
Greg DeAngelis Quintet
Club Bonafide 7:30, 9:30 pm $10
• Dale Wilson Big Band with guest Fiete Felsch
ShapeShifter Lab 8 pm $10
• Takenori Nishiuchi
Tomi Jazz 9 pm $10
• Libby Richman Trio
Cleopatra’s Needle 8 pm
• De Lautaros
Guadalupe Inn 8 pm $5-10
• Gabe Condon Band; Alita Moses Band
Silvana 6, 7 pm
• Roy Haynes 92nd Birthday Celebration
Blue Note 8, 10:30 pm $45
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street
Jazz Standard 7:30, 9:30 pm $35
• Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound:
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20
êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40
êBill Frisell Trio with Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
êTessa Souter
55Bar 6 pm
at Cavatappo Grill
Live Jazz Music
every Tuesday (8-10 pm)
&
Thursday (9-11 pm)
Live piano every Monday (7-10 pm)
“It’s a joy to create jazz in such a positive atmosphere and
to be so close to the people too! Enjoying a great bowl of pasta
listening to world class jazz is the only way to go”
John Pizzarelli, Grammy-nominated guitarist and singer
Mondays with Roger Lent solo piano
7-10pm no cover
saturday brunch with Gabrielle Stravelli
12:30-3:30pm no cover
March 2nd - 9/11pm $10 COVER
Dennis Joseph Trio
MARCH 7th - 6/8 pm $15 cover
***Bucky Pizzarelli Trio***
March 9th - 9/11 pm $10 cover
Sam Raderman Quartet
MARCH 14th - 8/10 pm $10 cover
***Ken Peplowski Quartet***
March 16th - 9/11 pm $10 cover
Mike Casey Trio
MARCH 21st - 8/10pm $5 cover
Jam Session hosted by Mike Sailors
March 23rd - 9/10 pm $10 cover
Jon-Erik Kellso Quartet
March 30TH - 9/10 pm $10 cover
KING SOLOMON HICKS
Luca’s Jazz Corner
at Cavatappo Grill
1712 First Avenue - (212) 987-9260
lucasjazzcorner.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
43
Saturday, March 11
êAlternative Guitar Summit: Nels Cline solo; John Schott Trio with Jerome Harris,
Aaron Alexander; Rafiq Bhatia with Rashaan Carter, Marcus Gilmore;
Adam Rudolph’s Go Organic Guitar Orchestra with Miles Okazaki, Nels Cline,
Joel Harrison, Liberty Ellman, David Gilmore, Damon Banks, Marco Cappelli
Nublu 8 pm $20
êKenny Werner/Wadada Leo SmithSheen Center for Thought & Culture 7:30 pm $25-50
êPeter Kuhn, Dave Sewelson, William Parker, Federico Ughi
5C Cultural Center 8 pm $10
êAkua Dixon Group with Richard Padron, Kenny Davis, Orion Turre
Sistas’ Place 9, 10:30 pm $20
êInnova Recordings Showcase: Miya Masaoka Double Quartet; Eleonore Oppenheim;
Mari Kimura; Bohemian Trio
National Sawdust 7 pm $34
êLady Got Chops Festival: Kim Clarke and Friends
BAMCafé 9 pm
êLady Got Chops Festival: Bertha Hope Nu Trio with Lady Cantreese
Farafina’s 8 pm
• Mat Maneri Quartet with Lucian Ban, John Hébert, Randy Peterson
Cornelia Street Underground 9, 10:30 pm $10
• Larry Cooper Standard Experience with Orlando Le Fleming, Obed Calvaire
The Drawing Room 7 pm $20
• Stan Chovnick and Friends with Linda Presgrave, Mary Ann McSweeney, Seiji Ochiai
Club Bonafide 7:30 pm $15
• Vanderlei Pereira Quartet; Manuel Valera; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am
• Jan Sturiale Trio with Miha Koren, Klemens Marktl Bar Next Door 7:30, 9:30, 11:30 pm $12
• Eva Novoa/Manel Fortià; Eva Novoa Trio with Kim Cass, Devin Gray; Analog Sextet:
Sarah Bernstein, Dave Scott, Sean Sonderegger, Eva Novoa, Max Johnson,
Jeff Hirshfield
Ibeam Brooklyn 7:30 pm $15
• Sirius Quartet: Fung Chern Hwei, Gregor Huebner, Ron Lawrence, Jeremy Harman and
guests Jon Irabagon, Myra MelfordThe Stone 8:30 pm $20
• Curtis Macdonald Trio with David Bryant, Craig Weinrib; Uri Gurvich Quartet with
Leo Genovese, Edward Perez, Francisco Mela
The Cell 8, 9:30 pm
• Lena Bloch, Russ Lossing, Cameron Brown
The Treehouse 8 pm $10
• Lathan Hardy, Flin van Hemmen, Sean Ali; Jeremiah Cymerman solo;
Shayna Dulberger/Anaïs Maviel New Revolution Arts 8 pm
• Kathryn Allyn Duo; Standard Procedures; Sein Oh Trio
Tomi Jazz 6, 8, 11 pm $10
• Kayo Hiraki Trio
Cleopatra’s Needle 8 pm
• Kumbakin
Guadalupe Inn 8 pm $5-10
êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet,
Darrell Green
Smoke 7, 9, 10:30 pm $38
êTed Nash Quintet with Warren Wolf, Gary Versace, Rufus Reid, Matt Wilson
Dizzy’s Club 7:30, 9:30 pm $45
• Adam Moezinia
Dizzy’s Club 11:30 pm $20
• Duduka Da Fonseca Brazilian Express with Maucha Adnet, Billy Drewes, Helio Alves,
Matt Penman
Jazz at Kitano 8, 10 pm $32
êJoanne Brackeen/Cecil McBee
Knickerbocker Bar and Grill 9:45 pm $3.50
• Gerald Clayton
Mezzrow 8 pm $20
• Bruce Williams Sextet with Josh Evans, Brandon McCune, Chris Berger, Vince Ector;
Myron Walden Momentum; Philip Harper Quintet
Smalls 7:30, 10:30 pm 1 am $20
• Charles Altura Quartet with James Francies, Rick Rosato, Kendrick Scott
The Jazz Gallery 7:30, 9:30 pm $22
• Roy Haynes 92nd Birthday Celebration
Blue Note 8, 10:30 pm $45
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street
Jazz Standard 7:30, 9:30 pm $35
• Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound:
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20
êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40
êBill Frisell Trio with Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Jason Green and Labor of Love with Yanko Valdes, Tom Papadatos
55Bar 6 pm
êWeBop Family Jazz Party: Happy 100 Dizzy and Ella!
JALC Varis Leichtman Studio 1, 3 pm $35
• Underground Horns
Radegast Hall 3 pm
• Gabrielle Stravelli Trio with Art Hirahara, Pat O’Leary
Cavatappo Grill 12 pm
Sunday, March 12
êOutright!: Tim Hagans, Jon Irabagon, Uri Caine, Michael Formanek, Tyshawn Sorey
The Stone 8:30 pm $20
• The Lionel Hampton Big Band with guest Hendrik Meurkens
The Cutting Room 7:30 pm $20
• Gene Bertoncini
The Drawing Room 7 pm $20
• Michael Blanco Quartet with John Ellis, Kevin Hays, Clarence Penn
Cornelia Street Underground 8:30, 10 pm $10
• Jay Leonhart; John Merrill
Mezzrow 8, 11 pm $20
• Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Lezlie Harrison;
Jerry Weldon Group; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1 am $20
• Terry Waldo’s Gotham City Band; Willie Applewhite Quintet;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
• Adam Larson Band with Can Olgun, Matt Penman, Kendrick Scott
55Bar 9:30 pm
• Corey Wallace DubTrio
Williamsburg Music Center 9 pm $10
• Rob Price, Ben Gallina, Andy O’Neill; Nicolas Letman-Burtinovic Trio
Downtown Music Gallery 6, 7 pm
• New York Jazzharmonic: Jay Rattman, Chris Ziemba, Ron Wasserman and guests
Jim Saporito, Harrison HollingsworthSymphony Space Bar Thalia 7 pm
• Akemi Yamada Trio
Tomi Jazz 8 pm $10
• Alex Simon Gypsy Swing Ensemble
Radegast Hall 7 pm
êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet,
Darrell Green
Smoke 7, 9, 10:30 pm $38
êTed Nash Quintet with Warren Wolf, Gary Versace, Rufus Reid, Matt Wilson
Dizzy’s Club 7:30, 9:30 pm $45
• Roy Haynes 92nd Birthday Celebration
Blue Note 8, 10:30 pm $45
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street
Jazz Standard 7:30, 9:30 pm $30
êBill Frisell Trio with Thomas Morgan, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
• Joe Alterman Trio with Nathaniel Schroeder, Doug Hirlinger
Birdland 6 pm $30
• Mike Forfia Quartet
Saint Peter’s 5 pm
• Roz Corral Trio with Josh Richman, Jay Leonhart
North Square Lounge 12:30, 2 pm
Monday, March 13
êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!:
Terri Lyne Carrington and guests Schomburg Center 7 pm $30
• Jim Ridl; Mike Stern
55Bar 7, 10 pm
• Dominic Miller
Nublu 9 pm
êMingus Big Band
Jazz Standard 7:30, 9:30 pm $25
• The Great Trumpeters: New York Youth Symphony Jazz with guest Sean Jones
Dizzy’s Club 7:30, 9:30 pm $35
êPascal Niggenkemper solo; Pascal Niggenkemper/Nate Wooley Trio
ShapeShifter Lab 9:30 pm $10
• Alan Bjorklund Trio with Kim Cass, Kenny Grohowski
Bar Lunàtico 8:30, 10 pm $10
• Mark Whitfield
Mezzrow 8 pm $20
• Andrew Gould Quartet with Steven Feifke, Marco Panascia, Jake Goldbas;
Ari Hoenig Trio; Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20
• Ned Goold Quartet; Billy Kaye JamFat Cat 9 pm 12:30 am
• Mark Phillips Trio with Hugh Stuckey, Sam Zerna; Nora McCarthy Trio with
Marvin Horne, Donald Nicks
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Greg Chudzik solo; Andrew Smiley/Nick Podgurski Delroy’s Café and Wine Bar 9, 10 pm $10
• Oscar Hernandez Alma Libre Subrosa 8, 10 pm $15
êBenito Gonzalez Trio
Terraza 7 8 pm $10
• David Love Duo; Kazuya Araki DuoTomi Jazz 8, 11 pm $10
• Greg DeAngelis
Silvana 6 pm
Tuesday, March 14
êKen Peplowski Quartet
Cavatappo Grill 8, 10 pm $10
êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro,
Frederico Heliodoro, Bill CampbellBirdland 8:30, 11 pm $40
• Maurice Brown’s The Mood with Chelsea Baratz, Chad Selph, Antoine Katz,
Marcus Machado, Joe Blaxx
Jazz Standard 7:30, 9:30 pm $25
• Diego Schissi Quinteto with Santiago Segret, Guillermo Rubino, Ismael Grossman,
Juan Pablo Navarro
Dizzy’s Club 7:30, 9:30 pm $30
• Bruce Harris
Dizzy’s Club 11:30 pm $5
• Mike Longo’s NY State of the Art Jazz Ensemble
NYC Baha’i Center 8, 9:30 pm $15
• Stan Killian; David Binney Quartet with Matt Mitchell, Eivind Opsvik, Dan Weiss
55Bar 7, 10 pm
• Megan Schubert, Lisa Karrer, Denman Maroney, Ratzo Harris, David Simons
The Stone 8:30 pm $20
• Test Subjects: Billy Test, Marc Mommaas, Ron Horton, Marty Kenney, Curtis Nowosad;
Curtis Nowosad Quintet with Duane Eubanks, Andrew Renfroe, Michael King,
Barry Stephenson
Cornelia Street Underground 8, 9:30 pm $10
• Jan Sturiale Trio with Miha Koren, Klemens Marktl
ShapeShifter Lab 7 pm $10
• Steven Frieder Quintet with Jon Irabagon, Mike Eckroth, Luca Rosenfeld, Bob Meyer
Metropolitan Room 7 pm $24
• Katsuko Tanaka/Lonnie Plaxico; Miki Yamanaka/Adi Meyerson
Mezzrow 8, 11 pm $20
• Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Steve Nelson Group;
Jon Beshay
Smalls 7:30, 10:30 pm 1 am $20
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop
Fat Cat 7, 9 pm
• Prawit Siriwat Trio with Daniel Durst, Mario Irigoyen; Aleksi Glick Trio with Shari Hassan,
Ben Zweig
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Jay G. Seiden
Jazz at Kitano 8 pm
• Ayaka Duo; Yukiyo Masuda; Ian Bass Duo
Tomi Jazz 8, 9:40, 11 pm $10
• Andrew Schiller
Silvana 6 pm
Piano Masters:
Toshiko Akiyoshi
& Barry Harris
10%
OFF
JR
(ge use
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al ti
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1
kets 0
onl
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MAR 31 | FRI | 8 PM
@ FLUSHING TOWN HALL
Two NEA Jazz Master pianists Toshiko Akiyoshi and Barry Harris
perform together in a piano duo of classic jazz standards and
original arrangements riffing, complementing, and answering
each other in melodic and harmonious responses.
Tickets: $42/$32 Members/$20 Students;
Table Package: $125/$100 Members
(Reserved Table for 2, Wine & Snacks)
www..ushingtownhall.org
(718) 463-7700 x222
137-35 Northern Blvd.
Flushing NY 11354
44 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Wednesday, March 15
êAlternative Guitar Summit—Guitars From Heaven and Hell: Dither Guitar Quartet Plays
Fred Frith; Steve Mackey/Jason Treuting; Joel Harris Resophonic Guitar Orchestra with
Elliott Sharp, Brandon Ross, Dither; Steven Bernstein Blue Campfire with Dave Tronzo,
Steve Cardenas and guest
National Sawdust 7 pm $34
êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa,
Johnathan Blake
Jazz Standard 7:30, 9:30 pm $35
êStephan Crump’s Rhombal with Ellery Eskelin, Adam O’Farrill, Tyshawn Sorey
Cornelia Street Underground 8, 9:30 pm $10
êRoberta Gambarini
Blue Note 8, 10:30 pm $35
• Melissa Stylianou; Mike Stern 55Bar 7, 10 pm
êMark Elf; Tony Hewitt/Pete Malinverni
Mezzrow 8, 11 pm $20
• Dave Glasser Quartet with Tardo Hammer, Lee Hudson, Clifford Barbaro;
Harold Mabern Trio
Smalls 7:30, 10:30 pm $20
• Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am
êAaron Goldberg Trio with Yasushi Nakamura, Leon Parker
Dizzy’s Club 7:30, 9:30 pm $30
• Bruce Harris
Dizzy’s Club 11:30 pm $5
êWRY: Tim Berne, John Hébert, Ches Smith
Rye 9:30, 10:30 pm
êalt.times: Denman Maroney, Ratzo Harris, Bob Meyer
The Stone 8:30 pm $20
êHarvey Diamond Trio with Marcus McLaurine, Satoshi Takeishi
Jazz at Kitano 8, 10 pm $17
• El Ombligo: Santiago Botero, Kike Mendoza, Ricardo Gallo, Andrés Jiménez
Terraza 7 8 pm $10
• Matt Gordeuk Duo
Tomi Jazz 11 pm $10
• Mike Sailors
Guadalupe Inn 8 pm $5-10
êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro,
Frederico Heliodoro, Bill CampbellBirdland 8:30, 11 pm $40
• Drew Cooper
Silvana 6 pm
• Mary Foster Conklin/Deanna Witkowski
Saint Peter’s 1 pm $10
Thursday, March 16
êPeter Kuhn, Dave Sewelson, William Parker, Leonid Glaganov
Muchmore’s 9 pm $10
• Eric Comstock/Barbara Fasano Neue Galerie 7 pm $65
êSylvie Courvoisier/Mary Halvorson; Sylvie Courvoisier/Mark Feldman
Greenwich House Music School 7:30 pm $20
êUdentity: Denman Maroney, Nate Wooley, Ned Rothenberg, Reuben Radding,
Michael Sarin
The Stone 8:30 pm $20
êDavid Weiss Sextet with Myron Walden, David Bryant, Luques Curtis, E.J. Strickland
Smoke 7, 9, 10:30 pm $12
êRed Baraat
Le Poisson Rouge 7:30 pm $20
• Interpretations: Gisburg; David Behrman
Roulette 8 pm $20
• Bill O’Connell; Spike Wilner
Mezzrow 8, 11 pm $20
• Behn Gillece Quartet with Nate Radley, Ugonna Okegwo, Jason Tiemann;
Ed Cherry Trio with Kyle Koehler, Anwar Marshall
Smalls 7:30, 10:30 pm $20
• Lawrence Clark
Fat Cat 10 pm
Dave Chamberlain’s
BANDPresents
of BONES
an
All Latin-Jazz Show
Samba, Cha-cha-cha,
Bossa, Mambo, Latin-Jazz
Friday March 17th
8:00-9:30 PM
ZINC BAR
82 West 3rd Street
$20 Admission
call 646-373-5372 for info
www.bandofbones.com
www.zincbar.com
Three CDs available
at cdbaby.com:
Band of Bones, Caravan
and Stomp
êMusette Explosion: Will Holshouser, Marcus Rojas, Matt Munisteri
Owl Music Parlor 7:30 pm $10
• Kevin Sun New Trio with Walter Stinson, Matt Honor
The Jazz Gallery 7:30, 9:30 pm $15
• Igor Lumpert Innertextures with Jonathan Finlayson, Chris Dingman, Drew Gress,
Kenny Grohowski
Cornelia Street Underground 8, 9:30 pm $10
• Ross Kratter Electric Project with Bob Franceschini, Yuri Juárez, Mark Sundermeyer,
Sam Gautier
Club Bonafide 7:30 pm $10
• Mark Sherman Duo
City Winery 7 pm
• Valentina Marino Quintet with Jay Azzolina, Max Zooi, Cameron Brown,
Anthony Pinciotti
Jazz at Kitano 8, 10 pm $17
• Peter Amos Trio with Dave Hassell, Tim Talavera; Tony Mata Trio with Jordan Ponzi,
Abinnet Berhanu
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Mike Casey Trio
Cavatappo Grill 9, 11 pm $10
• Dor Sagi
Symphony Space Bar Thalia 9 pm
• Gordon’s Grand Street Stompers Radegast Hall 9 pm
• Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound:
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20
• Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai Tomi Jazz 9 pm
• Dan Furman Duo
Cleopatra’s Needle 7 pm
• Ed Martinez
Guadalupe Inn 8 pm $5-10
êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa,
Johnathan Blake
Jazz Standard 7:30, 9:30 pm $35
êRoberta Gambarini
Blue Note 8, 10:30 pm $35
êAaron Goldberg Trio with Yasushi Nakamura, Leon Parker
Dizzy’s Club 7:30, 9:30 pm $35
• Bruce Harris
Dizzy’s Club 11:30 pm $10
êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Boris Strulev
Birdland 6 pm $25
• Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro,
Frederico Heliodoro, Bill CampbellBirdland 8:30, 11 pm $40
• Chris Bacas
Silvana 6 pm
• Joe Pino Quintet
Shrine 6 pm
Friday, March 17
• Kannapolis—A Moving Portrait: Jenny Scheinman with Robbie Fulks, Robbie Gjersoe,
êBrianna Thomas
Ginny’s Supper Club 7:30, 9:30 pm $20
Mezzrow 8 pm $20
êMichael Cochrane Lines of Reason with Joe Ford, Marcus McLaurine, Alan Nelson;
Freddie Hendrix Quartet with Davis Whitfield, Alexander Claffy, Mark Whitfield, Jr.;
Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal
Smalls 7:30, 10:30 pm 1 am $20
êAlexis Cole/David Finck
Knickerbocker Bar and Grill 9:45 pm $3.50
• Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound:
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20
êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa,
Johnathan Blake
Jazz Standard 7:30, 9:30 pm $35
êRoberta Gambarini
Blue Note 8, 10:30 pm $35
êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro,
Frederico Heliodoro, Bill CampbellBirdland 8:30, 11 pm $40
• Rocco John Quartet
Caffe Vivaldi 6 pm
• Nick Di Maria
Silvana 6 pm
• The Cameraman: Vince Giordano and The Nighthawks
Town Hall 3 pm $25-35
• Glenn Crytzer Quintet
Minton’s 12 pm $10
• Michael Weiss
Sunday, March 19
êRalph Alessi This Against That with Ravi Coltrane, Andy Milne, John Hébert,
Mark Ferber
Jazz Standard 7:30, 9:30 pm $25
êalt.times: Denman Maroney, Ratzo Harris, Bob Meyer
The Stone 8:30 pm $20
• Neal Kirkwood; John Merrill
Mezzrow 8, 11 pm $20
• Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Johnny O’Neal Trio
with Ben Rubens, Itay Morchi; David Gibson Quintet with Bruce Williams, Theo Hill,
Alexander Claffy, Anwar Marshall; Hillel Salem
Smalls 4:30, 7:30, 10:30 pm 1 am $20
• Terry Waldo’s Gotham City Band; Michael Thomas; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 1 am
• Kathryn Christie Quartet with Q Morrow, Matt Aronoff, Ross Pederson, Helio Alves
Cornelia Street Underground 8:30, 10 pm $10
• Dana Saul Trio; Nathan Bellott Quartet
Williamsburg Music Center 9, 10:15 pm $10
• Yuko Ito Trio
Tomi Jazz 8 pm $10
êBaby, Dream Your Dream—Dorothy Fields and the Women of the American Songbook:
Deborah Grace Winer, John Oddo, Marilyn Maye, Kenita Miller, Nancy Opel,
Margo Seibert, Emily Skinner
92nd Street Y 2, 7 pm $60
êHeads of State: Gary Bartz, Larry Willis, David Williams, Al Foster
Smoke 7, 9, 10:30 pm $45
• Michele Rosewoman’s New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard,
Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy,
Rafael Monteagudo, Nina RodriguezDizzy’s Club 7:30, 9:30 pm $35
êRoberta Gambarini
Blue Note 8, 10:30 pm $35
êBill Frisell Trio with Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Eric Comstock/Barbara Fasano Birdland 6 pm $30
• Aaron Zarzutzki; Julie Kirshner Downtown Music Gallery 6 pm
• Arturo O’Farrill Boss Level Sextet Saint Peter’s 5 pm
• Hilary Gardner Trio with Greg Ruggerio, Joel Forbes
North Square Lounge 12:30, 2 pm
• Dandy Wellington
Minton’s 12 pm $10
Bill Frisell, Danny Barnes
Met Museum Grace Rainey Rogers Auditorium 8 pm $40
êFree To Be—Jazz of the ‘60s & Beyond: Jazz at Lincoln Center Orchestra
Rose Theater 8 pm $45-135
êHeads of State: Gary Bartz, Larry Willis, David Williams, Al Foster
Smoke 7, 9, 10:30 pm $45
êMichele Rosewoman’s New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard,
Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy,
Rafael Monteagudo, Nina RodriguezDizzy’s Club 7:30, 9:30 pm $40
• Bruce Harris
Dizzy’s Club 11:30 pm $10
êJoe Locke Birthday Bash Quartet with Jim Ridl, Lorin Cohen, Samvel Sarkisyan
Jazz at Kitano 8, 10 pm $32
êBrianna Thomas
Ginny’s Supper Club 7:30, 9:30 pm $20
• Michael Weiss
Mezzrow 8 pm $20
• Andy Fusco Quintet with John Hart, James Navan, Bill Moring, Marcello Carelli;
Freddie Hendrix Quartet with Davis Whitfield, Alexander Claffy, Mark Whitfield, Jr.
Smalls 7:30, 10:30 pm $20
êDenman Maroney, Lisa Karrer, Nate Wooley, Arthur Kell, David Simons;
Denman Maroney, Arthur Kell, Shelley Hirsch, Herb Robertson, David Simons
The Stone 8:30 pm $20
êDave Chamberlain Band of BonesZinc Bar 8 pm $20
êSheryl Bailey Trio with Ron Oswanski, Anthony Pinciotti Bar Next Door 7:30, 9:30, 11:30 pm $12
• Grupo Los Santos: Paul Carlon, Pete Smith, David Ambrosio, William “Beaver” Bausch,
Max Pollack Club Bonafide 7:30 pm $15
• Song Yi Jeon, Vitor Gonçalves, Rogério Boccato; Song Yi Jeon Quintet with
Song Yi Jeon, Vitor Gonçalves, Kenji Herbert, Rick Rosato, Alex Wyatt
Cornelia Street Underground 9, 10:30 pm $10
• Ken Fowser Quintet
The Django at The Roxy Hotel 7:30 pm
• Daniel Bennett Group; Colleen Clark Collective
Rockwood Music Hall Stage 3 8:30, 11:30 pm $10
êAlexis Cole/David Finck
Knickerbocker Bar and Grill 9:45 pm $3.50
• Scot Albertson Trio with Lee Tomboulian, Ron Jackson
Café Noctambulo 8 pm $15
• Josh Lawrence Color Theory Minton’s 7 pm $10
• Kuni Mikami Trio
Tomi Jazz 9 pm $10
• Kate Cosco Trio
Cleopatra’s Needle 8 pm
• De Lautaros
Guadalupe Inn 8 pm $5-10
• Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound:
Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20
êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa,
Johnathan Blake
Jazz Standard 7:30, 9:30 pm $35
êRoberta Gambarini
Blue Note 8, 10:30 pm $35
êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston
Village Vanguard 8:30, 10:30 pm $30
• Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro,
Frederico Heliodoro, Bill CampbellBirdland 8:30, 11 pm $40
Saturday, March 18
êBaby, Dream Your Dream—Dorothy Fields and the Women of the American Songbook:
Deborah Grace Winer, John Oddo, Marilyn Maye, Kenita Miller, Nancy Opel,
Margo Seibert, Emily Skinner
92nd Street Y 8 pm $60
êPhantom Station: Brandon Ross, David Virelles, JT Lewis
The Jazz Gallery 7:30, 9:30 pm $22
êMichaël Attias Quartet with Aruán Ortiz, John Hébert, Nasheet Waits
Cornelia Street Underground 9, 10:30 pm $10
êDuos: Denman Maroney, Mark Dresser, Hans Tammen
The Stone 8:30 pm $20
• Tulivu Donna Cumberbatch
Sistas’ Place 9, 10:30 pm $20
• Jackie Gage Quartet; Michael Thomas Septet
The Cell 8, 9:30 pm
• Jostein Gulbrandsen Trio with Andrea Veneziani, Mark Ferber Bar Next Door 7:30, 9:30, 11:30 pm $12
• Steve Blum Trio; Camille Thurman; Greg Glassman Jam
Fat Cat 7, 10 pm 1:30 am
• Nir Naaman Quartet
Club Bonafide 7:30 pm $15
• Steve Carrington
Minton’s 7 pm $10
• Benjamin Serveney Trio; Daniel Bennett Group; Paul Lee Trio
Tomi Jazz 6, 8, 11 pm $10
• Katsuko Tanaka Trio with Jaimeo Brown Hillstone 6:30 pm
• Allan Rosenthal Trio
Cleopatra’s Needle 8 pm
• Salsondria
Guadalupe Inn 8 pm $5-10
êFree To Be—Jazz of the ‘60s & Beyond: Jazz at Lincoln Center Orchestra
Rose Theater 8 pm $45-135
êHeads of State: Gary Bartz, Larry Willis, David Williams, Al Foster
Smoke 7, 9, 10:30 pm $45
êMichele Rosewoman’s New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard,
Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy,
Rafael Monteagudo, Nina RodriguezDizzy’s Club 7:30, 9:30 pm $45
• Bruce Harris
Dizzy’s Club 11:30 pm $20
êJoe Locke Birthday Bash Quartet with Jim Ridl, Lorin Cohen, Samvel Sarkisyan
Jazz at Kitano 8, 10 pm $32
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
45
Monday, March 20
êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!
Schomburg Center 7 pm
êMcCoy Tyner
Blue Note 8, 10:30 pm $45
êTomeka Reid Quartet with Mary Halvorson, Jason Roebke, Tomas Fujiwara
Roulette 8 pm $20
êMike Stern
55Bar 10 pm
êMichael Bisio Accortet with Kirk Knuffke, Art Bailey, Michael Wimberly
Dizzy’s Club 7:30, 9:30 pm $30
êMingus Big Band
Jazz Standard 7:30, 9:30 pm $25
• David Hazeltine
Mezzrow 8 pm $20
• Adam Larson Quartet with Can Olgun, Matt Penman, Obed Calvaire; Ari Hoenig Trio;
Jonathan Michel with Mike Troy, Savannah Harris
Smalls 7:30, 10:30 pm 1 am $20
• George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am
• Alan Kwan Trio with Dustin Kiselbach, Tanguy Stevenart; Tammy Scheffer Trio with
Max ZT, Joshua Davis
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Yuri Juarez Group
Bar Lunàtico 8:30, 10 pm $10
• Charlie Burnham/Joanna Sternberg
Delroy’s Café and Wine Bar 9, 10 pm $10
• Juilliard Jazz Ensembles
Zinc Bar 7;30, 9:30 pm
• Josh Deutsch
Terraza 7 8:30 pm $10
• Bill Stevens, Corey Larson, Paul Pricer; Shoko Igarashi Duo Tomi Jazz 8, 11 pm $10
êBaby, Dream Your Dream—Dorothy Fields and the Women of the American Songbook:
Deborah Grace Winer, John Oddo, Marilyn Maye, Kenita Miller, Nancy Opel,
Margo Seibert, Emily Skinner
92nd Street Y 2, 7:30 pm $60
• Julio Botti
Shrine 6 pm
Tuesday, March 21
êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
• Roy Hargrove Quintet
Blue Note 8, 10:30 pm $35
êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson
Birdland 8:30, 11 pm $40
êClaire Daly Quintet
Dizzy’s Club 7:30, 9:30 pm $35
• Patrick Bartley
Dizzy’s Club 11:30 pm $5
• Maurice Brown’s Love Potion with Marcus Strickland, James Francies, Ben Williams,
Marcus Machado, Joe Blaxx, Chris Turner
Jazz Standard 7:30, 9:30 pm $25
• Paul Hefner Group
NYC Baha’i Center 8, 9:30 pm $15
êJohn Raymond’s Real Feels with Gilad Hekselman, Colin Stranahan
Rockwood Music Hall Stage 3 7 pm $10
• We Are the Walrus: Thomas Buckner/Robert Dick
The Stone 8:30 pm $20
êRyan Keberle Catharsis with Camila Meza, Scott Robinson, Ed Perez, Henry Cole
Cornelia Street Underground 8, 9:30 pm $10
• Indiana University Plummer Sextet directed by Walter Smith III with guest Marquis Hill
The Jazz Gallery 7:30, 9:30 pm $15
• Manu Delago’s Metromonk
Le Poisson Rouge 7 pm $15
• Maucha Adnet; Miki Yamanaka/Adi Meyerson
Mezzrow 8, 11 pm $20
• Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Lucas Pino Nonet;
Jovan Alexandre
Smalls 7:30, 10:30 pm 1 am $20
• Saul Rubin Zebtet
Fat Cat 7 pm
• Sagi Kaufman Trio with Yoav Eshed, Noam Israeli; Casey Berman Trio with
Martin Nevin, Jason Burger
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Juilliard Composer’s Ensemble led by Dave Douglas
Juilliard School Paul Hall 7:30 pm
• Micah Thomas
Jazz at Kitano 8 pm
• Fima Chupakkin Duo; Miki Yohoyama Duo
Tomi Jazz 9:40, 11 pm $10
• Jhoe Garay Guitar Trio; Julia Karosi Quartet
Silvana 6, 7 pm
• Elise Wood Duo
Shrine 6 pm
Wednesday, March 22
• Brooklyn Hospital Center Benefit: Norah Jones
The Bell House 8 pm $100
êDissonant Geranium: Miya Masaoka, Ken Filiano, Robert Dick
The Stone 8:30 pm $20
êImages of Monk: Ted Rosenthal, Mike Rodriguez, Joel Frahm, Martin Wind, John Riley
Riverdale Y 7:30 pm $35
êDayna Stephens Group with Taylor Eigsti, Peter Bernstein, Larry Grenadier,
Eric Harland
Jazz Standard 7:30, 9:30 pm $25
• Tynan Davis with Kenny Rampton, Clark Gayton, Ted Nash, Dan Block, Paul Nedzela,
Ray Gallon, Jeff Carney, Jerome Jennings
Dizzy’s Club 7:30, 9:30 pm $35
• Patrick Bartley
Dizzy’s Club 11:30 pm $5
• Massimo Farao; Tony Hewitt/Pete Malinverni
Mezzrow 8, 11 pm $20
• Chet Doxas Quartet with Jacob Sacks, Zack Lober, Vinnie Sperrazza; Nick Finzer Sextet
with Lucas Pino, Alex Wintz, Chris Ziemba, Dave Baron, Jimmy Macbride
Smalls 7:30, 10:30 pm $20
• Raphael D’lugoff Trio +1; Ned Goold Jam
Fat Cat 7 pm 12:30 am
êNancy Valentine Quartet with Harry Allen, John di Martino, Boris Kozlov, Mark Taylor
Jazz at Kitano 8, 10 pm $17
• Sebastian Noelle Quintet with Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss
Cornelia Street Underground 8, 9:30 pm $10
• Angela Carlucci; Ideal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins,
Tomas Fujiwara
Rye 9:30, 10:30 pm
• Lou Caputo Not So Big Band Zinc Bar 8, 9:30 pm
• Michael Gallant Trio; Yoko Kowata Duo
Tomi Jazz 8, 11 pm $10
• Joanna Wallfisch
Guadalupe Inn 8 pm $5-10
êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êRoy Hargrove Quintet
Blue Note 8, 10:30 pm $35
êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson
Birdland 8:30, 11 pm $40
• Indiana University Plummer Sextet directed by Walter Smith III with guest Marquis Hill
The Jazz Gallery 7:30, 9:30 pm $15
• Valerie Capers/John Robinson Saint Peter’s 1 pm $10
ROBERT DICK
Residency at The Stone - March 21 - 26, 2017,
all concerts at 8:30 PM $20 - corner of East 2nd Street and Avenue C
Tuesday, March 21 — We Are the Walrus —
Thomas Buckner, baritone and Robert Dick, flutes
Two long-time musical collaborators who always surprise each other and themselves!
Wednesday, March 22 — Dissonant Geranium —
Miya Masaoka, koto; Ken Filiano, bass and Robert Dick, flutes
Robert has played many times with Miya in duo and with Ken in a wide range of
ensembles. This is the first outing for this intensively colorful trio.
Thursday, March 23 — Raise the River — Flutes and Drums —
Tiffany Chang, drums and Robert Dick, flutes
Primal music from the next dimension.
Friday, March 24 — The Time Between Us —
Stephanie Griffin, viola; Ned Rothenberg, alto sax, bass clarinet and shakuhachi;
Satoshi Takeishi, drums; Robert Dick, flutes
Improvisations and compositions by Robert.
Saturday, March 25 — Bermuda Rectangle —
Vince Bell, spoken word and song; David Mansfield, guitars of all types;
Ratzo B. Harris, bass; Robert Dick, flutes and voice
Texas Blues deconstructed — and reconstructed!
Sunday, March 26 — Our Cells Know — Robert Dick, contrabass flute solo
Celebrating the release of Robert’s solo contrabass flute CD on Tzadik! Music that’s truly unique.
“A flutist whose imagination and
technical resources seem limitless.”
— Alan Kozinn, new York Times
ROBERTDICK.nET
46 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Thursday, March 23
êElla! A Centennial Celebration: Andrea Frierson and Trio
The Apollo 6:30 pm
êYo La Tengo with guests Chad Taylor, Amy Garapic, Zeena Parkins, Mary Halvorson,
Terry Adams, Vincent Chancey, Roswell Rudd, Daniel Carter, Taylor Ho Bynum
Town Hall 8 pm $45-55
êStanley Cowell Quartet with Jay Anderson, Billy Drummond, Bruce Williams
Dizzy’s Club 7:30, 9:30 pm $40
• Patrick Bartley
Dizzy’s Club 11:30 pm $10
êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond
Jazz Standard 7:30, 9:30 pm $30
êSonelius Smith Duo
Cleopatra’s Needle 7 pm
êHenry Butler
Bar Lunàtico 8:30, 10 pm $10
êJohnny O’Neal
Ginny’s Supper Club 7:30, 9:30 pm $20
êBill Ware Duo
City Winery 7 pm
êRoger Kellaway/Peter Beets
Sheen Center for Thought & Culture 7:30 pm $25-50
êNeal Smith Quartet with Donald Vega, Dezron Douglas and guest
Smoke 7, 9, 10:30 pm $12
êTiffany Chang/Robert Dick
The Stone 8:30 pm $20
• Yuka Mito Quartet with Allen Farnham, Dean Johnson
Jazz at Kitano 8, 10 pm $17
êAlan Ferber Nonet with Philip Dizack, Loren Stillman, Lucas Pino, Charles Pillow,
Nir Felder, Bryn Roberts, Matt Pavolka, Mark Ferber
Cornelia Street Underground 8, 9:30 pm $10
• Tuomo Uusitalo Quartet
Club Bonafide 7:30 pm $10
• Dominant Funktion: Kevon Scott, Scott Bell, Darion Roberts, Kertron Mackey,
Francisco Moraga, Stefano Genova, Damian Chambers
ShapeShifter Lab 7 pm $8
• Michael Mwenso and The Shakes with Vuyo Sotashe, Mathis Picard, Kyle Poole,
Russell Hall, Michela Marino LermanGreenwich House Music School 8 pm $15
• Nerissa Campbell’s After The Magic with Desmond White, Kush Abadey, Sarah Mullins,
Suzanne La
The Jazz Gallery 7:30, 9:30 pm $15
• Justin Kauflin; Spike Wilner
Mezzrow 8, 11 pm $20
• Willy Rodriguez Group; Carlos Abadie Quintet; Sarah Slonim with Endea Owens,
M’Balia Singley, Adam Moezinia, Ben Zweig
Smalls 7:30, 10:30 pm 1 am $20
êJon-Erik Kellso Quartet
Cavatappo Grill 9, 11 pm $10
• NanJo Lee Trio with Matt Clohesy, Craig Weinrib; Perry Smith with Ben Wolfe,
Dan Schnelle Bar Next Door 6:30, 8:30, 10:30 pm $12
• Benjamin Furman; Ken Ychicawa Williamsburg Music Center 9, 10:15 pm $10
• Alexis Parsons/Jack Wilkins
Symphony Space Bar Thalia 9 pm
• Atsushi Ouchi Trio
Tomi Jazz 9 pm $10
• Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone,
Terry Schwadron
Caffe Vivaldi 8:30 pm
• Natalia Clavier
Guadalupe Inn 9 pm $15
êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êRoy Hargrove Quintet
Blue Note 8, 10:30 pm $35
• Fleurine
Birdland 6 pm $25
êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson
Birdland 8:30, 11 pm $40
• Art Baron and Friends
Silvana 6 pm
Friday, March 24
êEthan Iverson/Albert “Tootie” Heath; Theo Hill
Mezzrow 8, 11 pm $20
êBucky Pizzarelli/Ed Laub Group with Larry Fuller, Martin Pizzarelli
Jazz at Kitano 8, 10 pm $17
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Smoke 7, 9, 10:30 pm $38
• Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and
guest Don Vappie
Dizzy’s Club 7:30, 9:30 pm $40
• Patrick Bartley
Dizzy’s Club 11:30 pm $5
êValerie Capers/John Robinson
Knickerbocker Bar and Grill 9:45 pm $3.50
êThe Time Between Us: Stephanie Griffin, Ned Rothenberg, Satoshi Takeishi,
Robert Dick
The Stone 8:30 pm $20
• Ben Williams
Ginny’s Supper Club 7:30, 9:30 pm $20
êGilad Hekselman Zuperoctave with Sam Yahel, Kush Abadey
Cornelia Street Underground 9, 10:30 pm $10
• Ken Fowser Quintet
The Django at The Roxy Hotel 7:30 pm
êJochen Rueckert Trio with Dayna Stephens, Joshua Crumbley
Bar Next Door 7:30, 9:30, 11:30 pm $12
êAkiko Tsuruga Trio with Charlie Sigler, McClenty Hunter
Aaron Davis Hall 8 pm $20
êCharlie Burnham
Owl Music Parlor 7:30 pm $10
• Mike Moreno Quartet
The Jazz Gallery 7:30, 9:30 pm $22
• Ralph Lalama Bop-Juice with Alec Claffy, Clifford Barbaro; Charles Ruggiero Quartet
with Ian Hendrickson-Smith, Jeremy Manasia, Neal Miner
Smalls 7:30, 10:30 pm $20
• Rachel Therrien Quartet Club Bonafide 7:30 pm $15
• Takenori Nishiuchi
Tomi Jazz 9 pm $10
êRale Micic/Ed Cherry
Symphony Space Bar Thalia 9 pm
• Dona Carter Trio
Cleopatra’s Needle 8 pm
• Cumbiagra Trio
Guadalupe Inn 8 pm $5-10
êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond
Jazz Standard 7:30, 9:30 pm $35
êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êRoy Hargrove Quintet
Blue Note 8, 10:30 pm $35
êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson
Birdland 8:30, 11 pm $40
• Jun Miyake Trio
Shrine 6 pm
Saturday, March 25
êWadada Leo Smith/Angelica Sanchez; Angelica Sanchez Trio with Michael Formanek,
Tyshawn Sorey
Greenwich House Music School 7:30 pm $25
êAdam Rudolph’s Go: Organic Orchestra: Kaoru Watanabe, Michel Gentile, Ze Luis,
Sylvain Leroux, Mariano Gil, Avram Fefer, Ivan Barenboim, JD Parran,
Sean Sonderegger, Batya Sobel, Graham Haynes, Stephen Haynes, Peter Zummo,
Julianne Carney, Mark Chung, Sana Nagano, Gwen Laster, Melanie Dyer,
Stephanie Griffin, Leco Reis, James Hurt, Shakoor Sanders, Kenny Wessel,
Jerome Harris, Marco Cappelli, Alexis Marcelo, Damon Banks
Brooklyn Conservatory of Music 8 pm
• Bobbi Humphrey
Ginny’s Supper Club 7:30, 9:30 pm $30
êStephanie Nakasian/Veronica Swift Double Vision with Tardo Hammer Trio
Jazz at Kitano 8, 10 pm $32
êJoe Fiedler Quintet with Jeff Lederer, Pete McCann, Rob Jost, Michael Sarin
The Jazz Gallery 7:30, 9:30 pm $22
• Bermuda Rectangle: Vince Bell, David Mansfield, Ratzo Harris, Robert Dick
The Stone 8:30 pm $20
êZeena Parkins/Mary Halvorson Ibeam Brooklyn 8:30 pm $15
êHank Roberts with Sarah Bernstein, Shoko Nagai, Satoshi Takeishi
Owl Music Parlor 8 pm $10
• Lena Bloch/Roberta Piket Duo The Drawing Room 7:30 pm $15
• A Tribute to Nat King Cole: Thos Shipley
Metropolitan Room 7 pm $22.50
• Daniel Levin, Chris Pitsiokis, Brandon Seabrook
Soup & Sound 8 pm $20
• Mike Rood Trio with Sam Minaie, Jerad Lippi Bar Next Door 7:30, 9:30, 11:30 pm $12
• Los Aliens: Ricardo Gallo, Andrés Jiménez, Sebastián Cruz, Victor Murillo
Nublu 10 pm $10
• New Masses Nights—Women’s History Month Celebration: Maryanne de Prophetis Trio
with Ron Horton, Dean Johnson; Lee Odom Quartet
Henry Winston Unity Hall 7 pm $10
• Lil Phillips
Sistas’ Place 9, 10:30 pm $20
• Lee Tomboulian’s Weekly ReedersDiMenna Center 8 pm $20
• Tres Mujeres, Magnificas del Jazz Latino: Annette Aguilar and String Beans;
Jenn Jade Ledesna Trio; Laura Andrea Leguía Ensemble
Hostos Center 7:30 pm $15
• Carolina Calvache Quintet with Camila Meza; Lady Cantrese
The Cell 8, 9:30 pm
• Dan Greenblatt Group with Dave Marck, Ed Fuqua, Jeff Brillinger
Club Bonafide 7:30 pm $10
• Sharp Tree Trio; Akihiro Yamamoto Trio; Annie Chen Trio
Tomi Jazz 6, 8, 11 pm $10
• Fuku and Chihiro Trio
Cleopatra’s Needle 8 pm
• Joshua Levine
Guadalupe Inn 8 pm $5-10
êEthan Iverson/Albert “Tootie” Heath; Theo Hill
Mezzrow 8, 11 pm $20
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Smoke 7, 9, 10:30 pm $38
• Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and
guest Don Vappie
Dizzy’s Club 7:30, 9:30 pm $45
• Patrick Bartley
Dizzy’s Club 11:30 pm $20
êValerie Capers/John Robinson
Knickerbocker Bar and Grill 9:45 pm $3.50
êGilad Hekselman Zuperoctave with Sam Yahel, Kush Abadey
Cornelia Street Underground 9, 10:30 pm $10
êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond
Jazz Standard 7:30, 9:30 pm $35
• Dave Stryker Quartet with Jared Gold, McClenty Hunter; Charles Ruggiero Quartet with
Ian Hendrickson-Smith, Jeremy Manasia, Neal Miner; Philip Harper Quintet
Smalls 7:30, 10:30 pm 1 am $20
êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êRoy Hargrove Quintet
Blue Note 8, 10:30 pm $35
êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson
Birdland 8:30, 11 pm $40
• Adam Rudolph’s Go: Organic Orchestra Improvising Workshop
Brooklyn Conservatory of Music 1:30 pm $60
Sunday, March 26
êRobert Dick solo
The Stone 8:30 pm $20
êBen Perowsky Trio with Chris Speed, Michael Formanek
Cornelia Street Underground 8:30, 10 pm $10
• Camila Meza and the Nectar Orchestra; Elsa Nilsson Quartet
Rockwood Music Hall Stage 2 7, 8 pm $15
• Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Michela Lerman;
Neal Smith/Donald Vega Quartet with Dezron Douglas; Hillel Salem
Smalls 4:30, 7:30, 10:30 pm 1 am $20
• Terry Waldo’s Gotham City Band; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 1 am
• Sean Ali solo
Downtown Music Gallery 7 pm
• Kengo Yamada
Tomi Jazz 8 pm $10
êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash
Smoke 7, 9, 10:30 pm $38
• Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and
guest Don Vappie
Dizzy’s Club 7:30, 9:30 pm $35
êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond
Jazz Standard 7:30, 9:30 pm $30
êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille
Village Vanguard 8:30, 10:30 pm $30
êRoy Hargrove Quintet
Blue Note 8, 10:30 pm $35
• Júlia Karosi Quartet
Saint Peter’s 5 pm
• NY Jazz Women: Lee Torchia, Jill McManus, Melissa Slocum, Carol Sudhalter
Metropolitan Room 4 pm $24
êAlexis Cole Trio with Doug Munro, Michael Beaudry
North Square Lounge 12:30, 2 pm
• Dandy Wellington
Minton’s 12 pm $10
Monday, March 27
êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!:
Hélène and Célia Faussart
Schomburg Center 7 pm $30
• Steve Lehman Sélébéyone with HPrizm, Gaston Bandimic, Maciek Lasserre, Carlos Homs,
Chris Tordini, Damion Reid
Merkin Concert Hall 7:30 pm $25
ê7th Annual James Moody Jazz Scholarship Of New Jersey Youth Benefit:
David Hazeltine, Kenny Barron, Jamie Baum, Randy Brecker, Paquito D’Rivera,
Roberta Gambarini, Allan Harris, Antonio Hart, Jimmy Heath, Freddie Hendrix,
John Lee, Victor Lewis, Adam Nussbaum, Rufus Reid, Ada Rovatti, Terell Stafford
Blue Note 8, 10:30 pm $65-100
êMike Stern
55Bar 10 pm
• Supersilent: Helge Sten, Arve Henriksen, Ståle Storløkken
Le Poisson Rouge 8 pm $25
• Mingus Big Band
Jazz Standard 7:30, 9:30 pm $25
• Manhattan School of Music Jazz Orchestra conducted by Jim McNeely
Dizzy’s Club 7:30, 9:30 pm $35
• Edward Perez/Helio Alves
Terraza 7 9 pm $10
• Joe “Blaxx” Grissett Band
Bar Lunàtico 8:30, 10 pm $10
• Dred Scott
Mezzrow 8 pm $20
• Manuel Valera Trio with Hans Glawischnig, E.J. Strickland; Jonathan Michel with
Micah Thomas, Julius Rodriguez Smalls 7:30 pm 1 am $20
• David Kuhn Trio with Patricia Wichmann, Aaron Caceres; Dana Reedy Trio with
Ed Cherry, James Robbins
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Sebastien Ammann; Jessie Bielenberg, Asher Kurtz, Aaron Rourk
Delroy’s Café and Wine Bar 9, 10 pm $10
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
47
Tuesday, March 28
êThe Jazz Passengers: Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Bill Ware,
Brad Jones, Ben Perowsky, EJ Rodriguez
Roulette 8 pm $20
• Stanley Clarke/Ron Carter Duo with guest Russell Malone
Blue Note 8, 10:30 pm $45
êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Eliane Elias
Birdland 8:30, 11 pm $40
• Maurice Brown’s Electric Ride with Skerik, Chad Selph, Nir Felder, Michael League,
Lee Pearson
Jazz Standard 7:30, 9:30 pm $25
• Brubeck Institute Jazz Quintet: Brandon Woody, Isaiah Collier, Jamael Dean,
Zane DeBord, Timothy Angulo Dizzy’s Club 7:30, 9:30 pm $35
• Steven Feifke
Dizzy’s Club 11:30 pm $5
• Jay D’Amico Trio
NYC Baha’i Center 8, 9:30 pm $15
êHelge Sten’s Deathprod
Issue Project Room 8 pm $15
êDiaspora Special Edition: Arturo O’Farrill, Peter Apfelbaum, Brad Jones, Billy Martin,
Steven Bernstein
The Stone 8:30 pm $20
êAndrew Drury, Dan Blake, Ricardo Gallo
Korzo 10:30 pm
• Streams: Yago Vazquez, Scott Lee, Jeff Hirshfield
Cornelia Street Underground 8, 9:30 pm $10
• Marianne Solivan; Miki Yamanaka/Adi Meyerson
Mezzrow 8, 11 pm $20
• Ehud Asherie Trio with Neal Miner, Aaron Kimmel; Steve Nelson Group; Jon Beshay
Smalls 7:30, 10:30 pm 1 am $20
• Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop
Fat Cat 7, 9 pm 12:30 am
• Dan Hartig Trio with Alex Ball, JC Polo; Kyle Moffatt Trio with Brad Whitely,
Peter Tranmueller
Bar Next Door 6:30, 8:30, 10:30 pm $12
• Micah Thomas
Jazz at Kitano 8 pm
• Peter Ayres Trio; Andrew Licuta Trio; Tomoko Omura
Tomi Jazz 8, 9:40, 11 pm $10
• Elise Wood Duo
Silvana 6 pm
• Florian Klinger Group
Shrine 6 pm
Wednesday, March 29
êStone Commissioning Series: Nicole Mitchell with Fay Victor, Tomeka Reid, Aruán Ortiz National Sawdust 7 pm $34
êBucky Pizzarelli, Ed Laub, Harold Allen, Martin Pizzarelli
The Jazz Gallery 7:30 pm $50
êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen
The Stone 8:30 pm $20
• Emilio Solla’s Bien Sur! with Chris Cheek, Julien Labro, Jorge Roeder, Ferenc Nemeth
Dizzy’s Club 7:30, 9:30 pm $35
• Steven Feifke
Dizzy’s Club 11:30 pm $5
• Camille Bertault/Dan Tepfer Duo Jazz Standard 7:30, 9:30 pm $25
• Andrew Rathbun Quartet with Tim Hagans, Matt Pavolka, Tom Rainey
Cornelia Street Underground 8, 9:30 pm $10
• Plucky Strum: Sheryl Bailey/Harvie S; Tony Hewitt/Pete Malinverni
Mezzrow 8, 11 pm $20
• Stafford Hunter Quintet with Todd Bashore, Victor Gould, Luques Curtis, Vince Ector;
Benny Benack III Group
Smalls 7:30, 10:30 pm $20
• Raphael D’lugoff Trio +1; Ned Goold Jam
Fat Cat 7 pm 12:30 am
• Tony Middleton Quartet with Roy Dunlap, Kenji Yoshitake, Dwayne “Cook” Broadnax
Jazz at Kitano 8, 10 pm $17
• Ricardo Gallo solo
Terraza 7 8 pm $15
• Jean Rohe
Rye 9:30 pm
• Abel Mireles Duo; Dayeon Seok Duo
Tomi Jazz 8, 11 pm $10
• Carte Blanche
Guadalupe Inn 8 pm $5-10
• Stanley Clarke/Ron Carter Duo with guest Russell Malone
Blue Note 8, 10:30 pm $45
êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Eliane Elias
Birdland 8:30, 11 pm $40
• Bill Stevens, Rich Russo, Gary Fogel
Silvana 6 pm
• John Colliani Jazz Orchestra
Saint Peter’s 1 pm $10
• Eliane Elias
Birdland 8:30, 11 pm $40
• Nick Finzer Trio with Or Bareket, Allan Mednard
Friday, March 31
M O N D AY
êDIVA Jazz Orchestra Celebrates The Divas with guest Brianna Thomas
• Richard Clements and guests 11th Street Bar 9 pm
• Glenn Crytzer Orchestra Slate 7:30 pm
• Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE)
• Grove Street Stompers Arthur’s Tavern 7 pm
• Vincent Herring Quartet and Smoke Jam Session Smoke 7, 9, 10:30 pm
• Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm
• Jazz Foundation of American Jam Session Local 802 7 pm
• Arthur Kell and Friends
Bar Lunatico 8:30 pm
• Roger Lent solo
Cavatappo Grill 7 pm
• Renaud Penant Trio
Analogue 7:30 pm
• Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
• Stan Rubin All-Stars
Charley O’s 8:30 pm
• Svetlana and the Delancey 5 The Back Room 8:30 pm
• Swingadelic
Swing 46 8:30 pm
• Gracie Terzian
Bar Hugo 6 pm
• Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
• James Zeller Duo
Spasso 7 pm (ALSO SUN)
Dizzy’s Club 7:30, 9:30 pm $40
êPiano Masters: Toshiko Akiyoshi and Barry Harris
Flushing Town Hall 8 pm $42
êJoshua Redman Still Dreaming Quartet with Ron Miles, Scott Colley, Brian Blade The Appel Room 7, 9:30 pm $65-85
• Steven Feifke
Dizzy’s Club 11:30 pm $10
êAzar Lawrence Quintet with Eddie Henderson, Benito Gonzalez, Essiet Essiet,
Brandon Lewis
Smoke 7, 9, 10:30 pm $38
êLew Tabackin Birthday Bash with Yasushi Nakamura, Mark Taylor and guest
Joe Magnarelli
Jazz at Kitano 8, 10 pm $32
êSpanish Fly: Steven Bernstein, Marcus Rojas, Dave Tronzo
The Stone 8:30 pm $20
• Cuba—Senegal: Elio Villafranca’s Letters to Mother Africa II with Vincent Herring,
Bruce Harris, Steve Turre, Ricky Rodriguez, Dion Parson, Miguelito Valdes
Aaron Davis Hall 7:30 pm $30
êVinnie Sperrazza Quartet with Chris Speed, Bruce Barth, Pete Brendler
Cornelia Street Underground 9, 10:30 pm $10
êRalph Alessi solo; Alex Koo, Mark Turner, Ralph Alessi
Greenwich House Music School 7:30 pm $18
• Graham Haynes Group with Hardedge
BAMCafé 9 pm
• Steve Davis
Mezzrow 8 pm $20
• Joey “G-Clef” Cavaseno Quartet with Jeremy Bacon, William Ash, David F. Gibson;
George Colligan Quintet with Jimmy Greene, Jon Irabagon, Linda Oh, Jochen Rueckert
Smalls 7:30, 10:30 pm $20
• David Weiss Point of Departure Fat Cat 10:30 pm
• Dario Chiazzolino Trio with Marco Panascia, Jerome Jennings Bar Next Door 7:30, 9:30, 11:30 pm $12
• Roberta Piket Quartet with Daniel Carter, Billy Mintz
Spectrum 9 pm
• Sean Smith/David Hazeltine
Knickerbocker Bar and Grill 9:45 pm $3.50
• Chris Turner and The DropOuts Ginny’s Supper Club 7:30, 9:30 pm $20
• Kendra Shank Group
55Bar 6, 7:45 pm
• King Solomon Hicks
Minton’s 7 pm $10
• Julio Botti Trio
Tomi Jazz 9 pm $10
• Denton Darien Trio
Cleopatra’s Needle 8 pm
• Jacob Varmus Trio
Shrine 7 pm
• Solange Prat
Guadalupe Inn 8 pm $5-10
êChano Dominguez Flamenco Quintet with Sonia Fernandez, Ismael Fernandez,
Alex Cuadrado, Jose Moreno
Jazz Standard 7:30, 9:30 pm $30
• Stanley Clarke/Ron Carter Duo with guest Russell Malone
Blue Note 8, 10:30 pm $45
êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Eliane Elias
Birdland 8:30, 11 pm $40
• Jane Ira Bloom’s Wild Lines with Dawn Clement, Mark Helias, Bobby Previte,
Deborah Rush
The New School Arnhold Hall 2 pm
Paul Jones & Jason Yeager Present:
CONCERT FOR A CURE
T U E S D AY
• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
• Ronnie Burrage and The Robu Trio The Five Spot Brooklyn 11 pm $10
• Joel Forrester solo
Stop Time 7 pm
• George Gee Orchestra
Swing 46 8:30 pm
• Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT)
• Jerome Harris/Dave Baron Barawine 7 pm (ALSO SUN 6 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
• Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm
• Mona’s Hot Four Jam Session Mona’s 11 pm
• Annie Ross
The Metropolitan Room 9:30 pm $25
• Bill Todd Open Jam
Club Bonafide 9 pm $10
• Diego Voglino Jam Session The Fifth Estate 10 pm
• The Westet
Analogue 7:30 pm
W E D N E S D AY
• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
• Rick Bogart Trio
L’ybane 9:30 pm (ALSO FRI)
• Django Big Band and Jam Session The Django 8 pm
• Rob Duguay’s Low Key Trio Turnmill NYC 11 pm
• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm
• Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Smoke 7, 9, 10:30, 11:30 pm
• Martin Kelley’s Affinity
John Brown Smoke House 5:30 pm
• Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm
• Les Kurtz Trio
Cleopatra’s Needle 7 pm
• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)
• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20
• Stan Rubin Orchestra
Swing 46 8:30 pm
• Eve Silber
Arthur’s Tavern 7 pm
• Noël Simoné
Spaha Soul Restaurant 8 pm (ALSO FRI)
• Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10
• Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
A fundraiser for Type 1 Diabetes Research
Thursday, March 30
êChano Dominguez Flamenco Quintet with Sonia Fernandez, Ismael Fernandez,
Alex Cuadrado, Jose Moreno
Jazz Standard 7:30, 9:30 pm $30
êTrio M: Myra Melford, Mark Dresser, Matt Wilson
Dizzy’s Club 7:30, 9:30 pm $40
• Steven Feifke
Dizzy’s Club 11:30 pm $10
êMillennial Territory Orchestra: Doug Wieselman, Peter Apfelbaum, Erik Lawrence,
Curtis Fowlkes, Charlie Burnham, Matt Munisteri, Ben Allison, Ben Perowsky,
Steven Bernstein
The Stone 8:30 pm $20
êHush Point: John McNeil, Jeremy Udden, Aryeh Kobrinsky, Anthony Pinciotti
Brooklyn Conservatory of Music 8 pm $15
êJohnny O’Neal
Ginny’s Supper Club 7:30, 9:30 pm $20
êJochen Rueckert Quartet with Mark Turner, Mike Moreno, Orlando Le Fleming
Smoke 7, 9, 10:30 pm $12
• Ayako Shirasaki Trio with Noriko Ueda, Gene Jackson
Jazz at Kitano 8, 10 pm $17
• Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic
ShapeShifter Lab 8:15 pm $10
êFay Victor In Praise of Ornette with Darius Jones, Kenny Wessel, Sean Conly
55Bar 7 pm
• Kyle Nasser Sextet with Loren Stillman, Jeff Miles, Dov Manski, Nick Jost,
Allan Mednard
Cornelia Street Underground 8, 9:30 pm $10
• Emilio Teubal Trio
Club Bonafide 7:30 pm $15
• Adam Birnbaum; Spike Wilner Mezzrow 8, 11 pm $20
• Mark Zaleski Band with Jon Bean, Glenn Zaleski, Mark Cocheo, Danny Weller,
Oscar Suchanek; Mike Fahn GroupSmalls 7:30, 10:30 pm $20
• The Masakowski Family Band: Steve, Sasha and Martin Masakowski
Greenwich House Music School 8 pm $15
• Lara Bello’s Sikame
The Jazz Gallery 7:30, 9:30 pm $15
• Bobby Katz Trio with Ryan Slatko, Tim Rachbach; Tony Romano Trio with
Lenny Sendersky, Steve LaSpina Bar Next Door 6:30, 8:30, 10:30 pm $12
• King Solomon Hicks
Cavatappo Grill 9, 11 pm $10
• Manhattan School of Music Jazz Orchestra conducted by Jim McNeely
Manhattan School Neidorff-Karpati Hall 7:30 pm
• Senri Oe
Tomi Jazz 9 pm $10
• Hot Club of Flatbush
Radegast Hall 9 pm
• Joe Bonacci Duo
Cleopatra’s Needle 7 pm
• Mar Sala
Guadalupe Inn 8 pm $5-10
• Stanley Clarke/Ron Carter Duo with guest Russell Malone
Blue Note 8, 10:30 pm $45
êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster
Village Vanguard 8:30, 10:30 pm $30
• Rob Silverman Quartet with James Halliday, Andy Bassford, Scott Hamilton Birdland 6 pm
RE G U L AR ENGAGE MENTS
Silvana 6 pm
Featuring special guests:
Steve Wilson
Frank Kimbrough
Kevin Hays
Marcello Pellitteri
Danny Weller
RSVP & Donate:
gofundme.com/concertforacure
April 1st at 7 PM, Steinway Hall
1133 6th Ave, NYC
48 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
T H U R S D AY
• Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10:30 pm $10
• Gene Bertoncini
Ryan’s Daughter 8:30, 10:30 pm
• Dr. Dwight Dickerson
Cassandra’s Jazz and Gallery 8 pm $5
• Harlem Renaissance Orchestra Swing 46 8:30 pm
• Jazz Jam Session
American Legion Post 7:30 pm
• Kazu Trio Cleopatra’s Needle 11:30 pm
• Martin Kelley’s Affinity
Domaine Wine Bar 8:30 pm
• Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm
• Lapis Luna Quintet
The Plaza Hotel Rose Club 8:30 pm
• Curtis Lundy Jam Session Shell’s Bistro 9 pm
• Sol Yaged
Grata 8 pm
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm (ALSO FRI-SAT)
F R I D AY
• Scot Albertson
Parnell’s 8 pm (ALSO SAT)
• Birdland Big Band Birdland 5:15 pm $25
• Rick Bogart Trio
New York Yankees Steakhouse 5 pm
• Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT)
• Gerry Eastman Quartet
Williamsburg Music Center 10 pm
• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
• Patience Higgins Sugar Hill Quartet Smoke 11:45 pm 12:45 am
• Sandy Jordan and Friends ABC Chinese Restaurant 8 pm
• Michael Kanan Trio
Arturo’s 8 pm
• Richard Russo Quartet
Capital Grille 6:30 pm
• Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)
S AT U R D AY
• Rob Anderson Jam SessionUniversity of the Streets 10 pm
• Rick Bogart Trio
Broadway Thai 7:30 pm (ALSO SUN)
• The Candy Shop Boys
Duane Park 8, 10:30 pm
• Agustin Grasso Quartet
Duet 8 pm (ALSO SUN 11 am)
• Assaf Kehati Duo
Il Gattopardo 11:30 am
• Curtis Lundy Trio with guests Shell’s Bistro 9 pm
• Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm
• Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm
• Nabuko and Friends
Nabe Harlem 12 pm
• Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am
• James Zeller Trio
Spasso 1pm
S U N D AY
• Avalon Jazz Quartet
The Lambs Club 11 am
• Rick Bogart Trio
New York Yankees Steakhouse 12 pm
• Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10
• The Candy Shop Boys
The Rum House 9:30 pm
• Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm
• Glenn Crytzer Group
Pegu Club 6:30 pm
• Stefano Doglioni Trio
Analogue 7:30 pm
• JaRon Eames/Emme Kemp The Downtown Club 2 pm $20
• The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm
• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
• Joel Forrester solo
Grace Gospel Church 11 am
• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm
• Ian Hendrickson-Smith
The Strand Smokehouse 7 pm
• Jazz Brunch
Harlem Besame Latino Soul Lounge 1:30 pm
• Peter Mazza Trio
Bar Next Door 8, 10 pm $12
• Tony Middleton Trio
Jazz at Kitano 11 am $35
• Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30
• Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm
• Lu Reid Jam Session
Shrine 4 pm
• Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm
• Sean Smith and guest
Walker’s 8 pm
CLUB DIRECTORY
• 11th Street Bar 510 E. 11th Street
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com
• 440Gallery 440 Sixth Avenue, Brooklyn
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com
• 5C Cultural Center 68 Avenue C
(212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 92nd Street Y Lexington Avenue at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
• ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
• Aaron Davis Hall 133rd Street and Convent Avenue
(212-650-7100) Subway: 1 to 137th Street/City College www.adhatccny.org
• American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
• American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
• An Beal Bocht Café 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
• Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
• Apollo Theater & Music Café 253 W. 125th Street
(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street
www.apollotheater.org
• The Appel Room Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Arthur’s Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
• Arturo’s 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
• B.B. King’s Blues Bar 237 W. 42nd Street
(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square
www.bbkingblues.com
• BAMCafé 30 Lafayette Ave at Ashland Place
(718-636-4139) Subway: M, N, R, W to Pacific Street;
Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org
• Bar Hugo 525 Greenwich Street
(212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com
• Bar Lunàtico 486 Halsey Street
(917-495-9473) Subway: C to Kingston-Throop Avenues
• Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
• Barawine 200 Lenox Avenue at W. 120th Street
(646-756-4154) Subway: 2, 3 to 116th Street
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
• Baryshnikov Arts Center 450 West 37th Street, 4th floor
(212-279-4200) Subway: A, C, E, F, V to 42nd Street-Port Authority
• The Bell House 149 7th Street (718-643-6510)
Subway: F to 4th Avenue, M, R to 9th Street www.thebellhouseny.com
• Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 135th Street
• Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
• Bloomingdale School of Music 323 West 108th Street
(212-663-6021) Subway: 1 to Cathedral Parkway www.bsmny.org
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
• BRIC House Ballroom, Media House and Stoop 647 Fulton Street
(718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org
• Broadway Thai 241 West 51st Street
(212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org
• Brooklyn Music School 126 Saint Felix Street
(718-907-0878) Subway: 4 to Atlantic Avenue-Pacific Street
• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
• Café Noctambulo at Pangea 178 Second Avenue
(212-995-0900) Subway: L to First Avenue www.pangeanyc.com
• Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
• Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
• Cavatappo Grill 1712 First Avenue
(212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com
• The Cell 338 West 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
• Charley O’s 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
• City Winery 155 Varick Street
(212-608-0555) Subway: 1 to Houston Street www.citywinery.com
• Cleopatra’s Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
• Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street;
E, V to 53rd Street www.clubbonafide.com
• Cornelia Street Underground 29 Cornelia Street (212-989-9319)
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com
• The Cutting Room 44 E. 32nd Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com
• Delroy’s Cafe and Wine Bar 65 Fenimore Street
Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries
• DiMenna Center 450 West 37th Street (212-594-6100)
Subway: A, C, E to 34h Street-Penn Station www.dimennacenter.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
• The Django The Roxy Hotel 2 Sixth Avenue (212-519-6600)
Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com
• Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350)
Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
• The Downtown Club 240 E. 123rd Street
(212-868-4444) Subway: 4, 5, 6 to 125th Street
• Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
• The Drawing Room 56 Willoughby Street #3 (917-648-1847)
Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com
• Drom 85 Avenue A (212-777-1157)
Subway: F to Second Avenue www.dromnyc.com
• Duet 37 Barrow Street (212-255-5416)
Subway: 1 to Christopher Street www.duetny.com
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
• Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445)
Subway: 1 to 145th Street www.farafinacafeloungeharlem.com
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
• The Fifth Estate 506 5th Avenue, Brooklyn
(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com
• The Five Spot 459 Myrtle Avenue, Brooklyn
(718-852-0202) Subway: G to Clinton/Washington
www.fivespotsoulfood.com
• Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• For My Sweet Restaurant 1103 Fulton Street at Claver Place
(917-757-0170) Subway: C to Franklin Avenue
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
• Grace Gospel Church 589 East 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
• The Graham 190 Graham Ave (718-388-4682)
Subway: L to Montrose Avenue www.thegrahambrooklyn.com
• Grassroots Tavern 20 Saint Marks Place
(212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street
• Grata 1076 1st Avenue (212-842-0007)
Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com
• Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
• Guadalupe Inn 1 Knickerbocker Avenue
(718-366-0500) Subway: L to Morgan Avenue www.guadalupeinnbk.com
• Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd.
Subway: 2, 3 to 125th Street www.harlembesame.com
• Henry Winston Unity Hall 235 W. 23rd Street, 7th floor
Subway: 1 to 23rd Street www.facebook.com/NewMassesNights
• Highline Ballroom 431 W 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
• Hostos Center 450 Grand Concourse (718-518-6700)
Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
• Il Gattopardo 13-15 W. 54th Street
(212-246-0412) Subway: E, M to Fifth Avenue/53rd Street
www.ilgattopardonyc.com
• Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
• Issue Project Room 22 Boerum Place
(718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall
www.issueprojectroom.org
• JALC Varis Leichtman Studio Broadway at 60th Street (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org
• Jamaica Center 161-04 Jamaica Avenue, Queens
(718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org
• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com
• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org
• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org
• Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net
• Joe G’s 244 W. 56th Street (212-765-3160)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
• Joe’s Pub at the Public Theater 425 Lafayette Street
(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com
• John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120)
Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com
• Juilliard School Peter Jay Sharp Theater and Paul Hall 155 W. 65th Street
(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
• Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
• The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
• Le Chéile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
• Le Poisson Rouge 158 Bleecker Street (212-228-4854)
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com
• Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• The Loft of Thomas Rochon 100 Grand Street, 6th Floor
Subway: 6, A, C, E, N, Q, R to Canal Street
• L’ybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
• Lycée Francais de New York 505 E. 75th Street
(212-439-3820) Subway: 6 to 77th Street www.lfny.org
• McDonald’s 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
• Manhattan School of Music Neidorff-Karpati Hall, Miller Recital Hall,
Ades Performance Space, Carla Bossi-Comelli Studio Broadway and
122nd Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street
www.msmnyc.edu
• 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 Museum Grace R. Rogers Auditorium
1000 Fifth Avenue at 82n Street
(212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org
• Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
• Mezzrow 163 W. 10th Street
(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com
• Minton’s 206 West 118th Street
(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com
• MIST - My Image Studios 40 West 116th Street
Subway: 2, 3 to 116th Street www.mistharlem.com
• Mona’s 224 Avenue B Subway: L to First Avenue
• Muchmore’s 2 Havemeyer Street
(718-576-3222) Subway: L to Bedford Avenue
• 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
• National Sawdust 80 N. 6th Street
(646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org
• Neue Galerie 1048 Fifth Avenue
(212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org
• New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street
www.jazzrightnow.com/new-revolution-arts-series
• The New School Arnhold Hall 55 West 13th Street
(212-229-5600) Subway: F, V to 14th Street www.newschool.edu
• New York Yankees Steakhouse 7 W. 51st Street (646-307-7910)
Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com
• North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
• 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
• Opia 130 E. 57th Street
(212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com
• The Owl Music Parlor 497 Rogers Avenue, Brooklyn
(718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc
• Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
• Parnell’s 350 East 53rd Street #1(212-753-1761)
Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com
• Pegu Club 77 W. Houston Street (212-473-7348)
Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com
• Pianos 158 Ludlow Street
(212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com
• The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
• Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
• Radegast Hall 113 North 3rd Street
(718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
• Riverdale YM-YWHA 5625 Arlington Avenue (718-548-8200)
Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
• Rose Theater 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
• Rue B 188 Avenue B
(212-358-1700) Subway: L to First Avenue www.ruebnyc188.com
• The Rum House 228 W. 47th Street
(646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com
• Ryan’s Daughter 350 E 85th Street
(212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com
• Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue
• S.O.B.’s 204 Varick Street
(212-243-4940) Subway: 1 to Varick Street www.sobs.com
• Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• San Martin Restaurant 143 E. 49 Street between Lexington and Park
Avenues (212-832-0888) Subway: 6 to 51st Street
• The Schomburg Center 515 Macolm X Boulevard
(212-491-2200) Subway: 2, 3 to 135th Street
www.nypl.org/locations/schomburg
• ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
• Sheen Center 18 Bleecker Street
(212-219-3132) Subway: 6 to Bleecker Street www.sheencenter.org
• Showman’s 375 W. 125th Street at Morningside) (212-864-8941)
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
• Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com
• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
• Sisters 900 Fulton Street (347-763-2537)
Subway: C to Clinton-Washington Avenue www.sistersbklyn.com
• Slate 54 W. 21st Street
(212-989-0096) Subway: F, M, N, R to 23rd Street www.slate-ny.com
• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com
• Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
• Soup & Sound 292 Lefferts Avenue
(between Nostrand and Rogers Avenues) Subway: 2 to Sterling Street
• Spaha Soul Restaurant 2294 Second Avenue
(347-463-7387) Subway: 6 to 116th Street www.spahasoul.com
• Spectrum 121 Ludlow Street, 2nd floor
Subway: F to Delancey Street www.spectrumnyc.com
• Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
• The Stone Avenue C and 2nd Street
Subway: F to Second Avenue www.thestonenyc.com
• Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue
• The Strand Smokehouse 25-27 Broadway, Queens
(718-440-3231) Subway: N, Q to Broadway
www.thestrandsmokehouse.com
• Subrosa 63 Gansevoort Street
(212-997-4555) Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue
www.subrosanyc.com
• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com
• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
• Terraza 7 40-19 Gleane Street
(718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com
• Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Town Hall 123 W. 43rd Street
(212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
www.the-townhall-nyc.org
• The Treehouse 833 Broadway, Ste. 6
Subway: 4, 5, 6, L, N, Q, R to Union Square
• Tribeca Performing Arts Center 199 Chambers Street
(212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street
www.tribecapac.org
• Troost 1011 Manhattan Avenue
(347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com
• Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
• University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300)
Subway: B, D to 182-183 Streets www.universityofthestreets.org
• Village Vanguard 178 Seventh Avenue South (212-255-4037)
Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
• 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
• Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
• WoW Café Theater 59-61 E 4th Street #4
(917-725-1482) Subway: 6 to Astor Place www.wowcafe.org
• Zinc Bar 82 W. 3rd Street
(212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street
www.zincbar.com
THE NEW YORK CITY JAZZ RECORD | MARCH 2017
49
(INTERVIEW CONTINUED FROM PAGE 6)
Smith was one of the first and a great. She just turned
104 years old and she’s still with us. Karen Carpenter
was an amazing drummer but she’s remembered for
her singing career. What happens is, when someone
breaks the mold, when you see someone else do it, it
gives you permission to go ahead. You say, “I can do
that too!” Yet, there are too many women who should
have been notable but aren’t. I suggest watching the
film The Girls in the Band.
TNYCJR: What is the future for women in drumming?
SM: Again, it’s about being under or over the radar.
Among female jazz drummers Terri Lyne Carrington is
the most notable in the last 30 years, but she’s by no
means the only one. Unfortunately, the attrition rate
for women drummers is high. It’s a topic of concern in
educational circles as to why this is so. One of the
prime reasons I think is that there are pretty much no
full-time jobs in the arts. If you’re a musician you can
only be guaranteed a permanent gig by joining the
military. The lack of guaranteed work has to have an
impact on career decision-making.
TNYCJR: Should there be more advocacy for women
in drumming?
SM: For women in drumming and for women in jazz.
The status of women who play jazz is slightly better
now than it has been, but there’s more to be done. For
example in 2013 the Kennedy Center renamed the
Mary Lou Williams Women in Jazz Festival [started by
Dr. Billy Taylor in 1996] to the Mary Lou Williams Jazz
Festival. They said the emphasis on women was too
limiting. They also said the designation for women
was unnecessary because women had made such
a success in the jazz world they didn’t need it anymore.
That was a step back. We also still have the clothes and
hair syndrome to deal with. What we wear or how our
hair is fixed has nothing to do with the music. It’s
a double standard. I applaud Wynton Marsalis, who’s
now conducting blind auditions. That’s what it’s
about, the music first, what you are hearing, not what
you’re seeing.
TNYCJR: Since you’re working with women
exclusively in the DIVA Jazz Orchestra, what do you
look for in a musician?
SM: DIVA offers an opportunity for a work experience
that women musicians might not otherwise have. Of
course we first look for technique and talent, of mastery
of the instrument. But it’s also necessary for our
musicians to be wide open to every experience. We
look for an attitude that says you’re here to serve the
music—it’s an attitude of giving. At the same time,
even though the music is in a collaborative situation,
it’s also necessary to do what the leader wants you to
do and with great attitude toward that end. I personally
hope that our musicians love what they do and bring
that to the band. It’s about energy, really. A person can
be a great musician but without the right energy that
fits in with the rest of the members, then she’s simply
not a good fit.
TNYCJR: Are there any special projects you are
currently involved in?
SM: We’ve recently formed a partnership with Maria
Schneider and John Clayton and ArtistShare. DIVA
turns 25 in 2017. We’re commemorating this landmark
with an anniversary project that features original
compositions by our band members. It’s a big
undertaking and I’m very excited by it. I also have
opened my own performance arts space in Philadelphia.
TNYCJR: Is there a bucket list?
SM: I’m always going to play the drums and do what
I do. That’s not going to change. But I do have a fantasy.
The DIVA band had its first international gig in 1995 at
the Pori Jazz Festival where we also saw Wynton
Marsalis perform. It’s since been my fantasy to have a
Battle of the Bands with DIVA and Wynton and the
Jazz at Lincoln Center Orchestra!
TNYCJR: If a musician can master the demands of
playing jazz, what rewards might he or she expect?
SM: For any musician, jazz is a great way to express
emotion. The music allows you to tap into your own
self-expression, to the most creative part of your own
soul, and then make it a shared expression. All music
has the power to move people, but there’s an extra
layer in that power with jazz, because to hear a jazz
piece played is a once-in-a-lifetime experience. Jazz is
in the moment. What you’re hearing now you’ll never
hear again. Jazz is never the same twice. The freedom
to improvise within the piece guarantees that. So,
unlike a symphonic piece, for example, where the
notes are pretty much played the same way all the
time, jazz makes room for constant evolution. This
capacity for jazz to allow the players to express
themselves and combine with other players in a shared
experience happens on two levels. It happens among
themselves and with the audience and that has the
potential to be nothing less than transformative. v
For more information, visit divajazz.com. DIVA Jazz Orchestra
is at Dizzy’s Club Mar. 31st-Apr. 2nd. See Calendar.
50 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD
Recommended Listening:
• Slam Stewart—The Cats Are Swinging
(Sertoma/Slamco, 1987)
• DIVA—No Man’s Band: Something’s Coming
(Perfect Sound, 1994)
• Five Play—Five Play…Plus (Arbors, 2004)
• Sherrie Maricle & The DIVA Jazz Orchestra—
Live from Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola
(s/r, 2007)
• DIVA Jazz Trio—Never Never Land (Arbors, 2009)
• Johnny Mandel—The Man and His Music
(featuring Sherrie Maricle and The DIVA Jazz Orchestra)
(Arbors, 2010)
(LABEL CONTINUED FROM PAGE 11)
Old and new gems abound. Peggy Lee’s Love Held
Lightly is a stunningly intimate set of rare Harold Arlen
tunes. Sissle and Blake Sing Shuffle Along was released
last year to coincide with the recent updating of the
show. From Bloom’s friendship with Jablonski,
biographer of Arlen, Gershwin, etc. came sessions from
the Walden label of stylish recordings of the songs of
Cole Porter, Rodgers-Hart and Arlen.
A feeling for jazz and a love of classic song clearly
go together. Singer Stacy Sullivan recorded Stranger in
a Dream in tribute to her performance on the late
Marian McPartland’s celebrated Piano Jazz radio
program. She says, “The recording process was
seamless and my tastes for everything seems to match
theirs perfectly!” Pianist/vocalist Eric Comstock’s
debut recording, Young Man of Manhattan, was made in
1997 and he’s since made two more, including the very
special No One Knows, which takes him from being
considered a cabaret singer (“I hate that word,” he
says) to an accomplished pianist and singer. Comstock
muses, “It’s clear that Harbinger is about digging for
songs and writers from our past, but it’s also greatly
about looking for new ‘voices’ to carry the tradition
forward.” Harbinger continues to find talented
vocalists. Barbara Fasano (performing partner and
wife to Comstock) offers Busy Being Free, with
arrangements and smart piano from John di Martino
and sensitive cornet playing by Warren Vaché. Fasano
said, “I think the guys are playing their hearts out.”
So the tradition does indeed go forward. Rudman
and Bloom agree. “We do this for the love of the
music—how important and necessary it is to the story
of America,” says Rudman. And Bloom adds, “At the
end of the day, it’s about relationships. We form bonds
with the musicians and with the music.” v
For more information, visit harbingerrecords.com. Artists
performing this month include Eric Comstock and Barbara Fasano
at Neue Galerie Mar. 16th and Birdland Mar. 19th. See Calendar.
Universal Music Enterprises,
in partnership with Verve Records,
are pleased to celebrate
the First Lady Of Song
Ella Fitzgerald’s
Centennial Birthday
on April 25, 2017!
AVA I L A B L E O N A P R I L 2 1 , 2 0 17
___________________________________________________________________
100 Songs For A Centennial
4CD Set
Ella Fitzgerald Sings
The George and Ira Gershwin
Song Books
6LP Limited Edition Box Set
available exclusively at
us.udiscovermusic.com
facebook.com/EllaFitzgerald
ellafitzgerald.com
CHRISTOPHECHRISTOPHE
KEREBEL
KEREBEL
twitter.com/EllaFitzgerald
ellafitzgeraldfoundation.org
My Twitter : @chriskere
My Twitter : @chriskere