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YOUR FREE GUIDE TO THE NYC JAZZ SCENE NOVEMBER 2013 - ISSUE 139 MICHEL CAMILO DAVE KING GEORGE FREEMAN RELATIVE PITCH EVENT CALENDAR NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER

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Page 1: COOL TROMBONE LOVER

YOUR FREE GUIDE TO THE NYC JAZZ SCENENOVEMBER 2013 - ISSUE 139

MICHEL CAMILO

DAVE KING

GEORGE FREEMAN

RELATIVE PITCH

EVENTCALENDAR

NYCJAZZRECORD.COM

• • • •

ROSWELL RUDD

COOL TROMBONE LOVER

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JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm

SundaysVocal Jazz BrunchAnnette St. John and Trio

RESIDENCIES / 7:00, 9:00 & 10:30pm

Sundays, Nov 3 & 17SaRon Crenshaw BandSundays, Nov 10 & 24Vivian SessomsMondays, Nov 4 & 18Jason Marshall Big BandMondays, Nov 11 & 25Captain Black Big BandTuesdays, Nov 5, 12, 19, & 26Mike LeDonne’s Groover QuartetThursdays, Nov 7, 14, 21 & 28Gregory Generet

LATE NIGHT RESIDENCIES / 11:30 -Mon The Smoke Jam SessionTue Milton Suggs QuartetWed Brianna Thomas QuartetThu Nickel and Dime OPSFri Patience Higgins QuartetSat Johnny O’Neal & FriendsSun Roxy Coss Quartet

212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE

“BEST JAZZ CLUBS OF THE YEAR 2012”SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY

ONE NIGHT ONLY / 7:00, 9:00 & 10:30pmWed, Nov 6MICHAEL RODRIGUEZ QUINTETMichael Rodriguez (tp) ● Chris Cheek (ts)Jeb Patton (p) ● Kiyoshi Kitagawa (b)Obed Calvaire (d)

Wed, Nov 13JACK WALRATH QUINTETJack Walrath (tp) ● Alex Foster (ts)George Burton (p) ● tba (b) ● Donald Edwards (d)

Wed, Nov 20BOB SANDS QUARTET

“OUT AND ABOUT” CD RELEASEBob Sands (ts) ● Joel Weiskopf (p)Gregg August (b) ● Donald Edwards (d)

Wed, Nov 27RAY MARCHICA QUARTETFEATURING RODNEY JONESChase Baird (ts) ● Rodney Jones (guitar)Mike LeDonne (organ) ● Ray Marchica (d)

FEATURED ARTISTS / 7:00, 9:00 & 10:30pmFri & Sat, Nov 1 & 2GARY BARTZ QUARTET PLUSSPECIAL GUEST VINCENT HERRINGGary Bartz (as) ● Vincent Herring (as)Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d)

Fri & Sat, Nov 8 & 9BILL STEWART QUARTETChris Cheek (ts) ● Kevin Hays (p)Doug Weiss (b) ● Bill Stewart (d)

Fri & Sat, Nov 15 & 16LOUIS HAYES& THE JAZZ COMMUNICATORSAbraham Burton (ts) ● Steve Nelson (vibes)Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d)

Fri & Sat, Nov 22 & 23CYRUS CHESTNUT TRIOCyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d)

Fri & Sat, Nov 29 & 30STEVE DAVIS SEXTET

“THE MUSIC OF J.J. JOHNSON”Eddie Henderson (tp) ● Eric Alexander (ts)Steve Davis (tb) ● Harold Mabern (p)John Webber (b) ● Joe Farnsworth (d)

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 3

Part of what has made jazz continually vibrant - and staved off each decade’s accusations of its irrelevance - has been the eclectic nature of its performers. For every player who wants to keep jazz ‘pure’, there is counterbalance in a musician who feels jazz’ bloodline is actually stronger for mixing it with other genres. Trombonist Roswell Rudd (On The Cover) has been doing it for longer than most. Coming out of a strict Dixieland background in the ‘50s, Rudd soon embraced the nascent avant garde movement, working with Cecil Taylor, Steve Lacy and the New York Art Quartet (which has been honor by the recent monumental Call It Art boxed set). This month, Rudd turns 78 and releases a new album, Trombone for Lovers, two reasons to party at Le Poisson Rouge with an allstar cast. Pianist Michel Camilo (Interview) has spent the last few decades mixing straightahead jazz with the traditions of his native Dominican Republic. This month, Camilo brings his big band to the Blue Note for a week. As part of The Bad Plus, drummer Dave King has helped open up the jazz repertoire to songs from the rock and pop world, but he is also a compelling leader and will release a new Dave King Trucking Company album with three nights at ShapeShifter Lab. In other features this month, we have an Encore on Chicago guitarist George Freeman; a Lest We Forget on vocalist Jeri Southern, whose complete Decca recordings have just been released as a boxed set by Fresh Sound Records; a Label Spotlight on the newish avant garde imprint Relative Pitch; Megaphone from flutist Jamie Baum, who celebrates her latest album at Jazz Standard, and festival reports from Belgium, France and Poland. Our usual packed house of CD reviews this month includes albums with release events (check out our Event Calendar) by Fred Hersch/Julian Lage, Dave Holland, Marco Cappelli, Amir ElSaffar, Preservation Hall Jazz Band and René Marie, all artists who fit right into the theme of expanding the scope and aesthetic sensibilities of jazz today and into the future. We’ll see you out there...

On The cover: Roswell Rudd (photo by Alex Troesch/courtesy of Verna Gillis)

Corrections: In last month’s CD reviews of The Red Microphone, the composer Hanns Eisler was German, not Austrian.

Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $30 (International: 12 issues, $40)For subscription assistance, send check, cash or money order to the address below or email [email protected].

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

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

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

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

Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo,

Wilbur MacKenzie, Marc Medwin, Sharon Mizrahi, Russ Musto, Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman

Contributing WritersAdam Everett, Jamie Baum, George Kanzler, Suzanne Lorge, Robert Milburn, Sam Spokony

Contributing PhotographersJim Anness, George Council, Nicolas Fontaine, Scott Friedlander,

Ingrid Hertfelder, Joe Johnson, Susan O’Connor, Krzysztof Penarski, Alex Troesch

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

Laurence Donohue-Greene: [email protected] Henkin: [email protected] Inquiries: [email protected]: [email protected]: [email protected]: [email protected]

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

New York@Night

Interview: Michel Camiloby Sam Spokony

Artist Feature: Dave Kingby Brad Farberman

On The Cover: Roswell Ruddby Kurt Gottschalk9

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Megaphone VOXNewsby Jamie Baum by Katie Bull

Label Spotlight: Listen Up!: Relative Pitch Tadataka Unno & Milton Suggsby Ken Waxman

Encore: Lest We Forget: George Freeman Jeri Southernby Ken Waxman by Andrew Vélez

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Event Calendar

Club Directory

Miscellany: In Memoriam • Birthdays • On This Day 464538

CD Reviews: Gary Bartz, Mario Pavone, Marty Ehrlich, Ingebrigt Håker Flaten, Cyrus Chestnut, Preservation Hall Jazz Band and more

Festival Reports: Belgian Jazz Meeting • Crak Festival • Krakow Jazz Autumn

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4 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Celebrating the release of Ängsudden Song Cycle (482 Music) at Roulette (Oct. 13th), multi-reedist Mike McGinnis could barely be seen during the concert’s first half. He was up in the balcony playing “Ängsudden Abstracts” for solo soprano saxophone while dancer Davalois Fearon performed onstage below. In a way, McGinnis danced as well: the intense reverberant sound of his horn changed as he paced the floor, moving closer and farther, setting the scene for the octet showcase of the second half. The stage was strewn with dry leaves and branches - an autumnal flourish, perhaps a nod to the Swedish locale of Ängsudden, the subject of a series of paintings and poems by McGinnis’ collaborator MuKha. Her projections appeared onscreen above the band; her stark black-and-white tapestries hung down from the balcony; her words were sung with warmth and precision by vocalist Kyoko Kitamura. There’s no shortage of ‘chamber jazz’ today, but McGinnis brought forth an ensemble sound all his own, playing clarinet and bass clarinet and blending beautifully with Sara Schoenbeck’s bassoon, pinpoint vibraphone of drummer Harris Eisenstadt, pliant viola of Jason Kao Hwang and deep-toned bass of Dan Fabricatore. Sean Moran’s nylon-string guitar and Khabu Doug Young’s cavaquinho were paired brilliantly, not least on “You Are Morning”, a ray of Brazilian-tinged sunshine and pure melodic inspiration that ought to be remembered many years from now. - David R. Adler

If one thing came across during tenor saxophonist Jason Rigby’s first set at Cornelia Street Café (Oct. 5th), it was experience. Pianist Russ Lossing, bassist Cameron Brown and drummer Tom Rainey, Rigby’s quartet mates, played with a lucidity that comes from years and years on the bandstand. Rigby, pushing 40, is a bit younger but just as seasoned and assured in his approach. “Noire”, the first piece, began with a lustrous and complex rubato melody and evolved over many minutes, returning to a cued unison figure to keep the exploration grounded. Without pause the band moved into Thelonious Monk’s “Bye-Ya”, embracing a more straightahead vibe with a round of burning solos and trading, still just as adventurous. “New Tune”, by drummer George Schuller, brought back a lyrical rubato feel and allowed for inspired duo exchanges - first between tenor and drums, then tenor and bass. Brown’s powerful solo courted silence and stillness, but Lossing’s entrance, informed by a deep and fluid swing even at a free tempo, sent the music spinning again. In a dreamy and abstract way, the pianist segued into his own “Brain Wave”, the finale, marked by a bass-driven vamp that propelled the tune straight through to Rainey’s climactic drum feature. At the music’s most intense peaks, Rigby maintained a velvety warmth and restraint. His is not a language of high-register wails; there’s a sense of calm within the storm, captured so well on his album titles Translucent Space and The Sage, which makes his music unique and endlessly inviting. (DA)

New York affords uncommon opportunities - like getting to hear the Swiss pianist Jacques Demierre manipulating a Fender Rhodes in a small room without a piano in the Prospect Heights section of Brooklyn. It may not have been a planned component of his first duo performance with local sound sculptor Andrea Parkins, but at SEEDS (Oct. 2nd) it proved an obstacle that led to exciting results. With the Rhodes’ metal bars that stand in for strings exposed, Demierre set about exploring and exploiting the instrument’s potential while Parkins crafted a percussion track, looping the sounds of paper crumpling and packing tape unspooling. She had two other evocative keyboards in tow - an accordion and melodica - and spent most of the set kneeling before her laptop, creating ever-shifting foundations. The sustained keyboard and processed accordion got surprisingly loud and thick surprisingly fast, but Demierre held the iconic sound of the keyboard at bay for a good quarter-hour, playing dense clusters and forcing distortion by working the pitch and volume knobs. When he finally let loose the familiar tonality made famous by Herbie Hancock and Steely Dan, Parkins responded with a loop from what might have been a music box mechanism and the music was quite placid for a few moments, although then and always the pair didn’t stay anywhere long - from the forest to the pond to moths around a light bulb complemented by a room that looked like half parlor and half holiday cabin. - Kurt Gottschalk

William Parker introduced Refugee Songs, a new project dedicated to disenfranchised communities at The Stone (Oct. 8th), as part of his week-long residency. Originally intended to be a trio with trumpeter Roy Campbell and pianist Kris Davis, the bassist explained, it became a quartet when he envisioned adding trombone and called in Steve Swell with a day’s notice. The uncommon ensemble - neither reeds nor drums - included two of the most on-point horn players in downtown jazz with one of its most vital bandleaders. The odd man out was a woman who laid confident configurations behind them, working in fast near-repetitions, starting resolutely in the middle third of the keyboard before reaching out as the room opened up. Swell was enormously articulate; his first solo of the night was like an enumeration of points along an arc, jumping back and forth until the whole of the curve was covered. The ensemble dropped out for Campbell’s first solo, which was no less punctuated. The laurel on his head was, and always has been, the capacity to land on every note, never faking a bluesy blur to hit the target. Parker took an arco solo, playing in between the notes like a Qawwali singer. The ensemble followed the long “Dadaab” with “Light Over Still Water Paints a Portrait of God”, which Parker said was meant to express the notion that even in the midst of a battlefield one could look up and see a beautiful sky. The same might be experienced, at times, like this was, inside and with eyes closed. (KG)

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 5

Two years away from its 50th anniversary, in its tenth year under the direction of bassist Ike Sturm, Saint Peter’s annual All Nite Soul (Oct. 13th) honored two veterans: vocalist Sheila Jordan and pianist Barry Harris. After the seven-tuba boom-bast of Howard Johnson’s Gravity, the concert showcased Jordan in an intimate duo with bassist Cameron Brown, with a quartet and a final duet with pianist Steve Kuhn, all demonstrating her continuing versatility and vitality. Harris was next, with solo musings, a trio outing and a 24-voice choir delivering his fine originals “If I Had But One Dream”, “Like This”, “We Are One”, “Paradise”, plus an instrumental waltz, “To Duke With Love”. Jordan joined Harris for an impromptu blues-rap about their early days in Detroit, ending with an excerpt from a vocalese by Skeeter Spight. The eight-hour-plus event comprised 24 short sets interspersed with videos of featured performers discussing the impact of the Jazz Ministry and former pastor John Gensel. Concert high points included bass clarinetist Don Byron’s solo on Tommy Dorsey’s “When I’ve Sung My Last Song”; Jay Clayton and Peter Eldridge’s traded scats over “It Could Happen to You”; Gene Bertoncini and Ingrid Jensen’s solos on “East of the Sun” (with string quartet); a trio of young hoofers; pianist Connie Crothers’ dramatic soliloquy; organist Sarah McLawler’s “In a Sentimental Mood” and tenor saxophonist John Ellis’ smoky “Emily”. - Tom Greenland

For a dozen years and now seven albums, The Claudia Quintet has been an expressive outlet for drummer/composer John Hollenbeck’s distinctive musical vision. Its latest release, September (Cuneiform), was duly celebrated at Le Poisson Rouge (Oct. 3rd), following a typically raucous warm-up set by Claudian Matt Moran’s Slavic Soul Party. The quintet kicked off with “12th Coping Song”, a minimalist meditation on the lingering effects of the World Trade Center terrorist attacks, its looping unison melodies slowly falling out of phase to produce denser textures, topped by Moran’s theremin-like vibe trills. They then moved to “24th Interval Dig”, another looping figure - this time in 15 beats - featuring Chris Speed’s hoarse but cool tenor saxophone tone over the tessellated chords of Moran and new accordionist Red Wierenga, followed by “18th Lemons”, one of Hollenbeck’s most compelling compositions, a hypnotic experiment of overlain lines of varying lengths, syncing and de-syncing like an acoustic rave soundtrack over bassist Chris Tordini’s steady pulse. “29th, 1936 Me Warn You” juxtaposed triggered samples of an FDR speech against a backdrop of roving diagonal lights, unpredictable ensemble accents and quirky harmonized melodies. The light, floating “25th Somber Blanket” had an equally compelling light show of rotating stars and the closing “9th Wayne Phases” (for Shorter and Gretsky) built from a chorale to parade funk, with fine vibe work by Moran. (TG)

In a moving program honoring their fallen comrade, several of the most celebrated soloists in jazz today joined the Juilliard Jazz Artist Diploma Ensemble at Paul Hall for A Tribute to Mulgrew Miller (Oct. 2nd). The young quintet featuring saxophonist Lukas Gabric and guitarist Greg Duncan with Reuben Allen, Paolo Benedettini and Jordan Young on piano, bass and drums, respectively, opened the concert with arrangements of Miller ’s Latin-tinged “Leilani’s Leap” and soulful “All Blues” variant “Hand In Hand”. Vibraphonist Steve Nelson and alto saxophonist Steve Wilson, two longtime members of Miller ’s Wingspan group, joined the ensemble for a powerful rendition of “Grew’s Tune”. Pianist Donald Brown, one of Miller ’s oldest friends, humorously told of first meeting Miller in college before taking the piano seat to perform his own “Waltz For Monk” (a staple of the Wingspan repertoire). He was joined by Miller ’s co-director of the jazz studies program at William Paterson College, tenor saxophonist David Dempsey, to conclude the first half of the show with Miller ’s “Soul-Leo”. Surprise guest, pianist Eric Reed opened the second set with a stirring reading of the spiritual “Blessed Assurance” and Miller ’s “Song For Darnell”. Saxophonist Javon Jackson joined the band on “Second Thoughts”, a Miller piece from their days with Art Blakey and the Jazz Messengers, and remained for Miller ’s “Farewell To Dogma” before all the guests returned to join the ensemble to close with “Promethean”. - Russ Musto

Bringing together members from six separate editions of one of the most famed groups in jazz history, The Messenger Legacy held forth for four nights at Jazz Standard (Oct 3rd-6th) for a program celebrating Art Blakey. Organized by drummer Ralph Peterson, second chair in the Jazz Messenger Big Band, the group, with trumpeter Brian Lynch, alto saxophonist Donald Harrison, tenor saxophonist Billy Pierce, pianist Donald Brown and bassist Reggie Workman, recalled the powerful sound of the popular hardbop group (active from the ‘50s-80s), performing a wide selection of the band’s classic repertoire. The sextet opened their final set of the week with a fiery rendition of “One By One”, which featured all hands soloing energetically on the lyrical Wayne Shorter line, propelled by the incendiary drumming of Peterson, which recalled Blakey in its dynamic strength and thorough knowledge of the Messenger-In-Chief’s extensive percussive vocabulary. The group opened “Along Came Betty” softly, blowing the well-known Benny Golson melody before opening the floor up to solos by Lynch, Harrison, Pierce and Brown that displayed the original sounds honed during their days under Blakey. Peterson began Shorter’s “On The Ginza” with an explosive solo, setting the tone for another round of intense soloing buoyed by inspired horn riffing. Brown was heard beautifully on the ballad “Misty” before the band ended with requisite performances of “Moanin’” and “The Theme”. (RM)

The winners of the 2013 Kennedy Center Honors have been announced and will be celebrated at an event Dec. 8th. Among the five winners are Herbie Hancock and Carlos Santana. For more information, visit kennedy-center.org.

The recipients of the 2013 MacArthur Fellowship have been named. Among the 13 individuals who will receive an unrestricted award of $625,000 is pianist Vijay Iyer. Previous jazz musicians to have received the award include drummer Max Roach (1988), composer Gunther Schuller and pianist Cecil Taylor (1991), saxophonists Ornette Coleman and Anthony Braxton (1994), saxophonist Ken Vandermark (1999), trombonist George Lewis (2002), saxophonist John Zorn and violinist Regina Carter (2006), pianist Jason Moran (2010) and drummer Dafnis Prieto (2011). For more information, visit macfound.org.

Nominees for the 14th Annual Latin Grammys have been named, winners to be announced during a ceremony in Las Vegas Nov. 21st. Nominees for relevant categories include: Record of the Year: “La Nave Del Olvido” - Buika (Warner Music Spain); Best Traditional Tropical Album: Un Siglo De Pasión - Arturo Sandoval (E35); Best Instrumental Album: Dances From The New World - Paquito D’Rivera y Sergio & Odair Assad (GHA Records); Best Tango Album: Amsterdam Meets New Tango - Pablo Ziegler & Metropole Orkest, Jules Buckley (ZOHO); Best Latin Jazz Album: What’s Up? - Michel Camilo (OKeh/Redondo Music/Sony Music); ¡Ritmo! - The Clare Fischer Latin Jazz Big Band (Clavo Records); On The Way - Negroni’s Trio (AA Records); Live In Hollywood - Poncho Sanchez And His Latin Jazz Band (Concord Picante); Border-Free - Chucho Valdés & The Afro-Cuban Messengers (Jazz Village/Comanche Music); Grand Piano Live - Chuchito Valdés (Music Roots Records). For more information, visit latingrammy.com.

November 29th is annual Record Store Day. Coming on what is traditionally called “Black Friday”, the first official shopping day for the holiday season, a number of labels are scheduling special releases for that day, hopefully driving consumers to their local independent record stores. For more information, visit recordstoreday.com.

An open-house event will be held at Jazz at Kitano Nov. 19th promoting the Samba Meets Jazz Workshops. The week-long immersion program takes place in Rio de Janeiro Feb. 15th-22nd and focuses on Brazilian, Latin and mainstream jazz styles, taught by a faculty led by bassist Nilson Matta. Matta and his fellow faculty members Harry Allen, Claudio Roditi, Matt King and Fernando Saci will perform and answer questions about the program. For more information, visit sambameetsjazz.com.

Submit news to [email protected]

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Sheila Jordan & Cameron Brown @ Saint Peter’s Steve Nelson @ Paul Hall

W H A T ’ S N E W S

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INTERVIEW

Michel Camilo, 59, is a pianist from the Dominican Republic who first made his name performing alongside top Latin instrumentalists like saxophonist Paquito D’Rivera while also going on to lead elite groups like his longtime trio with bassist Anthony Jackson and drummer Horacio “El Negro” Hernandez. Camilo’s latest album, What’s Up?, a solo project released on the OKeh label, was recently honored with a 2013 Latin Grammy Award nomination for Best Latin Jazz Album. He has already won two Latin Grammys in the past. This month is a particularly exciting one for Camilo, as the pianist will lead a big band in New York for the first time in more than a decade.

The New York City Jazz Record: After already having won a couple of Latin Grammys, does it feel any different to be nominated for a solo project?

Michel Camilo: The difference is that solo albums are always a particular challenge and they’re also so personally special. So definitely, yes, to be nominated for a solo project feels great. And What’s Up? was an album where I really took my time honing it before I went into the studio and I really took a lot of time to pick the material.

TNYCJR: How did you go through that process of deciding on the tunes?

MC: My motivation was to continue the long tradition of solo piano styles in jazz and somehow to put all my influences together in one album. You know, these are sounds that have marked me for life, since the beginning of my career. That’s why the album actually starts with a honky-tonk blues [the title track]. It recalls the foundations of the jazz tradition and that’s where my roots are. And then throughout the album those roots are extrapolated and brought all over the place. Later, there’s my tribute to Paul Desmond and Dave Brubeck [“Take Five”], which I chose because I knew Brubeck for many years. I met him over 20 years ago at the Grande Parade du Jazz in Nice, France. I remember that night - he was waiting on the side of the stage while I was playing with my trio and as I was walking off after the set, he gave me a hug and said that he really enjoyed my playing. To be recognized like that by one of my idols...that has stayed with me throughout my life. I really felt blessed in that moment.

TNYCJR: How did you feel while playing “Take Five” for the recording session this year?

MC: Let’s put it this way - it took me about a year to practice keeping that famous beat going [laughs] and to make sure that it was swinging. It’s a pretty challenging part to play with just one hand.

TNYCJR: Right, because you really need to become the rhythm section.

MC: And because Brubeck used to play it with two hands [laughs]. Then on top of that, I had to work on kind of having two brains in order to be able to improvise on it and to have the rhythmic flexibility to isolate one side from the other while also making them work together. But the listeners might also notice that my version is also partially inspired by [drummer] Joe Morello’s original solo. Later in the tune, when I break the rhythm apart and I start making those runs down in the low register, I’m thinking like a drummer who’s using the whole kit. You know, da-da-dum-dum.

TNYCJR: The fourth tune on the album, “Sandra’s Serenade”, is also very moving. That was a piece written for your wife?

MC: Yes. We’ve been married since 1974 and she’s not only part of my dream, but she’s also my manager. So our careers are together, we travel together and she’s my muse. I’ve written many tunes for her over the years, but this one was particularly special because it was my Valentine’s Day gift to her this year. I was actually in the studio on February 14 and she was there as well, but I didn’t tell her the title of the tune until after I recorded it. So when she heard it, she said to me, “Wow, what’s that one called?” And I said, “It’s your song!”

TNYCJR: Jazz musicians always know how to improvise, even when it comes to romance.

MC: Yeah, there you go [laughs]. It was a really special moment.

TNYCJR: Thinking again about the idea of becoming the rhythm section in your left hand - as a pianist known for his outstanding trio and small group work, do you feel this kind of challenging solo work is especially important to your personal development?

MC: Yes, it’s about always continuing to grow. Never rest on your laurels, but instead always challenging yourself and actually see how far you can actually take it. And I think this is just part of what the jazz tradition means, so I hope that never ends. While I was recording the album I remember walking back into the sound booth after doing a take and I also said, “Wow…” while listening to myself [laughs] and I think it’s important to have that feeling. It’s good to rediscover yourself sometimes by really risking it, putting yourself out there and not being afraid of flying without a parachute. You see how far you can go while making sure that it’s still something you can really feel good about. And that “Wow” moment is the great reminder that there’s always still room for us to grow.

TNYCJR: And now, after being honored for your solo

work, you’re going to hit the stage with your big band this month at the Blue Note.

MC: Right, it’s quite a contrast [laughs], but it’s going to be great. I’ve brought all kinds of groups to the Blue Note over the years, including various trios and sextets, but never the big band. So when I was talking to Steven Bensusan [President of Blue Note Entertainment], who’s been a good friend of mine for many years, he asked me, “Well, what haven’t you done here yet?” And I said that the one thing I haven’t brought yet is my Rolls Royce [laughs], which is the nickname I have for my big band. (CONTINUED ON PAGE 37)

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6 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Re: Storytime - Billy’s solo piano CD:

“Connoisseur jazz...at an ever higher level of daring and mastery.” -Howard Mandel, President, Jazz Journalists Association

“You won’t get any better than this.” -Rotcod Zzaj, rotcodzzaj.com

“Solo jazz piano at its best” - Scott Albin, Jazz Times

Billy Lesteris accepting new jazz piano students, offering an original approach to jazz creativity, technique, theory and ear training to students of all levels.

www.billylester.comstudio in Yonkers, NY

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ARTIST FEATURE

The Kickstarter video for Adopted Highway, the new album from drummer Dave King’s Trucking Company quintet, is laugh-out-loud funny. In it, King, who rose to prominence as a member of both Happy Apple and The Bad Plus, lifts weights; brandishes a knife he claims to have fashioned from a water buffalo horn (he’ll skin an animal for you as a reward, he kids); explains that one can purchase a “pretty decent-fitting” blazer from Target and reveals that he won’t play piano if he’s not wearing gloves. But the fast-cutting clip could also be described as brimming with ideas, a trait it has in common with Adopted Highway. Influenced by a broad but connected swath of styles - blues, swing, funk, rock, minimalism - Adopted Highway is gleefully eclectic, bringing together elements from different corners of the music world. In the video, King earnestly refers to the Trucking Company’s music as “an Americana-tinged kind of avant garde jazz”, but there’s more to it than that. Unique music cannot be contained by a single phrase. Birthed at Minneapolis’ Walker Art Center in 2010 during “King for Two Days” a two-day, six-band look at King’s present and future work, the basically Minneapolis-based Trucking Company - bassist Adam Linz, guitarist Erik Fratzke, tenor saxophonists Chris Speed and Brandon Wozniak and King - was originally conceived as an opportunity for King to collaborate with Happy Apple bassist Fratzke on guitar. It seems natural, then, that the most compelling passage on the album is a showcase for the six-stringer. After the darkly wistful head in the epic “This Is a Non-Lecture”, all that’s left is a single, repeated note from Linz and a tribal cymbal pattern from King. Then, on top, Fratzke slices, feeds back, crunches and drops bright, steel-pans-like prepared-guitar riffs, leaving lots of space between thoughts. The sparse, hypnotic section lasts nearly seven minutes. The music is arresting. “Every time we do that tune, you strap in and [Fratzke] takes it,” says King. “Live, sometimes it’s been 15 minutes long. I mean, it’s incredible vibes being in, like a packed, kind of like jazz club and he’s using two to three minutes sometimes in between stanzas of the solo. And you’re just onstage going, ‘Dang. Dang.’” But that’s merely one piece of the Adopted Highway puzzle: “Dolly Jo and Ben Jay”, for instance, is essentially a bebop tune; “When in North Dakota” rides a filthy funk rhythm; “Ice Princess” is coming out of riff-rock and the album-closing “Bronsonesque”, by Fratzke, spends part of its time in a bluesy, gutbucket groove. No genre is off-limits for the Trucking Company. Anything it passes on the side of the road is up for grabs. “We love songs, we love the great traditions of jazz, but we also love great rock music and great gospel music and all these other things,” explains King. “Fratzke, for instance, takes a few solos on this Trucking record, on this new one, that would challenge any kind of shred-metal guitar player, you know? And he’s coming from such a deep space of all this different

music he’s ingested and it’s what’s just so nice about it, again, ’cause it’s just sort of, like, there is no prescription for what it is, it’s just the music we’re making.” Another King-led group doing its own thing is the acoustic Minneapolis trio of King, pianist Bill Carrothers and bassist Billy Peterson, which concentrates on standards. First assembled for the 2012 recording of King’s third album as a leader, I’ve Been Ringing You, the band conjures up askew but approachable performances of tunes like Cole Porter ’s “So in Love” and Ornette Coleman’s “Lonely Woman”. The arrangements feel connected to the jazz tradition, but not in a hackneyed way. “I absolutely wanted this idea that we’re not forcing any issue to be outside of what’s happened before, or just playing some tunes,” says King. “But at the same time, I wanted those kind of elastic thinkers to put their brains on it. So everyone had the responsibility to not force anything to happen but to be yourself at the same time. Not try to fulfill any jazz prompts.” But King has never worried about expectations. Growing up in Minneapolis in the ’70-80s, King studied with jazz drummers Joe Pulice and Eric Gravatt. But the young percussionist went on to spend the first half of his 20s in Los Angeles, diving into diverse musical situations, including recording beats for hip-hop artists like Eazy-E and Biz Markie. And, save for those five years in LA and a six-month New York City stint in 1989, King has chosen to infiltrate the jazz world from afar: Minnesota. Especially unorthodox was King’s decision to make his debut recording as a leader a true solo affair. Indelicate, released in 2010, is a strong, vivid collection of drums-and-piano duets and solo piano. King plays every note on the album. The drums were overdubbed. “I remembered seeing Flaming Lips play live once where the drummer was playing all the keyboards and there was a film of him playing drums while they were playing,” relates King about one of the inspirations for Indelicate. “Playing to the pre-recorded stuff, of the drums and there he is on the film behind them and there he was onstage playing all the keyboard parts, that stuck with me. I loved that. That was, like, in the late ’90s or whatever.” Another thing King likely identified with at that Lips show was the Oklahoma band’s sense of humor. With song titles like “The Black Dial Tone of Night” and the Adopted Highway Kickstarter video, for example, King has shown himself to be a true funnyman. But the wisecracking comes from a pure place; for one thing, King wants his listeners to know how happy he is to make music for them. “We want everyone to know that we feel like we’re the ones that owe you,” says King. “And so we’re not gonna be, like, doing you any favors with our ‘great art’. We want you to have an amazing time when you come to see us and be able to hear some deep music and also laugh and also be able to relax and be able to enjoy the music on whatever level you’re able to receive it.” v

For more information, visit daveking.net [As of press time, King’s three-night November CD release celebration at ShapeShifter Lab has been postponed until next year.]

Recommended Listening: • Happy Apple - Body Popping, Moon Walking, Top Rocking (Tinderbox Music/No Alternative, 1999) • The Bad Plus - Eponymous (Fresh Sound-New Talent, 2000)• Dave King - Indelicate (Sunnyside, 2009))• Craig Green/Dave King - Moontower (Long Song, 2010)• Dave King - I’ve Been Ringing You (Sunnyside, 2012)• Dave King Trucking Company - Adopted Highway (Sunnyside, 2013)

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 7

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There’s cool jazz and then there’s cool jazz. There’s the West Coast cool and then there’s the jazz played by people who are just - cool. Players who are comfortable doing their own thing. Who are traditionalists with a tap on the current. And probably wear sunglasses. Case in point, Roswell Rudd and the cover of his latest record, with the decidedly cool title Trombone for Lovers. Black turtleneck, black lenses, white frames, white hair, contemporary font in ‘50s throwback pink and blue hues with his slide slicing diagonally across the tableaux. Jazz for lovers is usually songs, generally recognizable standards, laid back but not lazy. Trombone for Lovers is all of that plus cool. Definition B cool. Rudd’s set of standards includes Louis Armstrong, Duke Ellington and Frank Loesser as well as the Beatles, Booker T and the MGs and a ‘30s workers rights anthem sung by the NYC Labor Chorus. Four versions of it, in fact. “‘Jazz standards’ means popular material that’s been taken on by jazz players who leave their own stamp on it,” Rudd explained. “In the category ‘standards’ there’s all kinds of standards and I’ve been playing jazz standards for years but this record is mainly about standards that I grew up on. It’s just things that got into my body along the way from what was on the radio.” Rudd, who celebrates his 78th birthday this month, has heard a lot of radio and has played a lot of music. Having initially studied the mellophone and French horn, he took up the trombone in his teens and as a student at Yale University played in a Dixieland band. During the radical political and musical foment of the ‘60s, he was a part of the New York Art Quartet (the focus of the recent boxed set Call It Art) and played in bands led by Steve Lacy, Cecil Taylor, John Tchicai and most notably Archie Shepp, in whom he found a kindred spirit, someone plugged into the free jazz explosion but unwilling to dismiss history. That partnership carries on more than 50 years later. “That’s something that brought Archie and myself together,” Rudd said. “I met him in a recording session that had to do with a revival of some Duke Ellington music in early 1961. From that time I was rehearsing with Archie every so often to explore standards. I think that created a musical bond, learning from each other that way. The language of the music puts us in touch with each other and we develop a vocabulary and a sensitivity and an awareness that helps us grow.” Ellingtonia found its way onto Trombone for Lovers in the form of “Come Sunday”, one of the Duke’s most lasting melodies and one of the more inventive arrangements on the disc. “I did get to be there for a performance of the Sacred Concert at the Apollo Theater and it left such an impression on me because it just expanded the content of ‘Come Sunday’, which was huge already when Johnny Hodges recorded it. It gave me a whole new vision of ‘Come Sunday’ and that resides with me today.” Rudd also had the opportunity to hear Louis Armstrong’s band live. It was 1951 and he was 16 and came down from Connecticut to hear Satchmo’s band

with singer Velma Middleton at the Paramount Theater. “They did this beautiful dialogue with ‘Baby, It’s Cold Outside’,” he recalled. “That experience of seeing Louis Armstrong in person and going up and shaking his hand, he was such a lovely person. He said, ‘You’re pretty young to be in New York. You better watch out on the streets.’ He was a real fatherly/brotherly kind of guy. But the Louis Armstrong experience goes back to when I came into the world because my father was playing those 78s and playing along on a drumkit. It was a good jazz experience in the home.” One of his father’s favorite Satchmo sides, “Struttin’ With Some Barbeque” (written by Lil Armstrong) also made it onto the new album, with Fay Victor handling the vocals. “That is a song that stuck with me in the earliest days, it’s one of the tunes that I just kept on playing,” he said. “I think 95 percent of American music is on Armstrong’s shoulders.” Rudd also pays tribute to the memory of that duet with Middleton in his own take on the Loesser classic, replacing the vocals with his trombone and Steven Bernstein’s trumpet. (Bernstein and Victor are just two of the esteemed guests appearing on the disc. Bob Dorough, Michael Doucet, Gary Lucas, Billy Martin and John Medeski also make appearances. Yeah, cool.) Rudd, who has taught ethnomusicology, talks about the track and about playing music in general, using such terms as “dialogue” and “conversation”, reflecting a basic belief that music is, at its core, a means of communication. “Music has all the intricacies of spoken language plus so much more that is sublingual,” he said. “I’m going to be 78 years old and I’m still exploring the incredible form that human beings have put together for means of communication on all kinds of levels, this thing we learned from wildlife and still do because the wildlife are the experts, using the acoustics. I’m very fortunate to be living in the country right now here in Kerhonkson [upstate New York] and there’s a lot of voices out there. This is something I grew up with too. There’s a lot of call/response out there.” The Beatles also found their way onto the disc. “I never heard the Beatles in person but Revolver was a favorite of mine and ‘Here, There and Everywhere’ is song that went deep with me and I’ve been carrying it with me ever since,” he said. “The Beatles were coming to tour to promote that album and I was on my way up to the Impulse! office to discuss a new album and they were very visible on Sixth Avenue surrounded by crowds of young people.” “Here, There and Everywhere” is featured on the new record and, coincidentally, the record he was planning when he passed them on the street was titled Everywhere. To put his own take on the standards down on disc, Rudd and executive producer Verna Gillis turned to Kickstarter. It was Rudd’s first experience with crowdsourced fundraising, but it wasn’t the first time he had to look outside the traditional arrangement of having a record label foot the bills. His 1973 record Numatik Swing Band was privately financed, although not through an online network.

“I think it was a means to an end,” Rudd said of the Web campaign. “I wanted to record again and specifically the program that I had in mind for these standards. And the opportunity was something we would have to make for ourselves. But a lot of beautiful people have come into your lives as a result of that appeal. It’s wonderful to feel that support.” Rudd gives the lion’s share of the credit for managing the fundraising and pushing the project to his longtime collaborator Gillis. Even the album’s title came from her. “It was my nephew’s idea to raise the money through Kickstarter and he and I worked hard for several months to raise it,” she said. “And Sunnyside has been Roswell’s label for more than ten years, They have released everything we have recorded. I thought Sunnyside would love this new CD of course and would release it. Why not? It’s great. There are always challenges - navigating personalities and individual needs and schedules - but mostly it was a dream project. Look at the talent we had!” Halfway through the album’s 17 tracks lies a perfect pinnacle in one of the coolest tunes of all time. Booker T and the MGs’ 1962 instrumental hit “Green Onions” has earned a lasting place in the public consciousness, having been featured in numerous films, including American Graffiti, Chicken Run, Quadrophenia and X-Men: First Class, as well as television programs and advertising. It is, without doubt, a landmark of 20th Century popular music. And it, perhaps, puts a handle on what makes Trombone for Lovers so cool. “‘Green Onions’ came along in the late ‘60s when I was living in New York City,” Rudd said. “I’d been living there since 1957 and suddenly one day coming out on the streets in a shopping area was ‘Green Onions’ and I made some inquiries and found out it wasn’t somebody playing a jazz recording, it was coming out of the commercial radio. This was a feel I’d grown up with in the ‘50s. I’d call it a jazz feel and I’d never heard anything like that on commercial radio. It was a breakthrough in that way and I thought ‘here’s the connection to the feeling I was trying to get in my 20s. It was a sound coming from the ‘40s and here it was in the street. You could call it some kind of mainstream bop or blues, I just call it ‘the groove’.” v

For more information, visit roswellrudd.com. Rudd and guests celebrate his 78th birthday and new album at Le Poisson Rouge Nov. 24th. See Calendar.

Recommended Listening: • Archie Shepp - Four for Trane (Impulse, 1964)• New York Art Quartet - Call It Art (Triple Point, 1964-65)• Steve Lacy/Roswell Rudd/Kent Carter/ Beaver Harris - Trickles (Black Saint, 1976)• Roswell Rudd/Steve Lacy/Misha Mengelberg/ Kent Carter/Han Bennink - Regeneration (Soul Note, 1982)• Steve Lacy/Roswell Rudd - Monk’s Dream (Verve, 1999)• Roswell Rudd - Trombone for Lovers (Sunnyside, 2012)

ON THE COVER

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 9

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10 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

George Freemanby Ken Waxman

Over the years he’s played with Gene Ammons, Charlie Parker, Johnny Griffin and Richard “Groove” Holmes, composed funky jazz hits and still

gigs frequently. Yet if Chicago-based George Freeman, 86, is known, it’s as the last survivor of the hyper-talented jazz-playing Freeman brothers. Baby brother of drummer Bruz (1921-2006) and tenor saxophonist Von (1922-2012), he’s also uncle of tenor saxophonist Chico Freeman. Freeman says without boasting: “God gave me an extremely different type of talent, but I don’t think I’ve been properly heard.” Although he has led more than a dozen records, the most recent is Savant’s At Long Last George, from 2000. That may be because of his constant movement over the years back and forth from Chicago to NYC to California. Or as he jokes, “I’ve always been in the right place at the wrong time.” This goes back to his first NYC experience in the late ‘40s when tenor saxophonist Griffin and trumpeter Joe Morris left Lionel Hampton’s band and asked the guitarist to put together a group. He did, but no sooner did he arrive in the Apple then his amplifier was stolen and the gig they were supposed to play never materialized. Instead they worked in cities such as Philadelphia, where Freeman first met John Coltrane, who declared: “I like the way you play guitar...you hit all the low strings.” Then in 1947 the Morris-Griffin group recorded a Freeman-conceived tune called “Low Groovin’”, which became one of Atlantic Records first hits. It isn’t surprising that Trane liked his playing since Freeman “tried to play like a saxophone” after he first heard Charlie Parker. “Charlie Parker’s playing was so strong, but I could hear what he was doing and could transfer it to the guitar,” he recalls. “That’s when I

started playing bebop.” He had already picked up rudiments of the instrument from a neighbor and later was in Chicago’s DuSable High School band under legendary director Captain Walter Dyett. Other influences that he heard on record were Charlie Christian with Benny Goodman’s band and Floyd Smith with Andy Kirk and when, as an adolescent peering through the open door of the Rhumboogie Club, he saw blues singer T-Bone Walker, resplendent in a white suit, singing and playing the guitar. “The guitar fascinated me,” he admits. By the early ‘50s the Freeman brothers were some of the most in-demand backing musicians in Chicago and were asked to accompany Parker when he played at the Pershing Ballroom. “The first time I saw Charlie Parker play live I was in tears,” Freeman recalls. “Later when we played with Dizzy Gillespie and Roy Eldridge it was the same thing. Every time Dizzy hit a high note Von and I would let out a scream.” After experiences like that, the guitarist tried his luck back East again. “I just like the smell of New York,” he jokes. But he ended up playing less-than-well-paying gigs with Holmes and others, almost ending up on street with his gear in hock. Organist Wild Bill Davis needed a guitarist, he gave Freeman money to reclaim his guitar and amp and they immediately went on the road. When the band arrived in Los Angeles, Freeman tried for a record date at Pacific Jazz, but the producer wanted to record Holmes. Freeman contacted him and when the organist arrived in California (“with his wife and four kids and a hearse that all organists drove those days”), the two made some highly praised LPs featuring the likes of tenor saxophonist Ben Webster and trombonist Lawrence “Tricky” Lofton. However, the guitarist recalls ruefully that Holmes had returned back East without Freeman when the organist had a huge hit with “Misty”. When Freeman left California, it was to join R&B singer Jackie Wilson’s band, fronted by tenor saxophonist Sil Austin. “But I’m really a jazz guitar player,” says Freeman. So he quit to work with others, usually organists like Jimmy McGriff. “I like organ players,” confirms Freeman, whose present working group includes that instrument. “They know how to fill a room

and make the drummer play a continuous backbeat. But I can keep up, know how to comp behind an organ player and make him feel good. I was raised with that sound and I can play heavy.” Proof of this came during the seven years in the early ‘70s he spent with Ammons, especially when the frontline also featured the competitive Sonny Stitt. Although playing with Ammons and Stitt was “sometimes like going against heavy artillery, I had volume that I could raise and I could play really hard,” he notes. One reason he stayed with Chicago-born Ammons was that his own composition “The Black Cat” became a major hit for the saxophonist. During that same period Freeman also recorded a series of pioneering jazz-funk sessions like 1972’s Franticdiagnosis (Bam-Boo Records, featuring organist Charles Earland), performing with electric pianos, arp synthesizers, lots of percussion and, of course, many organists. But he returned to Chicago and mainstream playing after Ammons’ death. Similarly, although AACMers trombonist Lester Lashley and multi-reedist Kalaparusha Maurice McIntyre were on his 1969 Birth Signs LP (“that was the producer’s idea” he explains) and his nephew is an AACM member, Freeman stays away from avant garde improvising. “At Von’s funeral when I played ‘I Remember You’ I went ‘out’, but then I came back in. That’s what I always do. Listen to John Coltrane. He played ‘in’ before he played ‘out’ and he would always come back in. I like blues and ballads and like to swing in a modern way. Charlie Parker blew my mind then and he still does today.” v

Recommended Listening: • Charlie Parker - One Night in Chicago (Savoy, 1950)• Richard “Groove” Holmes - Groove (Les McCann Presents The Dynamic Jazz Organ of Richard “Groove” Holmes) (Pacific Jazz, 1961)• George Freeman - Birth Sign (featuring Von Freeman) (Delmark, 1969)• Buddy Rich - The Last Blues Album, Vol. 1 (Groove Merchant, 1974)• George Freeman - Rebellion (Southport, 1995)• George Freeman - At Long Last George (Savant, 2000)

ENCORE

Jeri Southern (1926-91)

by Andrew Vélez

“You better go now because I like you much too much, you have a way with you...” is the alluring opening line of one of sultry-voiced Jeri Southern’s signature songs. Possessed of a honey purr, in the most tastefully intimate manner hers was really a siren call to STAY. Just how unique and spellbinding her pitch perfect vocalizing was can be savored on The Warm Singing Style of Jeri Southern (The Complete Decca Years 1951 - 1957) (Fresh Sound). Amply respected by fellow musicians at the time, this singer-pianist numbered Frank Sinatra, Stan Kenton, Tony Bennett, Ralph Burns and Peggy Lee among her most ardent fans. Largely unknown today beyond cognoscenti of vocalists, her singing still sounds totally au courant. Born Genevieve Lillian Hering on Aug. 5th, 1926 in Royal, Nebraska, she began playing piano when she was three. By five she had begun formal study in classical piano. Despite the family’s limited finances during the Great Depression, her mother insisted on her going to Notre Dame Academy in Omaha for advanced training in classical piano. It was while working as an assistant to the principal piano teacher there that she discovered jazz and jazz singers. But Southern’s coloratura soprano made it difficult for her

to cross over into jazz singing. As she later recalled, “I tried...to sing in my speaking voice. ...I kept practicing my low voice and in about two months I sang well enough not to sound ridiculous. ...It was like manufacturing an entirely new voice.” For a long time Southern considered herself only a piano player until she learned she could get more work if she both played and sang. She began attracting attention as a vocalist when signed up for broadcasting with Chicago jazz lover Dave Garroway,. By 1950 she was singing intermissions at Birdland. During a gig at Chicago’s Hi-Note, she was heard by Peggy Lee, who was so impressed that she got her a contract with Decca in 1951. The aforementioned tenderly treated “You Better Go Now” was her first recording for the label. After that she recorded quite often in New York with the orchestras of Sy Oliver, Victor Young and Salvatore “Tutti” Camarata, among others. With an orchestra or her own trio, Southern consistently chose quality songs and delivered them in a straightforward manner, eschewing the novelty tunes popular at the time, remarking, “I’ll sing songs I like. Songs that are good.” Her care with words was a lyricist’s dream; she was equally at ease sultrily torching a blues like “That Old Devil Called Love”, going uptempo and playfully seductive with “An Occasional Man” or displaying a particular affinity for romantic tunes like “When I Fall In Love”. Finally weary of the vagaries of the music business

and a public that gave greater attention to Julie London, June Christy and others of that era, Southern retired from performing in 1962. She opened a studio in Los Angeles where she taught vocal and piano technique. A gifted songwriter, the depth of her musical knowledge is evident in her book Interpreting Popular Music at the Keyboard. On Aug. 4th, 1991 Southern passed away at a mere 64. With all that talent and skill, one can’t help wishing she’d had the bigger career she deserved. Perhaps, as Marian McPartland sometimes opined of others, she was “too hip for the room”. Like the great Carmen McRae, Jeri Southern played exquisite piano and sang with a depth-charge directness that stirred listeners. Hearing her now, that sound remains as simple and musical as it is deep. v

Recommended Listening: • Jeri Southern - The Warm Singing Style of Jeri Southern (The Complete Decca Years) (Decca-Fresh Sound, 1951-1957)• Jeri Southern - Coffee, Cigarettes & Memories (Roulette-Fresh Sound, 1957)• Jeri Southern - Southern Breeze (Roulette-Fresh Sound, 1958)• Jeri Southern - Meets Cole Porter (Capitol-EMI, 1958)• Jeri Southern - Meets Johnny Smith (Forum-Roulette - Fresh Sound, 1958)• Jeri Southern - At the Crescendo (Capitol-EMI, 1959)

LEST WE FORGET

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 11

MEGAPHONE

Following Your Museby Jamie Baum

When asked to write this column, I was flattered and hesitant at the same time. Did I have something I had a burning desire to talk about...at least in print anyway? It was suggested to me that it would be a great opportunity to talk about what going to South Asia meant for my musical journey as a player and composer and how that translated into my new Sunnyside release In This Life. Of course, when it comes to that, there is plenty for me to say! The one question, however, that I have been continually asked, or what has often been implied, has been to explain or perhaps even to qualify my choice of working with the music of Nusrat Fateh Ali Khan, the late iconic Pakistani Qawwali vocalist (particularly in light of not having studied the music through a formal or traditional approach). The short answer is really because that music touched me in the same way that listening to Miles and Coltrane did when I first heard them. Most people probably don’t know that I started out at New England Conservatory as a Third Stream major, although partway through my second year I switched to the jazz department. While at that time my reasons for switching was because I knew I wanted to focus on the vast amount of information and skills I would need for this journey, one of the things I got from the Third Stream department, aside from some great ear-training tools, was the importance of following your muse and finding your voice through discovering, being open to and synthesizing your influences. That has always stayed with me. Growing up, while jazz was always a passion, I also listened to and played classical music, rock, blues and later Latin and Brazilian music. I never really felt I had to limit myself since I loved it all and so the concept of Third Stream seemed to fit, as did traveling and my interest in other cultures. Offered the opportunity to tour as a State Department/Kennedy Center Jazz Ambassador in South America for five weeks in 1999, I jumped at it. Having the chance to

meet, play and learn from many musicians while there was a thrill and so when a second opportunity came in 2002 to tour for six weeks in South Asia, it was a dream come true! I’d been a fan of Indian music for a long time, loved the tabla and bansuri and had even recorded a tune by Trilok Gurtu on my 2003 OmniTone release, Moving Forward, Standing Still. The tour was an incredible opportunity in so many ways. The two musicians I toured with, Jerome Harris and Kenny Wessel, were not only great to play and hang with but were as excited to absorb everything about the music and culture as I was. We were a good fit and had multiple opportunities to perform and work with local musicians. Two of the most memorable included a concert in Delhi with VM Bhatt, who plays the Mohan Veena (slide guitar), and the tabla player Sandeep Das (who is in the Silk Road Ensemble) and a concert in Chennai with Karaikudi R. Mani, master mridangam player and his eight-piece ensemble. The time with Mani, who had been a teacher to musicians like Jamey Haddad, Todd Isler and Marcie Frishman-Sarangan, was priceless. Not only did he compose a piece for us and his ensemble, which we spent a couple of days rehearsing before our nationally televised concert, but we also spent a day with him during which he told us about his life and approach to music. On later trips back to India, Nepal and Bangladesh, I had several similar experiences that not only informed and broadened my approach to improvising and composing, but touched me spiritually. It is true what they say about India and other parts of South Asia - it can be life-changing. Those experiences and being introduced to the music of Nusrat Fateh Ali Khan inspired me to want to find a way to incorporate some of the elements found in that music into my music. It was a challenge, as were my previous projects inspired by Western classical composers, including Igor Stravinsky and Béla Bartók. As I wrote in the liner notes for In This Life, with great respect for their traditions and vast language and without immersing myself in study, my goal wasn’t to play or compose in those styles but to have them inspire new ways of writing and improvising. And so, despite the oftentimes-thorny issues that

come with venturing outside one’s (and others) comfort zones, it is essential to one’s vitality and growth as a musician to follow your muse. v

For more information, visit jamiebaum.com. Baum is at Jazz Standard Nov. 19th. See Calendar.

Jamie Baum is a New York City-based jazz flutist/composer. She has toured 28 countries and performed with artists as diverse as George Russell, Mick Goodrick, Randy Brecker and Donald Brown to Dave Douglas, Ralph Alessi, Uri Caine, Wadada Leo Smith and Ursel Schlicht. Her fifth CD as leader, In This Life (Sunnyside), was released last month. Baum has been nominated by the Jazz Journalists Association for “Flutist of the Year“ several times and in DownBeat Critics Polls annually since 1998. Her awards for composing include the International Jazz Composers Alliance and the Doris Duke/CMA New Works: Creation and Presentation and she has toured as a Department of State/Kennedy Center Jazz Ambassador. Aside from her Septet, together since 1999, she’s involved in several projects including Yard Byard: The Jaki Byard Project.

Sing It Like It Isby Katie Bull

Recently a jazz musician approached a singer to suggest that “anyone” can scat in gibberish and invent notes. If a singer could spontaneously invent fine lyrics, he said, that would be a sign of “real” skill. He then challenged the singer to recite the alphabet out of order, on the spot. It so happens the singer is also a writer. (Admission: I am the singer.) Assumptions around the primacy of lyrics for all singers reveal a constricted view of vocal jazz. Vocal jazz is not solely lyric-driven, in the same way that instrumental jazz it not all about the invention of notes. November highlights singers who sing with or without lyrics as their relationship to the composition and their experience of the moment demands. These singers can string events in whatever order or disorder their story inspires. Though some may be firmly rooted in tradition, they can all reference non-jazz sources and move the listener with intimate truths or vigorous imaginings. In an epic tribute, René Marie channels the spirit of beloved Eartha Kitt through her own brave and uncompromising soul. Marie abandons herself to each moment, delivering an instant classic that both respects the source and stands on its own. Everyone must hear

I Wanna Be Evil (Motéma) and experience this singular performer’s Jazz Standard CD release (Nov. 21st-24th). She is the cream of the modern day jazz crop, sensually unearthing personal nuance as she honors Kitt’s terrain. Fay Victor could be René Marie’s long-lost twin from an alternate side of the jazz looking glass. Take a trip with avant-take-you-off-guard Victor as she celebrates the CD release of Absinthe & Vermouth (Greene Avenue) at JACK (Nov. 13th). Like Dali’s melting clock, Victor’s lyrics cascade in a melding of the mundane, the natural and the fantastical. Words morph into pointillistically expressive wails and punctuating tones. It’s like the Mad Hatter invited Kurt Weill and Arnold Schoenberg to tea and the caterpillar scored it. You can also hear her in duo with Tyshawn Sorey at Ibeam Brooklyn (Nov. 2nd) and as part of Roswell Rudd’s 78th birthday celebration at Le Poisson Rouge (Nov. 24th). Speaking of birthdays, NEA Jazz Master Sheila Jordan, also a mentor to many (including yours truly), encourages her students to “sing the truth” and sing it from the heart. Jordan’s 85th birthday celebration with Steve Kuhn at the Blue Note (Nov. 18th) will most certainly be a night of graceful and honest stories from a jazz life lived out loud. Another fierce jazz veteran will roar at Blue Note (Nov. 13th) - hear the nine-time Grammy winning Janis Siegel as she celebrates the CD release of Nightsongs (Palmetto). Siegel will also join her collaborators of 38

years, The Manhattan Transfer, at Blue Note (Nov. 14th-17th) for what promises to be jazz vocalese at its absolute five-star finest. Two remarkable young award-winning rising greats with French blood are in the house this month: the incomparable 2010 Thelonious Monk International Jazz Competition winner Cécile McLorin Salvant will be performing as a guest with Jacky Terrasson at Dizzy’s Club (Nov. 10th) and triple competition winner (Montreux, Thelonious Monk and Sarah Vaughan Awards) Cyrille Aimee will be at Birdland to celebrate her self-released CD Live at Birdland, featuring saxophonist Joel Frahm (Nov. 19th-23rd). Aimee will also play lead with Broadway singer/actor Bernadette Peters in the Wynton Marsalis/Steven Sondheim collaboration A Bed and A Chair at City Center (Nov. 13th-17th). McLorin Salvant and Aimee are two next generation vocalists rooted in tradition who are masterfully contributing their fresh new verve to 21st century jazz singing. Back downtown, the cozy 55Bar hosts vocalist Kendra Shank (Nov. 29th), whose original folk roots contribute to her direct and unguilded simplicity. Shank always spaciously navigates jazz standards, delicately welding experimental jazz edges with command and authenticity. There are as many ways to sing jazz as there are ways to experience “what is”. Great jazz musicians tell their version of what is - like it is. v

VOXNEWS

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Relative Pitchby Ken Waxman

“We both feel that every release has been a success,” says Kevin Reilly, co-owner with Mike Panico, of the New York area-based Relative Pitch (RP). “I want to stay away from categorizing our releases according to the parameters of late industrial capitalist consumerism.” Economic methodology aside, in the less than five years since it was founded, Relative Pitch has already put out 14 well-regarded CDs, featuring younger advanced players such as guitarist Mary Halvorson and trumpeter Nate Wooley, plus veteran free musicians such as bassist Joëlle Léandre and saxophonist Urs Leimgruber. Music fans from an early age, Reilly and Panico, now both 47, gradually evolved from attending rock shows to following traditional jazz to devoting their time listening to free improvisation. “Since 9/11 I listen almost exclusively to improvised music,” reveals Reilly. “I find Cecil Taylor calming and cathartic.” Attending on average of 20 concerts a month each, the two partners first met online, then forged a friendship while volunteering at The Stone. Eventually they decided that releasing improvised music CDs would spread appreciation for the sounds they loved. “This label is another way to serve the music that we admire,” insists Panico. As for the name, as Reilly explains: “Most musicians have relative pitch, not perfect pitch.” Taking care of a constantly active label like RP “is

a full-time job in addition to our other full-time day jobs that pay the bills,” adds Panico. Although Mike Sprigle does most of the label art and David Wight helps with marketing, no one works exclusively for RP. “We’re part of a community in NYC and try to use the talents that are here,” notes Reilly. “The thing that’s different about Relative Pitch and what makes it so special in my mind, is that the people that run the label are faces in the crowd of 90% of the shows you play in New York,” notes Wooley, who is on From The Discrete To The Particular with guitarist Joe Morris and pianist Agustí Fernández. “It’s not an overt community-building exercise for them to be at the shows and manage a label, it’s just simply a natural part of who they are,” he adds. “What Kevin and Mike share is an unrelenting dedication to and passion for music, which is evident from the sheer number of concerts they attend,” says Halvorson, who recorded with saxophonist Jim Hobbs and cornet player Taylor Ho Bynum (collectively known as AYCH) on As the Crow Flies and on Sifter with drummer Matt Wilson and cornet player Kirk Knuffke. “What I really appreciate is the seriousness with which they went about starting the label and the sheer volume of music that they put out. They certainly didn’t start slow. It seems every time I see Kevin - which is fairly often - there are another couple of new releases.” Explains Reilly: “The AYCH record came about after I saw the Taylor Ho Bynum sextet and told Jim and Mary they had great chemistry. Jim knew about the label and handed me the final mixes six months later.” Practically each release has a different germination.

For instance, That Overt Desire of Object by saxophonist Phillip Greenlief and Léandre or multi-reedist Vinny Golia’s Take Your Time with cornetist Bobby Bradford, bassist Ken Filiano and drummer Alex Cline were existing sessions looking for a home. Other projects are more “hands on” as Panico describes it. Two by alto saxophonist Jemeel Moondoc and pianist Connie Crothers was organized in response to a request from the label. Another time, bassist Michael Bisio contacted them about making a CD. The result was Floating Ice with pianist Matthew Shipp, with Panico in the studio as co-producer, involved in every aspect of the session. “As producers, they aren’t trying to control anything; they’re simply documenting artists they care about and allowing a vehicle for those artists to express the music they want to express, the way they want to express it,” confirms Halvorson. One anomaly in the catalogue is that Just Listen, drummer Joey Baron’s disc featuring guitarist Bill Frisell, is RPR 001 even though it was just released. Baron had been promised that his would be the label’s first CD, but unforeseen delays held up its release until 2013. That sensitivity to the interests of musicians and audiences is another quality that radiates from RP and its founders. “The label is an extension of their love of the people they see almost every night out at the venues,” says Wooley. “They truly are missionary in their desire to get the music they think is transcendent out to people that don’t have the chance or impetus to go to six or seven shows a week in Brooklyn.” With mostly similar music tastes, which Reilly (CONTINUED ON PAGE 37)

Pianist TADATAKA UNNO was born in Tokyo. He moved to NYC and started from scratch in 2008 after 10 years of performing professionally in Japan. In 2010, Unno was selected to attend Betty Carter ’s Jazz Ahead at Washington, DC’s Kennedy Center and Jazz Rising Stars Program of the Chicago’s Ravinia Festival. He has performed at the Village Vanguard, Smalls, Dizzy’s Club Coca-Cola, etc. The legendary Hank Jones mentored him, having the highest trust in his talents. When Jones passed away in 2010 at age 91, Unno was at his side and and is now one of several pianists who hold the jazz piano baton left by Mr. Jones.

Teachers: Yuichi Otsuka, Kazuhide Motooka, Hank Jones, George Cables.

Influences: Art Blakey and The Jazz Messengers, Oscar Peterson, Bill Evans, Tommy Flanagan, Ahmad Jamal, Miles Davis, Ray Brown, Junior Mance, Gene Harris, Monty Alexander.

Current Projects: Jimmy Cobb Trio; Clifton Anderson Quintet; Winard Harper and Jeli Posse.

By Day: Relaxing with music.

I knew I wanted to be a musician when... I was nine, my father took me to Blue Note in Tokyo to listen to Art Blakey and The Jazz Messengers. Before the show started, Art came to me and patted me on the head, then said “Nice Boy!” I think that’s the time.

Dream Band: I would like to play with Ernestine Anderson.

Did you know? I guess I have good hand for massages. Frank Wess said, “I am jealous of your wife” to me when I gave him a massage at his home.

For more information, visit facebook.com/tadatakaunnojazz. Unno is at Blue Note Nov. 8th with Clifton Anderson, Nov. 17th at Measure and Arturo’s Saturdays in Greenwich Village. See Calendar and Regular Engagements.

A native of Chicago, MILTON SUGGS put down roots in New York a year ago and has made strides in furthering his reputation as one of the premier rising male vocalists on the New York scene. With three albums as a leader (Lyrical, Vol. 1, Things to Come and Just Like Me, with Willie Pickens), since moving he has recorded and performed with trombonist Wycliffe Gordon and trumpeter Jeremy Pelt and performs with

his own group regularly at Smalls Jazz Club, Smoke and Dizzy’s Club Coca-Cola.

Teachers: Willie Pickens, Bobby Broom, Lyndia Johnson and a lot of self-study.

Influences: I take something from all the greats. Poet Kahlil Gibran, author James Baldwin, vocalist Luba Rashiek, ‘70s soul music.

Current Projects: My third album, Lyrical Vol. I (Skiptone), was released in 2012. I am currently preparing to record again while also developing some thematic concert material and educational projects.

By Day: Practice, write, read and teach sometimes.

I knew I wanted to be a musician when... I read Q: The Autobiography of Quincy Jones.

Dream Band: The musicians I work with now hold me down! But I look forward to meeting and working with whomever I vibe with.

Did you know? My first very instrument was the upright bass, I’m currently re-learning how to play it.

For more information, visit miltonsuggs.com, Suggs is at Smoke Tuesdays and Cávo Sundays. See Regular Engagements.

12 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

LISTEN UP!

LABEL SPOTLIGHT

Halvorson/Knuffke/WilsonSifter

AYCHAs the Crow Flies

Michael Bisio/Matthew ShippFloating Ice

Milton SuggsTadataka Unno

Joey BaronJust Listen

Morris/Férnandez/WooleyFrom the Discrete to the Particular

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FESTIVAL REPORT

Belgian Jazz Meetingby Laurence Donohue-Greene

Jazz can teach quite a few non-musical lessons: from interpersonal relationships to politics. Too bad politicians aren’t more like jazz musicians, working together on the bandstand for the common good. The divisiveness between Belgium’s Dutch-speaking north and mainly French-speaking south is similar to our own Republicans and Democrats, who, at the time of this writing are in the midst of a multi-week government shutdown (something Belgium has itself experienced). Belgians have few factors uniting them beyond jazz and their national soccer team. Qualifying for the upcoming World Cup certainly gives the country cause for celebration as should the biennial Belgian Jazz Meeting (BJM) - née Flemish Jazz Meeting - admirably taking place in a different region of the country and financed by the otherwise divided government. This year’s BJM (Sep. 6th-8th) was staged in the French-speaking region, in the so-called “Fiery City” of Liège on the scenic Meuse River, not far from the Dutch and German borders. Bands played at Caserne Fonck (a former military base) and audiences got a good cross-section of the country’s jazz present and potential, particularly a plethora of trios: 7 of 12 acts were trios and of those 4 were piano trios. Pianists Peter Vandenberghe and Kris Defoort featured in the best of the BJM lineup, piano-led or otherwise. Too Noisy Fish - the dynamic Vandenberghe, bassist Kristof Roseeuw and drummer Teun Verbruggen - started their set as if going through a soundcheck. Opener “Turkish Laundry” (from this year’s Fight Eat Sleep on Rat Records) developed so quickly it caught listeners off-guard. Theirs was a “buckle your seat belts”-like set, with a sense of humor and adventure in both the music and the titles: “PTMA” in French stands for “Pour Toi Mon Amour (For You My Love” and in English - according to the pianist - “Pretty Thing My Ass”); “Curly Whurly, Napoleon” featured prepared drums of various objects including kalimba thumb piano on snare while Vandenberghe repeated the tune name in a deep baritone voice, followed by “Who you gonna call?”, instigating regular audience laughter. Too Noisy Fish’s level of creativity was matched by Defoort’s trio with electric bassist Nicolas Thys and perhaps the greatest revelation of BJM 2013 - mid-20s drummer Lander Gyselinck, who looks like a pre-teen but sounds like a veteran. Defoort’s former student matched wits with his teacher and moved through tempo shifts like quicksilver, from opener “Tokyo Dreams” to The Police’s “Walking on the Moon” set closer. Gyselinck also supplied his restless rhythmic drive to the piano-less, Indian classical music-inspired Ragini Trio, his multi-rhythmic prowess and intuitive (CONTINUED ON PAGE 46)

Crak Festivalby Ken Waxman

Completed in the mid-16th Century in the flamboyant gothic style, the mammoth and solid Église St-Merry characterizes the Beaubourg area on the right bank of Paris as much as the nearby ornate 19th century Hôtel de Ville and the brutalist, high-tech architecture of 1977’s Centre Georges Pompidou. During the second annual Crak Festival (Sep. 26th-29th), however, the church’s musty arches, pulpits and 30-foot-high ceilings served as an unexpected backdrop for sounds from the 20th and 21st centuries and beyond. This year Crak, an onomatopoeic description of the continuous, evolutionary friction among musical genres, not only highlighted accomplished local improvisers, but a cross-section of players now based in Berlin. Featured were two large ensembles, Berlin’s Splitter Orchester and Paris’ L’Orchestre de Nouvelles Créations, Expérimentations et d’Improvisations Musicales (ONCEIM), plus numerous smaller groups. Two of the more stimulating bands were Pan-European trios that turned expected ensemble roles on their proverbial heads: Trio Inédit, matching French drummer Antonin Gerbal, Austrian bassist Werner Dafeldecker and German inside-piano specialist Andrea Neuman, and Trio Sowari, with French tenor saxophonist Bertrand Denzler, German percussionist Burkhard Beins and British laptoppicist Phil Durrant. Elusively accented, but hardly effete, Inédit’s on-going narratives put cuffed hi-hat and intermittent bass drum whaps upfront with the bassist’s individual string stretching and wood rubbing, eschewing rhythm but providing coloration. Meanwhile Neuman’s bow-sawing on the edge of her instrument’s frame produced ostinatos that gave the performance its shape. In contrast, with rhythmic juddering from Durrant’s computer in the bass role, Sowari hinted at jazz’ common sax-bass-drums groups, Denzler’s side-of-mouth, balanced and meticulous delivery suggesting a new century Lester Young. However Beins’ cymbal scrubbing plus mallet smacks on horizontal floor tom and bass drums made no effort to swing on their own. Another instance of interactive communication was Contest of Pleasures with German slide trumpeter Axel Dörner, French clarinetist Xavier Charles and British soprano and tenor saxophonist John Butcher. Having developed a strategy dependent on protracted pauses and intuitive three-pronged harmony, the results could be as upsetting as a sudden pistol shot or as calming as a lullaby. Interaction trumped individuality even though at points each explored the furthest reach of his instrument. Similarly the rigorously self-created and applied experimental tuba timbres of the UK’s Robin Hayward brushed up against the strategies of Norwegian Morten J. Olsen on a horizontal bass drum during another set. With the (CONTINUED ON PAGE 46)

Krakow Jazz Autumnby Andrey Henkin

Remember (assuming it wasn’t you) that really cool kid in high school, who seemed to know everyone and whose table during lunch was the place to be? Now imagine that kid grew up to be a venom-spitting saxophonist and curated a festival in Europe? You’d want to be there too, and with good reason. We’re talking about Swedish agitator Mats Gustafsson and the first half of the 8th annual Krakow Jazz Autumn (Oct. 8th-12th). A joint venture between Gustafsson, the seminal Polish record label Not Two and Krakovian jazz club Alchemia, the event was a reformation of Gustafsson’s Nu Ensemble, with an almost entirely new cast. Joining the leader and holdover tuba player Per Åke Holmlander were Peter Evans (trumpet), Joe McPhee (trumpet/saxophone), Crister Bothén (bass clarinet/guimbri), Agustí Férnandez (piano/organ), Kjell Nordeson (vibraphone/drums), Stine Motland (vocals), Dieb 13 (turntables), Jon Rune Strøm and Ingebrigt Håker Flaten (basses) and Paal Nilssen-Love (drums). For the first four nights at Alchemia, small formations drawn from the larger ensemble were presented in scrumptious bite-sized morsels, some first-time meetings, others groups of long-standing. All this frivolity culminated on the final evening at Manggha Centre, where a new full-group piece was premiered. Alchemia, located in the city’s Kazimierz (historic Jewish quarter), is a café on its ground floor, with a perilous staircase leading to a brick-lined basement performance space. There was a feeling of stumbling into a WWII resistance meeting, amplified by the strange and subversive sounds coming from the stage. The several early evening sets were amuse-bouches - eight minutes of solo vocals or 30 minutes of a bass duet, for example - the proceedings closing with a longer set by an active or revived group: Swedish Azz; the trio of Evans/Férnandez/Gustafsson; Bothén’s resurrected Acoustic Ensemble; The Thing (Gustafsson/Håker Flaten/Nilssen-Love) with Joe McPhee. Motland’s solo set on the first night was an immediate highlight; in fact, the vocalist was the revelation of the festival, a measured, almost electronic approach to extended technique. On the same night was a probing first-time duet between Bothén (on bass clarinet) and McPhee (tenor sax), full of lovely textures. Swedish Azz - Gustafsson, Nordeson, Holmlander, Dieb 13 - featured a “Norwegian infusion”, to quote Gustafsson, in the subbing Nilssen-Love. The group plays only historic jazz from Sweden, lovingly recreated and then twisted via Dieb 13’s modern additions (eg, avian sounds on a graphic score to Alfred Hitchcock’s The Birds). Bothén’s solo bass clarinet recital on the second was only 10 minutes long but remarkable, with a (CONTINUED ON PAGE 46)

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 13

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Veteran alto saxophonist Gary Bartz, now 73 and fast becoming an elder statesman, came of age as an artist around the time Coltrane was hitting his peak in the early ‘60s and has been deeply inspired by the great saxophonist on both a musical and spiritual level. The sessions that became Coltrane Rules have been sitting on the shelf for more than a decade. Bartz and a quartet of pianist Barney McAll, bassist James King and drummer Greg Bandy recorded most of the album in 2000, with the short opening and closing solo sax versions of Coltrane’s “After the Rain” added in 2008, but the album has gone unissued until now. You can hear Coltrane’s influence in much of Bartz’ playing, in his swirling, explosive solos and the cascades of sound teetering between tonal and atonal. But he seldom sounds imitative, bringing his own highly intense style to the fore. The rest of the band also evokes the classic Coltrane Quartet at times, with ferocious drumming, heavily chorded piano and deep, propulsive bass, but avoids the folly of mimicry and finds its own way of approaching Coltrane’s music. The album’s centerpiece is a sprawling 14-minute modal take on “I Concentrate on You”, with exquisite

work on both alto and soprano sax by Bartz and an impressive solo from McAll. Bartz’ own “BirdTrane” features some of his fiercest playing in a more straightahead vein while the whole band generates heat on the jubilant “Nita”. A couple of tracks feature vocals, with longtime Bartz associate Andy Bey lending his gorgeous pipes to the hymn-like “Dear Lord” while a quartet of singers is heard chanting on Bartz’ powerful, prayerful composition “The Song of Loving/Kindness”, a nod to Coltrane’s mystical side. There are plenty of Coltrane tribute albums out there but this is one of the best you’re likely to hear.

For more information, visit garybartz.com. This project is at Smoke Nov. 1st-2nd. See Calendar.

Originally from Chicago and of Iraqi extraction, trumpeter Amir ElSaffar has developed a unique strain of jazz stemming from the John Coltrane/Ornette Coleman axis and informed by elements of Middle Eastern music, primarily maqam, a scalar/melodic system of music. But he adds unusual rhythmic elements as well. For Alchemy, while the Middle Eastern element is still there, it seems slightly muted. ElSaffar seems to be exploring more straightforward jazz-based material. Although one can hear unusual modality, the opening suite wouldn’t have sounded out of place with the more adventurous Blue Notes of the ‘60s. The band is a quintet comprised of players ElSaffar has worked with on the New York scene. Saxophonist Ole Mathiesen was on ElSaffar ’s last album (Inana) and has developed into an excellent foil for the trumpeter. It’s good to see pianist John Escreet, already five albums into his own career, working with ElSaffar and providing some interesting avenues in tandem with the trumpeter’s microtonal concepts (particularly “Miniature #1”). The rhythm section of bassist François Moutin and drummer Dan Weiss are integral to holding music’s rhythmic ideas together. “Selections From The Alchemy Suite” is the most intriguing sequence of this set. Here ElSaffar ’s ideas regarding modes, microtones and unusual rhythms come together at their most assured. And the brief unaccompanied muted trumpet coda at the end of the suite (“Five Phases”) is the perfect capper.

For more information, visit pirecordings.com. This project is at The Jazz Gallery Nov. 2nd. See Calendar.

Argentine trumpeter Diego Urcola has chosen an intimate approach for his current release: duets with

four other musicians - bassist Avishai Cohen, vibraphonist Dave Samuels, harpist Edmar Castaneda and bandoneon player Juan Dargenton. The concept is suggested by the CD’s double entrende title, which refers to a traditional South American drink made from the yerba mate plant and drunk with friends in a communal cup with a metal straw. The selections played are a combination of originals by Urcola, Castaneda and Samuels, traditional pieces, Latin American standards by Egberto Gismonti and Carlos Gardel and one selection from the Great American Songbook, Raye-de Paul’s “You Don’t Know What Love Is”. The opening “Elegia” is a traditional folk song featuring lively conversation between Urcola and Cohen. The haunting sound of Dargenton’s bandoneon is heard on the next track, “Elm”, a minor key piece where Urcola plays muted flugelhorn. The bandoneon is also featured on Urcola’s original “Milonga Para Paquito” (for Paquito D’Rivera, with whom Urcola often performs). “You Don’t Know What Love Is” also captures the ear with a simple reading by Urcola and Dargenton. For Cohen’s original “Float”, Urcola’s trumpet gently wafts above the composer’s intricate bass figures. Castaneda’s playing is fluid and musicality boundless on “Alfonsina Y El Mar” and “Columbian Dixie” while Samuels’ vibraphone solo on “Preludio #3” and marimba playing on “Samba Pa’ Dos” are album highlights. But the track that will completely enchant the listener is the rendition of Carlos Gardel’s classic “El Dia Que Me Quieras”, played with Cohen and clearly designed to melt listeners with its sensitivity.

For more information, visit sunnysiderecords.com. Urcola is at Smalls Nov. 4th. See Calendar.

14 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

CD REVIEWS

• Amir ElSaffar - Alchemy (Pi)• Dave King Trucking Company - Adopted Highway (Sunnyside)• Ghost Train Orchestra - Book of Rhapsodies (Accurate)• Mike McGinnis + 9 - Road*Trip (RKM)• Aaron Parks - Arborescence (ECM)• Michele Rosewoman - New Yor-Uba: 30 Years - A Musical Celebration of Cuba in America (Advance Dance) David Adler, New York@Night Columnist

• Amir ElSaffar - Alchemy (Pi)• Joe Fiedler’s Big Sackbut - Sackbut Stomp (featuring Steven Bernstein) (Multiphonics Music)• Grzegorz Karnas Trio (feat. Miklos Lukacs) - Audio Beads (Budapest Music Center)• Gregory Porter - Liquid Spirit (Blue Note)• Matana Roberts - COIN COIN Chapter Two: Mississippi Moonchile (Constellation)• Günter Baby Sommer - Dedications - Hörmusik IV (Intakt) Laurence Donohue-Greene Managing Editor, The New York City Jazz Record

• Joachim Badenhorst/John Butcher/ Paul Lytton - Nachtigall (Klein)• Tim Berne’s Snakeoil - Shadow Man (ECM)• Elton Dean/Paul Dunmall/Paul Rogers/ Tony Bianco - Remembrance (NoBusiness)• Eastern Boundary Quartet - Live at De Werf (ARC)• Yusef Lateef/Roscoe Mitchell/ Adam Rudolph/Douglas R. Ewart - Voice Prints (Meta)• Wacław Zimpel Quartet - Stone Fog (Fortune) Andrey Henkin Editorial Director, The New York City Jazz Record

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

Coltrane Rules: Tao Of A Music Warrior

Gary Bartz (OYO)by Joel Roberts

Alchemy

Amir ElSaffar (Pi) by Robert Iannapollo

Mates

Diego Urcola (Sunnyside) by Marcia Hillman

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The influx of Balkan, Eastern European and South American music into NYC jazz circles has been concurrent with an uptick in the number of NYC jazz accordionists. Uri Sharlin, originally from Israel, has had a presence in all of these world jazz scenes since arriving in NYC. For this session, Sharlin and The DogCat Ensemble provide an entertaining, if somewhat uneven, journey. Sharlin’s core quartet is rounded out by guitarist Kyle Sanna, bassist Jordan Scannella and percussionist Rich Stein. Sanna’s interplay with Sharlin, whether comping accordion runs, adding Spanish or any number of other ethnic colorations to the mix or soloing over Sharlin’s chords is superb. CD opener “Night Swim” begins as a pseudo rocker and evolves into a very tight uptempo worldly offering using this core quartet formula. The quartet then switches to exotica for “Monte Verde”, complete with Arthur Lyman-inspired animal noises. On three of these eight tunes, Sharlin adds bass clarinetist Matt Darriau, bassoonist Gili Sharett and percussionist John Hadfield while two others feature

flutist Itai Kriss. Darriau’s feel for multiple world music subgenres is readily apparent and he adds an infusion of klezmer to “One for Frankie” and partners with Sharett’s unique timbre to free up Hermeto Pascoal’s “Dia #342”. “Real Dogcat” also has bassoon and clarinet up front but this time in a laid-back ska. With all these flavors already in the mix, “Mundau by Day” and “Mundau by Night”, despite pretty acoustic work from Sanna in the AM and seductive percussion and bass in the PM, disappoint as does a funked-up “Don Quixote”. Sharlin has a specific interest in Brazilian music and closer “Baião” has a catchy melody, stellar flute solo and unique bassoon/accordion interchange. Back to the Woods is at its best when it showcases Sharlin’s ability to mix disparate influences with uncommon instrumentation into cohesive world music.

For more information, visit folkdune.com. Sharlin is at The Stone Nov. 5th, 6th, 7th and 10th with Roberto Rodriguez. See Calendar.

Recorded live at Cornelia Street Café in February 2013, Arc Trio finds veteran bassist Mario Pavone in turbulent waters with pianist Craig Taborn and drummer Gerald Cleaver. These aren’t some random sidemen: Taborn and Cleaver share a bond going back to the Detroit scene of the late ’80s. The freedom and focus they bring to these eight Pavone originals is often astounding. As it happens, Arc Trio comes just five months after Taborn’s trio debut for ECM, Chants, also featuring Cleaver. While Chants richly deserves the accolades it has received, Pavone’s outing is just as vital and shouldn’t slip under the radar. It’s fueled by a similar simpatico, though with a grittier aesthetic and compositional logic. Chants boasts that exalted, polished ECM sound; Arc Trio captures a night in a club with a piano that Taborn wouldn’t likely choose otherwise, but bends to his will nonetheless. In his liner notes, Pavone gets specific about his obsessions and models: Paul Bley’s The Floater, Andrew Hill’s Smokestack, Steve Kuhn’s Three Waves and Keith Jarrett’s Life Between the Exit Signs, along with certain works by Dick Twardzik and Muhal Richard Abrams. One way or another, the rhythmic thrust and texture of all this music gets filtered into Arc Trio, beginning with the frenetic double-stop bass riff and dense piano theme of “Andrew” (first heard on the 2008 quintet release Ancestors, featuring Cleaver). Pavone’s writing is often spare and concise, with tightly played heads but also room for open blowing over solid tempos. While there aren’t many prescribed chords, the pieces have distinct tonal personalities conjured by the brilliance of the players involved. “Eyto”, “Hotep” and the closing “Dialect” have a jumpy, unpredictable flow while “Poles” and “Alban Berg” usher in a slower swing vibe. Taborn is explosive and virtuosic on “Not Five Kimono” and “Box in Orange”, both also found on previous Pavone outings but given new life. Cleaver is dynamic and funky throughout, though sonically it is Pavone’s snappy bass that gets captured the best.

For more information, visit playscape-recordings.com. Pavone is at ShapeShifter Lab Nov. 8th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 15

Although, according to detractors, all free jazz sessions sound alike, these high-quality dates put a lie to that supposition. Both also suggest why the music was never popular. Each CD shares trumpeter Ahmed Abdullah and features allstars at all positions: 1974’s Melodic Art-Tet included tenor and soprano saxophonist/flutist Charles Brackeen, bassist William Parker, drummer Roger Blank and percussionist Tony Waters (Ramadan Mumeen) while 1986’s The Group was filled out by alto saxophonist Marion Brown, violinist Billy Bang, bassists Sirone or Fred Hopkins and drummer Andrew Cyrille. Brackeen, who composed all but one of the Art-Tet’s pieces, enlivened many ‘70s sessions. A gritty soloist on tenor, with a tone reminiscent of Dewey Redman, his flute and soprano work is surprisingly refined. Meanwhile Abdullah manages to stay passionate while blasting away. Former Sun Ra Arkestra member Blank and future Downtown fixture Parker maintain a shifting beat tinted by Waters’ hand patterning. Triumphant throughout, the quartet forges an imaginative fusion. It mixes nimble heads with frenetic soloing and Africanized polyrhythmic drumming without neglecting tune structure. “Time and Money; YAMACA; Open; Pit Chena; In the Chapel; With Cheer” is a particularly illustrative sequence, a marvel of shading and synthesis, violent screeds alternating with tempo-changing sequences that pulsate with near-hummable themes to moderate confrontational avant garde impulses. Unfortunately the fusion preferred in the mid-‘70s was jazz-rock, propelled by amplified instruments. Too arty for the mainstream and not electric enough for the groove crowd, the band passed into history, The Group suffered a similar fate 12 years later. Neobop had replaced fusion as the popular jazz genre, but this quintet was too outside. This was despite Live’s track list, which included Charles Mingus’ “Goodbye Pork Pie Hat” plus Bang’s arrangement of a Miriam Makeba (!) composition. Clearly The Group aimed to excite a live audience. Take the aforementioned Mingus tune. Before the familiar melody appears, Brown interpolates quotes from “Wade in the Water” and “Honky Tonk”; subsequent theme variations are shaded by Abdullah’s muted plunger tones plus Bang’s bottleneck guitar-like slashes. On Makeba’s “Amanpondo”, Bang’s torque builds up the tension while Cyrille provides the tune’s climax with a solo that defines a steady swing beat. Luck and circumstances determine what bands become famous. Despite overall excellence, destiny was on neither band’s side here. Both were too far behind or too far ahead for contemporary popularity.

For more information, visit nobusinessrecords.com. Ahmed Abdullah is at Sistas’ Place Nov. 9th. See Calendar.

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

Eponymous Melodic Art-Tet

(NoBusiness)

Live The Group

(NoBusiness)by Ken Waxman

Back to the Woods

Uri Sharlin and The Dogcat Ensemble (Folk Dune-Naxos)

by Elliott Simon

Arc Trio

Mario Pavone (Playscape)by David R. Adler

236 West 26 Street, Room 804New York, NY 10001

Monday-Saturday, 10:00-6:00

Tel: 212-675-4480Fax: 212-675-4504

Email: [email protected]: jazzrecordcenter.com

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Also carrying specialist labelse.g. Fresh Sound, Criss Cross, Ayler, Silkheart, AUM Fidelity, Nagel Heyer, Eremite, Venus,

Clean Feed, Enja and many more

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Page 16: COOL TROMBONE LOVER

16 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Romanian-born pianist Lucian Ban came to New York in 1999 and since then has honestly and aggressively developed a career as one of the city’s most facile and creative working musicians. Never one to shy away from working with talented partners, he first gained notice in tandem with baritone saxophonist Alex Harding and has collaborated with the likes of violist Mat Maneri and tuba player Bob Stewart. In the Elevation quartet, Ban gives the floor to the under-recorded tenor saxophonist Abraham Burton, a powerful, charismatic player, equally skilled at whispering the wind song of ballads or blowing fire on free jazz workouts. Recorded live at Cornelia Street Cafe in early 2010, Mystery appears nearly four years later, with bassist John Hébert and drummer Eric McPherson rounding out the group. Aside from a brief tenor-and-drum convocation (“Mystery Prelude”) and an equally brief-but-engaging bass solo (“Obsolete”), Ban composed all the tunes. His piano playing has a dreamy, lyrical quality and his melodies are usually pretty, with touches of the European classical tradition as well as Romanian folk song sprinkled throughout. In support, Hébert and McPherson deliver capable, nuanced ideas that integrate beautifully with Ban’s harmonies on the quirky tribute to Andrew Hill, “Serenade”. In this live setting, however, Burton comes across as a bit schizophrenic. On the one hand, on tracks like the uptempo “Rank and File” and the elegiac “Silence” he is steady-going, mellifluous yet authoritative and even a little avant garde, but sonically right in tune with the band. On the other hand, longer cuts like “Of Things to Come” and especially “Freeflow” give him the opportunity to take serious flight, à la late-period Coltrane. It’s bracing and impressive and exciting, but also a little incongruous. Ban’s group is highly skilled with unimpeachable technique, but the satisfaction you derive from Mystery might depend on your taste for Burton’s extravagant performance. Either you wonder what’s gotten into him, or he steals the show, which could very likely leave you wanting more.

For more information, visit sunnysiderecords.com. Ban is at Michiko Studios Nov. 8th. See Calendar.

Just after conducting a large-ensemble composition at Roulette in September as a part of the Tri-Centric Orchestra Commissioning Series concerts, Taylor Ho Bynum spoke of the influence of Anthony Braxton, his former teacher and the Artistic Director of the Tri-Centric Foundation, of which he is Executive Director.

Braxton encourages people to think big and work big, Ho Bynum explained, and it’s clearly a lesson he’s taken to heart. His new release Navigation is so big it seems about to split at the seams. The four takes of a single, multi-part composition - clocking in at a solid three hours - are available in a small web of multiple formats: half on a double LP and the other half on a double CD or the entirety as a digital download. (Purchasers of either physical release also get a download of the whole shebang.) What’s more, the titles bear the Roman numerals X through XIV, suggesting there might be at least nine other realizations of the score tucked away under the floorboards. The score itself is broken into six sections, using traditional, graphic and cartographic notation while still remaining open for a large amount of improvisation. The rationale behind releasing four versions of the piece - two recorded live by his sextet and two in the studio adding Chad Taylor on drums and vibraphone alongside drummer Tomas Fujiwara - was to illustrate the open nature of the piece. In Ho Bynum’s own words (from the liner notes), “I want to ask listeners to consider the composition as a set of possibilities rather than a fixed document, to encourage them to enjoy the mutable nature of the music in multiple realizations rather than focusing on one particular performance.” And indeed, the four versions are markedly different, although still recognizable as parts of a whole, or different bakings of the same pie. The piece manages to stay engaging though an entire 45 minutes (the takes range from 43 to 54), or even for the full three hours. It’s upbeat and tuneful, distinguished by some nicely noisy guitar passages by Mary Halvorson and occasional interjection from the horn section (Ho Bynum, Jim Hobbs and Bill Lowe) that could pass in a Fifth Dimension review. But most notably it is eminently listenable. Ho Bynum swings with the outcats and his music doesn’t often rely on traditional jazz modalities of theme development, but he’s not often given to noise or dissonance either. The music is expansive and well considered and while four takes might, in the end, be more than necessary, they don’t grow thin. The big bag of LP, CD and MP3 is worth giving some attention. The Convergence Quartet - of which Ho Bynum is one-fourth - is a less grand affair but still a pleasantly challenging listen. While the liner notes to Slow and Steady, penned by bassist Dominic Lash, offer a complex mathematical rationale for the name of the group, there is a much simpler read on it: the uniting of two musicians from New York (Ho Bynum and drummer Harris Eisenstadt) with two from London (Lash and pianist Alexander Hawkins) into a cohesive whole. The cornetist and drummer are likely familiar to most New York jazz denizens and Lash has spent time in town, but what might make the disc most noteworthy is the pianist. Hawkins here is inventively circuitous, finding small repetitions in which to lock. During Lash’s “Oat Roe + Three by Three” it’s as simple as one note repeated thrice and then dropped a step. His own “equals/understand (totem)” is reminiscent of Braxton and Henry Threadgill experiments, beginning as a march and finding its way to medium hardbop and distilling into isolated traipses, all in six minutes time. Hawkins has worked with the likes of Joe McPhee, Evan Parker and Wadada Leo Smith and is clearly versed in the inside/outside of playing forward-thinking jazz. But the quartet isn’t all about him, of course. All four contribute compositions and play with a dedication of spirit. It might not be the most encompassing arena in which you might find Taylor Ho Bynum, but it’s a nicely harmonic convergence.

For more information, visit firehouse12.com and nobusinessrecords.com. Bynum’s sextet is at The Jazz Gallery Nov. 9th. See Calendar.

Iranian classical music is based on the radif, a melodic repertoire with 12 dastgah-ha, modal systems for composition and improvisation. Aesthetically and spiritually, the music also draws on Persian poetry and mystic Sufism. In three projects described below, Iranian musicians bring these elements to multi-cultural collaborations. Tehran-bred Kayhan Kalhor is a classically trained kamancheh (round-bodied bowed spike-lute) virtuoso known for innovative fusion projects with other musicians from the ‘modal belt’. Kula Kulluk Yakışır Mı, a duet with Turkish bağlama (long-necked lute) player Erdal Erzincan, is a follow-up to 2006’s The Wind, also an hour-long continuous suite in one dastgah. The live concert chain-links improvised sections to traditional melodies, all based on Ab (the ist, or home note), progressing through higher pitch centers and exploring various avaz (sub-modes). Developing narrative tension in gradual swells that occasionally break over into inspired passages, notably during “Improvisation II”, “Deli Derviş” and the title track, Kalhor and Erzincan evoke spontaneous applause from rapt listeners. Saffron, another cultural amalgam, joins Iranian vocalist Katayoun Goudarzi with Indian classical musicians Shujaat Khan (sitar/vocals) and Abhiman Kaushal (tabla) and North American jazzmen Kevin Hays (piano) and Tim Ries (reeds). The group’s debut, Dawning, features recitations of Rumi’s poetry in Farsi to empathetic accompaniment loosely based on raga. Most tracks begin with non-metered alap-like sections in which Khan and Hays respond to Goudarzi’s dramatic incantations with flowing obbligatos (Khan often sings wordlessly under the lyrics), then adding tabla and gat–like cyclic melodies mid-track, leading into extended group improvisations around a central ‘key’, in which Ries often introduces chromatic embellishments. Choub is a Vienna-based quartet of Iranians Golnar Shahyar (vocals) and Mahan Mirarab (guitar) and Austrians Martin Heinzle (bass) and Klemens Marktl (drums), which plays original compositions and lyric adaptations of Persian poets like Omar Khayyám and Hafez written with Iranian-influenced melodies and Farsi lyrics over jazz-rock chord progressions and rhythms, including some in 5-, 7- or 13-beat patterns. Shahyar’s nuanced voice projects laid-back sensuality, from low growls, gentle cracks and conversational asides to melismas, scats, yodels and throaty bursts while Mirarab’s restrained guitar (fretless on a few tracks) provides apposite coloration and improvised interludes.

For more information, visit ecmrecords.com, palmetto-records.com and lotusrecords.at. Kalhor is at Asia Society Nov. 16th. See Calendar.

Kula Kulluk Yakışır Mı Kayhan Kalhor/Erdal Erzincan (ECM)

Dawning Saffron (Palmetto)Eponymous

Choub (Lotus)by Tom Greenland

GLOBE UNITY: IRAN

Mystery

Lucian Ban Elevation (Sunnyside) by Jeff Stockton

Navigation Taylor Ho Bynum

(Firehouse 12)

Slow and Steady Convergence Quartet

(NoBusiness) by Kurt Gottschalk

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 17

Joe Fonda - bassist, composer, collaborator, bandleader, etc. - has, since the ‘80s, been a hyperkinetic advocate and participant in myriad new-music collectives. His web currently lists over 20 active collaborations in Northern USA and Europe. His impressive body of work rambles among numerous modern pioneers (a few names: Anthony Braxton, Han Bennink, Bill Dixon, Barry Altschul, Oliver Lake, Herb Robertson, Jon Irabagon, Mark Whitecage.) Fonda contributes his thoughtful and variegated sounds here in two working groups: a piquant trio led by vibraphonist Bobby Naughton and Eastern Boundary, a half-Hungarian quartet of reeds and rhythm section with Fonda’s regular partner, pianist Michael Jefry Stevens. Naughton’s trio on Pawtucket features the leader’s nearly vibrato-less four-mallet skeins, parsing metric patterns and melodic kernels in mathematically precise ruminations. Here Fonda glues together the tricky angularities that spike between Naughton’s intricate mallets and Laurence Cook’s drumkit. Fonda’s only previous recording with Naughton was Zoar (1982) on the vibraphonist’s OTIC label (definition: pertaining to the ear) in a trio with drummer Randy Kaye, though they’d all played around New Haven as members of Creative Musicians Improvisers Forum, founded in 1976 by Naughton, Wadada Leo Smith and Gerry Hemingway. Fonda’s dry bowing and clipped lines pepper eight tracks with droll, clipped titles that smack of Steve Lacy. “I like Joe’s harmonic emphasis,” avers Naughton, “sort of a free swing-bass approach.” Fonda sing-along with his plucked solo on “Side Saddle” recalls less Slam Stewart than sitar player Ustad Vilayat Khan. Arco fancies imitate wildlife - crickety chirps (“Brrr”); high-end buzzing wails (“Lasso”); mammalian cries (“Bent Key”) - blending right in with Naughton’s organic, spidery zeitgeist. Score it on the Nature Channel. It’d be a treat to see this alliance again apply macroscopic observations onto detailed zoologic ideas. Fonda’s roles in the Eastern Boundary Quartet’s amiably evolving set Live at De Werf, a music theater in Bruges, Belgium, tap into a more varied skill set. Once the band lays down a slinky Oriental trot on “Fogocska” he deconstructs and rebuilds it in a snaky duo with drummer Balazs Bagyi. On his own louche rumba “Belame” his energized solo employs strong plucking and tapping. To open “Rege” his long bowed tones underscore hypnotic lyrical lines for Jefry Stevens and multi-reedist Mihaly Borbely. Fonda’s rock-solid 7/4 ostinato dances beneath swaying soprano and modal reaches of “Trinity”, links insinuating arpeggios with Bagyi’s tomtom triplets and leaps octaves to herald Borbely’s earthy solo on tárogató, a sort of wooden soprano with mournful tone, then wreathes it in pianissimo ostinatos. Quite a ride! An album photo shows Fonda playing uncredited clarinet with Borbely on pennywhistle. What can’t this guy do toward the furtherance of jazz enterprise?

For more information, visit bobbynaughton.com and artistsrecordingcollective.info. Joe Fonda is at ShapeShifter Lab Nov. 8th with Michael Musillami, The Loft of Thomas Rochon Nov. 17th with Michael Rabinowitz and Barbès Nov. 20th. See Calendar.

9/20: Roy Eaton Pianist

9/27: George Gee Bandleader

NJMH At Stanford UniversityEchoes of Harlem: C l a s s i c J a z z T r e a s u r e s f t . J a z z S a x o p h o n i s t L o r e n S c h o e n b e r g

A S t a n f o r d L i v e I n f o r m a n c eNovember 20th 7:00 PM

Community School of Music and Arts Finn center230 San Antonio Circle

Mountain View, CA. 94040

T H E N A T I O N A L J A Z Z M U S E U M I N H A R L E M P R E S E N T S

The NaTioNal Jazz MuseuM iN harleM 104 easT 126Th sTreeT, suiTe 2C DoNaTioN suggesTeD For More iNForMaTioN: 212-348-8300

Harlem Speaks A S E R I E S D E D I C A T E D T O C A P T U R I N G T H E H I S T O R Y A N D L E G A C Y O F J A Z Z

Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council

visitors center:OPEN M-F 10 AM - 4 PM

104 E. 126th Street, #2C, New York, NY 10035

(Take the 2/3/4/5/6 train)WWW.JMIH.ORG

J a z z f o r C u r i o u s L i s t e n e r s

11/21 Dayna Stephens saxophonist/composer

T u e s d a y s 7 : 0 0 - 8 : 3 0 p . m .Free classes celebrating Harlem and its legacy

s u g g e s t e d d o n a t i o n

1 1 / 5 : B r a s s B a n d s a n d M a r d i G r a s I n d i a n s

1 1 / 1 2 : W h a t i s N e w O r l e a n s T r a d i t i o n ? W i t h g u e s t p i a n i s t C o u r t n e y B r y a n*

1 1 / 1 9 : T a k i n g i t t o t h e S t r e e t s

1 1 / 2 6 : T h e “ N e w ” N e w O r l e a n s w i t h T r e m e p r o d u c e r E r i c O v e r m y e r

T u n i n g i n t o T r e m e w i t h L a r r y B l u m e n f e l dT h e H B O f i c t i o n a n d t h e N e w O r l e a n s r e a l i t y

T h e N a t i o n a l J a z z M u s e u m i n H a r l e m 1 0 4 E . 1 2 6 t h S t r e e t , # 2 C

* E v e n t A t M a y s l e s C i n e m a 3 4 3 L e n o x A v e n u e b e t w e e n 1 2 7 t h a n d 1 2 8 t h

Pawtucket Bobby Naughton Trio

(OTIC)

Live at De Werf Eastern Boundary

Quartet (ARC)by Fred Bouchard

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18 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Guitarist Mary Halvorson’s newest album continues a progression from her first trio record, followed by two quintet records. Her concept as a composer, bandleader and instrumentalist is more refined, more ambitious, more edgy but still maintaining a strong connection to the core aesthetic ideals laid out on her first release. With bassist John Hébert and drummer Ches Smith again on hand in the rhythm section, Halvorson has added Ingrid Laubrock (tenor saxophone) and Jacob Garchik (trombone) alongside Jonathan Finlayson (trumpet) and Jon Irabagon (alto saxophone). With four distinctive bandleaders in the frontline, one might expect a blowing session - but Halvorson’s compositions are lush, narrative ventures characterized throughout by very cohesive writing for the horns. After the opening track’s lengthy exposition, Garchik takes a colorful solo, followed by an unaccompanied drum solo, before the theme is restated. The following track, “Smiles of Great Men”, puts the aggressive side of Halvorson’s playing in the fore from the outset. As her solo transitions into some brand-new thematic material, signaling a new section midway through the track, Halvorson’s intervallic debt to Thelonious Monk and Anthony Braxton are apparent; ironically, at the same time, the singularity of her style is all the more apparent. Hébert’s bass intro to “Red Sky Still Sea” perfectly sets up the cryptic harmonic and melodic vocabularies that ensue. “Four Pages of Robots” offers a bit more room for blowing, with Laubrock’s solo and, later, a Garchik/Smith duo, both roaming around freely through a variety of sonic areas. “Fourth Dimensional Confession” provides a meaningful platform for Finlayson, who expertly navigates the transition from the expressive peak of his solo back to the subdued ending (characterized by a delay-laden guitar solo over a drone of bowed bass, trombone and tenor saxophone). The ending takes advantage of a comparison that has been floating around for years now between the writing styles of Halvorson and British avant-prog pioneer Robert Wyatt. The inclusion of Wyatt’s “Nairam” is so fitting an addition to the overall sound of this band, one can hardly distinguish it as coming from a different composer. Chalk it up to Halvorson’s skills as an arranger and bandleader.

For more information, visit firehouse12.com. Halvorson is at The Jazz Gallery Nov. 9th with Taylor Ho Bynum, SEEDS Nov. 13th, Cornelia Street Café Nov. 15th and 16th and ShapeShifter Lab Nov. 19th with The RicTer Scale. See Calendar.

The scope of Marty Ehrlich’s extraordinary output has

now grown exponentially with this stunning recording of exceptional orchestral writing. Ehrlich puts aside his playing for the most part and has decided, as he puts it, “to listen and bring out certain things, to maximize the creativity in the room.” Most of these players have worked extensively with Ehrlich through the years and are key in realizing the composer’s large-ensemble vision. The pieces here are mostly from Ehrlich’s past and this recording is about highlighting ways to unite them compositionally. In the center are three extended pieces that showcase both writing and improvisation and do so with drama, humor and Ehrlich’s usual sense of knowing what to put where. The title work is from 2004, a setting of a poem by Arthur Brown reflecting the leader’s own love of writing and reading. JD Parran narrates the text and the work is essentially a concerto for him as he declaims both with his voice and soprano and bass saxophones. “Rundowns and Turnbacks” is a seven-part suite that refracts life, both personal and political, in these United States. The main melodic source of the piece is stated in the opening by trumpeter Ron Horton and Ehrlich in his only appearance on the album. The sections suggest a vast scope of influences - from blues to waltz to Irish jig to new music. There are two other large pieces that form the heart of this recording. “Blues for Peace” was originally commissioned for a high school orchestra and stretches the form with funky solos by guitarist Jerome Harris, trombonist Ray Anderson, pianist Uri Caine, tenor saxophonist Jason Robinson and drummer Matt Wilson. It’s a great demonstration how important new music can still be made from very traditional sources. “M Variations (Melody for Madeleine)” is the oldest piece in the collection, written and first recorded in 1989. It’s for Ehrlich’s daughter and has a concerto-like structure, featuring Caine, Horton, bassist Drew Gress and multi-reedist Adam Kolker. Opening and closing this album is the “Aghekor Translations”, originally written for an orchestra augmented by a West African drumming ensemble. It’s a kind of perpetuum mobile processional and, with funky accents, takes us in and out of this superlative recording.

For more information, visit newworldrecords.org. Ehrlich is at The Stone Nov. 12th-17th with several of his ensembles. See Calendar.

A first-call tenor saxophonist who has played in both the Thad Jones/Mel Lewis Orchestra and its successor, the Vanguard Jazz Orchestra, Rich Perry has a large discography as a sideman and leader. He frequently turns up on SteepleChase, having recorded for the label extensively as a leader while also appearing on several of pianist Harold Danko’s CDs. The latter, along with bassist Jay Anderson and drummer Jeff Hirshfield, make up the rhythm section featured on many of Perry’s CDs, this particular session mixing standards and less frequently performed songs. The midtempo setting of the Cole Porter standard “Get Out of Town” should be considered a master class for young musicians who constantly feel the need to open a set with a barnburner. Perry’s approach is gradually to increase its intensity, using long, spacious

lines that never stray too far from its changes. Miguel Prado’s “Time Was” was recorded by Bud Powell during the ‘50s, but has since languished in obscurity; Perry’s conception puts the focus first on Anderson, the leader taking a whimsical route in his bop-infused solo, followed by Danko’s intricate improvising. Leonard Bernstein’s “Lonely Town” was written for his musical On The Town and was recorded by singers like Frank Sinatra but Perry gives it a more roller coaster treatment, removing some of its melancholy air by playing spirited bop lines over the loping rhythm section. John Lewis’ “Rouge” is another hidden gem, recorded by Miles Davis during the sessions compiled to produce the album Birth of the Cool. Perry’s peppy setting of this bop vehicle starts with his soft vibrato floating over the rhythm section, then picking things up as he gives way to Danko and Anderson. Perry’s lush tone in the standard “Summer Night” recalls Stan Getz, also in the way he gradually develops his improvisation in masterful fashion, followed by Danko’s engaging solo. Gordon Jenkins’ “Goodbye” was long used by Benny Goodman as his closing theme in performances. Perry’s tenor perfectly fits this ballad’s hushed, bittersweet mood, complemented by thoughtful piano. To wrap the session, the quartet digs into Charlie Parker’s offbeat “Segment”, with Perry detouring into avant garde territory for a part of his solo.

For more information, visit steeplechase.dk. Perry is at Barbès Nov. 13th with Peter Brendler, Dizzy’s Club Nov. 18th with Manhattan School of Music Jazz Orchestra, Smalls Nov. 23rd with Richard Sussman, Jazz Standard Nov. 26th-27th and 29th through Dec. 1st with Maria Schneider and Village Vanguard Mondays with the Vanguard Jazz Orchestra. See Calendar and Regular Engagements.

Illusionary Sea

Mary Halvorson Septet (Firehouse 12) by Wilbur MacKenzie

A Trumpet in the Morning

Marty Ehrlich Large Ensemble (New World Records) by Donald Elfman

Time Was

Rich Perry (SteepleChase) by Ken Dryden

November 5thFrank Perowsky Big Band

November 12th Charli Persip big band

Super Sound

November 19th Vibraphonist Warren Chiasson

Cole Porter tribute

November 26th Mike Longo and Funk meets Jazz

New York Baha’i Center53 E. 11th Street

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

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

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

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Janis Siegel’s credits as a singer and arranger are legion: three decades with, arguably, the most successful vocal jazz group of modern vintage, The Manhattan Transfer; Grammy Awards; recordings, television performances, commercials and film soundtracks to her name. Her latest solo CD gives fans a quiet respite from all of this excitement. On the cover Siegel relaxes with a martini and a gentle smile. Night Songs celebrates those end-of-the-day moments when all is right with the world. Siegel presents a dozen tunes - some standards, some pop - each reflective, private and honest. The tunes all wax romantic but there’s no mournful sentimentality here. Siegel’s performances are innately energetic and full of joy. For instance, on Antonio Carlos Jobim’s “Inútil Paisagem”, retitled “If You Never Come To Me”, Siegel and fellow singer Peter Eldridge swap choruses and then share happy solos on the extended final vamp. For Strayhorn’s “A Flower Is A Lovesome Thing”, Siegel and her rhythm section transform the ballad into an infectious uptempo romp. Pianist John di Martino is behind the CD’s innovative arrangements and drummer Joel Rosenblatt plays on all but one track, with either Christian McBride or Martin Wind on bass. Siegel draws on the considerable talents of saxophonist Joel Frahm and trumpeter Dominick Farinacci throughout, most notably on Janelle Monae’s “Say You’ll Go”, which segues into a gorgeous snippet of Claude Debussy’s “Claire De Lune” - just the two horns and piano as an outro on the CD’s final tune. The album “ends with a little bit of moonlight,” Siegel writes in the liner notes, adding, “And we all know what that can do.” This CD is about more than just moonlight, though. It’s also about Siegel’s unerring way with a vocal line; wealth of experience as a performer, arranger, lyricist and producer and innate likeability of her vocal persona.

For more information, visit palmetto-records.com. This project is at Blue Note Nov. 13th. See Calendar.

Trio 3 has been a band for 27 years, released eight CDs, features its third pianist guest on Refraction and with him has created a session almost 100% satisfying. Veterans of the jazz wars, saxophonist Oliver Lake (70), bassist Reggie Workman (75) and drummer Andrew Cyrille (73) have been part of vital ensembles as disparate as John Coltrane, Cecil Taylor and the World Saxophone Quartet. Jason Moran, a generation younger, MacArthur Fellow and artistic advisor for the Kennedy Center, fits snugly onto the piano bench

previously occupied by Geri Allen and Irène Schweizer because of a shared interest in the diversity of jazz. Moran notably connects on tunes such as Cyrille’s “AM 2½” and Workman’s “Summit Conference”. Both tracks manage to suture insistent swing with echoes of roadhouse R&B, courtesy of Lake’s mercurial alto playing and flowing tremolo lines from the pianist, with unexpected advanced sequences. Moran’s riffs and runs suggest Herbie Nichols during his breakthrough solo on the first tune while the saxophonist insinuates quotes from “Focus on Sanity” into his playing on the second. With “Listen”, Cyrille confirms his effortless command of all parts of his kit, underscored by Moran’s keyboard pumps, while Lake’s slippery tongued, staccato squeals on “All Decks” demonstrate how a blues line can be thorny and experimental without losing in roots simplicity. If the CD has a weakness it’s Moran’s composition “Foot Under Foot”, which is overly studied and sedate until Lake goads the pianist into unison spikiness. The CD is bookended by two spoken-word pieces that celebrate jazz’ past and continued growth. The Lake-articulated title tune looks back on the resiliency of his family striving to attain economic security. Meanwhile Cyrille’s “High Priest” is an unsentimental requiem for the late David S. Ware’s talents expressed through waspish reed slurs and joyous drum clatters. This CD is so cohesive that the band could be dubbed Trio 4 rather than Trio 3 +.

For more information, visit intaktrec.ch. Oliver Lake is at The Jazz Gallery Nov. 15th, The Stone Nov. 21st with YeYi Duet and ShapeShifter Lab Nov. 22nd. Moran is at Paul Hall Nov. 5th and Village Vanguard Nov. 26th-30th. See Calendar.

Recorded live at Rockwood Music Hall in the Lower East Side, this CD/DVD package marks a very successful decade since singer Gretchen Parlato moved from Los Angeles to New York City. The album presents nine songs (four of which are included on the DVD) and draws exclusively from her last two albums, In a Dream and The Lost and Found. The 2004 winner of the Thelonious Monk Vocal Competition made no sacrifices in selecting her band: keyboardist Taylor Eigsti and rotating bassists Berniss Earl Travis II or Alan Hampton and drummers Kendrick Scott or Mark Guiliana. With a strong rhythmic foundation in place, Parlato floats freely, taking her time and never rushing, using her breath to articulate the beginning and ending of phrases. On “Butterfly”, a vocal cover of the Headhunters original, wordless vocals and handclaps fade carefully into a piano solo. On video, she sings with eyes closed, head nodding and turning with respect to the music. With suggested naivety, she sings each note and delivers every word as if for the first time. The band supports and inspires, creating a backdrop that changes when needed. On the song “All that I Can Say”, Scott’s triplet shuffle drum groove pauses for a moment, then restarts as a funky backbeat, which lifts up Eigsti’s piano solo. The DVD is a great addition to the live disc, allowing the listener to understand better certain compositions. For the song “Alô Alô”, the musicians can be seen rolling mallets on drums, tapping hands on

a bass body and rapping fingers on a closed piano lid while Parlato stands still in the center, singing solo while playing hand percussion without missing a beat. Her interaction and respect for her audience is shown during a very special rendition of her original composition “Better Than”, in which a melody is taught beforehand and then conjured at the end. This opens a connection between performer and listener, extending the small stage to the entire room. Although the track listing is short, each song expands to full capacity in the live setting.

For more information, visit obliqsound.com. Parlato is at Rockwood Music Hall Nov. 16th with TILLERY. See Calendar.

Night Songs

Janis Siegel (Palmetto) by Suzanne Lorge

Refraction - Breakin’ Glass

Trio 3 + Jason Moran (Intakt)by Ken Waxman

Live in NYC

Gretchen Parlato (Obliqsound)by Adam Everett

SANDY SASSO

“Sasso has garnered a widespread reputation as a first rate vocalist.”

—NJ JAZZ SOCIETY“Her greatest gift is the manner in

which she delivers a lyric. Smooth and seductive. You’re not talking about

your average singer.”—JAZZ INSIDE

“Sasso is a masterful chanteuse, with an unerring sense of swing.

“Hands On” highlights her sultry voice and relaxed groove.”

—HOT HOUSE

SANDYSASSO.COM

Eric Person Big Band Monday, November 11th

8:00 &10:30pm

"One of the finest modern jazz outings of 2012." Glenn Astarita of All About Jazz.com

Tickets $10 /$15 avail. at www.bluenote.net

www.ericperson.com

Music to be played from Eric’s spectacular CD

“Thoughts on God”

Avail. at cdbaby & iTunes

Blue Note Jazz Club Presents

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 19

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20 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Bassist Ingebrigt Håker Flaten has, since the mid ‘90s, established himself as one of the bonafide stars on his instrument. One need only look at two of his most compelling collaborations - Scandinavian power trio The Thing and delicate Norwegian sax-bass duo with Håkon Kornstad - to realize he can do it all. In between those two poles are dozens of partnerships, either of long-standing or wonderfully ephemeral, which further demonstrate his range and musical vision. It has helped immensely that his experience is bi-continental: after coming up in Norway and then the larger European scene, he moved to Chicago and immersed himself in that vibrant community and now lives in one of America’s musical centers - Austin, TX. Three of the four albums under review are live recordings from 2010-12; three of the four are fully improvised; Håker Flaten is matched with longtime partners and new associates under his own name twice and as part of collective groups; Chicago, New York and Europe are represented. All are just slices of Håker Flaten’s oeuvre. Kampen is the oldest, a November 2010 concert recording from Oslo. Joining Håker Flaten is cornet player Bobby Bradford, saxophonist Frode Gjerstad and fellow Thingee Paal Nilssen-Love on drums. The album opens with a short duet between Bradford and Håker Flaten before Gjerstad and Nilssen-Love skitter in alongside them. Gjerstad’s ear-piercing tone can be trying but it’s leavened by the richer tones of his bandmates. Despite the bassist and drummer’s extensive familiarity with each other, this is a generally balanced and probing improv session, squarely in the low-peaks-and-shallow-valleys school. Håker Flaten and Bradford, born nearly 40 years and 4,500 miles apart , are nicely paired. The proceedings vary whether an improvised moment derives its melodic content from Gjerstad’s freneticism or Bradford’s prodding. Now Is continues and expands a partnership between Håker Flaten and saxophonist/trumpeter Joe McPhee, heard to great effect on a pair of duo recordings on Not Two and Clean Feed. Joining them are guitarist Joe Morris and trumpeter Nate Wooley for a July 2011 studio recording made right before the same quartet played at The Stone. With the exception of “As If”, the eight NYC-related (in title at least, with nods to some of the metropolitan sports teams, “Rangers” perhaps expressing frustration in a team without a championship in almost 20 years) pieces are spontaneous creations and refreshingly short. There is a nice contrast between the warbly horns and the crisp snap of the strings, no one necessarily pushing to the forefront but no one tentative either. And there are enough snatches of melody and form perhaps to imply some discussion beforehand but

certainly careful listening throughout. The longest track, the nearly 10-minute “Pent”, introduces a blues sensibility through Håker Flaten’s elephantine walk. In August 2011, Håker Flaten brought his Chicago Sextet to the Saalfelden Festival in Austria. Players like guitarist Jeff Parker, saxophonist Dave Rempis, vibraphonist Jason Adasiewicz and drummer Frank Rosaly are all veterans of the modern Chicago avant jazz scene; fellow Norwegian, violinist Ole Kvernberg, is the interesting addition for these four Håker Flaten compositions. The textural mix of “Virgoan Ways” recalls gauzier moments of ‘70s fusion, à la Jean-Luc Ponty, with some occasional similarity to the writing, except for sparse, open sections colored by vibraphone declamations. “Rosewood Avenue” slips in via the leader’s electronics and vamps on the simple theme that pokes its head out amid the digitized brambles. “Wells”, another short piece, too has its foundation in electronics but sharply contrasts what preceded it by approximating the frenzy of an air raid. The closing “Irrational Ceremony” returns to the Ponty vibe of the first piece, but now from his King Kong period (no surprise that both bands have very similar instrumentation). Håker Flaten doesn’t indulge this side of his playing too often - the last time may have been 2005’s Quintet (also with Kvernberg) - which is a shame since he has a unique take on what is otherwise a calcified genre. The most recent disc is a live trio date from Austria, recorded in March 2012, Håker Flaten one side of an equilateral triangle with Chicagoans Mars Williams (saxophones) and Tim Daisy (drums). Three improvised pieces of descending length make up Moments Form. Williams is a bit of an outlier in improvised circles, with as many credits in avant rock as jazz but he is a forceful member of the Windy City saxophone lineage and the sound of this group is closest to some of The Thing’s earthier moments, buoyed by Håker Flaten’s thick propulsiveness. Speaking of lineage, though a modern session, there are aesthetic allusions to earlier trio dates by the likes of Peter Brötzmann, Albert Ayler and even Sonny Rollins. The nuances of Håker Flaten’s bass are a bit hard to hear when the trio is going full blast, more of a feeling, not unlike Tom Araya on Slayer’s Reign in Blood, but the ear becomes accustomed to filling in the details as the set progresses. Daisy, as was always evident from his work with the Vandermark 5, is as flexible as his bandmates. The middle piece, “Galactic Ballet”, is a masterful example of slow, simmering improvisation, which almost boils over before the heat is turned down at the end.

For more information, visit nobusinessrecords.com, cleanfeed-records.com, tektite-records.com and muku.at. Håker Flaten is at ShapeShifter Lab Nov. 18th as a leader and Guggenheim Museum Nov. 20th with The Thing. See Calendar.

Kampen Bobby Bradford/Frode Gjerstad/Ingebrigt Håker Flaten/

Paal Nilssen-Love (NoBusiness)Now Is

Ingebrigt Håker Flaten New York Quartet (Clean Feed)Live at Jazz Festival Saalfelden 2011

Ingebrigt Håker Flaten Chicago Sextet (Textite)Moments Form

Mars Williams/Ingebrigt Håker Flaten/Tim Daisy (Idyllic Noise)

by Andrey Henkin

www.sunnysiderecords.comeOne Distribution

78th Birthday Concert for Roswell RuddSunday, November 24, 3:00 pm

LE POISSON ROUGE, 156 Bleecker Street

ROSWELL RUDDTROMBONE FOR LOVERS

SSC1369 / in stores November 19

featuringROSWELL RUDDJOHN MEDESKI

STEVEN BERNSTEINBOB DOROUGH

FAY VICTORMICHAEL DOUCET

ROLF STURMGARY LUCAS

HEATHER MASSE

It is amazing how hearing a song can bringyou back to another time and place. A refrain or amelody sparks an image of the past as well asemotions from that particular moment.

Legendary trombonist Roswell Rudd has puttogether a recording of pieces that have this effecton him. The musical pieces chosen have becomestandards of American song, most of the selec-tions stemming from Rudd’s recollections ofchildhood when he would sing the songs inschool or in church. Trombone for Loversbrought together not only a collection of fantasticmusic but also a tremendous assortment ofmusical talent, including John Medeski, BobDorough, and Steven Bernstein.

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 21

Swedish saxophonist Mats Gustafsson is more than just a hard-blowing improviser with a penchant for seeking out bright and high-octane peers in a variety of contexts. An ambassador for Scandinavian jazz, his impulse is to spotlight the largely forgotten work of heroes like saxophonist Bengt “Frippe” Nordstrom and bassist George Reidel and one is as likely to find him quoting Lars Gullin as Lightning Bolt in his fiercely nuanced blowing. The Thing is Gustafsson’s most regular unit and includes Norwegian bassist Ingebrigt Håker Flaten and drummer Paal Nilssen-Love; the cooperative trio has been active since the close of the ‘90s. Often appearing with guests, BOOT! presents the trio at their core on a set of six pieces including Coltrane’s “India” and Ellington’s “Heaven”, the former arranged for baritone saxophone and sludgy electric bass, aesthetically given over more to the Melvins than Indo-jazz unfurling. Sure, they are a punkish trio at heart - split tones supported by electric fuzz and incredibly taut time - but Gustafsson brings particulate, gruff melodies to the proceedings that reinforce his free music roots and BOOT! offers a raw slice of The Thing at their most rocking. Gustafsson and fellow obsessive record collector, Sonic Youth guitarist Thurston Moore, met at Harald Hult’s Blue Tower (now Andra Jazz) Stockholm record store in the mid ‘90s. It’s not too surprising that a social and performing relationship grew out of that meeting, which has resulted in concerts and recordings with guitarist Jim O’Rourke (Diskaholics Anonymous Trio). Vi Är Alla Guds Slavar was recorded at London’s Café OTO in fall 2012 and features Gustafsson on live electronics in addition to winds, pulsing and warping in shrill asides to Moore’s battered, screwdriver-aided Fender glitches. Across two sidelong chunks of sputtering, soaring and charged free play, the pair engages pure ‘noise music’ as well as a guttural no-wave update on the guitar-saxophone duos of Derek Bailey and Evan Parker. Birds joins the saxophonist with longtime collaborator/percussionist Raymond Strid (Gush, Tarfala Trio) and British guitarist John Russell for a pair of improvisations recorded live at the 2011 Hagen Festen in Floda, Sweden. With Gustafsson on soprano as well as baritone, the scrapes and erased strums of acoustic guitar and Strid’s delicate, high-tuned accents give the music a decidedly ‘English’ feel. It’s rare to hear the hard-charging Swedish saxophonist in such a spare, flitting context, but Birds is proof that he’s able to translate muscularity into a program of controlled microbursts and lateral conversation. Strid is

beautifully propulsive in muted thrusts and obsessive, woody patter and while this music has a lacy openness, the underlying impetus is toward release of energy, either with insectile athletics or gradually layered complexity. Ich Bin N!ntendo & Mats Gustafsson brings our hero together with the Norwegian free-rock trio of guitarist Christian Skår Winther, electric bassist Magnus Skavhaug Nergaard and drummer Joakim Heibø Johansen on three pieces for power trio and baritone saxophone. Leaving few stones unturned in its 28 minutes, Ich Bin N!ntendo grant a feedback-drenched cavalcade of drilling pyrotechnics and blown-out, clattering rhythm à la High Rise at their most fractured. Gustafsson’s baritone is subsumed in a lo-fi squall that nevertheless sallies forth with garage-y kinetics and the whole thing sounds like it’s being played through shot speakers. For some (this writer included), it is a welcome slathering of dirty-needle distortion and no-BS brevity among the overstuffed and precious. It may come as something of a surprise to see Gustafsson billed alongside a tried-and-true piano trio, but Shift is just that and an opportunity to experience the work of the lesser-known Swedish trio Correction (Sebastian Bergström, piano; Joacim Nyberg, bass; Emil Åstrand-Melin, drums). Correction have two releases on Ayler Records from 2008 and 2010, respectively, the second of which Gustafsson lavishly praised in the liners. While not exactly in the same vein as Per-Henrik Wallin’s trio of the ‘80s-90s, the late Stockholm pianist was a crucial influence on the young Gustafsson and a similarly rollicking free traditionalism imbues Shift. The seven pieces on this set, while completely improvised, balance crisp chordal waves with stripped-down, shimmering fields into which Gustafsson’s neighing threads are woven. More pairings out of left field are certainly welcome in the saxophonist’s broad discography.

For more information, visit thethingjazz.com, otoroku.limitedrun.com, denrecords.eu, vafongool.no and nobusinessrecords.com. Gustafsson is at Guggenheim Museum Nov. 20th with The Thing. See Calendar.

Norwegian drum dynamo Paal Nilssen-Love can do it all. Ferocious multi-directional rhythms imparted with impeccable precision. Check. Rocky grooves spiced with imagination. Check. Nuanced tone color play with untethered cymbals, gongs and assorted percussion. Check. Perhaps that’s why he has been the drummer of choice of the last decade or more for some of the most uncompromising free jazz leaders such as Peter Brötzmann, Mats Gustafsson and Ken Vandermark, featuring in outfits such as The Thing and Atomic. Three recent live discs demonstrate both his consistency and his scope. Going under the moniker Double Tandem, Nilssen-Love and Vandermark join forces with Dutch reedman Ab Baars for OX, their second outing. Even though all three cuts are totally spontaneous, an air of premeditation and almost architectural intent pervades proceedings.

That’s due in large part to the compositional sensibilities of the horn players, both prolific composers as well as seasoned improvisers, who are content to adopt complementary stances as the moment demands. Their conception also inspires Nilssen-Love, who moderates his all-action style to produce effective single line accompaniments, encompassing tolling cymbals, skeletal tattoos or chattering hi-hat at various points. He also recognizes when to sit out entirely, creating an expansive and uncluttered feel, which benefits the wonderful interplay between the two horns. Baars’ cool clarinet lines prove likely to combust into spiraling yelps while on his richly-hued tenor saxophone, he ranges from a broad vibrato and fractured split-toned shrieks. Vandermark’s gruff baritone and muscular tenor act as a responsive foil, particularly when settling into repeated motifs, which supplement the sense of structure. Both “Toreros” and “Omasum” comfortably breast the 20-minute marker, going through multiple guises as a result, which allude to the bucolic and the fevered and everything in between in glorious consort. The closing “Akabeko” forms a restful coda to an exhilarating ride. The well-practiced pairing of Nilssen-Love and Vandermark also lies at the heart of Lean Left, a quartet completed by the dual guitars of Terrie Ex and Andy Moor from Dutch post-punk veterans The Ex. Two lengthy set-long cuts spread out the unit’s wares on Live at Café Oto. Unsurprisingly they rank high in terms of energy, intensity and attitude. Nilssen-Love explodes from the off, flanked by gobbets of scrabbling percussive guitar, in surges of unadulterated potency. Vandermark fights hard to stay in touch, his R&B-inspired riffs and unfettered skronk adding another layer of complexity to the hard-driving juggernaut. Even when they group around a shared meter, that merely acts as a launchpad for yet another incendiary excursion, rather than any resolution. But it’s not all thunder and lightning. In a short postscript included as part of “Drevel”, the guitars percolate through a drifting ambient soundscape while earlier Ex picks up a reiterated figure from Vandermark, which he maintains as everyone else falls away into atmospheric rumination and Nilssen-Love delves into an everything-but-the-kitchen-sink clatter. One of the strongest and most distinctive features of the band resides in the raucous exchanges between the effects-laden guitars, which are fortunately separated well in the stereo soundstage. The Windy City connection also looms large on Mi Casa Es En Fuego, the third release by power trio Ballister, captured in concert at Montreal’s Casa Del Popolo during a 2012 North American tour. Alongside Nilssen-Love, the collective comprises reedman Dave Rempis and cellist Fred Lonberg-Holm, both perhaps best known for their inventive roles in the Vandermark 5. Together they generate an environment in which no one gives any quarter. Nilssen-Love’s relentless throbbing drums evoke a pounding heart in the opening “Cockloft”, fuelling the adrenaline rush of keening falsetto alto saxophone and slashing cello. Appreciating that all-out assault can only continue for so long, the trio regroup as Nilssen-Love creates an uneasy tension through overlaying disparate tempos, before Rempis crowns the disquiet with his raw-edged skirling tenor. Both the remaining cuts provide more light and shade. “Smolder” does just that, pitching baritone snorts, electronic burbles and scraped cymbals against each other in a gradually intensifying staccato swirl until Nilssen-Love ups the ante with delicate press rolls that gain volume like a fast-approaching locomotive while “Phantom Box System” posits a considered interchange containing the threat of imminent escalation, which eventually comes on the back of dancing cello pizzicato and sinuously fluent tenor.

For more information, visit denrecords.eu, unsounds.com and daverempis.com/ballister. Nilssen-Love is at Guggenheim Museum Nov. 20th with The Thing. See Calendar.

Double Tandem: OX Ab Baars/Ken Vandermark/Paal Nilssen Love (Den)

Live at Café OTO Lean Left (Unsounds)Mi Casa Es En Fuego Ballister (s/r)

by John Sharpe

BOOT!

The Thing (The Thing/Trost)Vi Är Alla Guds Slavar

Mats Gustafsson/Thurston Moore (OTOroku)Birds

Mats Gustafsson/John Russell/Raymond Strid (Den) Eponymous

Ich Bin N!ntendo & Mats Gustafsson (Va Fongool)Shift

Correction (with Mats Gustafsson) (NoBusiness)by Clifford Allen

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22 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

In the liner notes she wrote for I Wanna Be Evil: With Love to Eartha Kitt, René Marie explains that she used to swear she would never record a tribute album. But it’s good that the expressive vocalist reconsidered, since she takes quite a few chances on this memorable tribute to the late singer/actress Eartha Kitt (who died in 2008 at 81). Kitt was not a jazz artist, per se, but gritty, big-voiced Marie is a jazz improviser with R&B and blues influences and she captures Kitt’s fun, playful spirit without obscuring her own personality. No one will accuse Marie of trying to sound exactly like Kitt on “Santa Baby”, “Oh, John” or the title track, all of which receive improvisatory postbop makeovers. And she isn’t shy about letting her sidemen enjoy some solo space, including trombonist Wycliffe Gordon, trumpeter Etienne Charles, reedman/flutist Adrian Cunningham and pianist Kevin Bales. Marie performs two Cole Porter standards - “Let’s Do It” and “My Heart Belongs to Daddy” - but manages to keep them sounding fresh. The former is a bluesy, funky, soul-tinged workout and she brings a strong bossa nova influence to the latter. Meanwhile, “C’est Si Bon” (sung in both English and French) becomes an intriguing blend of chanson and postbop. But Marie sticks to English on “Come On-a My House”, which Kitt liked to perform in Japanese. Most of the material comes from Kitt’s repertoire, including “I’d Rather Be Burned as a Witch” and Dave Frishberg’s sexy “Peel Me a Grape”. But the dusky “Weekend”, which has a softcore BDSM theme, is a Marie original; this makes sense when one considers that Kitt played the dominatrix-like Catwoman on the ‘60s Batman TV series. However, the woman described in “Weekend” is submissive rather than dominant. Marie’s albums have been full of surprises and her risk-taking spirit continues to serve her well here.

For more information, visit motema.com. This project is at Jazz Standard Nov. 21st-24th. See Calendar.

20 years ago pianist Cyrus Chestnut started his streak of swinging albums for Atlantic Records and has steadily continued on that path, offering a deft touch and an ever-present melodic bent. Soul Brother Cool is an in-the-pocket traipse through ten originals aided by bassist Dezron Douglas, drummer/producer Willie Jones III and trumpeter Freddie Hendrix. There is a mellow sleepiness that pervades much of the album, opening with a light bounce on “Spicy Honey” and the title track, both kickstarted by Jones’ kit. This album focuses more on the “cool” than the “soul brother”, more often veering into the realm of

early ‘60s recordings like Herbie Hancock’s Maiden Voyage and Wayne Shorter’s Speak No Evil instead of the gospel fervor Chestnut has displayed in the past. Hendrix proves to be a revelation in the small setting. He digs into telepathic interaction with Chestnut’s high-register right hand on several melodies and shines in the solo spotlight. “Piscean Thought” features sputtering blasts over Chestnut’s vigorous rumbling while “Intimacy” lets the trumpeter speak in long phrases amid the band’s spacious support. The always thoughtful leader has put together an enjoyable enough set here, with conservative tune lengths and tempos that hover somewhere in the middle. “The Raven” is a propulsive exception, barreling in with a Messengers-esque urgency. Hendrix runs with it, reaching into the upper register for a welcome shot of adrenaline. Chestnut keeps it going, succinctly plucking his disjointed phrases from a similar range, building into an excitement reminiscent of the fire that marked his early trio records. Chestnut’s songwriting follows a logistical rubric that entertains without challenging listeners too much. There are plenty of pleasantly engaging moments and the band is in fine form but overall the proceedings feel a little too subdued.

For more information, visit williejones3.com. Chestnut is at Smoke Nov. 22nd-23rd. See Calendar.

While the prevalence of vibraphone-piano-and rhythm-section quartets seems to be a validation of the influence and importance of the Modern Jazz Quartet (MJQ), that cynosure of 20th Century jazz combo accomplishment is rarely reflected in the music of those groups, which seem more indebted to the legacy of Milt Jackson than of the MJQ itself. The rub, of course, is that MJQ pianist-musical director John Lewis’ fondness for austerity, forms like fugue, penchant for European themes and delicate balance achieved among four instruments reflecting virtues of the classical string quartet is what made the MJQ so unique. Pianist Aaron Diehl reflects much of Lewis and his vision for the quartet in this CD, although Diehl is never simply mimicking Lewis. Rather, he draws from Lewis’ approach while adding his own creative vitality and personality. The quartet on seven of the ten tracks here - Diehl, vibraphonist Warren Wolf, bassist David Wong and drummer Rodney Green - often recalls the MJQ, but “The Cylinder”, a Jackson piece that was a longtime MJQ staple, offers a direct homage, right down to the Lewis-like arranged roundelay, counterpoint melodies and precise change-ups and stop-times. Wolf reflects Jackson’s infectious fervor and Diehl comps and solos in the spare, clipped manner of Lewis. Diehl’s “Generation Y” has a “Django” template; like that Lewis piece, it begins with a slow, semi-rubato theme then falls into faster swing for the improvised solos. It is actually refreshing that Diehl takes inspiration from Lewis, rather than the usual suspects reflected by so many of his contemporaries in their 20s and 30s. His “Blue Nude” may be inspired by the MJQ, but his cubist assemblage of divergent parts, from spacey piano and martial drum licks to spare, lyrical chords and rattling vibes-drums contrasts, is purely his own.

The three non-quartet pieces reveal more aspects of Diehl’s musical personality. Ellington’s “Single Petal of A Rose” is a solo rendition of measured grandeur and majestic simplicity. Trio versions (sans Wolf) of Ravel’s third movement of “Le tombeau de Couperin” and Gershwin’s “Bess, You Is My Woman Now” both reveal how hypnotically Diehl can unfurl variations on themes beyond the usual pop song form. As for pop songs, the quartet’s version of “Moonlight in Vermont”, with its modernist shards of melody and blithe swing, is a perfect example of reimagining a hoary standard.

For more information, visit mackavenue.com. Diehl is at Miller Theater Nov. 23rd. See Calendar.

The Bespoke Man’s Narrative Aaron Diehl (Mack Avenue)

by George Kanzler

I Wanna Be Evil: With Love to Eartha Kitt

René Marie (Motéma Music)by Alex Henderson

Soul Brother Cool

Cyrus Chestnut (WJ3)by Sean O’Connell

DRUMMERS!You’re invited to join Sam Ulano’s“Drum Reader’s Club”

For only $25 a yearyou’ll get a new

16-page reading book,starting Dec. 2013-

April 2014-July 2014-Oct. 2014

There’s Nothing Like It(you’ll see)!

To order, send a check ormoney order for $25 to:

Sam Ulano127 W. 43rd St., Apt. 1026

New York, NY 10036Call 212-977-5209

for more information.

Don’t Miss It, It’s A Hip Idea!

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24 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

This perfectly recorded session happened in 2006, in producer/engineer George Klabin’s private studio in Beverly Hills, in front of a live audience. In his liner notes, saxophonist Bob Sheppard describes it as a “bantering about in a deeply rich shared vocabulary...with no rehearsal or even a talk through.” Four cats, a band for one day, rethinking nine standards. Jazz is art of the moment, but when everything works, it sounds foreordained. David Kikoski may not have played more piano on record. His trio feature, “If You Could See Me Now”, is stunning in its diversity and comprehensiveness, evolving from lush to spare to deep in a groove to floating to fractured, all without losing the thread of Tadd Dameron’s great song. Kikoski provides luminosity and buoyancy for this music. Bassist Dave Carpenter and drummer Gary Novak provide its counterpoise of relaxation and intensity. But Sheppard is the primary reason every one of these familiar songs sounds fresh. On “Star Eyes” he hovers over the melody and descends to touch it barely here and there. “How Deep Is the Ocean” is implied

more than stated, in snatches and fragments. “Autumn Leaves” also sustains a casual relationship to its form, always there, but as an intermittent subtext to the new songs that Sheppard and Kikoski and Carpenter come upon. (Carpenter’s untimely death shortly after this session was a tragic loss for jazz.) Sheppard rides air currents in a levitational opening cadenza, then swoops down into “My One and Only Love”. The design is ornate. The passion is genuine, although measured and dignified. Sheppard is a new millennium version of a West Coast tenor player. His light tone and subtlety place him in a lineage with Bill Perkins and Bob Cooper. But his version of lyricism is too complicated, with too many hard turns, to belong in the “Cool School”.

For more information, visit bfmjazz.com. Kikoski is at Smalls Nov. 25th-26th. See Calendar.

Radiant is the word that comes to mind to describe Free Flying, a duo between pianist Fred Hersch and guitarist Julian Lage. Once upon a time both were childhood prodigies. Now at nearly 57 and 25,

respectively, the mutually inspirational effect of their excellent musicianship permeates this live recording. It is music steeped in a sense of adventurous immediacy between two exceptional players who trust each other. Hersch’s gifts as a composer are widely acknowledged as well his status as one of the outstanding musicians of his generation. All but two of the pieces included here are his own. The opener is “Song Without Words #4: Duet”. It shifts from a Philip Glass-like beginning to a melodious river-like outpouring from Hersch. When Lage slips in, it is with such a nearly imperceptible subtlety that at first it feels as if he had emerged out of Hersch’s keyboard. Here and throughout theirs is a conversation that revels in melodic ideas and rhythmic play. “Down Home” switches to a funkier barrelhouse mood with some hymn-like moments. Hersch’s playing has a strong sense of narrative; we are hearing a fully expressed story, which just doesn’t happen to have words. When Lage joins in, it’s with a sound that Hersch has remarked is “both solid and transparent”. The skillful delicacy of Lage’s partnering is especially evident as he emerges and then recedes in “Beatrice”. It’s distinct and yet complements Hersch’s jazzy blues. The title tune, dedicated to Egberto Gismonti, could as easily be a tribute to Bach. It’s yet another expression of the seemingly infinite variety of Hersch’s virtuoso playing. Once again the interplay is exceptional. Each player seems to be inspiring the other with ebullient wordless suggestions of “What about this?” and “Try that!”. Spirited, lyrical and intimate, Free Flying is an occasion for hurrahs and repeated listenings.

For more information, visit palmetto-records.com. This duo is at Blue Note Nov. 25th-27th. See Calendar.

From The Hip

David Kikoski/Dave Carpenter/ Gary Novak/Bob Sheppard (BFM Jazz)

by Tom Conrad

Free Flying

Fred Hersch/Julian Lage (Palmetto)by Andrew Vélez

Absolutely Live & Stephen Cloud present

30TH ANNIVERSARY CONCERT

KEITH JARRETTGARY PEACOCK

JACK DEJOHNETTEDEC. 11 @ 8PM

CARNEGIE HALLStern Auditorium/Perelman Stage

Carnegie Hall Box Office / CarnegieCharge 212-247-7800 online at carnegiehall.org

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 25

After more than a decade on the scene, pianist Aaron Parks continues to live up to his initial promise. He began his career at 18 with Terence Blanchard and was acclaimed for his technical prowess. Since then, Parks has cemented his reputation with 2008’s Invisible Cinema and the character he’s imparted to the collective James Farm. Arborescence takes a radically different approach though, with the pianist unaccompanied, but ultimately it’s characteristic Parks, his reserved coolness occasionally loosed in frothy eruptions. Arborescence is an almost entirely improvised collection of moody vignettes. The album’s ruminating nature was by design since Parks recorded the album with the lights down low so he could fall deeply into his own unconsciousness, as if he were practicing in his home. The result is intimate but accessible, apt in comparison to works by Keith Jarrett or Paul Bley. The title suggests the treelike progression by which each song seems to blossom, from melancholy beginnings to fitful bursts of evocation, perhaps best exemplified by “Toward Awakening”. Here, Parks sprinkles question marks between the atmospheric riffing before climaxing in an anthem of fitful cries. The pianist finds moments of reprieve amid all the thoughtfulness. There’s the knotty “Squirrels”, where elusive playfulness keeps everything light and airy, and the unresolved trepidation of “Branchings”. “In Pursuit”, meanwhile, is deceptively hopeful until suddenly the pianist is snatched up in a frantic boom of doubt. The songs are chock full of themes, the listener caught in Parks’ unending sense of melodicism. At The Jazz Gallery last month, the audience was similarly intoxicated by Parks’ absorbing moodiness. As his hands struck the keys, notes seemed to pool slowly until bubbling over with cascading intensity. At the concert, the songs melted into one another with even Parks pausing to muse over the microphone, “What am I doing?” He was very absorbed, nodding and moaning, at times clicking his tongue percussively, as if unable to control his body amid all the lively improvisation. He hinted at a subdued yet beautiful “Homestead” and mashed in a lush “Past Presence”. Yet, these served as merely a vehicle for Parks to slip

deeper into a musical coma. Upon addressing the audience, the pianist’s eyelids lazed in a sort of inebriation, surprisedly snapping to attention as if he had just realized the audience had entered the room. The lolling steadiness of “Elsewhere” was easily the highlight of the night. The tune is very economical, its space lending an atmospheric dreaminess. Parks bore into that silence an unfilled void of longing that seemed to ebb under his delicate caress. Parks is certainly a talented pianist yet that technical know-how never overshadows his passion. Instead, one feeds the other and vice versa.

For more information, visit ecmrecords.com

Father of Ethio-jazz, best known stateside for Éthiopiques, Vol. 4 and his collaborations with Russ Gershon’s Either/Orchestra, Mulatu Astatke (born 70 years ago in Jimma, Ethiopia) is a seminal figure from Addis Ababa’s vibrant ‘70s music scene, a conductor, composer, arranger, vibraphonist, conguero and keyboardist who defined and continues to refine his highly unique approach to jazz-making. Sketches of Ethiopia with the Steps Ahead Band is an extension of earlier projects with the UK’s Heliocentrics, several of whom - multi-reedist James Arben and keyboardist Danny Keane - are featured here, along with British futurist funkateers like percussionist Richard Olatunde Baker, bassist John Edwards, pianist Alexander Hawkins, drummer Tom Skinner, trumpeter Byron Wallen and vocalist Tesfaye, all recorded in London. Traditional Ethiopian musicians, recorded in Addis Ababa, are also part of the mix: Yohannes Afwork on washint (side-blown flute), Mesele Asmamaw on krar (bowl lyre) and Indris Hassun on masinko (single-stringed bowed lute). Additional overdubs were added by French musicians, including Malian vocalist Fatoumata Diawar and Mandinka kora player Kandia Kora, making the project a true melting pot of AfroEuropean culture. Included are two traditional songs (“Hager Fiker” and “Gumuz”) and a Gershon cover (“Azmari”), with the rest originals, served up in Astatke’s slow-flow arrangements, mixing Middle Eastern melodies, pyramiding background vocals, call-and-response sections, breakdowns, catchy horn lines and bubbling counter-lines that recall Fela Kuti’s Afrobeat workouts or Chuck Brown’s go-go jams. There are soloistic flourishes - Astake’s noodly vibes on “Azmari”; Arben’s spacey bass clarinet on “Assosa Derache”; Afwork’s ethereal washint and Wallen’s waxing trumpet on “Motherland Abay” - but this music is more about timing, texture and interaction, evident on tracks like “Gamo”, with its ornate melodic lines framed by an intricate soundscape; “Motherland Abay”, a pastiche of sonic surfaces, from lush horn pads to a stark kora-masinko duet; or “Surma”, where memorable riffs are underpinned by muted guitars and polyrhythmic commentary. The high-fidelity recording separates and highlights the multi-layered parts, both acoustic and electric, rendering a soundscape similar to a live show - where you’d bound to be moving some part of your body in response.

For more information, visit jazzvillagemusic.com

Arborescence

Aaron Parks (ECM) by Robert Milburn

Sketches of Ethiopia

Mulatu Astatke (Jazz Village)by Tom Greenland

www.sunnysiderecords.comeOne Distribution

STEPHAN CRUMP’S ROSETTA TRIOTHWIRL

SSC 1364 - In Stores NOW

When he first assembled the Rosetta Trio eight years ago, Crumprealized that the unique ensemble featuring acoustic guitaristLiberty Ellman and electric guitarist Jamie Fox had an immediaterapport.

The new recording Thwirl is the Trio’s beautiful thirdrecording, finding the band members in lockstep on 10 originalsongs.

DIEGO URCOLAMATES

SSC 4112 - In Stores NOW

Performing November 4th, 10pm at SMALLS JAZZ CLUB

183 West 10th Street, NYC

The friendly tradition of drinking mate served as inspirationfor Argentinean born, New York based trumpeter DiegoUrcola. For his playfully titled new recording Mates, Urcolawanted to mirror this give and take between friends (or“mates”) with that of the musical duet. To achieve this, thetrumpeter recorded a number of intimate meetings with ahandful of his closest musical associates, including bassistAvishai Cohen, vibraphonist Dave Samuels, harpist EdmarCastañeda and bandoneón player Juan Dargenton.

PerformingFriday, November 14, 8:00 pm

GREENWICH HOUSE, 46 Barrow Street

MEETS

Dizzy’s Club Coca-Cola@ Jazz At Lincoln Center

Columbus Circle, 5th FloorTuesday, November 26th

Sets at 7:30 & 9:30 pm $30jalc.org/dizzys

QJOG: Josh Deutsch, Jon Irabagon, J. Walter Hawkes, Amanda Monaco, Mark Wade, Brian Woodruff

BJU: Tammy Scheffer, Adam Kolker, David Smith, Bruce Barth, Carlo De Rosa, Owen Howard, Rob Garcia

queensjazz.org / brooklynjazz.org

Page 26: COOL TROMBONE LOVER

26 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

The Preservation Hall Jazz Band may be the keepers of the flame of traditional New Orleans jazz, but the group is by no means stodgy or conservative or averse to trying new things. That’s clear on the band’s new album and the first in its more than 50-year history comprised entirely of original material. The album was produced by bassist/tuba player Ben Jaffe, whose parents founded Preservation Hall in 1961, and Jim James from the rock group My Morning Jacket. It features tunes written by several bandmembers, as well as collaborations with an eclectic group of composers including legendary pop songsmith Paul Williams. Like recent projects that paired the eight-piece band with performers from other genres, like bluegrass legend Del McCoury and alt-country rocker Steve Earle, That’s It! is somewhat of a departure for a group so steeped in tradition. But everything retains an unmistakable and authentic New Orleans feel, even if it strays a bit (but never too far) from the early jazz standards and swinging blues that remain the group’s bread and butter. The 11 tracks cover a wide spectrum of New Orleans music, past and present. There are boisterous

instrumentals, like the title track and “Sugar Plum”, recalling the Crescent City modernism of the Dirty Dozen or Rebirth Brass Bands, and vocal numbers like “Rattlin’ Bones”, which suggest the sly, dark humor of Dr. John. Some of the tracks, like the good-time gospel of “Dear Lord (Give Me the Strength)”, sound like they were unearthed from a ‘20s time capsule while others, like the high-energy funk of “Halfway Right, Halfway Wrong”, sound surprisingly contemporary. The multigenerational ensemble, with members ranging in age from their 30s to their 70s, has found a way to survive by reinventing itself without losing its soul. This is an exuberant, unpretentious album that captures the joy and spirit of jazz’ birthplace and one of its most long-lived groups.

For more information, visit legacyrecordings.com. This band is at Apollo Theater Nov. 16th. See Calendar.

For this reviewer’s money, the best album of 2011 was the Fay Victor/Other Dimensions In Music collaboration Kaiso Stories (Silkheart). A recasting of songs from Victor’s Caribbean roots, she was backed

by one of the premier improvising ensembles in jazz, a true meeting of the minds. But the best way to hear her is with her own group. Absinthe & Vermouth, their third album is a follow up to 2009’s The Free Song Suite and the band this time around is a trio with guitarist Anders Nilsson and bassist Ken Filiano. Victor’s voice operates on many levels: it can be sweet and seductive, harsh and abrasive, one minute operating in the lower, quiet end of the spectrum before abruptly swooping into the stratosphere. When improvising, she frequently jumps octaves in a manner not dissimilar to Eric Dolphy’s improvisations. She alternates between singing and reciting lyrics and there’s great theatricality in her presentation. Her lyrics are alternately wry, witty, profound and bittersweet, sometimes all in one song. Frequently they are vignettes about her life. All that and more is evident on Absinthe & Vermouth. The communication level among the trio is finely tuned and while Anders and Filiano are indeed supporting Victor’s voice and lyrics, she allows them free range to express themselves as well. The epic (over 15 minutes) “I’m On A Mission/Paper Cup” is a perfect example: the first part is an almost rock-ish high energy blowout that contains a lengthy middle instrumental section before segueing into the lovely “Paper Cup”, Nilsson’s full-bodied chords and Filiano’s deep basslines surrounding Victor’s richly honeyed voice cooing the lyrics. The program is sequenced with very little space between songs, which gives the entire album a suite-like effect. Get drawn into the spell of this music and you could easily take in the album’s 72 minutes in one fell swoop.

For more information, visit greeneavemusic.com. This project is at JACK Nov. 13th. See Calendar.

That’s It!

Preservation Hall Jazz Band (Legacy)by Joel Roberts

Absinthe & Vermouth

Fay Victor Ensemble (Green Avenue Music)by Robert Iannapollo

FAUR

É AT

PLA

Y

Chesky recording artist vocalist Louise Rogers and pianist Mark Kross offer their jazz interpretations of art songs by French composer Gabriel Fauré.

The harmonic complexities, subtleties, and beauty of Fauré’s melodies combined with the romantic lyricism of poets such as Victor Hugo and Paul Verlaine inspired these musical explorations. The results are at once pensive and playful, languid and lively, haunting and heavenly.

Louise Rogersvoice

Mark Krosspiano

Somethin’ Jazz ClubSaturday, Nov. 9 at 7pm

212 E. 52nd St., NYC

Page 27: COOL TROMBONE LOVER

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 27

Drummer Maurício de Souza dishes up a selection of familiar songs and original songs in this new CD, a mixture of Brazilian music and jazz. His bandmates include saxophonist Sharel Cassity, trumpeter Greg Gisbert, guitarist Mike Stern, vibraphonist Jerry Weir, pianists Marc Copland, Ben Winkelman or Miho Nobuzane, acoustic bassist Gary Mazzaroppi and electric bassist John Lee. de Souza provides the steady pulse throughout the album, punctuating the other musicians’ statements, and is also responsible for all of the arrangements, except for the lovely Cassity ballad “The Acceptance of Resolve”. Brazilian favorites include Jobim’s “Viva Sonhando” (featuring smooth and swinging performances by Stern and Winkelman), Edu Lobo’s “Ponteio” (with Weir’s striking solo and a stellar contribution by Mazzaroppi) and Dizzy Gillespie’s “Con Alma” (which shows off Cassity’s inspired saxophone work and some interesting tempo changes). The Webster-Kaper standard “Invitation” gets an attention-demanding treatment with fine piano work from Winkelman and an engaging conversation between Stern and Mazzaroppi, de Souza offering up ever-

changing rhythmic figures. “Prelude” is a slow piece given a bluesy treatment by Cassity on soprano sax and counterpoint between the vibes and bass. The last track, Chick Corea’s “Straight Up And Down”, gets a straightahead, uptempo drum-driven treatment. de Souza has put together a tasty CD, proving he and his band can swing as well as they can samba.

For more information, visit mauriciodesouzajazz.com. This project is at Blue Note Nov. 16th. See Calendar.

Cathedrals is the second release from guitarist Ross Hammond’s quartet and is a not-so-slow trip down ‘70s fusion memory lane. With a few gentle exceptions, Hammond has chosen to produce an incendiary in-your-face session highlighting relentless rhythms, searing solo work and precise in-tandem playing. Joining Hammond are saxophonist/flutist Vinny Golia, bassist Steuart Liebig and drummer Alex Cline. Golia has created a contemporary musical blend long on instrumental virtuosity, compositional excellence and improvisational inventiveness. Paired with the leader’s aggressive guitar, the band has an incredible frontline defined by a combination of power, creativity, speed and accuracy. Cline and Liebig work so well together in laying down heavy pulsating rhythms that they are a soloist’s dream. The result is an intense and at times overpowering listening experience. Session opener “A Song for Wizards” begins with a nod to psychedelic guitar sorcery, Cline, Liebig and Golia’s soprano sax opening the way for Hammond to riff off the rhythm. “Hopped up on Adrenaline” rings true to its name, a showcase for Golia flute work with more than a passing nod to Jethro Tull’s Ian Anderson. “Telescoping” is a free-formish respite evolving into the more anthemic “Run Run Ibex!” before Golia’s tenor saxophone sets the course for an incredibly frenetic trilogy of “This Goes with your Leather”, “She Gets Her Wine from a Box” and “Tricycle. The title track is an overly long, out-of-place elegiac improv vehicle, which eventually builds to a tension-filled crescendo before the all-too-short “Goodnight Lola” uses an ethereally beautiful backdrop of singing bowls backdrop to grant Hammond a harmonically graceful exit.

For more information, visit prescottrecordings.blogspot.com. Hammond is at Spectrum Nov. 8th, Downtown Music Gallery Nov. 10th and Ibeam Brooklyn Nov. 11th. See Calendar.

Cornet specialists aren’t in huge supply, but Kirk Knuffke stands out among this unique lot for his versatility and expressive depth. He’s explored Steve

Lacy’s music with Ideal Bread, the Lennie Tristano legacy with Ted Brown and Monk, Ellington and Mingus in duets with pianist Jesse Stacken. His sideman work with Matt Wilson, Jon Irabagon and others is vigorous and surefooted. Chorale, Knuffke’s fourth outing as a leader, finds him in a brilliant lineup with pianist Russ Lossing, bassist Michael Formanek and drummer Billy Hart. It’s striking that the nine original pieces all have one-word titles save for the closing “Good Good”, which playfully shifts from uptempo to half-time swing. Striving to balance the written and freely improvised, Knuffke opens with the former, a plaintive rubato invention called “Wingy”. Hart’s drumming is identifiable within the first minute and its appeal only grows from there, giving more tempo-based pieces such as “Kettle”, “Standing” and “School” a sense of dynamic flux and timbral oddity. “Madly” revives the hovering feel of the opener but in a much freer context; it’s the longest piece of the set, moving through passages of near silence and ending with Lossing’s fiery unaccompanied piano. The transition from there to “Match” is pretty magical: Lossing is out for the first two minutes while Formanek states a steady bassline and Hart plays hypnotic tom-toms, moving to more jazz-like sticks and cymbals the very moment the piano comes in. The blend of cornet, bowed bass and piano on the title track does, in fact, suggest a chorale. This bit of lyrical and offbeat chamber-jazz, rather unlike the album’s other material, yields to free rubato interplay and yet somehow preserves the feeling and direction of the opening statement. It’s the strongest evidence of the band’s profound intuitive connection.

For more information, visit steeplechase.dk. Knuffke is at Korzo Nov. 12th with Matt Pavolka and Cornelia Street Café Nov. 20th with Ideal Bread. See Calendar.

Chorale

Kirk Knuffke (SteepleChase) by David R. Adler

Cathedrals

Ross Hammond Quartet (Prescott)by Elliott Simon

Different Directions

Bossa Brasil/Maurício de Souza Group (Pulsa Music)by Marcia Hillman

Tzadik cd release

MARCO

CAPPELLI

ACOUSTIC TRIO

Marco Cappelli .guitar

Ken Filiano .doublebass

Satoshi Takeishi .percussion

MANHATTAN release concert

NUBLUtuesday NOV 12TH 9:00 PM

62 Avenue C www.nublu.net/

BROOKLYN release concert

SHAPESHIFTER

thursday NOV 21ST 9:30 PM

18 Whitwell Place Brooklyn, NY 11215

www.shapeshifterlab.com ph. 646 820.9452

JOIN USTO CELEBRATE

Le Stagioni del Commissario Ricciardi

tzadik #7644

THE THING RECORDS AND TROST PRESENT

THE NEW STUDIO ALBUM FROM THE THING

MATS GUSTAFSSONINGEBRIGT HÅKER FLATEN

PAAL NILSSEN-LOVECD, DOWNLOAD, LP AND 7”EP

IN COLLABORATION WITH TROST RECORDSWWW.THETHINGRECORDS.COM // WWW.TROST.AT

WATCH OUT FOR REISSUES OF BACK CATALOGUE ON VINYL

Page 28: COOL TROMBONE LOVER

28 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Marco Cappelli has been finding great inspiration in the written word at least since 2008, when In the Shadow of No Towers - a video collaboration with writer/illustrator Art Spiegelman about the Sep. 11th attacks - premiered in Italy. The same year Cappelli‘s Acoustic Trio released the CD Les Nuages en France, based on the mysteries of French novelist Fred Vargas. The Acoustic Trio returns with a release based on Italian mystery writer Maurizio de Giovanni. The project grew out of a concert in Cappelli’s native Naples, where he and his band (bassist Ken Filiano and percussionist Satoshi Takeishi) performed while de Giovanni read. The nine instrumental tracks on the album stand alone, not requiring knowledge of the source material. Cappelli plays his heavily modified nylon string guitar here, although unlike in his “Extreme Guitar Project”, the sympathetic strings and other modifications are in the background. The tunes are little slices of progressive pop, played with understated precision by the rhythm section, not simple in their construction but reassuring in their form and repetition. “Sergeant Maione” evinces Cappelli’s classical

prowess and “Deputy Police Chief Garzo” explores an extended, fractious melody to exhaustion, eventually finding within it a waltz. On other tracks subtle ‘60s pop riffage or ‘70s prog complexities peek through while the closer “Pateterno Nun E’ Mercante Ca Pava ‘O Sabbato” employs bits of back-masking and a nice arco bass solo to create a richer depth of field. While having read de Giovanni is not a prerequisite, the package is an enticement, with excerpted sentences tagging the tracks in the booklet alongside lush drawings from the original books. Conveniently, the novels were translated into English by Europa Editions for the first time earlier this year.

For more information, visit tzadik.com. This project is at Nublu Nov. 12th and ShapeShifter Lab Nov. 21st. See Calendar.

The Rosetta Trio continues to make exquisitely intimate music that seems to encompass the whole world, stories rich in jazz, classical, folk, blues and more in a rich palette of color and texture. Bassist Stephan Crump, acoustic guitarist Liberty Ellman and electric guitarist Jamie Fox are all virtuosos but know how to urge each other to inspired heights. The set begins with “Ending”, Crump’s arco hauntingly pure. He switches to pizzicato but the chapel-like atmosphere continues, even as both guitarists enter. The three improvise with delicate and pointed precision and while there are certainly solo passages these are just pointers to true spontaneous interaction. “Reclamation” is something of a gentle folk groove tune, the opening vamp repeated as individual voices peer out to give the tune shape. “He Runs Circles” is another quiet groove, Crump propelling his mates throughout this wispy blues. The title tune is helped along by percussive accents tapped on the instruments, creating somewhat of an island feel. Special note must be given to Ellman for his powerful yet subtle approach. He never gets lost in the mix thanks to the terrific engineering (provided by the leader!) as well as the sure sense of his place in this very special music. The Rosetta Trio continue to move gently ahead, bringing in the myriad influences the three players have absorbed during their careers and in the special experience of being in this extraordinary group.

For more information, visit sunnysiderecords.com. This project is at Greenwich House Music School Nov. 14th. See Calendar.

Dick Hyman is one of the rare pianists who covers

most of jazz history in his playing, with a vast array of songs in his active repertoire. 85 at the time of these recordings, made during a week at Jazz at Kitano in early 2012, Hyman is joined by clarinetist/tenor saxophonist Ken Peplowski, a spry 54. Both are not only alumni of the groups of Benny Goodman but both have keen minds and wide-ranging musical interests. They’ve performed numerous times together over the years but this is only their second duo session. They kick off with a whimsical take of Rodgers-Hart’s “Blue Room”, full of sudden twists and brilliant duo improvised lines, anticipating each other’s moves. Peplowski switches to tenor for “Gone With the Wind”, playing with a soft vibrato as Hyman adds shades of Art Tatum and Teddy Wilson to his elegant runs. “The World is Waiting For Sunrise” is a song that both men played during their respective stints with Goodman, the influence of Wilson prominent in Hyman’s playing and Peplowski swinging as hard as Goodman while preserving his own style. The duo tackles two Monk works: a spirited take of “I Mean You” in which Peplowski steals the show with his humorous clarinet and “Ugly Beauty”, Hyman’s subtle use of the sustain pedal and creative use of dissonance unveiling new dimensions of this timeless ballad. One twist is the inclusion of WC Handy’s “Yellow Dog Blues”, a tune more often heard on traditional dates; the audience thankfully doesn’t join them for the usual cheer in the midst of its refrain. Peplowski is back on tenor for the medley of “Lover, Come Back to Me” and “Quicksilver”, where both men pull all the stops with breathtaking solos, sure to leave their audience wanting more.

For more information, visit victoriarecords.net. Hyman is at Saint Peter’s Nov. 27th. See Calendar.

A Great Gift for the Holidays!

SAM ULANOSAYS YOU CAN!

Send a check or money order to:Sam Ulano 127 W.43rd St., Apt. 1026

New York, NY 10036Call 212-977-5209 for more information.

DRUMMERS, CAN YOU GETA LESSON FOR ONLY $2.50?

Sam’s “Kwik” basic readinglessons will amaze you!10 Lessons for only $75.0020 Lessons for only $50.00All levels of players! Give it a Shot!

Thwirl

Stephan Crump’s Rosetta Trio (Sunnyside)by Donald Elfman

Live at the Kitano

Dick Hyman/Ken Peplowski (Victoria Company)by Ken Dryden

Le Stagioni Del Commissario Ricciardi Marco Cappelli Acoustic Trio (Tzadik)

by Kurt Gottschalk

Page 29: COOL TROMBONE LOVER

Bassist Peter Brendler is younger than veteran guitarist John Abercrombie by some 35 years. The differences in age and experience are no obstacles to the two players, though, who join forces for an album’s worth of duets. The pair approach the material as equals - equal time soloing and comping and their performances equally weighted in the mix. True, Brendler contributes more compositions - six, versus Abercrombie’s three - but the two share a similar compositional aesthetic: a prominent groove line moving in and around a soaring, precisely articulated improvisation. During even the closest listen it’s hard to tell who is leading whom and whose ideas are driving the performances. The subtleties of the composing and the playing are what make the disc: the understated Latin mood that Brendler sets up during the extended bass intro of “Valdoviño”; Abercrombie’s unexpected departure into dissonance or a blues lick on the otherwise harmonically simple “Jazz Folk”; Brendler’s solo composition “Rockaway”, just under two and a half minutes in length; Abercrombie’s improvisation on “Half Dozen of the Other”, featuring a rock guitar sound in the first half of the tune and a hollowbody jazz guitar sound in the second. To catch these moments the listener has to lean in close; there’s more going on behind these performances than one might expect. The duo plays only one standard, closing out the CD with Gordon Jenkins’ “Goodbye”, showing their skill with the familiar tune after impressing with their ingenuity on the originals. Their rendition is expertly conventional and a clever sign-off: when the pair flips out of the new and into this more traditional sound, we realize that all along we’ve been eavesdropping on a private conversation, one filled with familiarity, tacit understanding and friendly challenges. They do leave the final chord on the recording unresolved, however. Perhaps their conversation has not yet ended.

For more information, visit steeplechase.dk. Brendler is at Barbès Nov. 13th. Abercrombie is at Allen Room Nov. 22nd-23rd with Jim Hall. See Calendar.

Over the past decade, Toronto-born, NYC-based drummer Harris Eisenstadt has demonstrated effectiveness as composer, leader and sideman in a variety of contexts, from experimental to roots-oriented while staying clearly within the jazz-improvising continuum. Golden State is a slight departure, fusing the tones from two primarily orchestral instruments - Nicole Mitchell’s flute and Sara Schoenbeck’s bassoon - with the non-symmetrical yet explicit beat of Mark

Dresser’s bass and the leader’s drums. Chamber jazz has gotten a bad rap over the years since it is usually associated with bland programs replacing inventive muscularity with soothing textures. In contrast, Eisenstadt’s sophisticated themes ignore hierarchal roles to showcase unexpected instrumental blends, matching the rigor of so-called classical music with the freedom of improvisation. Consider “Dogmatic in Any Case”; as the rhythm section’s flexible movements ground the narrative, spry emotionalism is expressed by the horns, first blended, then individually. Mitchell’s whorls and flutters are passionately articulated and this comfortable talent is subtly transferred so that the bassoonist’s dyspeptic gutsiness continues to express real feeling. Without resorting to the faux jazziness many double-reed players bring to non-so-called-classical music, Schoenbeck animates “Especially Preposterous Assertions”. She uses rapid tonguing and her instrument’s natural grittiness to swing hard, her work is balanced by gutsy bass-string stops. While the compositions allow the frontline to expose the improvisatory heart of their often stolid instruments, they also showcase Dresser’s talents. His arco facility is such that on “Sandy” his lyrical strokes could come from a viola da gamba, extending the joyous baroque-like shadings that parallel what flute and bassoon already bring to the piece. Always sympathetically constructive in his playing, the leader propels these tracks without loudness or forcing a beat. By letting the soloists and compositions be the primary focus, Eisenstadt suggests that his music has the potential to be as transformative as other non-idiomatic composers like Anthony Braxton.

For more information, visit songlines.com. Eisenstadt is at Brooklyn Museum Nov. 23rd-24th. See Calendar.

Tenor saxophonist, bass and contrabass clarinetist Keefe Jackson might be one of Chicago’s most ambitious musicians to come along in years, though he’s not entirely a household name. Jackson relocated to the Windy City from Fayetteville, Arkansas and being an Arkansan has a special meaning in the instrument’s lineage, putting him alongside players like Kalaparusha Maurice McIntyre and Pharoah Sanders. In addition to a number of excellent sideman turns, Jackson has co-led the hard-charging quintet Fast Citizens (with reedman Aram Shelton, cornetist Josh Berman, drummer Frank Rosaly, cellist Fred Lonberg-Holm and bassist Anton Hatwich) since 2003 and convened the orchestral Project Project in 2007. Jackson is a gruff and lyrical player whose bright cadences easily stick in one’s craw, but only four discs have been released under his leadership - likely a sign of his methodical nature rather than whether or not the jazz market is beating down his door.

Likely So is a recent ensemble that Jackson brought together for the Jazzwerkstatt Festival in Berne earlier in 2013. A woodwind septet, Likely So consists of Chicagoans Mars Williams and Dave Rempis alongside Poland’s Wacław Zimpel and Swiss reedplayers Marc Stucki (doubling on harmonium), Peter Schmid and Thomas KJ Mejer. A Round Goal is the ensemble’s first recording and features 11 pieces, including two short soli by Jackson and Rempis. It’s interesting and indicative of the challenges that Jackson places on himself to institute a reed septet, following on the heels of such lofty units as the World Saxophone and ROVA Saxophone Quartets. Likely So is a larger ensemble that brings together unfettered, squirrelly swing with a penchant for puckered, droning dissonance, round-robin refraction and delicate minimalism. It’s a testament to the leader’s writing that he can reign in the group’s size to feel like a trio or quartet as Williams tears through “Was Ist Kultur?” as well as highlight nuanced orchestral mass. It shouldn’t be too surprising that drummer Frank Rosaly’s first ensemble recording as a leader, Cicada Music, also features Jackson as they’re regularly paired up in Fast Citizens. Two solo percussion and electronics 12-inchers later, as well as a Jackson-Rosaly duo 7-inch on Molk, Rosaly’s chopped and rearranged improvisational fragments bear fruit in a supple and versatile sextet disc. Rosaly composed the ten pieces here, which grew out of a soundtrack session for the documentary Scrappers, and is joined by Chicago stalwarts: vibraphonist Jason Adasiewicz, bass clarinetist Jason Stein, clarinetist James Falzone and bassist Jason Roebke. Rosaly’s approach is a limber and athletic blend of breaks, shimmering free time and erudite clips that propel warm, measured and economic clarinet lines (including Jackson’s contrabass clarinet wallops). Though Cicada Music is far from being among the ‘rockist’ pantheon of new Chicago avant garde jazz, Rosaly and company bring a hook-laden insistence to a music that, like all good soundtrack composition, can stand firmly on its own. Jackson’s bass clarinet is the preferred axe on Duope, a double-duo that pits him alongside Switzerland’s Christoph Erb (on bass clarinet and a Chicago fixture) and cellists Fred Lonberg-Holm and Tomeka Reid. It’s not the first time that Jackson has appeared on Erb’s Veto Records-Exchange, as a fine 2011 set of duos with pianist Hans-Peter Pfammatter attests. There are four improvisations here and despite the woody chromatic similarity of cello and bass clarinet, the quartet’s ranginess and diversity is what comes through. Erb and Jackson are quite different in their approaches, with the latter ’s buoyant, gruff lyricism an interesting foil for the former’s warble while Reid’s somber throatiness supplants Lonberg-Holm’s jarring electricity. The second piece of the set, “snuro”, is perhaps the strongest and represents well the quartet’s spry grit. Boston pianist Pandelis Karayorgis has had a long relationship with Chicago musicians, going back to his late ‘90s-early ‘00s work with Ken Vandermark and Guillermo Gregorio. With right-hand man bassist Nate McBride, who has split time between Boston and Chicago, he has expanded on the inventions and dimensions of pianist-composers Herbie Nichols, Hasaan Ibn Ali, Sun Ra and Cecil Taylor, frequently in the trio format. Circuitous adds Rosaly and the twined reeds of Jackson and Rempis to the mix on a program of nine Karayorgis originals. The leader’s playing is full of elbows and gracefully weird turnarounds and offers challenging support for Rempis’ excoriations and Jackson’s wry, steely playing. Decades removed from what contemporary improvisation is ‘supposed’ to be, Circuitous is energetically far from anachronism.

For more information, visit delmark.com, veto-records.ch and driffrecords.com. Jackson is at Ibeam Brooklyn Nov. 3rd with the Duope group. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 29

A Round Goal Keefe Jackson’s Likely So (Delmark)Cicada Music Frank Rosaly (Delmark)

Duope Christoph Erb/Keefe Jackson/

Tomeka Reid/Fred Lonberg-Holm (Veto)Circuitous Pandelis Karayorgis Quintet (Driff)

by Clifford Allen

Golden State

Harris Eisenstadt (Songlines) by Ken Waxman

The Angle Below

Peter Brendler & John Abercrombie (SteepleChase)by Suzanne Lorge

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30 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Can’t avoid the terms “fusion” or “rock adrenaline” when hearing this atavistic supergroup that features the guitar heroics of Kevin Eubanks. Dave Holland, sticking to his acoustic bass and often anchoring the maelstrom of his cohorts, is the only member of this quartet who doesn’t succumb to the indulgences and excesses of rock-fusion, although as nominal leader he does preside over them all. Creating a heady sturm und drang throughout, drummer Eric Harland is more tempestuous here than in his more straightahead roles. Splitting the difference between Holland’s mathematically measured cool and Eubanks’ searing heat is Craig Taborn, funking things up on Fender Rhodes but unpredictable, from postbop groove to avant garde abstract, on acoustic piano. Each member contributes two tracks, Eubanks three, to the program. The guitarist’s blues riff “Watcher” opens the proceedings heavy on feedback and distortion from composer and keyboardist, drums pounding in a jazz-rock mode that’s even more pronounced on Eubanks’ faster and overindulgently long “Evolution”, rising to onanistic heights in an Allman Brothers rave-up climax. Processional patterns à la early Weather Report inform Eubanks’ “The Color of Iris”, subtle guitar effects taking the sound underwater. Holland’s pair include slinky “The Empty Chair (For Clare)” with fuzzy wah-wah guitar and “A New Day”, bringing familiar guitar and piano tones to a fusion meter. Taborn’s pieces are intricate and multi-faceted: “Spirals” full of titular moves, interrupted by free-floating atonalities, odd and even meters and limpid piano notes; “The True Meaning of Determination” pushing convoluted cycles and solos over a pulsing fusion 8/8. But compositional honors go to Harland’s two tracks, also the shortest on the album. “Choir” goes to fusion church, with calliope-like guitar and jazzy drum solo while closer “Breathe” opens with elegiac solo piano, joined halfway through by whispering brushes, billowy bass and sighing guitar behind slowly rising piano lines.

For more information, visit daveholland.com/dare2. This project is at Birdland Nov. 26th-30th. See Calendar.

Where You At? (‘41-‘63) is a welcome opportunity to catch up with an undeservedly neglected crooner from during and after the Big Band Era. It begins with three songs from a year David Allyn spent with the Jack Teagarden Orchestra in 1941. Particularly of note is “Soft As Spring”, one of Allyn’s signature songs. His is classic crooner singing, easy and romantic, and there’s lovely low-key brass backing him up.

“This Is No Laughing Matter” has more than a passing resemblance to the famed Frank Sinatra-Tommy Dorsey collaborations of the same period. “I Don’t Care Who Knows It” especially has a Sinatra-esque boy-next-door appeal to it. But Allyn’s baritone was more akin to that of Dick Haymes, though he was never to attain the kind of bobby soxer adulation of either of those crooners. A fruitful period Allyn spent with the Boyd Raeburn Orchestra is recalled with Harold Arlen-Johnny Mercer’s “Out of this World”, as solid rhythmically as it is dreamy. Another 1946 gem, “It Shouldn’t Happen to a Dream”, notably has Lucky Thompson on tenor saxophone and Dodo Marmarosa on piano. This is pitch perfect Big Band Era music at its best. Allyn’s life included lengthy bouts with drugs and run-ins with the law, which included prison time. All this and much more is candidly documented in his autobiography, There Ain’t No Such Word as Can’t. Devoted fans such as fellow entertainment stars Sammy Davis, Tony Bennett, Vic Damone and Tony Curtis continued to be supportive during hard times. After Allyn was paroled in 1957, his old friend Richard Bock, then heading up World Pacific Records, an emerging West Coast label, teamed up with another buddy of Allyn’s, Johnny Mandel. Together they all produced a memorable album of Jerome Kern songs. It included what became an Allyn signature song, “The Folks Who Live On The Hill”. “Here’s The Way It Is” with the Bob Prince Orchestra is a beguiling 1959 sample of how full-bodied and enduring Allyn’s voice still remained later in his career. The B-side of the recording is “Pleasant Dreams”, a very sweet ballad written by another Allyn admirer, TV personality and jazz fan Steve Allen. By contrast, “Where You At?” is a full charge 1963 swinger by Prince. It’s an occasion for Bud Shank to sizzle on alto saxophone and Jimmy Rowles swinging on piano. As sweet and mellow as Allyn’s forte often was, this side is irrefutable affirmation of just how hard and satisfyingly Allyn could swing big time when given the opportunity. Allyn continued to perform into his 70s. His long and difficult journey came to an end when he passed away a year ago this month at 93. It’s good to have these beautiful sides available again now to affirm just how fine a singer he was.

For more information, visit hepjazz.com

In trying to connect with ‘ordinary’ people, jazz musicians often cover currently popular songs with lots of repetition and beat, hoping to make the intellectual or experimental elements of the music more listener-friendly, but The Wee Trio seems able to negotiate the high/low cultural divide in an uncontrived way. On their recently released fourth album, they display edgy infectious energy, eliciting the kinds of audience responses more prevalent at rock shows than comparatively staid jazz concerts. Collectively, vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig are just that: a more wholesome sum than each part, though Schonig is clearly the fire in the seat of their pants. The album contains originals by all members, plus covers of the

standards “Cherokee” (with an imaginative 3-over-4 feel) and “There Is No Greater Love” (as a bossa), plus David Bowie’s “Queen Bitch”, all laced with mercurial tempo and textural shifts. Westfall’s two-mallet style leaves plenty of harmonic space, often filled in by Loomis’ chordal passages and both Westfall and Schonig play freely with the time. The rhythms are rock-based, with heavy - if floating - backbeats and although sections typically riff and repeat, the trio never stays in one mood for long. Standout tracks include “White Trash Blues”, a Monk-like deconstruction; aforementioned “Queen Bitch”, on which Schonig balances the abandon of a garage-band slugger with the restrained finesse of an orchestral percussionist, and “White Out”, with an exciting Westfall solo and more signature rhythmic tension. Hearing the trio live at the culminating gig of a two-week promotional tour, held at SubCulture in late September, confirmed an initial hunch that Schonig plays with a smile on his face and that group interplay, not a string of solos, is what drives them. The setlist included many songs from the new album, plus a second Bowie cover, “The Man Who Sold the World” (part of a Bowie two-fer) and a new original, “RG3”. Westfall provided much of the melodic interest, Loomis proved to be the fulcrum of rhythmic see-sawing between vibes and drums and Schonig played like a bulldozer in a china shop, cracking the snare rim with ear-splitting pops, then abruptly switching to whisper-soft taps on the cymbal bell, punctuating each exciting gesture - his or the others - with ecstatic groans. Most importantly, they were enjoying themselves, probably because they obviously haven’t lost the ability to amuse and surprise each other.

For more information, visit theweetrio.com

Prism

Dave Holland (Dare2) by George Kanzler

Where You At? (‘41-’63)

David Allyn (Hep)by Andrew Vélez

Live at the Bistro

The Wee Trio (Bionic) by Tom Greenland

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 31

So called “Memory Zones” exist as physical locations to honor events and people that it is felt should not be forgotten. The cover of this release, from pianist Hubert Bergmann and saxophonist/clarinetist Gilad Atzmon, is an image of flowers, perhaps left at such a Zone De Memoire that has burst into flames. Both of these artists are extremely forthright in their support of the Palestinian people; Bergmann has produced a film with this same title centered in the Middle East and Atzmon has written extensively on this subject. The combination of beauty and anger so powerfully represented on the cover informs these seven joint improvisations. This is emotional music and Atzmon’s horns have never sounded so gorgeous or been laid so bare. Bergmann has released previous one-on-one encounters and he lends this session its structure, his chords providing the forum for Atzmon to showcase the rich tone as well as the sharp thrust and parry of his clarinet, alto and soprano saxophones. Bergmann is at the mercy of the mechanics of his instrument but does on occasion pluck its strings to add coloration while Atzmon’s reeds allow him a wider range of expression.

“Roof of Clouds” is one of the most stunning and uplifting clarinet pieces this reviewer has ever heard. The lines are spiritually inspired and the instrument’s fullness is exposed in a single note. Bergmann’s cleaner playing initially stands in contrast but the two reach common ground as things develop. Bergmann is at his most sensitive on closer “Present Absent”. Here Atzmon maintains a plaintive Middle-Eastern cry on soprano as Bergmann delicately spins phrases that add depth. “Beyond Boundaries” begins as a smoky alto excursion that Bergmann, through swinging figures, jolts into reality while the “Invisible Abyss” is an extended exercise of quickly darting and inventive joint improvisation. Zone De Memoire is a powerful statement that presents Atzmon and Bergmann in a very personal musical context.

For more information, visit mudoks.org

Guitarist Nate Radley doesn’t have the wide recognition of some of his six-string peers, though he’s one of the tastiest and most consistent players on the scene. He’s done enviable sideman work with Alan Ferber, Loren Stillman, Marc Mommaas, Andrew Rathbun and others. He debuted in 2012 with The Big Eyes (Fresh Sound-New Talent), using a lineup of guitar, alto sax and (sometimes) Fender Rhodes with rhythm section. On the new album Carillon he omits keyboard but keeps the guitar/reed frontline, using tenor saxophonist Chris Cheek alongside bassist Matt Clohesy and drummer Ted Poor. Radley isn’t after wild and extravagant soundscapes in the studio. He plays semi-hollowbody guitar, straightforwardly and beautifully, with a round but slightly steely tone and just a bit of reverb. He has a buoyant rhythmic feel, a cohesive hookup with Cheek and a fluid harmonic approach that lets him fill plenty of space when the horn lays out. Radley’s writing has a lushness and intricacy, a way with pacing and contrast, from the bright feel and contrapuntal invention of the opening title track to the mellower glide of “Positive Train”, the finale. There’s something logical and satisfying in the transition from “Whiteout”, an evocative waltz for solo guitar, to “Fadeout”, with its slow rock feel and majestic minor-modal tonality. These are eclectic players who are nonetheless rooted in jazz - something Radley stresses with his inclusion of Thelonious Monk’s “Hornin’ In”, Cole Porter ’s “All Through the Night” and the Charlie Parker-associated ballad “Laura” by David Raksin. (There were no standards on Radley’s debut.) In a word, the quartet can swing. Radley has a rich and well-developed take on Monk’s aesthetic. He reads the Porter tune in a staggered uptempo swing feel and cleverly opts to have Poor solo first. But the dark original ballad “Some More” works just as well as a jazz showcase. The ending, an E-flat minor chord held and elaborated for a quietly stunning 20 seconds, is probably the session’s single finest moment.

For more information, visit freshsoundrecords.com. Radley is at 55Bar Nov. 3rd with Tony Moreno, Cornelia Street Café Nov. 12th with Akiko Pavolka and Brooklyn Conservatory of Music Nov. 16th with Loren Stillman. See Calendar.

www.sunnysiderecords.comeOne Distribution

RANDY WESTONBILLY HARPER

THE ROOTS OF THE BLUESSSC1369 in stores November 19

Any recording made by the legendary pianist RandyWeston is cause for celebration.

Who better to record an inspired album of duets withthan the great tenor saxophonist Billy Harper? Harpercomes from an equally diverse musical background witha musical journey spanning from his Texas blues back-ground to the avant-garde sounds of New York of the1970s, where the Brooklyn born Weston had alreadybeen innovating and exploring the African inspirations ofjazz for nearly twenty years.

The duo met for two sessions at Avatar Studios inNew York City on February 8th and 9th, 2013. The analogrecording provides additional warmth to the sounds oftheir mutual admiration expressed through these emotivetracks

Atzbe: Zone De Memoire

Gilad Atzmon/Hubert Bergmann (Mudoks) by Elliott Simon

Carillon

Nate Radley (SteepleChase) by David R. Adler

JON DAVIS DUO FEAT. GIANLUCA RENZIThe Jon Davis Duo featuring

Gianluca Renzi on bass will be celebrating the release of

“No Kiddin’” on WideSound Records at the Knickerbocker Bar and Grill (December 20th and 21st)

and at Smalls (December 23rd).

...”These two gentlemen are not kidding when it comes to dealing in the intimate duo setting and their chemistry is clear on this superb

outing.” – Bill Milkowski

www.jondavismusic.comwww.gianlucarenzi.com

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32 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

It’s a special ‘collaboration’ when an artist chooses the work of a particular composer, taking on the challenge of finding what’s most personal in the music and then a way to bring that connection out. George Gershwin’s music continues to resonate with audiences and performers, perhaps because, more than anyone, he successfully bridged the worlds of jazz, classics and popular art. More likely it is because his melodies are timeless and reflect the best in what might be called the American spirit. Pianist Simon Tedeschi presents those wonderful melodies in a sound environment that best displays their glories. Though not a jazz album in the strictest sense, the feeling of jazz is ever-present and Tedeschi offers arrangements by two giants of the jazz world as well as improvising on two of Gershwin’s best-known tunes. The album opens in a concert setting with the lovely “Rialto Ripples”, a rag of what feel like classic proportions. It is considered to be Gershwin’s first instrumental piece, composed with Will Donaldson. Tedeschi brings a youthful zest to the performance, deftly negotiating the subtle rhythm and captivating melody. He continues by tackling the marvelous

“Preludes”, which test a pianist’s ability to deal simultaneously with technique and spirit. “ S o m e o n e to Watch Over Me”, arranged by Keith Jarrett, and “Nice Work if You Can Get It”, arranged by Dave Grusin, are both darkly beautiful takes full of new colors and feelings while Tedeschi’s own coloring of “Summertime” and “I Loves You Porgy” honors Gershwin’s legendary opera Porgy and Bess. Tedeschi calls British composer Percy Grainger’s arrangements of “Love Walked In” and “The Man I Love” sumptuous and they are indeed - slow, elegant and gorgeous. And finally, there’s a full-blown version of the famous Grofé arrangement of Gershwin’s most popular orchestral piece, “Rhapsody in Blue”.

For more information, visit shop.abc.net.au/t/brands/abc-classics

Veteran bassist Ron McClure has widely recorded as a sideman with many jazz greats, in addition to over 20 albums as a leader, as well as being a noted jazz educator at NYU. His previous SteepleChase CD, Crunch Time, was the debut recording of Gabe Terracciano, a 17-year-old violinist who had asked to

sit in with McClure’s Jazz Ensemble at the university, and also included two promising NYU graduate students, pianist Mike Eckroth and drummer Shareef Taher. McClure was very pleased with the results and felt the group merited another recording. For this date McClure added a new voice, tenor saxophonist Chad Lefkowitz-Brown, who he had played with during a New Year’s Eve gig just prior to the recording session. McClure was justified in his assessment, remarking in his liner notes that all four young men excel in sight-reading, interpreting and embellishing melodies on the spot. Most of the tracks are originals by the leader. “The Gathering” is a brisk postbop opener with strong solos by the bassist and Lefkowitz-Brown. The loping “Country Ride” shifts the mood with its laid-back attitude. “My Love For You” is a ballad McClure wrote long ago for his wife, blending robust, emotional tenor sax with rich violin harmony; it also features what the bassist thought was an impossible counterline for piano but Eckroth nailed it perfectly. McClure asked Terracciano and Lefkowitz-Brown to solo simultaneously in the introduction to “Ten Or More”, which they do flawlessly while their ensemble work in the challenging tune was sight-read with equal precision. Terracciano contributed the moving ballad “Breaking Away”, a slow, spacious arrangement that evolved in the studio with lush interplay between the composer and Lefkowitz-Brown. Cal Tjader’s “Liz-Anne” is a delightful piece, initially played as an easygoing jazz waltz, tempo slowed a bit for McClure’s intimate solo. Don’t be surprised if McClure has future recording plans for these four talented young men.

For more information, visit steeplechase.dk. McClure is at McDonald’s Wednesday and Saturdays. See Regular Engagements.

Gershwin & Me

Simon Tedeschi (ABC Classics) by Donald Elfman

Ready or Not

Ron McClure (SteepleChase) by Ken Dryden

MICHEL CAMILOW H AT ' S U P ?

© 2 0 1 3 S o n y M u s i c E n t e r t a i n m e n t

Global Expressions in Jazz

W W W . M i c H E lc A M i lo. co M

AvA i l A b l E AT

T H E n E W S olo - P i A n o A l b U Mf E AT U r i n g o r i g i n A l S o n g S , l AT i n A n d j A z z S TA n dA r d S

f o r

b E S T l AT i n j A z z A l b U M

n o M i n AT E d f o r T H E 2 0 1 3

l AT i n g r A M M y AWA r d ®

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400 Fifth Avenue, New York, NY 10018 - 212.695.4005

JAZZ LEGENDS PERFORM NIGHTLY 8 – 11 PM

PIANO SOLO SUNDAYS:

November 3, 10: JON DAVIS | November 17: TADADAKA UNNO | November 24: STEVE ASH

November 1 – 2, 8 – 9, 11 – 14 ANTONIO CIACCA Antonio Ciacca continues his exciting residency with Measure Lounge at Langham Place, Fifth Avenue. He will delight your evening with the American and Italian American Song book.

November 15 – 16, 18 - 23 LUCIO FERRARA One of the best jazz guitarists of the Belpaese will delight the audience with his swinging soulful playing.

November 25-30 GREG CHEN A native of San Jose, California, Gregory Chen moved to New York in 2009. Gregory has shared the stage with many of the top artists in both New York and California.

November 4-7 EMMET COHEN At 23, jazz pianist Emmet Cohen, was a finalist in the 2011 Thelonious Monk International Piano Competition. Emmet plays with the maturity and confidence of a seasoned veteran.

Page 34: COOL TROMBONE LOVER

34 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Jazz pioneer Carline Ray graduated from Juilliard at the end of World War II and soon thereafter was working as a bass player, guitarist and singer with groups like the International Sweethearts of Rhythm and Erskine Hawkins’ big band. Later she would play with Sy Oliver’s Orchestra at the Rainbow Room and record with jazz pianist Mary Lou Williams. In 2005 she won the Mary Lou Williams Women in Jazz Award and the International Women in Jazz Award in 2008. Despite this long list of accomplishments, Vocal Sides, released this past June on Carl Cat Records, is Ray’s first solo CD, where she is featured as a vocalist. The record draws selections from Ray’s lengthy career and features her husky contralto on a surprisingly wide range of tunes. She opens with the pop chestnut “When I Grow Too Old To Dream”, an understated ballad in trio with pianist Yuka Aikawa and bassist Atsundo Aikawa, her primary players for the recording. She follows with a vivacious rendering of “Donna Lee/Back Home Again In Indiana”, scatting the Miles Davis melody over the “Indiana” changes in tandem with Atsundo; Ray’s expert phrasing on this bebop classic is a highlight of the album. Next, in yet

another reversal, Ray delivers a legit interpretation of the Broadway classic, “Somewhere” from Leonard Bernstein’s West Side Story. Ray’s classically trained, deeply resonant voice moves like second nature through these inspired and inspiring selections; very few singers get to perform even one song they’ve lived a lifetime with, much less an album’s worth. The CD contains some highly personal material for Ray: on two songs (“Hold On” and the aforementioned gospel tune) Ray sings with her daughter, Catherine Russell, an impressive jazz singer in her own right and the album’s producer. Ray’s husband and Russell’s father, Luis Russell, wrote “Lucille” for Louis Armstrong and named it after Armstrong’s wife. Armstrong never recorded the tune, but Russell and Ray have included the tune’s demo from 1961 as a bonus track. Ray’s voice on the first 10 tracks sounds remarkably unchanged and the 50-odd years in between these recording sessions did nothing to diminish Ray’s obvious joy in singing and her love of the tunes themselves. Carline Ray died this past July at 88, just a month after the album’s release. While passing so soon after her debut makes us regret the recordings that might have been, it also makes us appreciate all the more Ray’s deeply moving final gift.

For more information, visit cdbaby.com/cd/carlineray. A tribute to Carline Ray is at Saint Peter’s Nov. 18th. See Calendar.

With a recording history almost as chaotic as his life, hitherto-unknown sessions by saxophone avatar Albert Ayler (who died 43 years ago this month at age 34) keep appearing. Ayler’s career was so brief (eight years) and so groundbreaking, that every track - standards-reinterpretation, rock music flirtation or unprecedented free-form expression - has value. Recorded four months before his suicide, Live on the Riviera is doubly important since most previous issues of the saxophonist’s Fondation Maeght concerts have been limited to quintet performances from Jul. 27th. Recorded two days earlier, the CD is Ayler accompanied only by bassist Steve Tintweiss, drummer Allen Blairman and the vocals and soprano saxophone of Mary Maria. While Ayler’s performances are usually as subtle as blunt force trauma and as harmless as a car accident, he genuinely seems to be enjoying himself here, vocalizing with Maria, showcasing new arrangements of his then-recent Impulse LPs and injecting his pet phrases into most of the tunes. The remastering allows his and Maria’s naïve peace-and-love sentiments to be heard more clearly, along with the intricacies of his improvisations. Surprisingly, tunes such as Maria’s lilting “Island Harvest”, backed with spare accompaniment from Ayler, could actually be calypso or Caribbean play-party songs. Elsewhere, moving from mimicking a church congregation’s affirmation of Maria’s preaching on “Music is the Healing Force of the Universe” to his semi-lyrical, though flutter-tongued staccato variants on “Birth of Mirth”, Ayler’s expected multiphonics reinforce the performances. When playing musette on “Masonic Inborn”, his screaming reed bites divide still further, with one line

dog whistle-like and the other pressurized altissimo. Escaping studio confines, his timbre-exploration goes on for more than 10 minutes on some tracks, as bassist and drummer scramble to keep up. Ayler’s concluding, nearly 11-minute “Ghosts” confirms that he could still find nuances in his anthem. Mirthfully exaggerated as well as nephritically powerful, he stops the tune with an applause-milking melody upturn and, after that arrives, recasts the familiar line as a sailor’s hornpipe. Who knows what Ayler would have created had his mental state allowed him to survive?

For more information, visit espdisk.com

Vocal Sides

Carline Ray (Carl Cat Records)by Suzanne Lorge

Live on the Riviera

Albert Ayler (ESP-Disk’)by Ken Waxman

The artistry of Sun Ra long had a visual component, most obviously in the attire that he and his Arkestra wore when performing. At first the costumes came from an opera company’s discarded wardrobe, acquired by the ensemble’s manager, but soon Ra himself was designing the band’s stagewear to identify more closely with his unique world view, combining ancient Egyptology and futuristic space travel. He was color conscious - not only in his own Afrocentric philosophy - but to the point of inspecting the colors of hotel rooms in order to assign the proper match for each musician’s character. Ra’s artistic vision was an inspiration to a young painter Robert Underwood, who would rename himself Aýe Aton and go on to service in the Arkestra both as a muralist (painting stunning backdrops for the group’s performances) and a percussionist/drummer (playing with the band at the 1972 Ann Arbor Blues & Jazz Festival documented on Life Is Splendid). Space, Interiors and Exteriors, 1972 combines long lost photographs of Ra from the set of the biopic Space Is The Place and those of Aton’s many murals. The dozen or so photos of Ra depict him resplendently attired in “weird and beautiful Egyptian costumes” on loan from a local Masonic temple. Wearing a gargantuan headpiece topped with an enormous translucent orb flanked by two golden horn like spires pointing spaceward, the photographs portray Sun Ra in various settings, both extraordinary (a lush California botanical environment) and pedestrian (the contrast between his apparel and an old sedan and school bus is bizarrely striking). The images are arguably the most dazzling of any taken of jazz’ most colorful character. The more than 40 snapshots of Aton’s murals, three from the Morton Street Ra house in Germantown, Philadelphia, the remainder painted on or in Chicago homes are equally arresting - combining Egyptian and astral imagery in almost explosive arrays of color. Glenn Ligon’s essay “Sound and Vision” and John Corbett’s foreword give historical context to the volume, which ends fittingly with Ra’s poem “The Art Scene”.

For more information, visit corbettvsdempsey.com. A benefit for the Sun Ra Archives is at JACK Nov. 17th. See Calendar.

Space, Interiors and Exteriors, 1972Sun Ra + Ayé Aton (Corbett vs. Dempsey)

by Russ Musto

I N P R I N T

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 35

He played with Charlie Parker and considered him a friend as well as an influence and in 1956, the year after Bird died, late pianist Hampton Hawes (born 85 years ago this month) won the two major jazz magazine polls for new artist, at age 28. Two years later he was sent to Federal prison for heroin possession, finally pardoned after five years by President Kennedy. In late ‘60s Hawes enjoyed success in Europe and Japan as a touring artist, based on the fame of his mid ‘50s recordings. In the ‘70s Hawes, like many hardbop musicians, floundered around seeking an approach with popular appeal. He embraced the Fender Rhodes electric piano, experimented with modal jazz-fusion and even played with Joan Baez on tour and records. Unlike such contemporaries as Sonny Clark, Freddie Redd and Herbie Nichols, Hawes has never been celebrated or taken up by younger generations of jazz musicians for tribute bands or recordings. And as a West Coast musician, whose best albums - trios and quartets on the Contemporary label - from the ‘50s were not part of the Blue Note quasi-official canon of the era, Hawes is little remembered today. But his best work was a harbinger of the grittier side of hardbop

and soul jazz, hard-swinging bebop melded with the fervor of gospel. This album, recorded at the Chicago’s Jazz Showcase in 1973, four years before Hawes died, isn’t nearly up to his best work for Contemporary. (His best ‘70s LP was a duet with Charlie Haden.) He is playing acoustic piano though and his trio consists of bassist Cecil McBee and drummer Roy Haynes. However, the skewed mix favors bass way over drums and sometimes even over piano. The four tracks here include two roughly quarter-hour excursions, including a foundering attempt at a modal piece by Hawes, “Spanish Moods”, less-than-hypnotically-repeating simple note patterns, sometimes with a percussive pounding from Hawes suggesting he’s trying to approximate his Fender Rhodes. The other long track, “Stella by Starlight”, features an extended, gauzy rubato solo piano intro and shorter solo with trio, plus a bowed solo from McBee. Charlie Parker’s “Blue Bird” strives for the verve of Hawes’ bop youth while “St. Thomas” prances along on Haynes’ calypso accents. There are intimations of Hawes’ mastery here, but this CD is for completists only. For Hawes at his best, seek out the Contemporary All Night Sessions with guitarist Jim Hall, bassist Red Mitchell - his frequent partner in the ‘50s - and drummer Eldridge Freeman. Or Mingus Three on Jubilee, a trio session with Charles Mingus and drummer Dannie Richmond.

For more information, visit jazzrecords.com/enja

Mike LeDonne is a solid pianist and organist who has recorded extensively as a leader while also drawing praise from heavy hitters like Milt Jackson and Oscar Peterson. This trio engagement from late 2012 features LeDonne on piano, leading a trio with two fellow veterans who have frequently joined him on the bandstand, bassist John Webber and drummer Joe Farnsworth. The first five tracks are movements of “Suite Mary”, dedicated to his nine-year-old daughter, who is mute due to a rare disability. The individual sections often represent his interaction with her while each piece easily stands on its own merits. The first part, “Speak”, is a turbulent hardbop tune full of slashing chords, showcasing Farnsworth in the midst of the maelstrom. The mood quickly shifts with “Listen”, a glistening ballad that has a meditative, Far Eastern air. “Play” has an infectious groove, an upbeat vehicle with a Latin undercurrent powering it. “I Will Always Love You” is a poignant ballad, almost whispered, with the soft background supplied by Webber and Farnsworth providing the perfect support for LeDonne’s piano, which alternates between lyricism and elaborate right-hand runs. “Little M” is a rambunctious finale, blending hardbop with a touch of Latin jazz with its share of twists. Following his suite, LeDonne tackles the late James Williams’ “What You Say Dr. J”, a funky, fun-filled tribute to basketball great Julius Erving, which also spotlights Webber’s sublime solo. With George Gershwin’s “I Loves You, Porgy”, LeDonne again shifts the mood by alternating between a loping, laidback setting in the body of the song and straightahead swing

in its bridge. The leader’s “Blues For McCoy” (a tribute to McCoy Tyner) is played at a ferocious tempo, incorporating blistering runs and thunderous chords, also showcasing Farnsworth’s powerful solo. The final track is an interpretation of the late Cedar Walton’s soulful “Bleeker Street Theme”, opening with Webber’s hip solo before the leader brings out its bluesy side while also adding a touch of humor.

For more information, visit cellarlive.com. LeDonne is at The Players Nov. 8th with George Coleman, Jr., Miller Theater Nov. 21st with Michael Hashim, Smoke Nov. 27th with Ray Marchika and Mondays with Joe Farnsworth and Tuesdays as a leader. See Calendar and Regular Engagements.

Live at The Jazz Showcase in Chicago, Vol. 1

Hampton Hawes (Enja)by George Kanzler

Without the benefit of hindsight, the 1972-73 pairing of guitarists Carlos Santana and John McLaughlin for Love Devotion Surrender (LDS), seems odd; the former came out of the acid-soaked rock scene of ‘60s California while the latter, several years older, was a veteran of Britain’s blues and jazz circles and then entered the world of Miles. But the early ‘70s were a time of porous genre borders. Of course, the two had a few things in common: a love of Coltrane; a shared mentor in Sri Chimnoy and staggering technical virtuosity wedded to extreme spirituality. Fast-forward nearly 40 years and where had the two ended up? McLaughlin is a legend who has never really surpassed his work with the Mahavishnu Orchestra and Santana gave up his complexity and became a superstar as a result. Ironically, the pair actually became better suited to each other than they were all those years ago. Invitation to Illumination is an over-two-hour set from the 2011 Montreux Jazz Festival. The band behind the two six-stringers draws from their two groups. Almost all of LDS is performed, albeit broken up, augmented by some fascinating choices: a Coltrane/Bob Dylan/Led Zeppelin/Albert Ayler/Santana medley; nods to McLaughlin’s tenure in Tony Williams’ Lifetime; tunes by Miles, Elvin Jones, Pharoah Sanders/Leon Thomas, an acoustic/electric duet on Coltrane’s “Naima” and a John Lee Hooker tune to close. The sound and video are as impeccable as one would expect from the Swiss; with so much doubling, a muddy mix would have been tragic. But more important than the setlist or reproduction is how Santana and McLaughlin, guitar heroes long before the video game, sound, on their own and together. Santana still has that classic tone harking all the way back to Woodstock but thankfully McLaughlin mostly eschews the slick sound of which he has become enamored over the last decade. Both men sound gritty and positively inspired, spurred on by the dual drummers (Dennis Chambers, formerly of McLaughlin’s band, joins Cindy Blackman-Santana). We are left with one question: if Santana and McLaughlin can still play like this, why don’t they more often?

For more information, visit eaglerockent.com

Invitation to Illumination (Live at Montreux 2011) Santana & McLaughlin (Eagle Vision)

by Andrey Henkin

O N D V D

Speak

Mike LeDonne Trio (Cellar Live)by Ken Dryden

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36 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Arguably the most eclectic artist in jazz today, trumpeter Dave Douglas has drawn inspiration from a diverse assortment of sources, creating an engaging body of work, the expansiveness of which of testifies to his wide-ranging experience (from Horace Silver to John Zorn) and tastes. DD|50: 50th Birthday Recordings finds the intrepid trumpeter exploring new territory in a familiar, time-tested manner, eschewing the “I’m so hip” attitude that plagues many other players’ contrived attempts to break down barriers without a concept of what to do on the other side. The attractively packaged boxed set brings together three separate, very different sounding discs recorded last year, which, while preceding Douglas’ half-century mark heralded in the collection’s title, assuredly attests to his maturity as a young veteran refusing to rest on his well-earned laurels. The three CDs are augmented by a bonus DVD, affording viewers an inside look at the sessions that produced

B O X E D S E T the music, along with complementary video imagery. Disc One, Be Still, is by Douglas’ own admittance his most personal work to date, comprised predominantly of the traditional Protestant hymns his late mother had requested he play at her memorial. Originally performed by a brass ensemble, they are reorchestrated here by Douglas for his young new quintet of tenor saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda Oh and drummer Rudy Royston, augmented by the vocals and guitar of Aoife O’Donovan of the contemporary bluegrass group Crooked Still. Despite the orthodoxy of the source material, the arrangements span a wide array of moods and grooves, recalling the Americana-inspired music by Charlie Haden or Bill Frisell. The opening title track features O’Donovan delicately intoning the hymn’s lyric over the band’s serene accompaniment, recalling a children’s lullaby, with impassioned passages from Douglas marked by the restrained virtuosity characteristic of his work. “High On Mountain” is a foot-stomping bluegrass tour de force with the band driving O’Donovan’s full throttled vocal. The mournful sound of “God Be With You”, “Barbara Allen” and closing “Whither Must I Wander” are balanced by the optimistic tone of “This Is My Father’s World” and Douglas originals ”Going Somewhere With You” and “Middle March” (a dedication to Paul Motian). Recorded at the same sessions that produced Be Still, Time Travel is unadulterated jazz featuring the quintet playing seven Douglas pieces that fall, in his words “between soloing and trading and playing together.” Beginning with “Bridge To Nowhere”, a quirky bop line reminiscent of Monk and Mingus, the band swings hard in the tradition. The title track is

more futuristic in tone, a bit ominous in its elusive shifting rhythms, a sharp contrast to the stasis of “Law Of Historical Memory”, on which the horns play long unison tones over a slow dark repetitive piano ostinato. “Beware Of Doug” is a playful country-and-western-tinged outing recalling Oliver Nelson’s “Hoe-Down”, fodder for inspired soloing by all. “Little Feet” utilizes “Hush Little Baby” as a point of departure for a brooding excursion that moves outside for some of the date’s freest playing. “Garden State” is a hard-swinging burner in tribute to Douglas’ New Jersey roots. The concluding “The Pigeon and the Pie” is a slowly building, spacious outing that hearkens to the leader’s earlier Miles-inspired quintet days, with taut ensemble playing and thoughtful soloing by the members of the quintet. Pathways again finds Douglas going outside of the jazz confines for inspiration, here back to Bach. The disc’s seven pieces, played by a sextet that brings together old bandmates saxophonist Greg Tardy, trombonist Josh Roseman, pianist Uri Caine and drummer Clarence Penn with Oh, are all variations on the chorale Es Ist Genug, spotlighting each player, beginning with guest O’Donovan, who sings the original melody and beautifully improvises her own lyric. Douglas is featured on “Dragonback”, which exhibits the influence of Booker Little. The other soloists are featured individually on the succeeding pieces, which go from freebopping intensity to pastoral solemnity, ending with the Messenger-ish ode “Passing The Torch Song”, everyone swinging like mad over Penn’s burning rhythms.

For more information, visit greenleafmusic.com. Douglas’ quintet is at Jazz Standard Nov. 14th-17th. See Calendar.

DD|50: 50th Birthday Recordings Dave Douglas (Greenleaf Music)

by Russ Musto

jalc.org / dizzysswing by tonight set times

pm

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

N OV 1 – 3

ted nash big band: chakra

N OV 4

manhattan school of music afro-cuban orchestra

N OV 5 – 6

myron walden momentum

N OV 7–1 0

jacky terrasson quartet

N OV 1 1 monday nights with wbgo

jon cowherd: mercy

N OV 1 2

the danny mixon quartet

N OV 1 3

niels lan doky trio: scandinavian standards

N OV 1 4 –1 5

george cables trio featuring victor lewis: a birthday celebration

N OV 16 –1 7

george cables songbook featuring victor lewis

N OV 1 8

manhattan school of music jazz ensemble

N OV 1 9 –2 0

lavay smith sings count basie

N OV 2 1 –2 4

bobby sanabria multiverse big band

N OV 2 5

the amigos band hosts david amram

N OV 2 6

brooklyn underground meets queens overground

N OV 2 7

juilliard jazz ensemble

N OV 2 8 – D EC 1

wycliffe gordon & friends

Cobi Narita Presents at Zeb’s

ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd floor walk-upcobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010

EVERY FRIDAY - 6:30 TO 9:30 PMOPEN MIC/JAM SESSION

Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists, Poets - hosted by Frank Owens, one of the most gif ted

pianists you will ever hear!

Our Open Mic is one of the best of the Open Mics happening in New York & elsewhere, with the incomparable Frank Owens playing for you.

An unmatchable moment in your life! As a participant , or as an audience member, you will always have an amazing time, one you will never forget!

Don’t miss! Admission: $10.

ME (YOU)! THE DIVA PROJECTTwo One-Of-A-Kind Talents:

E jaye Tracey and Frank Owenspresent a Vocalist ’s coaching session for professional, as well as beginners

and actors, who sing , focusing on understanding/caressing/emoting the lyric; craf ting and inter jecting your ar t into the lyric of a song. E jaye Tracey and Frank Owens are gif ted, seasoned ar tists,

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Sunday, November 10, 2013, 3:00-8:00PM $35 Participant , $40 at Door; $25 Audit

Page 37: COOL TROMBONE LOVER

(INTERVIEW CONTINUED FROM PAGE 6)

TNYCJR: You have a fantastic lineup of players.

MC: Yeah, these are top players. And I’m very fortunate to have basically a whole section of lead trumpets - Lew Soloff, Michael Mossman, Tanya Darby and John Walsh - so they can alternate the lead parts and it helps to keep everyone really fresh, since six nights of two sets per night is a lot of playing. It’s always great to work so closely with all these colleagues of mine and there are outstanding players in all sections of the band, like [saxophonist/flutist] Antonio Hart, [trombonist] Luis Bonilla, [saxophonist] Chris Hunter, [saxophonist/flutist] Lou Marini, [baritone saxophonist] Gary Smulyan and, of course, there’s Anthony Jackson on bass and Cliff Almond on drums.

TNYCJR: Will we also get to hear any new tunes?

MC: Yeah, you might hear some new stuff. I’m working on a couple of new charts right now and I plan to premiere them at the Blue Note. And as I’ve been working on those new charts, I’ve been motivated to expand the language, or the concept, of a big band. It’s not just normal material, since it goes in some other different ways. There are backbeats and all kinds of other rhythms and grooves that you don’t usually hear coming from a big band. And the players in the band know that, which is why I think they love doing it, since they love the challenge just like I do.

TNYCJR: Big bands can be a great way to engage listeners who might not be as familiar with more complicated aspects of the music, since the sound is so big and joyful and it really hits you physically.

MC: I think that’s true. And when we hit, the walls are gonna be shaking. These are players that really go all out and it’s going to be some very challenging music, but every part matters and the main thing is that this band is going to be extremely tight. And at the same time, it’s just a great feeling to work with so many of my colleagues to put this together. At the end of the day, that’s what it’s all about. Let’s enjoy the moment and have a great time and if an audience shows up, then it’ll be even more special. v

For more information, visit michelcamilo.com. Camilo is at Blue Note Nov. 5th-10th. See Calendar. See Calendar. Recommended Listening: • Michel Camilo - Eponymous (Portrait, 1988)• Michel Camilo - Rendezvous (Columbia, 1993)• Michel Camilo - One More Once (Sony-Columbia, 1994)• Giovanni Hidalgo - Hands of Rhythm (featuring Michel Camilo) (RMM, 1997)• Michel Camilo - Live at the Blue Note (Telarc, 2003)• Michel Camilo - What’s Up? (OKeh, 2013)

(LABEL CONTINUED FROM PAGE 12)

describes as ranging from “minimalism to noise”, Reilly and Panico don’t often disagree on what should be released. “Agreeing is usually not an issue,” notes Reilly. “If we don’t, each of us gets to release what he believes in.” Like all other smaller labels, what does hold them back is finances. “We put personal funds into the label each year with the goal that the income generated by the catalogue will pay for future releases,” explains Reilly. “Each project is based on our budget and what the situation requires. There have been projects we liked that we had to pass on because of our budget.” Besides CDs, most RP titles are also available as downloads, although as Reilly points out, “some artists aren’t eager to make their music available digitally. They spend a great deal of time getting things to sound a certain way and resist the music being distributed in lesser quality formats.” As for LPs, Panico counters: “While LPs are hip again, manufacturing and shipping them is very expensive.” Rather than spending their money that way, the two attend as many shows as they can in the NYC-area and overseas and aim to release CDs by artists who impress them. “We both first heard each of our releases alone, in our homes and felt privileged and excited to be hearing them. We want to get this art out into the world since, this music deserves to be heard,” states Reilly. “I like the idea that you could look at our catalogue and not know where the label is based. To paraphrase [pianist] Thollem McDonas: ‘This music has no borders.’” v

For more information, visit relativepitchrecords.com. Artists performing this month include Taylor Ho Bynum at The Jazz Gallery Nov. 9th and Clemente Soto Velez Cultural Center Nov. 22nd; Connie Crothers at The Firehouse Space Nov. 22nd with Adam Caine; Vinny Golia at The Firehouse Space Nov. 2nd with Adam Lane, Downtown Music Gallery Nov. 3rd and Barbès Nov. 6th; Mary Halvorson at The Jazz Gallery Nov. 9th with Taylor Ho Bynum, SEEDS Nov. 13th, Cornelia Street Café Nov. 15th and 16th and ShapeShifter Lab Nov. 19th with The RicTer Scale; Jim Hobbs at The Jazz Gallery Nov. 9th with Taylor Ho Bynum; Kirk Knuffke at Korzo Nov. 12th with Matt Pavolka and Cornelia Street Café Nov. 20th with Ideal Bread; Matthew Shipp at Klavierhaus Nov. 6th; Matt Wilson at Smalls Nov. 1st-2nd with Ken Peplowski, Jazz at Kitano Nov. 2nd with John Menegon, 13th with Julian Shore and 22nd-23rd with Jane Ira Bloom, 55Bar Nov. 14th with Amy Cervini and The Stone Nov. 16th with Ray Anderson/Marty Ehrlich; and Nate Wooley at 61 Local and Ibeam Brooklyn Nov. 3rd, 61 Local Nov. 7th with Jaap Blonk and ShapeShifter Lab Nov. 18th with Ingebrigt Håker Flaten. See Calendar. See Calendar.

Academy Records& CDs

Open 7 days a week 11-712 W. 18th Street NY, NY 10011

212-242-3000

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.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 37

www.new worldrecords.org

New World Records

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“Marty Ehrlich

A Trumpet in the MorningMarty Ehrlich Large Ensemble: E.J. Allen, Ray Anderson, Uri Caine, John Clark, Joseph Daley, Robert DeBellis, Michael Dessen, Curtis Fowlkes, Drew Gress, Jerome Harris, Miki Hirose, Ron Horton, Howard Johnson, Brad Jones, Adam Kolker, Andy Laster, Eric McPherson, J.D. Parran, Lisa Parrott, Jason Robinson, Warren Smith, James Weidman, Matt Wilson, James Zollar; Marty Ehrlich, conductor

80752-2

This is the most ambitious recording I have done to date as a composer. These compositions, written over a twenty-year period, receive wonderful performances from these A-list musicians, many of whom I have worked with for thirty years and more. Each piece approaches the jazz orchestra in different ways. The music on this recording presents the fullest range yet of my creative passions.

—Marty Ehrlich

This is the first program devoted entirely to the orchestral music of Marty Ehrlich. It displays the characteristics that have marked his success as an instrumentalist, composer, and bandleader: strong melodic invention and a keen ear for instrumental color, creative curiosity embracing disciplines beyond music, extreme sensitivity to those with whom he collaborates, formal inventiveness that enhances rather than obscures expressive intent, and an unblinking yet ultimately affirmative insistence on connecting his music with realities both historic and contemporary.

Page 38: COOL TROMBONE LOVER

38 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

CALENDAR

Friday, November 1 êGary Bartz Quintet with Vincent Herring, Sullivan Fortner, James King, Greg Bandy Smoke 7, 9, 10:30 pm $38êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz Cornelia Street Café 9, 10:30 pm $15• Sing Sing Swing: The New York Pops with guests Montego Glover, Dave Bennett Stern Auditorium 8 pm $34-120êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Village Vanguard 8:30, 10:30 pm $25• Ron Carter Nonet Birdland 8:30, 11 pm $40êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber, Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $40êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore Jazz Standard 7:30, 9:30, 11:30 pm $30• Arturo Sandoval Blue Note 8, 10:30 pm $45êCharlie Hunter solo Rockwood Music Hall 8 pm $15êKen Peplowski Quartet with Ehud Asherie, Martin Wind, Matt Wilson Smalls 10:30 pm $20• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100êBen Allison Trio with Steve Cardenas, Steve Wilson Jazz at Kitano 8, 10 pm $25• Eugene Chadbourne/Tatsuya Nakatani The Stone 8, 10 pm $15• Bobby Sanabria Multiverse Big Band Hostos Center 7:30 pm $25-35• Osmany Paredes Trio with Yunior Terry, Ludwig Afonso The Jazz Gallery 9, 11 pm $20êLuis Bonilla Duo Knickerbocker Bar and Grill 9:45 pm $5• Jostein Gulbrandsen Trio with Mike McGuirk, Andrew Swift Bar Next Door 7:30, 9:30, 11:30 pm $12• David Scanlon, Sean Ali, Koh Ohtera; Sean Ali/Koh Ohtera; Coco Karol, Koh Ohtera Ibeam Brooklyn 8 pm $10• Chris Massey’s Nue Jazz Project with Benny Benack III, Wilerm Delisfort, Chris Talio, Stacy Dillard ShapeShifter Lab 7 pm $10• Ray Gallon Trio; Jared Gold/Dave Gibson Band Fat Cat 6, 10:30 pm• Elektra Kurtis Ensemble Elektra with India Czajkowska, Curtis Stewart, Brad Jones, Reggie Nicholson Kosciuszko Foundation 7 pm• Masami Ishikawa Organ Trio Cleopatra’s Needle 8 pm• Rudi Mwongozi Quartet with Abdus Sabur, Chris Hall, Chris Almeida University of the Streets 9 pm $10• Antonio Ciacca Measure 8 pm• Audrey Silver; Somethin’ Vocal with Matt Baker Trio; Will Macirowski Trio with Tucker Flythe, Victor Lewis Somethin’ Jazz Club 7, 9, 11 pm $12-15• Billy Carvion, Jr. Tomi Jazz 9 pm $10• Guy Mintus Trio; Hot House The Garage 6:15, 10:45 pm

Saturday, November 2• Sylvie Courvoisier Trio with Drew Gress, Kenny Wollesen Greenwich House Music School 8 pm $15êAmir ElSaffar Quintet with Ole Mathisen, John Escreet, François Moutin, Dan Weiss The Jazz Gallery 9, 11 pm $20• John Menegon Quartet with Tineke Postma, Matt Wilson Jazz at Kitano 8, 10 pm $25• Eugene Chadbourne solo The Stone 8, 10 pm $15• Warren Wolf Quartet with Alex Brown, Vicente Archer, Billy Williams Miller Theater 8 pm $25-35êTim Price/Bill Goodwin Michiko Studios 8 pm $15êAdam Lane Trio with Vinny Golia, Vijay Anderson The Firehouse Space 8, 9:30 pm $10êSugar Hill Quartet with Patience Higgins Ginny’s Supper Club 7:30 pm $10• Brandon Sanders Group Sistas’ Place 9, 10:30 pm $20• Barry Greene Trio with Marco Panascia, Kyle Poole Bar Next Door 7:30, 9:30, 11:30 pm $12• Doggie Woof: Super Natsuki Tamura, Ken Kobayashi, Jochem van Dijk; Tyshawn Sorey/Fay Victor Ibeam Brooklyn 8:30, 9:30 pm $10• Luiz Simas Metropolitan Room 9:30 pm $20• Billy Vera Big Band with Tamela D’Amico The Cutting Room 8 pm $25• Michael Oien with Nick Videen, Jamie Reynolds, Eric Doob; Brittany Anjou Portishead Tribute; One Tu and the Moon Bear: Rosa Tu, Anna Maria, Andrea Tomasi, Matt Gold, Alex Khurgi ShapeShifter Lab 7, 8, 10 pm $8-15• Gaucho: Dave Ricketts, Michael Groh, Ari Munkres, Rob Reich, Ralph Carney, Beth Goodfellow Joe’s Pub 7:30 pm $20• Raphael D’lugoff Quintet Fat Cat 10 pm• Household Tales: William Lea, David Redbranch, Elyse Reynard, Sean Ali, Tim Shortle The Backroom 8 pm• Alex Levine with Caleb Curtis, Julian Smith, Jay Sawyer; Takeshi Asai Trio with Daniel Ori, Russ Meissner; Josh Levinson Sextet with Lucas Pino, David Gibson, Jeb Patton, Yoshi Waki, Kevin Kanner; JB Baretsky and Trio Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15• Yuko Ito; Jonathan Saranga Tomi Jazz 8, 11 pm $10• Armengot Quintet Cleopatra’s Needle 8 pm• Rebecka Larsdotter; Michael Veal and Aqua Ife Shrine 6, 8 pm• Moth to Flame; Nafsi Groove Silvana 6, 9 pmêGary Bartz Quintet with Vincent Herring, Sullivan Fortner, James King, Greg Bandy Smoke 7, 9, 10:30 pm $38êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz Cornelia Street Café 9, 10:30 pm $15êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Village Vanguard 8:30, 10:30 pm $25• Ron Carter Nonet Birdland 8:30, 11 pm $40êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber, Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $45êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore Jazz Standard 7:30, 9:30, 11:30 pm $30• Arturo Sandoval Blue Note 8, 10:30 pm $45êChris Byars Quartet; Ken Peplowski Quartet with Ehud Asherie, Martin Wind, Matt Wilson; Stacy Dillard, Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1:30 am $20• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110êLuis Bonilla Duo Knickerbocker Bar and Grill 9:45 pm $5• Antonio Ciacca Measure 8 pm• Larry Newcomb Quartet; Evgeny Sivtsov; Peter Valera Jump Blues Band The Garage 12, 6:15, 10:45 pm

Sunday, November 3• New Directions in Appalachian Music: Eugene Chadbourne, Evan Gallagher, Thomas Heberer, Tatsuya Nakatani, Leslie Ross The Stone 8, 10 pm $15• Ben Gerstein, Owen Stewart Robertson, Carlo Costa; Keefe Jackson, Christoph Erb, Tomeka Reid, Nate Wooley Ibeam Brooklyn 8:30 pm $10• Freddie Bryant/Joris Teepe Eats Restaurant 7 pm• John Merrill Trio; Tine Bruhn/Anthony Wonsey; Johnny O’Neal Smalls 4:30, 7:30, 10 pm $20

• Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• Youngjoo Song Trio with Vicente Archer, Kendrick Scott Cornelia Street Café 8:30 pm $10• Satin Doll Trio: Patrice Ferris, Ken Kilpatrick, Fred Ferris Metropolitan Room 9:30 pm $20• Peter Leitch/Dwayne Burno Walker’s 8 pm• Tony Moreno Quintet with Marc Mommaas, Nate Radley, Jean-Michel Pilc, Dean Johnson 55Bar 10, 11:30 pm• Double Bass From Hell: Jochem van Dijk/Tom Shad; K. Page Stuart solo; Jeff Platz Trio with India Czajkowska, Jonas Tauber ABC No-Rio 7 pm $5• Forge the Bell: Joy Askew, T. Taylor, Daniel Mintseris; Philip Hamilton ShapeShifter Lab 7, 8:15 pm $8-10• Matt Davis’ Aerial Photograph with Eugen Kim, Ben Sutin, Eric Lemmon, Bronwyn Banerdt, Paul Jones, John Raymond, Jay Rattman, Leon Boykins, Justin Leigh; Tom Blatt Project with Raymond Todd, Michele Smith, Charles Ramsey, Andy O’Neil; Ece Goksu Quintet with Uri Gurvich, Can Cankaya, Scott Colberg, Dan Pugach Somethin’ Jazz Club 5, 7, 9 pm $10-12• Jon Davis Measure 8 pm• Shrine Big Band Shrine 8 pm• Elise Wood Duo; Red Sahara Collective Silvana 6, 8 pmêJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Village Vanguard 8:30, 10:30 pm $25êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber, Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $35êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $25• Arturo Sandoval Blue Note 8, 10:30 pm $45• Adam Lane, Vinny Golia, Vijay Anderson; James Brandon Lewis, Eri Yamamoto, Max Johnson, Juan Pablo Carletti Downtown Music Gallery 6, 7 pmêNate Wooley solo 61 Local 6 pm $10• Ike Sturm and Evergreen Saint Peter’s 5 pm• Tia Fuller Trio Abyssinian Baptist Church 4 pm $20• Central Brooklyn Jazz Consortium 14th Anniversary: Lesedi Ntsane with Bakithi Kumalo, Morris Goldberg, Danny Bravo, Matciek Schejbal Bedford Stuyvesant Restoration Corporation 4 pm• Nicole Henry Blue Note 12:30, 2:30 pm $29.50• Linda Ciofalo Trio with Mark Marino, Marcus McLaurine North Square Lounge 12:30, 2 pm• Adrian Mira Quartet; David Coss Quartet; Abe Ovadia Trio The Garage 11:30 am 6:30, 11 pm

Monday, November 4êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êJoanne Brackeen Blue Note 8, 10:30 pm $20êDavid Gilmore and Art of Ascension with Matthew Garrison, Gene Lake ShapeShifter Lab 8:15 pm• Manhattan School of Music Afro-Cuban Jazz Orchestra directed by Bobby Sanabria Dizzy’s Club 9:30 pm $35• Jill McCarron Trio with Greg Ryan, Joe Strasser; Diego Urcola Sextet with Dave Samuels, Edmar Casteneda, Luques Curtis; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20• Chris Byars Quintet; Billy Kaye Jam Fat Cat 9 pm 12:30 am• David Amram and Co. with Kevin Twigg, Rene Hart, Adam Amram Cornelia Street Café 8:30 pm $10• Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic Spectrum 9 pm• Lil Howlin Wolf Silent Barn 8 pm• Marianne Solivan; Jay Rodriguez/Victor Jones’ In The Spirit of Gil Zinc Bar 7, 9, 11 pm $8• Laura Campisi Trio with Saul Rubin, Ameen Saleem Bar Next Door 8:30, 10:30 pm $12• Dave Stryker/Steve Slagle Eats Restaurant 7 pm• Emmet Cohen Measure 8 pm• Yoham Ortiz Concept with Itaiguara Brandao, Mauricio Zottarelli; AmmoCake: Dorian Wallace, Carl Limbacher, Max Maple Somethin’ Jazz Club 7, 9 pm $5-10• Daniel Bagutti; Tom Wilson Trio Silvana 6, 8 pm• Howard Williams Jazz Orchestra; Austin Walker Trio The Garage 7, 10:30 pm

Tuesday, November 5êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Gary Smulyan Blue Note 8, 10:30 pm $45êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 8:30, 10:30 pm $25êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and guest Cyrille Aimee Birdland 8:30, 11 pm $40• Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Mark Whitfield, Jr. Dizzy’s Club 7:30, 9:30 pm $35• Chris Pattishall Trio Dizzy’s Club 11:30 pm $5• Andromeda Turre with JC Hopkins, Vito Dieterle, Joanna Sternberg, Dorota Piotrowska Iridium 8, 10 pm $25• Frank Perowsky Big Band NYC Baha’i Center 8, 9:30 pm $15• Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Stacy Dillard, Josh Evans, Theo Hill, Rashaan Carter, Frank Lacy, Kush Abadey; Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20• Saul Rubin; Nu D’Lux 6; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Jack Jeffers and the New York Classics Zinc Bar 8, 10 pm• Cuban Jewish All-Stars: Bernie Minoso, Ivan Barenboim, Meg Okura, Igor Arias Aaro, Itai Kriss, Uri Sharlin, Roberto Rodriguez The Stone 8, 10 pm $15• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Lucas Pino Trio with Ugonna Okegwo, Colin Stranahan Bar Next Door 8:30, 10:30 pm $12• Anna Garano/Anaïs Tekerian; Clements Orth with Sam Minaie, Mark Ferber; Gingerbread: Carol Morgan, Brad Linde, Corin Stiggall, EJ Strickland ShapeShifter Lab 7, 8:15, 9:30 pm $10• Juilliard Jazz Ensembles with guest Jason Moran Paul Hall 8 pm• CTMD Tantshoyz with Zev Feldman Stephen Wise Free Synagogue 7:30 pm $15• Julio Monterey 2’s and 4’s; Brad Henkel solo; Flin van Hemmen Trio with Eivind Opsvik, Todd Neufeld Spectrum 7:30 pm• Amy Cervini and Jazz Country with Jesse Lewis, Matt Aronoff 2nd Floor at Clinton 7:30 pm• David Lantz solo Jazz at Kitano 8 pm• Yana Bibb/Alessandro Fadini; Ted Kooshian’s Standard Orbit Quartet with Jeff Lederer, Tom Hubbard, Warren Odze Somethin’ Jazz Club 7, 9 pm $10• Peter Brendler Tomi Jazz 8 pm $10• Liber 49 Shrine 9 pm• Emmet Cohen Measure 8 pm

• Yvonnick Prene Quartet; Adam Larson Trio The Garage 6, 10:30 pm• Audubon Lab Experiment Silvana 6 pm

Wednesday, November 6êMatthew Shipp, William Parker, Jeff Cosgrove Klavierhaus 7 pm• William Hooker Quartet with Matt Lavelle, Mark Hennen, Larry Roland; Welf Dorr Unit with Dave Ross, Dmitry Ishenko, Joe Hertenstein; On Ka’a Davis and The Famous Original Djuke Music Players with Nick Gianna, Cavassa Nickens, Welf Dorr, Peter Barr ShapeShifter Lab 7, 8:15, 9:30 pm $12• Roberto Rodriguez Masada Project with Eddie Khaimovich, Ivan Barenboim, Meg Okura, Carmen Staff, Itai Kriss, Uri Sharlin The Stone 8, 10 pm $15• Kevin Hays New Day Trio with Rob Jost, Greg Joseph Jazz at Kitano 8, 10 pm $10• Manuel Valera and New Cuban Express with Yosvany Terry, Tom Guarna, John Benitez, Ludwig Afonso, Mauricio Herrera Jazz Standard 7:30, 9:30 pm $20• Glenn Zaleski, Rick Rosato, Colin Stranahan; Roberto Gatto Group with Michael Blake, Nir Felder, Matt Clohesy Smalls 9:30 pm 12 am $20• Raphael D’lugoff; Groover Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 amêRoy Nathanson Project with Tim Kiah, Sam Bardfeld; Sebastian Noelle KOAN 4tet with Loren Stillman, Thomson Kneeland, Ross Pederson SEEDS 8:30, 10 pmêMichael Rodriguez Quintet with Chris Cheek, Jeb Patton, Kiyoshi Kitagawa, Obed Calvaire Smoke 7, 9, 10:30 pm• Valery Ponomarev “Our Father Who Art Blakey” Big Band Zinc Bar 8 pm• Joe Farnsworth Quartet with Eric Alexander, Harold Mabern, Dwyane Burno An Beal Bocht Café 8, 9:30 pm $15êAdam Lane/Vinny Golia Barbès 8 pm $10• Kristin Slipp/Dov Manski Cornelia Street Café 8:30 pm $10êAlt.Timers: Denman Maroney, Ratzo B. Harris, Bob Meyer Spectrum 8 pm• Christine Ebersole with Aaron Weinstein Trio 54 Below 7 pm $50-65• Steve March-Tormé Metropolitan Room 9:30 pm $20• QueensJazz OverGround Jazz Jam Flushing Town Hall 7 pm $10• Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic Bar Chord 9 pm• Circuit Des Yeux; Jason Lescaleet Silent Barn 8 pm• The Stachel Quintet: Karen Stachel, Norbert Stachel, Bob Quaranta, Andy Eulau, Daniel Gonzalez; Nancy and Spencer Reed Somethin’ Jazz Club 7, 9 pm $10• Roger Davidson Caffe Vivaldi 7:15 pm• Eric Platz Trio; Hee Hawk Silvana 6, 8 pm• Marc Devine Trio; Dmitry Baevsky Trio The Garage 6, 10:30 pmêMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Gary Smulyan Blue Note 8, 10:30 pm $45êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 8:30, 10:30 pm $25êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and guest Cyrille Aimee Birdland 8:30, 11 pm $40• Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Mark Whitfield, Jr. Dizzy’s Club 7:30, 9:30 pm $35• Chris Pattishall Trio Dizzy’s Club 11:30 pm $5• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Emmet Cohen Measure 8 pm• Kyle Athade Big Band Saint Peter’s 1 pm $10

Thursday, November 7êSteve Kuhn with Buster Williams, Billy Drummond Jazz Standard 7:30, 9:30 pm $25êJacky Terrasson Quartet Dizzy’s Club 7:30, 9:30 pm $35• Chris Pattishall Trio Dizzy’s Club 11:30 pm $10êDarcy James Argue’s Secret Society with Erica von Kleist, Sharel Cassity, Sam Sadigursky, John Ellis, Josh Sinton, Seneca Black, Tom Goehring, Jonathan Powell, Nadje Noordhuis, Mike Rodriguez, Mike Fahie, Ryan Keberle, James Hirschfeld, Jennifer Wharton, Sebastian Noelle, Red Wierenga, Matt Clohesy, Eric Doob The Jazz Gallery 9, 11 pm $20êDave Liebman/Phil Markowitz Michiko Studios 7 pm $20êMel Martin Quartet with Don Friedman, Daryl Johns, Steve Johns Jazz at Kitano 8, 10 pm $10• Jaap Blonk Improvisation Night with Kyoko Kitamura, Michael Evans, Susan Hefner, Judy Dunaway, Nate Wooley, David Grollman, ExclusiveOr: Sam Pluta/Jeff Snyder 61 Local 8 pm $10• Cuban Jewish All-Stars: Bernie Minoso, Ivan Barenboim, Meg Okura, Igor Arias Aaro, Itai Kriss, Uri Sharlin, Roberto Rodriguez The Stone 8, 10 pm $15ê40Twenty: Vinnie Sperrazza, Jacob Sacks, Jacob Garchik, Dave Ambrosio; Jesse Stacken, Reuben Radding, Michaël Attias Ibeam Brooklyn 8:30, 10 pm $10• Patrick Cornelius Trio with Harish Raghaven, Paul Witgen Bar Next Door 8:30, 10:30 pm $12• Saul Rubin Zebtet Fat Cat 10 pm• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm• Eric Comstock/Barbara Fasano Neue Galerie 9 pm $110• Karl Berger’s Improvisers Orchestra; Seung-Hee Quintet with Toru Dodo, Thomson Kneeland, George Schuller ShapeShifter Lab 8, 9:30 pm $10-15• Sketches: Matt Holman, Jeremy Udden, Jarrett Cherner, Martin Nevin, Ziv Ravitz Cornelia Street Café 8:30 pm $10• Koh Ohtera Spectrum 7 pm• Christine Ebersole with Aaron Weinstein Trio 54 Below 7 pm $50-65• Dave Wilson Quartet with Bobby Avey, Tony Marino, Alex Ritz; Dave Kardas Band Somethin’ Jazz Club 7, 9 pm $10-12• Kavita Shah Tomi Jazz 9 pm $10• Robert Haight; Radek Wosko Group; Mem Nahadr Silvana 6, 8, 10 pm• Dan Furman Trio Cleopatra’s Needle 7 pm• George Weldon Trio; Chris Carroll Trio The Garage 6, 10:30 pm• Alex Hoffman Quartet; Glenn Zaleski, Rick Rosato, Colin Stranahan; Carlos Abadie Quintet with Joe Sucato, Theo Hill, Clovis Nicolas, Luca Santaniello Smalls 6, 9:30 pm 12 am $20êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Gary Smulyan Blue Note 8, 10:30 pm $45êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 8:30, 10:30 pm $25êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and guest Freddie Cole Birdland 8:30, 11 pm $40• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Emmet Cohen Measure 8 pm

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 39

Friday, November 8êLadies Sing The Blues: Catherine Russell, Brianna Thomas, Charenee Wade with Vince Giordano Allen Room 7, 9:30 pm $45-75êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5êBill Stewart Quartet with Chris Cheek, Kevin Hays, Doug Weiss Smoke 7, 9, 10:30 pm $38êTony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss Cornelia Street Café 9, 10:30 pm $15• Garry Dial Trio; Walt Weiskopf Quartet with Peter Zak, Ugonna Okegwo, Jason Brown Smalls 7:30, 10:30 pm $20• Avi Rothbard Quartet; The Flail Fat Cat 6, 10:30 pmêMichael Musillami Trio with Joe Fonda, George Schuller; Oleg Kireyev/James Weidman Quartet with Harvie S, Steve Williams; Mario Pavone’s ARC Quartet with Dave Ballou, Angelica Sanchez, Pheeroan akLaff ShapeShifter Lab 7, 8:15, 9:30 pm $15• EK Drum Codes: Roberto Rodriguez, Susie Ibarra, Oz Noy, Elefterios Bournias The Stone 8, 10 pm $15êRed Baraat! Brooklyn Bowl 8 pm $15êDave Liebman/Phil Markowitz Miller Recital Hall 7:30 pmêLucian Ban/Abraham Burton Michiko Studios 7 pm $15• George Coleman, Jr. Quartet with Don Braden, Mike LeDonne, John Webber The Players 8 pm $20• Steve Lehman Octet with Jonathan Finlayson, Mark Shim, Tim Albright, Chris Dingman, Jose Davila, Drew Gress, Tyshawn Sorey The Jazz Gallery 9, 11 pm $20• Hiromi Shimizu Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi Jazz at Kitano 8, 10 pm $25êRoss Hammond with Devin Hoff, Mike Pride Spectrum 8 pm $10• Etienne Charles with Jacques Schwarz-Bart, Victor Gould, Michael Olatuja, John Davis SubCulture 7:30, 10 pm $20• Trumpeters of Queens: Josh Deutsch Group; Miki Hirose Group Flushing Town Hall 8 pm $15• Yotam Silberstein Trio Bar Next Door 7:30, 9:30, 11:30 pm $12• Andrea Wolper Trio with Michael Howell, Thomson Kneeland Inkwell Café 8, 9:30 pm $5• Roger Davidson with Jed Levy, Chris Berger, Marivaldo dos Santos, Norbert Goldberg Zinc Bar 7 pm• The Hot Sardines Joe’s Pub 9:30 pm $15• Antonio Ciacca Measure 8 pm• Maria Guida with Mark Soskin, Essiet Essiet, Tony Moreno; Sabrina Lastman Quintet with Emilio Solla, Edward Perez, David Silliman, Meg Okura Metropolitan Room 7, 9:30 pm $20• Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic Goodbye Blue Monday 9 pm• VR Smith The Drawing Room 7 pm $10• Deborah Davis and A Few Good Men; Maya Nova Quartet with Tuomo Uusitalo; Sibling: Halley Hiatt, Anika Trujillo, Jason Berman, Eldad Arad, Justin Carter Somethin’ Jazz Club 7, 9, 11 pm $10-12• Rudi Mwongozi Trio Cleopatra’s Needle 8 pm• Masami Ishikawa Trio; Kevin Dorn and the BIG 72 The Garage 6:15, 10:45 pm• Christine Ebersole with Aaron Weinstein Trio 54 Below 8 pm $50-65êSteve Kuhn with Buster Williams, Billy Drummond Jazz Standard 7:30, 9:30 pm $30êJacky Terrasson Quartet Dizzy’s Club 7:30, 9:30 pm $40• Chris Pattishall Trio Dizzy’s Club 11:30 pm $10êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Gary Smulyan Blue Note 8, 10:30 pm $45• Clifton Anderson with Eric Wyatt, Tadataka Unno, Essiet Essiet, Steve Williams, Victor See Yuen Blue Note 12:30 am $15êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 8:30, 10:30 pm $25êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and guest Edmar Castaneda Birdland 8:30, 11 pm $40• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100

Saturday, November 9êAhmed Abdulllah’s Diaspora Sistas’ Place 9, 10:30 pm $20• Digital Sanctuaries: Roberto Rodriguez, Susie Ibarra, David Baron The Stone 8, 10 pm $15êKris Davis solo; Michaël Attias’ Spun Tree with Ralph Alessi, Sean Conly, Tom Rainey and guest Kris Davis Greenwich House Music School 7:30 pm $15• Jaap Blonk Improvisation Night with Andrew Drury/Jack Wright, Darkminster: Brad Henkel, Nathaniel Morgan, Peter Hanson, James Ilgenfritz, Dave Abramson, Sara Schoenbeck Launch Pad Gallery 8 pm• Taylor Ho Bynum Sextet with Jim Hobbs, Bill Lowe, Mary Halvorson, Ken Filiano, Tomas Fujiwara The Jazz Gallery 9, 11 pm $20• JC Hopkins Biggish Band Lucille’s at BB King’s Blues Bar 7 pm $25• Joris Teepe Fat Cat 10 pm• Brandon Bernstein Trio with Putter Smith, Jeff Hirschfield Bar Next Door 7:30, 9:30, 11:30 pm $12• Tim Horner/Ron Horton Tentet Zeb’s 8 pm• Assaf Kehati Quartet with Anat Cohen, Ehud Ettun, Ronen Itzik Jazz at Kitano 8, 10 pm $25• Remembering Joe Henderson: John Williams, Corey Wallace, Jahaan Sweet, Russel Carter, Jason Marshall, Jon Beshay Ginny’s Supper Club 7:30 pm $15• XBOP: Daniel Carter, Will Arvo, Jon Roberds, Brandon Miller Ibeam Brooklyn 8:30 pm $10• Mala Waldron Project with Roger Byam, Marcus McLaurine, Willie Martinez BAMCafé 9 pm• Nashaz: Brian Prunka, Kenny Warren, Nathan Herrera, Apostolos Sideris, George Mel, Vin Scialla Alwan for the Arts 8 pm• Scott M. Rifkin and The Exploration Project Spectrum 8 pm• Brandon Bernstein Trio with Putter Smith, Jeff Hirshfield Bar Next Door 7:30, 9:30, 11:30 pm $12• MUSOH: Yutaka Uchida, Jostein Gulbrandsen, George Dulin, Trifon Dimitrov; Fauré at Play: Louise Rogers/Mark Kross; Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, John Lenis, Yutaka Uchida; Brett Sandler Trio with Peter Longofono, Adam Pin Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12• John Allen Watts; Chris Clark Tomi Jazz 8, 11 pm $10• Denton Darien Trio Cleopatra’s Needle 8 pmêLadies Sing The Blues: Catherine Russell, Brianna Thomas, Charenee Wade with Vince Giordano Allen Room 7, 9:30 pm $45-75êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5êBill Stewart Quartet with Chris Cheek, Kevin Hays, Doug Weiss Smoke 7, 9, 10:30 pm $38êTony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss Cornelia Street Café 9, 10:30 pm $15êMel Martin Quartet with Vic Juris, Ratzo Harris, Steve Johns; Walt Weiskopf Quartet with Peter Zak, Ugonna Okegwo, Jason Brown; Ian Hendrickson-Smith with Marcus Parsley, Steve Einerson, Hans Glawischnig, Chris Beck Smalls 7:30, 10:30 pm 1:30 am $20• Antonio Ciacca Measure 8 pmêSteve Kuhn with Buster Williams, Billy Drummond Jazz Standard 7:30, 9:30 pm $30êJacky Terrasson Quartet Dizzy’s Club 7:30, 9:30 pm $45• Chris Pattishall Trio Dizzy’s Club 11:30 pm $20

êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Gary Smulyan Blue Note 8, 10:30 pm $45êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 8:30, 10:30 pm $25êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and guest Edmar Castaneda Birdland 8:30, 11 pm $40• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110• Pravin Thompson Quintet Shrine 6 pm• Jazz Meets Gospel: Damien SneedRose Hall 1, 3, pm $12• Carol Sudhalter Astoria Big Band Langston Hughes Public Library 2 pm• Alex Layne Trio; Brooks Hartell Trio The Garage 12, 6:15 pmêJazz and Colors Festival: 2 Sisters, Inc Band; Andrew Lamb Trio; Arturo O’Farrill and The Afro-Latin Jazz Orchestra; Brian Charette Organ Sextette; Daseul Kim Quartet; Doug Wamble Quartet; Duane Eubanks; Frank London’s Klezmer Brass All Stars; Gregg August Quartet; Hot Future Five; Jason Kao Hwang; Jason Marshall Quintet; Jazz at Lincoln Center All-Stars with Russell Hall Quartet; Joe Alterman Trio; Joel Harrison Quintet; John Raymond Quartet with Dan Tepfer; Kahlil Kwame Bell; Kimberly Thompson Quartet; Lakecia Benjamin and Soul Squad; Marika Hughes and Bottom Heavy; Mike Mohamed Quartet; Mitch Froman Latin Jazz Quartet; Outer Bridge Ensemble: Steve Hudson, Mark DeJong, David Freeman, Mike Noordzy, Javier Diaz; Roy Campbell Jr.; Stephanie McKay; Vince Ector Quartet; Walking Distance; Wayne Escoffery Quartet with Carolyn Leonhart; Yard Byard; Yosvanny Terry Quartet; ELEW and Nature of the Next Central Park 12 pm

Sunday, November 10êMostly Other People Do the Killing: Peter Evans, Jon Irabagon, Moppa Elliott, Kevin Shea Cornelia Street Café 8:30 pm $10• Roberto Rodriguez Masada Project with Eddie Khaimovich, Ivan Barenboim, Meg Okura, Carmen Staff, Itai Kriss, Uri Sharlin The Stone 8, 10 pm $15êMike McGinnis’ Road*Trip Barbès 7 pm $10• Jack Wilkins/Carl Barry Eats Restaurant 7 pm• Hartt School of Music Show; Barbara Rosene/Conal Fowkes; The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski Smalls 4:30, 7:30, 10 pm 12 am $20• Terry Waldo’s Gotham City Band; Tineke Postma Quartet; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• The Weekly Reeders: Christos Rafalides, Carlos Cuevas, Elizabeth Tomboulian, Lee Tomboulian, Cliff Schmitt; Ed Lucie with Steve Kirby, Mike Connors, Tucker Antell ShapeShifter Lab 7, 9:30 pm $10• Jeffrey Hayden Shurdut Band Spectrum 7 pm• Vivienne Aerts/Florian Weber Metropolitan Room 9:30 pm $20êPeter Leitch/Charles Davis Walker’s 8 pm• Broc Hempel, Sam Trapchak, Christian Coleman with guest Jason Rigby Dominie’s Astoria 9 pm• Jon Davis Measure 8 pm• François Grillot/Claire de Brunner; The BE Duet: Blaise Siwula/Evan Gallagher; James Brandon Lewis/Dominic Fragman ABC No-Rio 7 pm $5• Jason Yeager Trio with Danny Weller, Matt Rousseau; Taylor Watson and Friends with Tim Sullivan, Josh Paris, Will Clark; Adam Everett Quintet with Ben Flood, Julian Hucq, Javi Santiago, Alex da Silva Somethin’ Jazz Club 5, 7, 9 pm $10• Michael Bank Quartet Shrine 8 pm• Elise Wood Duo; Bobby Katz Quartet Silvana 6, 8 pmêSteve Kuhn with Buster Williams, Billy Drummond Jazz Standard 7:30, 9:30 pm $25êJacky Terrasson Quartet with guest Cécile McLorin Salvant Dizzy’s Club 7:30, 9:30 pm $35êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Gary Smulyan Blue Note 8, 10:30 pm $45êMarc Ribot Trio with Henry Grimes, Chad Taylor Village Vanguard 8:30, 10:30 pm $25êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and guest James Carter Birdland 8:30, 11 pm $40• Ross Hammond/Ava Mendoza; Omar Tamez/Angelica Sanchez Downtown Music Gallery 6, 7 pm• Gene Bertoncini Trio with Clay Jenkins Saint Peter’s 5 pm• Nicole Henry Blue Note 12:30, 2:30 pm $29.50• Melissa Hamilton Trio with Steve Berger, Dan Loomis North Square Lounge 12:30, 2 pm• Lou Caputo Quartet; David Coss Quartet; Tsutomu Naki Trio The Garage 11:30 am 6:30, 11 pm

Monday, November 11êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25êEric Person Big Band with Sly Scott, Craig Bailey, Paul Nedzela, Duane Eubanks, Mark Magowan, Mark Williams, Adam Klipple, Bryan Carrott, Adam Armstrong, Shinnosuke Takahashi Blue Note 8, 10:30 pm $15• Jon Cowherd’s Mercy Dizzy’s Club 7:30, 9:30 pm $25• Aimee Allen; Eddie Allen Aggregation Big Band with Joe Ford, Bruce Williams, Frank Fontaine, Keith Loftis, Carl Maraghi, Kevin Bryan, Duane Eubanks, Reggie Pittman, Vitaly Golovnev, Sam Burtis, Dion Tucker, Joe McDonough, Aaron Johnson, Oscar Perez, Corcoran Holt, Jerome Jennings and guest Jeremy Pelt Zinc Bar 7, 9 pm $8• Brazilian Romance: Paulo Braga and Friends Paul Hall 8 pmêRoss Hammond, Max Johnson, Catherine Sikora, Billy Mintz Ibeam Brooklyn 8 pm $10• Sensorium Saxophone Orchestra Spectrum 7 pm• Non-Essential Personnel: Jacob Teichroew, Sebastien Ammann, Tyler Blanton, Michael Blanco, Paul Wiltgen; The Delegation: Gabriel Zucker, Adam O’Farrill, Bryan Qu, Jacob Teichroew, Eric Trudel, Mark Chung, Emily Bookwalter, Bam Bam Rodriguez, Gabriel Globus-Hoenich Douglass Street Music Collective 7:30, 9 pm $10• Eden Ladin Quartet; Ari Hoenig Trio with Jean-Michel Pilc, François Moutin; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20• Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Tom Dempsey/Tim Ferguson Eats Restaurant 7 pm• Samuel Blakeslee Group with Chris Coles, Steve Kortyka, David Meder, Scott Colberg, Dan Pugach; Tineke Postma ShapeShifter Lab 8, 9:30 pm $8-10• Daniela Schächter Trio with Bill Moring, Jason Tieman Bar Next Door 8:30, 10:30 pm $12• Dimitrije Vasiljevic Quartet Metropolitan Room 9:30 pm $20• Tamio Shiraishi; Michael Foster/Leila Bordreuil; Sean Ali solo JACK 8 pm $10• Shoko Amano with Toru Yamashita, Tony Ventura, Adriano Santos; MeWooKa Trio: Stephan Kammerer, Will Woodard, George Mel Somethin’ Jazz Club 7, 9 pm $12• jKb Freedom; Michael Sarian Quintet Shrine 6, 8 pm• Lou Caputo Not So Big Band; Afro Mantra The Garage 7, 10:30 pm• Antonio Ciacca Measure 8 pm• Tom Wilson Trio Silvana 6 pm

JA Z Z at K I TANOMus i c • R e s t a u ra n t • B a r

“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD

LIVE JAZZ EVERYWEDNESDAY - SATURDAY

$10 WED./THUR + .$25 FRI. /SAT. + $15 Minimum/Set

2 SETS 8:00 PM & 10:00 PM

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JAZZ BRUNCH EVERY SUNDAYTONY MIDDLETON TRIO

11 AM - 2 PM • GREAT BUFFET - $35OPEN JAM SESSION MONDAY NIGHTS

8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG SOLO PIANO EVERY 8:00 PM - 11:00 PM

NOVENTUESDAY IN JULY •

BER 5, 12, & 26 - DAVID LANTZ • $15 MINIMUM

FRI. NOVEMBER 1BEN ALLISON TRIOBEN ALLISON, STEVE CARDENAS

STEVE WILSON$25 COVER + $15 MINIMUM

SAT. NOVEMBER 2JOHN MENEGON QUARTET

CD RELEASE EVENT “I REMEMBER YOU”JOHN MENEGON , TINEKE POSTMAFRANK KIMBROUGH, MATT WILSON

$25 COVER + $15 MINIMUM

WED. NOVEMBER 6KEVIN HAYS “NEW DAY” TRIO

KEVIN HAYS, ROB JOST, GREG JOSEPH$10 COVER + $15 MINIMUM

FRI. NOVEMBER 8HIROMI SHIMIZU QUARTET

HIROMI SHIMIZU, DON FRIEDMANPHIL PALOMBI, SHINNOSUKE TAKAHASHI

$25 COVER + $15 MINIMUM

THURS. NOVEMBER 21JOHN RAYMOND QUARTET

JOHN RAYMOND, GILAD HEKSELMANAIDAN CARROLL, AUSTIN WALKER

$10 COVER + $15 MINIMUM

WED. NOVEMBER 20DENISE DONATELLI/

FRANK KIMBROUGH DUO$10 COVER + $15 MINIMUM

TUES. NOVEMBER 19SAMBA MEETS JAZZ OPEN HOUSE

CLAUDIO RODITI, MATT KINGNILSON MATTA, FERNANDO SACI

$15 MINIMUM

FRI. NOVEMBER 15MARTIN PIECUCH

JAZZICAL FUSION TRIOMARTIN PIECUCH, REGAN RYZUK, RIC CRANE

$25 COVER + $15 MINIMUMSAT. NOVEMBER 16

MADELINE EASTMANWITH THE RANDY PORTER TRIO

$25 COVER + $15 MINIMUM

THURS. NOVEMBER 14KIMBERLY HAWKEY QUARTET

KIMBERLY HAWKEY, CARMEN STAAFMATT ARONOFF, NADAV SNIR-ZELNIKER

$10 COVER + $15 MINIMUM

SAT. NOVEMBER 9ASSAF KEHATI QUARTET

WITH SPECIAL GUEST ANAT COHENASSAF KEHATI, ANAT COHENEHUD ETTUN, RONEN ITZIK

$25 COVER + $15 MINIMUM

THURS. NOVEMBER 7MEL MARTIN QUARTET

MEL MARTIN, DON FRIEDMANDARYL JOHNS, STEVE JOHNS$10 COVER + $15 MINIMUM

WED. NOVEMBER 13JULIAN SHORE QUARTET

JULIAN SHORE, NOAH PREMINGERJOE MARTIN, MATT WILSON$10 COVER + $15 MINIMUM

RESERVATIONS - 212-885-7119VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork

www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St.

FRI. & SAT. NOVEMBER 22 & 23JANE IRA BLOOM QUARTET

CD RELEASE "ALL BALLADS"JANE IRA BLOOM, DOMINIC FALLACARO

CAMERON BROWN, MATT WILSON$25 COVER + $15 MINIMUM

FRI. NOVEMBER 29RUFUS REID & THE OUT FRONT TRIO

RUFUS REID, STEVE ALLEE, DUDUKA DA FONSECA$25 COVER + $15 MINIMUMSAT. NOVEMBER 30

SERGIO SALVATORE/CHRISTOS RAFALIDES DUO

$25 COVER + $15 MINIMUM

WED. NOVEMBER 27JANN PARKER QUARTET

JANN PARKER, JAMES WEIDMANMARCUS MCLAURINE, DION PARSON

$10 COVER + $15 MINIMUMTHURS. NOVEMBER 28

NO MUSIC - THANKSGIVING

Page 40: COOL TROMBONE LOVER

40 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Tuesday, November 12êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Eric Harland and Friends Birthday Celebration with Chris Potter, Taylor Eigsti, Nir Felder, Matt Penman Blue Note 8, 10:30 pm $25• Charli Persip and the Super Sound Big Band with Angeleisha Rodgers, Lessie Vonner, James Smith, Sharif Kales, Eric Hoffman, Thomas Dover, Daniel Reitz, Mike Guilford, Danille Randall, Irwin Snow, Austin Becker, Matt Berman, Isaac Rosser, Melissa Slocum, Marcus Persiani NYC Baha’i Center 8, 9:30 pm $15• Danny Mixon Quartet with James Stewart, Lisle Atkinson, George Gray Dizzy’s Club 7:30, 9:30 pm $30• Joe Saylor Quartet Dizzy’s Club 11:30 pm $5êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Jochen Rueckert Jazz Standard 7:30, 9:30 pm $20• Loston Harris Group with Ian Hendrickson-Smith, Mark Whitfield, Gianluca Renzi, Clarence Penn Birdland 8:30 pm $30êMarco Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi Nublu 9 pm• Music for String Quartet and Alto Sax: Jennifer Choi, Cornelius Dufallo, Lev Zhurbin, Alex Waterman, Marty Ehrlich; Marty Ehrlich/Tyshawn Sorey The Stone 8, 10 pm $15 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Spike Wilner Trio with Paul Gill; Lucas Pino No Net Nonet with Matthew Jodrell, Alex LoRe, Rafal Sarnecki, Nick Finzer, Andrew Gutauskas, Glenn Zaleski, Desmond White, Colin Stranahan; Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20• Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Voice Box: Nancy Harms; Akiko Pavolka and House of Illusion with Loren Stillman, Nate Radley, Matt Pavolka, Bill Campbell Cornelia Street Café 8:30, 10 pm $10• Jacam Manricks Trio with Gianluca Renzi, Ross Pederson Bar Next Door 8:30, 10:30 pm $12• Matt Pavolka Horns Band with Kirk Knuffke, Jacob Garchik; Delicatessen: Stephanie Richards, Stomu Takeishi, Kenny Wollesen Korzo 9, 10:30 pm• Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza Barbès 7 pm $10• Chris Pitsiokos, Tim Dahl, Mike Pride JACK 8, 9:30 pm $10• Stan Killian Quintet with Josh Evans, Brad Whitley, Corcoran Holt, McClenty Hunter 55Bar 7 pm• Eleanor Reissa and Friends with Frank London Stephen Wise Free Synagogue 7:30 pm $15• David Lantz solo Jazz at Kitano 8 pm• Jimmy O’Connell 5tet with Tim Basom, Christian Nourijanian, Leon Boykins, Dustin Kaufman; Tomoyasu Ikuta Trio with John Glay Somethin’ Jazz Club 7, 9 pm $10• Aida Brandes, Emanuele Tozzi Tomi Jazz 8, 11 pm $10• Nick Grinder Group Silvana 9 pm• Rob Edwards Quartet; Mayu Saeki Trio The Garage 6, 10:30 pm• Antonio Ciacca Measure 8 pm

Wednesday, November 13• A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 7:30 pm $30êCedar Walton Memorial Saint Peter’s 7 pmêNiels Lan Doky’s Scandinavian Standards Trio with Gary Peacock, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30• Joe Saylor Quartet Dizzy’s Club 11:30 pm $5êJack Walrath Quintet with Alex Foster, George Burton, Donald Edwards Smoke 7, 9, 10:30 pm• Nilson Matta Samba Jazz Ensemble with Harry Allen, Anne Drummond, Xavier Davis, Fernando Saci Birdland 8:30, 11 pm $30êSecret Keeper: Stephan Crump/Mary Halvorson; Think Shadow: Michaël Attias/ Sean Conly SEEDS 8:30, 10 pmêRoy Nathanson and Friends; Fay Victor’s Absinthe & Vermouth Ensemble with Anders Nilsson, Ken Filiano; Morley Morley/Marika Hughes JACK 7:30, 9, 10:30 pm $15êPeter Brendler Quartet with Rich Perry, Peter Evans, Vinnie Sperrazza Barbès 8 pm $10êDayna Stephens Group with Aaron Parks, Charles Altura, Ben Street, Justin Brown; Will Bernard Group with John Ellis, Gary Versace, Rudy Royston Smalls 9:30 pm 12 am $20• Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Kevin Harris/Richie Barshay Cornelia Street Café 6 pm $10• Jeff Davis Glass Hat with Jon Irabagon, Jon Goldberger, Eivind Opsvik Cornelia Street Café 8:30 pm $10• In the beginning was the Word: Erica Hunt, Marty Ehrlich, Dave Lopato; Marty Ehrlich/Kate Gentile The Stone 8, 10 pm $15• Janis Siegel with John di Martino, Martin Wind, Ben Wittman, Paul Meyers, Dominick Farinacci and guests Peter Eldridge, Nanny Assis Blue Note 8, 10:30 pm $35• New York Voices Birdland 8:30, 11 pm $40• Kevin Hays New Day Trio with Rob Jost, Greg Joseph 55Bar 7 pm• Julian Shore Quartet with Noah Preminger, Joe Martin, Matt Wilson Jazz at Kitano 8, 10 pm $10• Katsuko Tanaka Quartet with Stacy Dillard, Dezron Douglas, Russell Carter Zinc Bar 7 pm $10• Deborah Latz; Ricardo Grilli Quartet with Julian Shore, Edward Perez, Lee Fish Somethin’ Jazz Club 7, 9 pm $11• Junko Sakai Tomi Jazz 8 pm $10• Michael Reis Caffe Vivaldi 8:30 pm• Tom Tallitsch Quartet; Joonsam Lee Trio The Garage 6, 10:30 pmêPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Jochen Rueckert Jazz Standard 7:30, 9:30 pm $20• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Antonio Ciacca Measure 8 pm• Yuki Shibata Trio Shrine 6 pm• Jann Parker/James Weidman Saint Peter’s 1 pm $10

Thursday, November 14êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Jazz Standard 7:30, 9:30 pm $25êGeorge Cables Trio with Essiet Essiet, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $35• Joe Saylor Quartet Dizzy’s Club 11:30 pm $10• Barbara Cook Town Hall 8 pm $55-85êRites Quartet: Marty Ehrlich, Ron Horton, Michael Formanek, Michael Sarin; The Traveler’s Tales: Marty Ehrlich, Adam Kolker, Michael Formanek, Michael Sarin The Stone 8, 10 pm $15• Stephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox Greenwich House Music School 8 pm $15• tAkE’N sHaDoW Vol. II: Fung Chern Hwei, Jonathan Goldberger, Stomu Takeishi, Shoko Nagai; Mack Goldsbury Quartet with Mark Minchello, Maciej Fortuna, Lou Grassi The Firehouse Space 8, 9:30 pm $10• Camila Meza/Fabian Almazan Cornelia Street Café 8:30 pm $10êBrandee Younger Quartet with Chelsea Baratz, Dezron Douglas, EJ Strickland Brooklyn Public Library Central Branch 7 pm• Interpretations: Anne LeBaron with FLUX Quartet, Thomas Buckner, Ana Cervantes, Ralph Samuelson Roulette 8 pm $15• Perry Smith Trio with Sam Minaie, Jordan Perlson Bar Next Door 8:30, 10:30 pm $12• Greg Glassman Quintet Fat Cat 10 pm• Sanda Weigl Neue Galerie 9 pm $110• Laurent Coq The Jazz Gallery 9, 11 pm $15• Kimberly Hawkey Quartet with Carmen Staaf, Matt Aronoff, Nadav Snir-Zelniker Jazz at Kitano 8, 10 pm $10• The Manhattan Transfer Blue Note 8, 10:30 pm $65• PAK: Ron Anderson/Alex Cohen; Ava Mendoza, Tim Dahl, Matt Nelson; Insect Ark: Dana Schecter; Anthony Coleman JACK 8 pm $10• Amy Cervini, Hilary Gardner, Melissa Stylianou with Michael Cabe, Paul Sikivie, Matt Wilson 55Bar 7 pm• Lathan Hardy/Carlo Costa Ange Noir Café 8 pm• Scot Albertson/Dan Furman Klavierhaus 8 pm• Persons of Interest: Eric Wollman, Jim Donica, Peter Grant; Tim Lancaster Group Somethin’ Jazz Club 7, 9 pm $11• Senri Oe Tomi Jazz 9 pm $10• Renaud Penant Trio Cleopatra’s Needle 7 pm• Brielle; The Verb Shrine 9, 10 pm• Champian Fulton Quartet; Gabe Valle Trio The Garage 6, 10:30 pm• A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 7 pm $500-10,000• Dwayne Clemons Quintet with Sacha Perry, Josh Benko, Murray Wall, Jimmy Wormworth; Dayna Stephens Group with Aaron Parks, Charles Altura, Ben Street, Justin Brown; Nick Hempton Band with Jeremy Manasia, George Delancy, Dan Aran Smalls 6, 9:30 pm 12 am $20• New York Voices Birdland 8:30, 11 pm $40êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Antonio Ciacca Measure 8 pm• Mat McDonald Silvana 6 pm

SambaMeetsJazz.com 888.435.4003

Alice Schiller, Executive Director | [email protected] Matta, Director of Production, Brazil | [email protected]

VOCAL & INSTRUMENTAL

wORkShOpSFeb. 16–22, 2014

Week-long immersion in Brazilian Music and Jazz... Culminating performance

in Rio Jazz Club!Ensembles | Clinics | Jams

Jazz Improv | Brazilian Phrasing Brazilian Percussion

Batucada & More!

TUESdAy, NOV. 19Jazz at KitanoPark Ave. & E. 38 St.

Faculty Concert: Nilson Matta – Artistic Director, Claudio Roditi, Matt King, Fernando Saci, Harry Allen

Open Jam:Bring your instruments!

RSVP: Alice@ SambaMeetsJazz.com

OpEN hOUSE& JAM - NyC

Join us for... Marty EhrlichThe Stone Residency

The Long View12 sets, 10 different bands

November 12 - 17, 2013The Stone

Avenue C and 2nd StreetSets at 8PM and 10PM - $15

Featuring: Erik Friedlander, Drew Gress, Liberty Ellman, Ray Anderson, Matt Wilson,

Brad Jones, J.D. Parran, Jack Walrath, James Weidman, Ben Perowsky, Adam Kolker, Michael Formanek, Michael Sarin, Ron Horton,

Kate Gentile, Erica Hunt, David Lopato, Tyshawn Sorey, Jennifer Choi, Cornelius Dufallo,

Lev Zhurbin & Alex Waterman

For a complete listing of ensembles visit:

www.martyehrlich.com or www.thestonenyc.com

Look for Marty’s new CD “A Trumpet in the Morning” out on New World Records this month

Page 41: COOL TROMBONE LOVER

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 41

Friday, November 15êAACM Presents - The Music of George Lewis with Either/Or, Khari B. Community Church of New York 8 pm $15-30êOliver Lake Big Band The Jazz Gallery 9, 11 pm $20êLouis Hayes and The Jazz Communicators with Abraham Burton, Steve Nelson, Kris Bowers, Dezron Douglas Smoke 7, 9, 10:30 pm $38êMarty Ehrlich Sextet with Jack Walrath, Ray Anderson, James Weidman, Brad Jones, Ben Perowsky and guest JD Parran The Stone 8, 10 pm $15êMourning of a Star; Jeff “Tain” Watts Quartet with Harold O’Neal, Troy Roberts, Chris Smith ShapeShifter Lab 8:15, 9:30 pm $10-15êReverse Blue: Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara Cornelia Street Café 9, 10:30 pm $15• Lonnie Youngblood Church of the Intercession 7:30 pm $20• Clifford Barbaro Trio Cleopatra’s Needle 8 pm• Marianne Solivan Quartet with Xavier Davis, Matthew Parrish, McClenty Hunter; Saul Rubin Group Smalls 7:30, 10:30 pm $20• Bruce Cox Sense; Jared Gold Fat Cat 10:30 pm 1:30 am • Martin Piecuch Jazzical Fusion Trio with Regan Ryzuk Jazz at Kitano 8, 10 pm $25• JACKtronics; Jeff Snyder, Cenk Ergün, Federico Ughi; Radical 2; Nathan Davis solo; Steven Luffue JACK 8 pm $10• The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew Lucille’s at BB King’s Blues Bar 8 pm $25• Paul Bollenback Trio with Joseph Lepore, Rogério Boccato Bar Next Door 7:30, 9:30, 11:30 pm $12• Victor Lin Duo Knickerbocker Bar and Grill 9:45 pm $5• Lucio Ferrara Measure 8 pm• Laila and Smitty: Kenny Warren, Myk Freedman, Jeremiah Lockwood, Noah Garabedian, Carlo Costa Launch Pad Gallery 8 pm• Alan Leatherman; Hye-Jeung; Adam Rivas/Alex Ramsay Collective with Shawn Whitehorn, Jr., Lluis Capdevila Somethin’ Jazz Club 7, 9, 11 pm $10-12• Fukushi Tainaka Trio; Hot House The Garage 6:15, 10:45 pmêDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Jazz Standard 7:30, 9:30, 11:30 pm $30êGeorge Cables Trio with Essiet Essiet, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $40• Joe Saylor Quartet Dizzy’s Club 11:30 pm $10• The Manhattan Transfer Blue Note 8, 10:30 pm $65• A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 8 pm $30• New York Voices Birdland 8:30, 11 pm $40êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Roz Corral with Gilad Hekselman, Boris Kozlov, Steve Williams 55Bar 6 pm

Saturday, November 16êRay Anderson/Marty Ehrlich Quartet with Brad Jones, Matt Wilson The Stone 8, 10 pm $15êPreservation Hall Jazz Band Apollo Theater 8 pm $35-50• Kayhan Kalhor/Ali Bahrami Fard Asia Society 8 pm $30êTomas Fujiwara and The Hook Up with Michael Formanek, Mary Halvorson, Brian Settles, Jonathan Finlayson Cornelia Street Café 9, 10:30 pm $15• Nioka Workman’s Fiery Strings with Mala Waldron Sistas’ Place 9, 10:30 pm $20• TILLERY: Rebecca Martin, Gretchen Parlato, Becca Stevens Rockwood Music Hall 7 pm $15• Brooklyn Jazz Wide Open: Michel Gentile Quintet with Chris Speed, Brian Drye, Chris Tordini, Satoshi Takeshi; Loren Stillman Quartet with Nate Radley, Matt Pavolka Brooklyn Conservatory of Music 8 pm $10• Mick Rossi Spectrum 7:30 pmêMadeline Eastman with Randy Porter Trio Jazz at Kitano 8, 10 pm $25• Sanda Weigl Barbès 8 pm $10• Brooklyn Raga Massive: House of Waters: Max ZT, Luke Notary, Moto Fukushima; Neel Murgai Ensemble with Arun Ramamurthy, Trina Basu, Marika Hughes, Ehren Hanson JACK 8, 9:30 pm $10• Loop 2.4.3 / TommyTom’s Time Machine; Gyan Riley; Sub-verse Ibeam Brooklyn 8:30 pm $10• Outer Bridge Ensemble: Steve Hudson, Soren Nissen, Jerome Jennings, David Freeman and guests Soapbox Gallery 8 pm $10• Radam Schwartz Trio; George Burton Quintet Fat Cat 7, 10 pm• Mark Cocheo Trio with Mark Zaleski, Conor Meehan Bar Next Door 7:30, 9:30, 11:30 pm $12• Mike Armando and In The Moment with Andy Golba, Gezim Sherifi; Righteous GIRLS: Gina Izzo/Erika Dohi; Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor; Dave Pollack Quartet Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12• Misa Ogasawara; YooSun Num Tomi Jazz 8, 11 pm $10• Justin Lees Trio Cleopatra’s Needle 8 pm• Fabio Morgera Quartet; Saul Rubin Group; Eric Wyatt with Shinnosuke Takahashi, Benito Gonzalez Smalls 7:30, 10:30 pm 1:30 am $20êLouis Hayes and The Jazz Communicators with Abraham Burton, Steve Nelson, Kris Bowers, Dezron Douglas Smoke 7, 9, 10:30 pm $38• Victor Lin Duo Knickerbocker Bar and Grill 9:45 pm $5• Lucio Ferrara Measure 8 pmêDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Jazz Standard 7:30, 9:30, 11:30 pm $30êGeorge Cables Songbook with Steve Wilson, Sarah Elizabeth Charles, Essiet Essiet, Victor Lewis, Steve Kroon Dizzy’s Club 7:30, 9:30 pm $45• Michael Mwenso with Joe Saylor Quartet Dizzy’s Club 11:30 pm $20• The Manhattan Transfer Blue Note 8, 10:30 pm $65• Maurício de Souza and Bossa Brasil with Dmitry Baevsky, Jerry Weir, Ben Winkelman, Gary Mazzaroppi Blue Note 12:30 am $15• A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 2, 8 pm $30• New York Voices Birdland 8:30, 11 pm $40êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110• Joe Costanzo and Trio; Mark Marino Trio; Peter Valera Jump Blues Band The Garage 12, 6:15, 10:45 pm• Encuentro NYC Colombian Music Festival: M.A.K.U. SoundSystem; Laura Kalop; Juan Andres Ospina; Grupo Rebolú; Gregorio Uribe Big Band; Alejandro Flórez/ Ricardo Gallo; Pablo Mayor’s Folklore Urbano Orchestra; Diego Obregon’s Grupo Chonta; Sebastián Cruz Cheap Landscape Trio; Alejandro Zuleta Vallenato Collective; Chia’s Dance Party; Nilko Andreas Guarín; Fidel Cuellar with Luiz Ebert; Johanna Castañeda y su Grupo Llanero; Pajarillo Pinta’o Dance Company Le Poisson Rouge 4 pm $30

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42 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Sunday, November 17êThe Dark Woods Ensemble: Marty Ehrlich, Erik Friedlander, Drew Gress and guest Liberty Ellman The Stone 8, 10 pm $15êTadadaka Unno Measure 8 pm êJohn Merrill Trio; Bucky Pizzarelli/Ed Laub; Johnny O’Neal Smalls 4:30, 7:30, 10 pm $20• Terry Waldo’s Gotham City Band; Rick Germanson Trio; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 amêGene Bertoncini The Drawing Room 7 pm $20• Sheryl Bailey/Joe Fitzgerald Eats Restaurant 7 pm• Broc Hempel, Sam Trapchak, Christian Coleman with guest Steve Kortyka Dominie’s Astoria 9 pm• Euphoria: Nick Demopoulos, Paul Ramsey, Evan Schwam, Mayu Saeki, Jeremy Carlstedt Drom 7:15 pm $15• Miya Masaoka/Michelle Handelman’s Triangle of Resistance Roulette 8 pm $20êMichael Rabinowitz and Bassoon in the Wild with Joe Fonda, Grisha Alexiev, Diana Herald The Loft of Thomas Rochon 7 pm $15• Clarice Assad/Joao Luiz Rezende Cornelia Street Café 8:30 pm $10• Itamar Borochov; Jonathan Greenstein; Camila Meza ShapeShifter Lab 7, 8:15, 9:30 pm $10• Yoshiki Miura Group; Bob Bennett Quartet with Erica Seguine, Jesse Breheney, Gusten Rudolph; Alex Cummings Quartet with Julia Chen, Daniel Stein, Austin Vaughn Somethin’ Jazz Club 5, 7, 9 pm $10êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Jazz Standard 7:30, 9:30 pm $25êGeorge Cables Songbook with Steve Wilson, Sarah Elizabeth Charles, Essiet Essiet, Victor Lewis, Steve Kroon Dizzy’s Club 7:30, 9:30 pm $35• The Manhattan Transfer Blue Note 8, 10:30 pm $65• A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 2, 7 pm $30êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Cheryl Pyle, Daniel Carter, Claire Debrunner; Michael Foster/Michael Evans Downtown Music Gallery 6, 7 pm• Ben Hall solo 61 Local 6 pm $10• Peter Eldridge Saint Peter’s 5 pmêESP-Disk’ 50th Anniversary Concert - Benefit for the Sun Ra Music Archives: Kali Z. Fasteau, Giuseppi Logan, Alan Sondheim, Bruce Eisenbeil, Tiger Hatchery, Michael D. Anderson JACK 3 pm $10• Nicole Henry Blue Note 12:30, 2:30 pm $29.50• Roz Corral Trio with Gilad Hekselman, Orlando Le Fleming North Square Lounge 12:30, 2 pm• Kyoko Oyobe Trio; David Coss Quartet; Adam Rongo Trio The Garage 11:30 am 6:30, 11 pm

Monday, November 18êSheila Jordan’s 85th Birthday Celebration with Steve Kuhn Blue Note 8, 10:30 pm $25êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êCarline Ray Tribute Saint Peter’s 7 pm• Cliff Hanes with Sasha Masakowski, G Maxwell Zemanovic, Max Moran; Ingebrigt Håker Flaten Trio with Nate Wooley, Chris Corsano; Desmond White’s Short Stories with Fabian Almazan, Camila Meza, Leon Boykins ShapeShifter Lab 7, 8:15, 9:30 pm $10-15 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am• Manhattan School of Music Jazz Orchestra directed by Justin DiCioccio with guest Rich Perry Dizzy’s Club 7:30, 9:30 pm $25• Chris Pattishall Trio; Ari Hoenig Trio with Gilad Hekselman, Orlando Le Fleming; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20• Hendrik Meurkins/Misha Tsiganov Eats Restaurant 7 pm• Andrea Wolper Trio with Michael Howell, Ken Filiano Bar Next Door 8:30, 10:30 pm $12 • Vicki Burns; Gary Morgan’s PanAmericana! with Seneca Black, Bryan Davis, John Bailey, Andy Gravish, Mike Boscarino, Matt McDonald, Sam Burtis, Chris Olness, Chris Komer, Shelagh Abate, Norbert Stachel, Matt Hong, Ben Kono, Quinsin Nachoff, Terry Goss, Bob Quaranta, Gustavo Amarante, Ray Marchica, Carlos Maldonado, Memo Acevedo, Richard Boukas Zinc Bar 7, 9, 10:30 pm $8• Craig Yaremko Organ Trio with Matt King, Jonathon Peretz and guest Vic Juris; Yuhan Su Group Somethin’ Jazz Club 7, 9 pm $12• Julio Botti Tomi Jazz 8 pm $10• Lucio Ferrara Measure 8 pm• Howard Williams Jazz Orchestra; Kenny Shanker Quartet The Garage 7, 10:30 pm• Tom Wilson Trio Silvana 6 pm

Tuesday, November 19êJamie Baum Septet + with Amir ElSaffar, Douglas Yates, Chris Komer, Brad Shepik, John Escreet, Zack Lober, Jeff Hirshfield Jazz Standard 7:30, 9:30 pm $20• Renee Rosnes Quartet with Jimmy Greene, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Jane Monheit Blue Note 8, 10:30 pm $35• Cyrille Aimee Birdland 8:30, 11 pm $40êLavay Smith Sings Count Basie Dizzy’s Club 7:30, 9:30 pm $35• Aaron Johnson Quartet Dizzy’s Club 11:30 pm $5• Adi Braun Iridium 8, 10 pm $25• Warren Chiasson Trio with Ed MacEachen, Ralph Hamperian NYC Baha’i Center 8, 9:30 pm $15• The BRT: Samm Bennett, Ned Rothenberg, Stomu Takeishi with guest Shelley Hirsch Roulette 8 pm $15• Samba Meets Jazz Open House: Claudio Roditi, Matt King, Nilson Matta, Fernando Saci Jazz at Kitano 8, 10 pm $10êGene Bertoncini solo; Smalls Legacy Band: Stacy Dillard, Josh Evans, Theo Hill, Rashaan Carter, Frank Lacy, Kush Abadey; Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20• Arnold Lee, Michael Mohamed, Niels Bantilan; Adam Rudolph/Antoine Roney The Stone 8, 10 pm $15• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• The RicTer Scale: Terri Hron, Ricardo Gallo with guests Dan Blake, Mary Halvorson; Joshua Shneider Love Speaks Orchestra with Saundra Williams, Dave Stryker, John O’Gallagher, Matthew Willis, Dan Pratt, Quinsin Nachoff, Frank Basile, Matthew McDonald, Noah Bless, John Yao, Jeff Wilfore, Alexander Pope Norris, David Smith, Andy Gravish, Dave Ambrosio, Eric Halvorson, Bennett Paster, Joe Cardello; Mino Cinelu solo ShapeShifter Lab 7, 8:15, 9:30 pm $10êMara Rosenbloom Quartet with Darius Jones, Sean Conly, Tomas Fujiwara; Menna Mulugeta, Julie Spencer, Gernot Blume Korzo 9, 10:30 pm• Contagious Sounds: Matt Evans/Anne Lanzilotti; Travis LaPlante, Matt Nelson, Patrick Breiner, Jeremy Viner Cornelia Street Café 8:30, 10 pm $10• Alex Lore Trio with Desmond White, Colin Stranahan Bar Next Door 8:30, 10:30 pm $12• Sean Harkness 2nd Floor at Clinton 7:30 pm• Breslov Bar Band Stephen Wise Free Synagogue 7:30 pm $15• Gabriel Zucker Spectrum 7 pm• Racha Fora, Hiroaki Honshuku, Rika Ikeda, Mauricio Anrade, Rafael Russi; Dorian Wallace Big Band Somethin’ Jazz Club 7, 9 pm $10-12

• Javier Santiago Tomi Jazz 8 pm $10• Michael Sarian Quintet Silvana 8 pm• Randy Johnston Trio; Paul Francis Trio The Garage 6, 10:30 pm• Lucio Ferrara Measure 8 pm

Wednesday, November 20êNation Time: Richard Hell, Arto Lindsay, The Thing: Mats Gustafsson, Ingebrigt Håker Flaten, Paal Nilssen-Love with guest Joe McPhee Guggenheim Museum 7 pm $30• Roy Ayers S.O.B.’s 9 pm $25êYeYi Duet: Adam Rudolph/Ralph M. Jones and guests The Stone 8, 10 pm $15• Denise Donatelli/Frank Kimbrough Jazz at Kitano 8, 10 pm $10êIdeal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara Cornelia Street Café 8:30 pm $10• Bob Sands Quartet with Joel Weiskopf, Gregg August, Donald Edwards Smoke 7, 9, 10:30 pm• Joe Fonda, Adam Kolker, George Schuller and guest Omar Tamez Barbès 8 pm $10êJeremy Pelt Show with Roxy Coss, David Bryant, Chris Smith, Dana Hawkins 55Bar 9 pm• Eli Degibri Quartet with Aaron Goldberg, Omer Avital, Obed Calvaire; Aaron Kimmel Group with Adam Birnbaum, David Wong Smalls 9:30 pm 12 am $20• Raphael D’lugoff; Don Hahn; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am• Dave Miller Trio with Shawn Conley, Shawn Baltazor; Ryan Keberle’s Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob and guest Camila Meza SEEDS 8:30, 10 pm• Pamela Z/Christina McPhee’s Carbon Song Cycle with Dana Jessen, Charith Premawardhana, Marika Hughes, Russell Greenberg Roulette 8 pm $20• Juilliard Jazz Big Band directed by John Beasley Jazz Standard 7:30, 9:30 pm $20• Carmela Rappazzo Joe’s Pub 7:30 pm $25• Joe Alterman Caffe Vivaldi 9:30 pm• BOMB X Trio: Nicolas Letman-Burtinovic, Michaël Attias, Danny Sher Bar Chord 9 pm • Scot Albertson/Daryl Kojak Klavierhaus 8 pm• Alex Wyatt with Kyle Wilson, Jon DeLucia, Greg Ruggiero, Danny Fox; Enrico Solano Quartet with Julien Hucq, Antonello Parisi, Yiorgos Kostopoulos; Elias Meister’s Miracle Box with Gordon Au, Craig Akin, Joe Hertenstein Somethin’ Jazz Club 7, 9, 11 pm $10• Kristen Lee Sergeant Tomi Jazz 8 pm $10• Nick Moran Trio; Margaret Gianquinto and Trio; Rick Stone Trio The Garage 6, 10:30 pm• Renee Rosnes Quartet with Jimmy Greene, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Jane Monheit; Shoshana Bush Blue Note 6, 8, 10:30 pm $35• Cyrille Aimee Birdland 8:30, 11 pm $40êLavay Smith Sings Count Basie Dizzy’s Club 7:30, 9:30 pm $35• Aaron Johnson Quartet Dizzy’s Club 11:30 pm $5• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Lucio Ferrara Measure 8 pm• Mike Kaplan/Ben Williams Quintet Saint Peter’s 1 pm $10

Thursday, November 21êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Kevin Bales, Elias Bailey, Quentin Baxter Jazz Standard 7:30, 9:30 pm $25• Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, Tim Sessions, Joe Beaty, Chris Washburne Dizzy’s Club 7:30, 9:30 pm $40• Aaron Johnson Quartet Dizzy’s Club 11:30 pm $10êGerry Hemingway solo and with Beth Warshafsky Roulette 8 pm $20êAdam Kolker/Scott Wendholt Quartet with Jay Anderson, Victor Lewis Cornelia Street Café 8:30 pm $10êLage Lund Trio with Orlando Le Fleming, Jochen Rueckert Bar Next Door 8:30, 10:30 pm $12• Hit and Run Experience: Sonny Apollo and Tuxedo with guest Andrea Bonaparte; Mariano Gil Quintet with Pete Rende, RJ Miller; Marco Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi ShapeShifter Lab 7, 8:15, 9:30 pm $10• John Raymond Quartet with Gilad Hekselman, Aidan Carroll, Austin Walker Jazz at Kitano 8, 10 pm $10êThe Unknown Billy Strayhorn: Michael Hashim Strayhorn Band with Art Baron, Dave Gibson, Shawn Edmonds, Freddie Hendrix, Mike LeDonne, Ed Pazant, Scott Robinson, Tad Shull, Kenny Washington Miller Theater 7:30 pmêJazz Alumni Series: Jacob Garchik Trio with Jacob Sacks, Dan Weiss Manhattan School of Music Comelli Studio 7:30 pm• David Weiss Fat Cat 10 pm• Adam Larson Quintet with Nils Weinhold, Fabian Almazan, Harish Raghavan, Jimmy Macbride The Jazz Gallery 9, 11 pm $15• Theo Bleckmann Neue Galerie 9 pm $110• Jake Hertzog Band with Harvie S, Victor Jones 78 Below 8 pm• Sharon Rae North Metropolitan Room 9:30 pm $20• Frederika Krier’s Laghima Ibeam Brooklyn 8:30 pm $10• The QC New Ensemble: Howard Brofsky, Julien Hucq, Jan Kus, Amadis Dunkel, Yasuno Katsuki, Antonello Parisi, Peng Ji, Enrico Solano; Emily Wolf Project; Walter Phishbacher Acoustic Trio with guest Elisabeth Lohninger Somethin’ Jazz Club 7, 9, 11 pm $10-12• Ken Kobayashi Tomi Jazz 9 pm $10• Ray Parker Trio Cleopatra’s Needle 7 pm• Aaron Irwin Group; Ms Blue Silvana 6, 8 pm• Rick Stone Trio; Lafayette Harris Trio The Garage 6, 10:30 pm• Tardo Hammer Trio; Eli Degibri Quartet with Gary Versace, Omer Avital, Obed Calvaire; Carlos Abadie Quintet with Joe Sucato, Theo Hill, Clovis Nicolas, Luca Santaniello Smalls 6, 9:30 pm 12 am $20êYeYi Duet: Adam Rudolph/Ralph M. Jones and guest Oliver Lake The Stone 8, 10 pm $15• Renee Rosnes Quartet with Jimmy Greene, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Jane Monheit Blue Note 8, 10:30 pm $35• Nancy Harms Birdland 6 pm $25• Cyrille Aimee Birdland 8:30, 11 pm $40• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Lucio Ferrara Measure 8 pm• Harlem Speaks: Dayna Stephens Jazz Museum in Harlem 6:30 pm

Preferred Card of Jazz at Lincoln Center

jalc.org

Venue Frederick P. Rose HallBox Office Broadway at 60th, Ground Fl. CenterCharge 212-721-6500

jazz at lincoln center

use your mastercardand save 5%.

nov 8–9 • 7pm, 9:30pmLADIES SING THE BLUES Vocalists Catherine Russell, Brianna Thomas, and Charenee Wade

nov 22–23 • 8pmMUSIC FROM PAKISTAN East meets West in this musical and cultural exchange between the Jazz at Lincoln Center Orchestra with Wynton Marsalis and the Sachal Jazz Ensemble of Pakistan

part of the ertegun jazz concert series nov 22 • 7pm; nov 23 • 9:30pmJIM HALL: MODERN JAZZ GUITARJim Hall with Peter Bernstein and John Abercrombie

part of the ertegun jazz concert series nov 22 • 9:30pm; nov 23 • 7pmCHRIS POTTER’S UNDERGROUND ORCHESTRASaxophonist Chris Potter and his expanded Underground quartet

dec 12–13 • 8pm dec 14 • 2pm & 8pm BIG BAND HOLIDAYSJazz at Lincoln Center Orchestra with Wynton Marsalis and Cécile McLorin Salvant

november– december

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 43

Friday, November 22êJim Hall Trio with Scott Colley, Lewis Nash and guests John Abercrombie, Peter Bernstein; Chris Potter’s Underground Orchestra Allen Room 7, 9:30 pm $45-75• Music From Pakistan: Sachal Jazz Ensemble and Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120êLatin Free Jazz: Angelica Sanchez/Omar Tamez; Abraham Gomez-Delgado/ Taylor Ho Bynum; Michelle Rosewoman’s New Yor-Uba Clemente Soto Velez Cultural Center 8 pm $22• Ralph Lalama’s Bop-Juice with David Wong, Clifford Barbaro; Billy Drummond Group with Jaleel Shaw, Adam Birnbaum, Dezron Douglas; Jeremy Manasia Trio with Barak Mori, Charles Ruggerio Smalls 7:30, 10:30 pm 1 am $20• Sheryl Bailey Trio with Harvie S, Joe Strasser Bar Next Door 7:30, 9:30, 11:30 pm $12 • Theo Hill Trio; Fabio Morgera Fat Cat 6, 10:30 pm êAdam Rudolph’s Moving Pictures Octet with Ralph M. Jones, Alex Marcelo, Kenny Wessel, Shanir Ezra Blumenkranz, Brahim Fribgane, James Hurt, Matt Kilmer and guests The Stone 8, 10 pm $15êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis Smoke 7, 9, 10:30 pm $38êJane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson Jazz at Kitano 8, 10 pm $25êWorld Time Zone: Michael Blake, Frank Kimbrough, Ben Allison, Rudy Royston Cornelia Street Café 9, 10:30 pm $15• Hendrik Meurkens Samba Quartet Flushing Town Hall 8 pm $15êMr. Ho’s Orchestrotica Drom 7:15 pm $20• Russ Kassoff Duo Knickerbocker Bar and Grill 9:45 pm $5êAdam Caine Quartet with Connie Crothers, Adam Lane, Federico Ughi The Firehouse Space 8 pm $10• Scruffy Herberts: Kenji Herbert, Peter Herbert, Tommy Campbell, Adam Kolker, Franz Hackl; Arthyr Blythe Tribute with Oliver Lake, T. Brooks Shepard ShapeShifter Lab 7, 8:30 pm $10-15• Fester: Sean Ali/David Grollman Launch Pad Gallery 8 pm• They Say Its Spring!: Ken Greves/Frank Ponzio and guest Ben Cassara; Doug White Quintet with Pat Casey, Chris Casey, Steve Porter, Tido Holtkamp; Negroni’s Trio Somethin’ Jazz Club 7, 9, 11 pm $12• Yaacov Mayman Organ Trio Cleopatra’s Needle 8 pm• Michika Fukumori Trio; Kevin Dorn and the BIG 72 The Garage 6:15, 10:45 pmêRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Kevin Bales, Elias Bailey, Quentin Baxter Jazz Standard 7:30, 9:30, 11:30 pm $30• Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, Tim Sessions, Joe Beaty, Chris Washburne Dizzy’s Club 7:30, 9:30 pm $40• Aaron Johnson Quartet Dizzy’s Club 11:30 pm $20• Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Jane Monheit Blue Note 8, 10:30 pm $35• Cyrille Aimee Birdland 8:30, 11 pm $40• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100• Lucio Ferrara Measure 8 pm• Harris Eisenstadt and the Brooklyn Conservatory Community Orchestra Brooklyn Museum of Art 4 pm $20

Saturday, November 23êCharles Tolliver Quartet Sistas’ Place 9, 10:30 pm $20êEarl McIntyre 60th Birthday Extravaganza with David Amram, Arturo O’Farrill, Renee Manning, Buddy Williams, Onaje Allen Gumbs, Victor See Yuen, Sam Burtis, Patience Higgins, Tommy Campbell BAMCafé 9 pmêAaron Diehl Trio with David Wong, Rodney Green Miller Theater 8 pm $25-35êChris Dingman’s The Subliminal and the Sublime with Loren Stillman, Fabian Almazan, Ryan Ferreira, Linda Oh, Justin Brown SubCulture 8, 10 pm $15• Joel Forrester Trio Cleopatra’s Needle 8 pmêMike DiRubbo Fat Cat 10 pm• Oscar Penas Trio with Moto Fukushima, George Mel Bar Next Door 7:30, 9:30, 11:30 pm $12• Mitch Frohman and The Bronx Horns Ginny’s Supper Club 7:30 pm $15• Leila Adu solo; Aaron Siegel solo; Peter Kerlin Octet with Taylor Bergren Chrisman, Charles Burst, Mike Pride, Jessica Pavone, Emily Manzo, Sam Sowyrda, Cesare Papetti Ibeam Brooklyn 8 pm $10• Anders Nilsson solo Barbès 7 pm $10• Parc X Trio: Gabriel Vinuela-Pelletier, Alex Lefaivre, Alain Bourgeois ShapeShifter Lab 9:30 pm $10• Dong Cheol Won with Kevin Sanchez, Anthony Pocetti, Daseul Kim; Sinan Bakir Trio; Dori Levine; Jeff Gardner Trio with Gary Wang, Anthony Pinciotti Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15• Kathryn Allyn Tomi Jazz 8 pm $10• Red Sahara Collective Silvana 8 pmêChris Potter’s Underground Orchestra; Jim Hall Trio with Scott Colley, Lewis Nash and guests John Abercrombie, Peter Bernstein Allen Room 7, 9:30 pm $45-75• Music From Pakistan: Sachal Jazz Ensemble and Jazz at Lincoln Center Orchestra Rose Hall 8 pm $30-120êLatin Free Jazz: Juan Quinonez’ Prize of Freedom; Román Filiú Septet; Francisco Mora-Catlett Sextet Clemente Soto Velez Cultural Center 8 pm $22• Richard Sussman Group with Scott Wendholt, Rich Perry, Mike McGuirk, Anthony Pinciotti; Billy Drummond Group with Jaleel Shaw, Adam Birnbaum, Dezron Douglas; Stacy Dillard, Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1:30 am $20êAdam Rudolph’s Moving Pictures Octet with Ralph M. Jones, Alex Marcelo, Kenny Wessel, Shanir Ezra Blumenkranz, Brahim Fribgane, James Hurt, Matt Kilmer and guests The Stone 8, 10 pm $15êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis Smoke 7, 9, 10:30 pm $38êJane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson Jazz at Kitano 8, 10 pm $25• Russ Kassoff Duo Knickerbocker Bar and Grill 9:45 pm $5êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Kevin Bales, Elias Bailey, Quentin Baxter Jazz Standard 7:30, 9:30, 11:30 pm $30• Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, Tim Sessions, Joe Beaty, Chris Washburne Dizzy’s Club 7:30, 9:30 pm $45• Aaron Johnson Quartet Dizzy’s Club 11:30 pm $20• Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Jane Monheit Blue Note 8, 10:30 pm $35• Cyrille Aimee Birdland 8:30, 11 pm $40• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110• Lucio Ferrara Measure 8 pm• Rebeca Vallejo’s The Flame Cornelia Street Café 6 pm $10• Harris Eisenstadt and the Brooklyn Conservatory Community Orchestra Brooklyn Museum of Art 3 pm $20• Marsha Heydt and the Project of Love; Champian Fulton Quartet; Jason Prover Sneak Thievery Orchestra The Garage 12, 6:15, 10:45 pm

Sunday, November 24êTrombone For Lovers: A 78th Birthday Concert for Roswell Rudd with John Medeski, Steven Bernstein, Bob Dorough, Gary Lucas, Richard Hammond, Aaron Comess, Fay Victor, Michael Doucet, Rolf Sturm, Heather Masse, Ivan Rubenstein-Gillis and the NYC Labor Chorus with Reggie Bennet Le Poisson Rouge 3 pm $30êGo: Organic Orchestra Flutes: Zé Luis Oliveira, Ralph M. Jones, Kaoru Watanabe, Michel Gentile, Sylvain Leroux; Adam Rudolph’s Moving Pictures Octet plus Go: Organic Orchestra Flutes with Ralph M. Jones, Alex Marcelo, Kenny Wessel, Shanir Blumenkranz, James Hurt, Matt Kilmer, Ralph M. Jones, Kaoru Watanabe, Michel Gentile, Sylvain Leroux The Stone 8, 10 pm $15• Antonio Barbagallo Duo; Johnny O’Neal; Ehud Asherie Trio Smalls 7:30, 10 pm 12 am $20• Terry Waldo’s Gotham City Band; Joe Magnarelli Quintet; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am• John Stowell/Tom Dempsey Eats Restaurant 7 pm• John McQueeny’s Combat Jazz Barbès 7 pm $10• Sofija Knezevic Quintet with guests Metropolitan Room 9:30 pm $20• Peter Leitch/Ray Drummond Walker’s 8 pm• Steve Ash Measure 8 pm• Mike Wilkens Quartet with Matt Panayides, Sam Trapchak, Christian Coleman; Sarpay Ozcagatay Quartet with Jesse Taitt, Tyreek Jackson, Angelo Spampinato Somethin’ Jazz Club 5, 7 pm $10• Alan Leatherman Six Shrine 8 pmêRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Kevin Bales, Elias Bailey, Quentin Baxter Jazz Standard 7:30, 9:30 pm $25• Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, Tim Sessions, Joe Beaty, Chris Washburne Dizzy’s Club 7:30, 9:30 pm $40• Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25• Jane Monheit Blue Note 8, 10:30 pm $35• Jeffrey Hayden Shurdut Free/Jazz Warriors with Nicolas Letman-Burtinovic, Kevin Shea Downtown Music Gallery 6 pm• The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, Adam Kahan, Tommy Mattioli Cornelia Street Café 6 pm $8• Melissa Stylianou Quartet Saint Peter’s 5 pm• Jazz Kids! with Amy Cervini 55Bar 2 pm $5• Nicole Henry Blue Note 12:30, 2:30 pm $29.50• Roz Corral Trio with Paul Meyers, Santi Debriano North Square Lounge 12:30, 2 pm• Iris Ornig Quartet; David Coss Quartet; Will Terrill Trio The Garage 11:30 am 6:30, 11 pm

Fri, Nov 1 EXPANSIONS: DAVE LIEBMAN GROUP 9PM & 10:30PMSat, Nov 2 Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz Sun, Nov 3 YOUNGJOO SONG TRIO 8:30PM Vicente Archer, Kendrick Scott Mon, Nov 4 AMRAM & CO 8:30PM David Amram, Kevin Twigg, Rene Hart, Adam Amram

Tue, Nov 5 BENJAMIN SCHEUER 8:30PM NATALIA ZUKERMAN 10PM Wed, Nov 6 KRISTIN SLIPP & DOV MANSKI DUO 8:30PM Thu, Nov 7 SKETCHES, VOLUME ONE CD RELEASE 8:30PM Matt Holman, Jeremy Udden, Jarrett Cherner, Martin Nevin, Ziv Ravitz

Fri, Nov 8 TONY MALABY, PALOMA RECIO 9PM & 10:30PMSat, Nov 9 Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss Sun, Nov 10 MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM Peter Evans, Jon Irabagon, Moppa Elliott, Kevin Shea

Tue, Nov 12 VOICE BOX: NANCY HARMS 8:30PM VOICE BOX: AKIKO PAVOLKA & HOUSE OF ILLUSION 10PM Loren Stillman, Nate Radley, Matt Pavolka, Bill Campbell Sara Serpa, Host Wed, Nov 13 THE KEVIN HARRIS PROJECT PRESENTS 6PM Richie Barshay JEFF DAVIS GLASS HAT 8:30PM Jon Irabagon, Jon Goldberger, Eivind Opsvik

Thu, Nov 14 CAMILA MEZA/FABIAN ALMAZAN DUO 8:30PM Fri, Nov 15 REVERSE BLUE 9PM & 10:30PM Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara Sat, Nov 16 TOMAS FUJIWARA & THE HOOK UP 9PM & 10:30PM Michael Formanek, Mary Halvorson, Brian Settles, Jonathan Finlayson Sun, Nov 17 NEW BRAZILIAN PERSPECTIVES: CLARICE ASSAD 8:30PM Joao Luiz Rezende; Billy Newman, Host Tue, Nov 19 CONTAGIOUS SOUNDS: MATT EVANS/ANNE LANZILOTTI 8:30PM BATTLE TRANCE 10PM Travis Laplante, Matt Nelson, Patrick Breiner, Jeremy Viner Vicky Chow, Host Wed, Nov 20 IDEAL BREAD 8:30PM Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara

Thu, Nov 21 SCOTT WENDHOLT/ADAM KOLKER QUARTET 8:30PM Jay Anderson, Victor Lewis

Fri, Nov 22 WORLD TIME ZONE 9PM & 10:30PM Michael Blake, Frank Kimbrough, Ben Allison, Rudy Royston

Tue, Nov 26 VOXIFY: NICKY SCHRIRE 8:30PM Desmond White, Nir Felder, Ross Pederson VOXIFY: MIKA HARY 10PM Nir Felder, Sam Minnai, Jordan Perlson Nicky Schrire, Host Wed, Nov 27 DAN RUFOLO TRIO 8:30PM Marty Kenney, Billy Drummond Fri, Nov 29 HUSH POINT 9PM & 10:30PM John McNeil, Jeremy Udden, Aryeh Kobrinsky, Vinnie Sperrazza Sat, Nov 30 KRIS DAVIS EXPERIMENTAL QUARTET 9PM & 10:30PM Sam Newsome, William Parker, Ches Smith

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Location: JACK, 505-1/2 Waverly Ave. at Fulton St. in Brooklyn

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Sunday November 17, 3-9 PM

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Page 44: COOL TROMBONE LOVER

44 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Monday, November 25• Life Without Lupus Gala 2013 with Wynton Marsalis American Museum of Natural History 6:30 pm $1,200êFred Hersch/Julian Lage Blue Note 8, 10:30 pm $30• The Amigos Band Hosts David Amram with Justin Poindexter, Sam Reider, Eddie Barbash, Noah Garabedian, Will Clark Dizzy’s Club 7:30, 9:30 pm $30• Dave Kikoski Quartet with Seamus Blake, Matt Clohesy, Ari Hoenig; Spencer Murphy Smalls 10 pm 12:30 am $20êMingus Big Band Jazz Standard 7:30, 9:30 pm $25êDavid Chamberlain’s Band of Bones Zinc Bar 9 pm• Marta Sanchez Quintet with Román Filiú, Jerome Sabbagh, Sam Anning; Conversations in Analog: James “Biscuit” Rouse, Reggie Young, Akie Bremiss, David Deej DiGiantomasso, John Cave ShapeShifter Lab 8:15, 9:30 pm $10• Ken Filiano/Anders Nilsson Cornelia Street Café 8:30 pm $10• Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber Bar Next Door 8:30, 10:30 pm $12• Jaron Eames/Emme Kemp Eats Restaurant 7 pm• Greg Chen Measure 8 pm• Carlos Cuevas Trio Somethin’ Jazz Club 9 pm $10• Roman Rafalski Tomi Jazz 8 pm $10• New York Youth Symphony Jazz Band; Tomas Janzon Trio The Garage 7, 10:30 pm• Tom Wilson Trio Silvana 6 pm

Tuesday, November 26• Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland Birdland 8:30, 11 pm $40êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 8:30, 10:30 pm $25• Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Jazz Standard 7:30, 9:30 pm $35êThe Brooklyn Jazz Underground Meets the Queens Jazz OverGround: Tammy Scheffer, Adam Kolker, David Smith, Carlo De Rosa, Owen Howard, Rob Garcia, David Cook; Josh Deutsch, Jon lrabagon, J. Walter Hawkes, Amanda Monaco, Mark Wade, Brian Woodruff Dizzy’s Club 7:30, 9:30 pm $30• Richard Johnson Dizzy’s Club 11:30 pm $5• Mike Longo Funk Band NYC Baha’i Center 8, 9:30 pm $15êCooper-Moore/Pascal Niggenkemper Duo; William Parker/Patricia Nicholson JACK 8 pm $10êGowanus Co.: Kyoko Kitamura, Han-Earl Park, Josh Sinton, Ingrid Laubrock, Fay Victor Douglass Street Music Collective 7 pm $10• POVO NOVO: Eyal Maoz, Shanir Ezra Blumenkranz, Cyro Baptista The Stone 8, 10 pm $15• Steve Tyrell Café Carlyle 8:45 pm $55-100• Heavy Merge: Jeff Davis, Jason Rigby, Russ Lossing; Chris Speed, Kris Davis, Chris Tordini, Devin Gray Korzo 9, 10:30 pm• VOXIFY: Nicky Schrire with with Desmond White, Nir Felder, Ross Pederson; Mika Harry with Nir Felder, Sam Minaie, Jordan Perlson Cornelia Street Café 8:30, 10 pm $10• Saul Rubin; Itai Kriss and the Salsa All-Stars; Greg Glassman Jam Fat Cat 7, 9 pm 12:30 am• Denis Beuret with Elliott Levin, Max Johnson, Marc Edwards Ibeam Brooklyn 8:30 pm $10• On The Way Out: Aaron Dugan solo; Gospel of Mars The Backroom 8:30, 9:30 pm $10• Peter Anderson Trio with Will Anderson, Alex Wintz Bar Next Door 8:30, 10:30 pm $12• Whirling Dervish: Simon Yu, Evan Marien, Iakov Kremenskiy, Tobias Ralph ShapeShifter Lab 8:15 pm $10• Surface to Air Trio: Jonti Siman, Rohin Khemani, Jonathan Goldberger Barbès 7 pm $10• Lorin Sklamberg Stephen Wise Free Synagogue 7:30 pm $15• David Lantz solo Jazz at Kitano 8 pm• Yongseok Lee Group with Dan Glaude, Myungwon Kim, Inyoung Kim, SeongKu Lee; Ark Ovrutski Quartet Somethin’ Jazz Club 7, 9 pm $10-12• Claire Duncan; Tierney Ryan Tomi Jazz 8, 11 pm $10• Nue Jazz Project Silvana 8 pm• Jordan Young Trio; Nobuki Takamen Trio The Garage 6, 10:30 pmêFred Hersch/Julian Lage Blue Note 8, 10:30 pm $30• Spike Wilner Trio with Paul Gill; Dave Kikoski Quartet with Seamus Blake, Matt Clohesy, Ari Hoenig; Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20• Greg Chen Measure 8 pm

Wednesday, November 27• Ray Marchika Quartet with Chase Baird, Rodney Jones, Mike LeDonne Smoke 7, 9, 10:30 pm• Jann Parker Quartet with James Weidman, Marcus McLaurine Jazz at Kitano 8, 10 pm $10êMichael Blake’s Passion Compassion with Nir Felder, Marcus Rojas, Ben Perowsky Barbès 8 pm $10• Ben van Gelder Group with Mark Turner, Sam Harris, Ben Street, Nasheet Waits; Gilad Edelman with Joe Magnarelli, Tardo Hammer, Clovis Nicolas, Charles Goold Smalls 9:30 pm 12 am $20• Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $35• Richard Johnson Dizzy’s Club 11:30 pm $5• Dan Rufolo Trio with Marty Kenney, Billy Drummond Cornelia Street Café 8:30 pm $10• Felix Del Tredici/Kathryn Schulmeister ShapeShifter Lab 9:30 pm $10• Tim Chernikoff Group Somethin’ Jazz Club 9 pm $10• Roger Davidson Caffe Vivaldi 7:15 pm• Andre Vasconcelos Trio; Joel Perry Trio The Garage 6, 10:30 pm• Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland Birdland 8:30, 11 pm $40êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 8:30, 10:30 pm $25• Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Jazz Standard 7:30, 9:30 pm $35• POVO NOVO: Eyal Maoz, Shanir Ezra Blumenkranz, Cyro Baptista The Stone 8, 10 pm $15• Steve Tyrell Café Carlyle 8:45 pm $55-100

êFred Hersch/Julian Lage Blue Note 8, 10:30 pm $30• Greg Chen Measure 8 pmêDick Hyman solo Saint Peter’s 1 pm $10

Thursday, November 28• Gato Barbieri Birthday Celebration Blue Note 8, 10:30 pm $45êWycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys Dizzy’s Club 7 pm $110• Richard Johnson Dizzy’s Club 11:30 pm $10• Greg Skaff Trio with Pat Bianchi, Carmen Intorre Bar Next Door 8:30, 10:30 pm $12• Emmet Cohen Trio with Russell Hall, Evan Sherman Smalls 12 am $20• Piotr Pawlak UStet with Benny Benack III, Jure Pukl, Tamir Shmerling Somethin’ Jazz Club 9 pm $10• Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland Birdland 8:30, 11 pm $40êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 8:30, 10:30 pm $25• Steve Tyrell Café Carlyle 8:45 pm $55-100• Greg Chen Measure 8 pm• Larry Newcomb Quartet; Champian Fulton Quartet; Justin Lees Trio The Garage 1, 6, 10:30 pm

Friday, November 29êRufus Reid and The Out Front Trio with Steve Allee, Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25êThe Music of JJ Johnson: Steve Davis Sextet with Eddie Henderson, Eric Alexander, Harold Mabern, John Webber, Joe Farnsworth Smoke 7, 9, 10:30 pm $38• Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinsky, Vinnie Sperrazza Cornelia Street Café 9, 10:30 pm $15• Alan Ferber’s Extended Ensemble The Jazz Gallery 9, 11 pm $20êPete Malinverni Trio with Ugonna Okegwo, Steve Williams; Jay Collins and The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino; Anthony Wonsey Trio with Dimitri Kolesnik, Brandon Lewis Smalls 7:30, 10:30 pm 1 am $20• Mozayik; Buyu Ambroise and The Blues In Red Band ShapeShifter Lab 8 pm $15• Abraxas plays Masada: Aram Bajakian, Eyal Maoz, Shanir Ezra Blumenkranz, Kenny Grohowski The Stone 8, 10 pm $15• Jack Wilkins Trio with Andy McKee, Mike Clark Bar Next Door 7:30, 9:30, 11:30 pm $12• Paul Carlon’s La Rumba is a Lovesome Thing with Christelle Durandy, Ben Lapidus Drom 9:30 pm $15• Carol Sudhalter Quartet Shell’s Bistro 7:30, 9:30 pm $15• Monika Brand and Jacob Melchior Trio; Somethin’ Vocal with Matt Baker Trio; Sean Clapis Band with Nick Roseboro, Tim Norton, Jay Sawyer Somethin’ Jazz Club 5, 7, 9 pm $10-12• Yukari Watanabe Tomi Jazz 9 pm $10• Ken Simon Quartet Cleopatra’s Needle 8 pm• Alex Hoffman Quartet; Dre Barnes Project The Garage 6:15, 10:45 pmêWycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys Dizzy’s Club 7:30, 9:30 pm $40• Richard Johnson Dizzy’s Club 11:30 pm $10• Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland Birdland 8:30, 11 pm $40êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 8:30, 10:30 pm $25• Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Jazz Standard 7:30, 9:30, 11:30 pm $35• Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-135• Greg Chen Measure 8 pm• Kendra Shank, John Stowell, Rogério Boccato 55Bar 6 pm• Yuki Shibata Silvana 6 pm

Saturday, November 30êWayne Escoffery Quartet Fat Cat 10 pmêKris Davis Experimental Quartet with Sam Newsome, William Parker, Ches Smith Cornelia Street Café 9, 10:30 pm $15• Ben Monder Trio with Hans Glawischnig, Jeff Hirschfield Bar Next Door 7:30, 9:30, 11:30 pm $12• Sergio Salvatore/Christos Rafalides Duo Jazz at Kitano 8, 10 pm $25• John Zorn’s Metempsychomagia with Aram Bajakian, Eyal Maoz, Shanir Blumenkranz, Kenny Grohowski The Stone 8, 10 pm $15• Jeff Pearring with Adam Caine, Ken Filiano, Todd Capp Ibeam Brooklyn 8:30 pm $10• Sunny Yang Group; Outerplay: Gabe Valle, Matt Tischio, Dave Zaks, Connor Koch, Joe Spinelli; Billy White Group Somethin’ Jazz Club 5, 7, 9 pm $10-12• Erika Matsuo Tomi Jazz 8, 11 pm $10• Aki Yamamoto Trio Cleopatra’s Needle 8 pm• Alex Layne Trio; Joe Pino Quartet; Akiko Tsuruga Trio The Garage 12, 6:15, 10:45 pmêThe Music of JJ Johnson: Steve Davis Sextet with Eddie Henderson, Eric Alexander, Harold Mabern, John Webber, Joe Farnsworth Smoke 7, 9, 10:30 pm $38• Alan Ferber’s Extended Ensemble The Jazz Gallery 9, 11 pm $20• Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, Eliot Zigmund; Jay Collins and The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino; Ian Hendrickson-Smith with Marcus Parsley, Steve Einerson, Hans Glawischnig, Chris Beck Smalls 7:30, 10:30 pm 1:30 am $20êWycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys Dizzy’s Club 7:30, 9:30 pm $45• Richard Johnson Dizzy’s Club 11:30 pm $20• Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland Birdland 8:30, 11 pm $40êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 8:30, 10:30 pm $25• Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Jazz Standard 7:30, 9:30, 11:30 pm $35• Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-135• Greg Chen Measure 8 pm

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

• Ray Abrams Big Band Swing 46 8:30 pm• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145• Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)• Joel Forrester solo Brandy Library 8 pm• George Gee Swing Orchestra Gospel Uptown 8 pm • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE)• Grove Street Stompers Arthur’s Tavern 7 pm• Jam Session with Jim Pryor Cleopatra’s Needle 8 pm• Minton’s House Band Minton’s Playhouse 5, 7:15, 9:30 pm (THRU SAT)• Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30• Diego Voglino Jam Session The Village Lantern 9:30 pm• Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm)

TUESDAYS• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)• Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI)• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN)• George Gee Swing Orchestra Swing 46 8:30 pm $12• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT)• Art Hirahara Trio Arturo’s 8 pm• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm• Sandy Jordan and Larry Luger Trio Notaro 8 pm• Mike LeDonne Quartet; Milton Suggs Quartet Smoke 7, 9, 10:30, 11:30 pm• Ilya Lushtak Quartet Shell’s Bistro 7:30 pm• Mona’s Hot Four Jam Session Mona’s 11 pm• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm• Annie Ross The Metropolitan Room 9:30 pm $25• Slavic Soul Party Barbès 9 pm $10• Diego Voglino Jam Session The Fifth Estate 10 pm

WEDNESDAYS• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm• Walter Fischbacher Trio Water Street Restaurant 8 pm• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12• Guillaume Laurent Trio Bar Tabac 7 pm• Jake K. Leckie Trio Kif Bistro 8 pm• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI)• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM)• Alex Obert’s Hollow Bones Via Della Pace 10 pm• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20• Saul Rubin Vocalist Series Zeb’s 8 pm $10• Stan Rubin Orchestra Swing 46 8:30 pm• Alex Terrier Trio Antibes Bistro 7:30 pm• Brianna Thomas Quartet Smoke 11:30 pm• Charles Tolliver Group The Cell 8, 10 pm• Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm

THURSDAYS• Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm• Jason Campbell Trio Perk’s 8 pm• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)• Eric DiVito The Flatiron Room 8 pm• Gregory Generet Smoke 7, 9, 10:30 pm• Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Jazz Jam Session American Legion Post 7:30 pm• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm• Curtis Lundy Jam Session Shell’s Bistro 9 pm• Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)

FRIDAYS• Scot Albertson Parnell’s 8 pm (ALSO SAT)• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm• Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT)• Lisa DeSpain solo Machiavelli’s 8 pm• Charles Downs’ Centipede The Complete Music Studio 7 pm• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10• Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm• Tommy Igoe Birdland Big Band Birdland 5:15 pm $25• Sandy Jordan and Friends ABC Chinese Restaurant 8 pm• Kengo Nakamura Trio Club A Steakhouse 11 pm• Brian Newman Quartet Duane Park 10:30 pm• Frank Owens Open Mic Zeb’s 6:30 pm $10• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)• Richard Russo Quartet Capital Grille 6:30 pm• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT)• Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT)

SATURDAYS• Avalon Jazz Quartet Matisse 8 pm• Candy Shop Boys Duane Park 8, 10:30 pm• Barbara Carroll/Jay Leonhart Birdland 6 pm $35• Jesse Elder/Greg RuggieroRothmann’s 6 pm• Guillaume Laurent/Luke Franco Casaville 1 pm• Curtis Lundy Trio with guests Shell’s Bistro 9 pm• Johnny O’Neal Smoke 11:45 pm• Skye Jazz Trio Jack 8:30 pm• Michelle Walker/Nick Russo Anyway Café 9 pm• Bill Wurtzel Duo Henry’s 12 pm

SUNDAYS• Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30• Avalon Jazz Quartet The Lambs Club 11 am• Birdland Jazz Party with Cyrille Aimée Birdland 6 pm $25• Isaac Darch Group Basik Bar 7 pm• Marc Devine Trio TGIFriday’s 6 pm• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm• Sean Fitzpatrick and Friends Ra Café 1 pm• Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm• Joel Forrester solo Grace Gospel Church 11 am• Nancy Goudinaki’s Trio Kellari Taverna 12 pm• Enrico Granafei solo Sora Lella 7 pm• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm• Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm• Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm• Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10• Peter Leitch Duo Walker’s 8 pm• Alexander McCabe Trio CJ Cullens Tavern 5 pm• Peter Mazza Trio Bar Next Door 8, 10 pm $12• Lu Reid Jam Session Shrine 4 pm• Sara Serpa/André Matos Pão Restaurant 2 pm• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm• Milton Suggs Cávo 7 pm• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm• Brian Woodruff Jam Blackbird’s 9 pm

Page 45: COOL TROMBONE LOVER

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 45

• 2nd Floor at Clinton 67 Clinton Street (212-529-6900) Subway: F to Second Avenue www.2ndflooronclinton.com• 54 Below 254 West 54th Street (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue www.54below.com• 78 Below 380 Columbus Avenue (212-724-7800) Subway: B, C to 81st Street www.78below.com• 55Bar 55 Christopher Street (212-929-9883) Subway: 1 to Christopher Street www.55bar.com• 61 Local 61 Bergen Street (347-763-6624) Subway: F, G to Bergen Street www.61local.com• ABC Chinese Restaurant 34 Pell Street (212-346-9890) Subway: J to Chambers Street• ABC No-Rio 156 Rivington Street (212-254-3697) Subway: J,M,Z to Delancey Street www.abcnorio.org• Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org• Allen Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org• Alwan for the Arts 16 Beaver Street, 4th floor (646-732-3261) Subway: 4, 5 to Bowling Green www.alwanforthearts.org• American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: E to 53rd Street www.folkartmuseum.org• American Legion Post 248 West 132nd Street (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org• American Museum of Natural History Central Park West at 79th Street (212-769-5100) Subway: B, C, to 81st Street www.amnh.org• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street www.LindasJazzNights.com• Ange Noir Café 247 Varet Street (347-294-4759) Subway: L to Morgan Avenue• Antibes Bistro 112 Suffolk Street (212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com• Anyway Café 34 E. 2nd Street (212-533-3412) Subway: F to Second Avenue• Apollo Theater & Music Café 253 W. 125th Street (212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org• 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• Asia Society 725 Park Avenue (212-288-6400) Subway: 6 to 68th Street www.asiasociety.org• Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue• 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• BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com• Bflat 277 Church Street (between Franklin and White Streets) Subway: 1, 2 to Franklin Streets• The Backroom 627 5th Avenue (718-768-0131) Subway: D, N, R to Prospect Avenue www.freddysbar.com• Bar Chord 1008 Cortelyou Road (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com• Bar Next Door 129 MacDougal Street (212-529-5945) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Bedford Stuyvesant Restoration Corporation 1360 Fulton Street Subway: A to Nostrand Avenue• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-281-0777) Subway: 2, 3 to 125th Street• Birdland 315 W. 44th Street (212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com• Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue www.facebook.com/bizarrebushwick• Blackbird’s 41-19 30th Avenue (718-943-6898) Subway: R to Steinway Street www.blackbirdsbar.com• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com• Brandy Library 25 N. Moore Street (212-226-5545) Subway: 1 to Franklin Street• Brooklyn Bowl 61 Wythe Avenue (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com• Brooklyn Conservatory of Music 58 Seventh Avenue Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org• Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org• Brooklyn Public Library Central Branch Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue• CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 2 to Nereid Avenue/238th Street• Café Carlyle 35 E. 76th Street (212-744-1600) Subway: 6 to 77th Street www.thecarlyle.com• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com• Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets 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• Casaville 633 Second Avenue (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com• Cávo 42-18 31st Avenue, Astoria (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.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• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) Subway: C to Clinton-Washington Avenues www.bistrolola.com• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) Subway: C to Lafayette Avenue www.chezoskar.com• Church of the Intercession 550 W. 155th Street (212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org• City Center 130 W 56th Street (212-581-1212) Subway: F, N, Q, R to 57th Street www.nycitycenter.org• Clemente Soto Velez Cultural Center 107 Suffolk Street Subway: F, J, M, Z to Delancey Street www.csvcenter.com• Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com• Club A Steakhouse 240 E. 58th Street (212-618-4190) Subway: 4, 5, 6 to 59th Street www.clubasteak.com• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue• Community Church of New York 40 E. 35th Street (212-594-7149) Subway: 6 to 33rd Street• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com• Cornelia Street Café 29 Cornelia Street (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com• The Counting Room 44 Berry Street (718-599-1860) Subway: L to Bedford Avenue www.thecountingroombk.com

• The Cutting Room 44 E. 32nd Street (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue• Douglass Street Music Collective 295 Douglass Street Subway: R to Union Street www.295douglass.org• Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: F to East Broadway www.downtownmusicgallery.com• The Drawing Room 56 Willoughby Street #3 Subway: A, F, C to Jay Street/Metrotech www.drawingroommusic.com• Drom 85 Avenue A (212-777-1157) Subway: F to Second Avenue www.dromnyc.com• Duane Park 157 Duane Street (212-732-5555) Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: C, E to Spring Street www.earinn.com• Eats Restaurant 1055 Lexington Avenue (212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org• The Fifth Estate 506 5th Avenue, Brooklyn (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com• The Firehouse Space 246 Frost Street Subway: L to Graham Avenue www.thefirehousespace.org• The Flatiron Room 37 West 26th Street (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com• Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (718-625-9339) Subway: G to Fulton Street• The Garage 99 Seventh Avenue South (212-645-0600) Subway: 1 to Christopher Street www.garagerest.com• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com• Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com• Grace Gospel Church 589 E. 164th Street (718-328-0166) Subway: 2, 5 to Prospect Avenue• Greenwich House Music School 46 Barrow Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org• Guggenheim Museum 1071 Fifth Avenue at 89th Street (212-423-3500) Subway: 4, 5, 6 to 86th Street www.guggenheim.org• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street• 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• Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: 5 to Sterling Street www.plgarts.org• 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• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street• JACK 505 Waverly Avenue (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org• Jazz 966 966 Fulton Street (718-638-6910) Subway: C to Clinton Street www.jazz966.com• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: 4, 5, 6 to Grand Central www.kitano.com• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: N, R to 28th Street www.jazzgallery.org• Jazz Museum in Harlem 104 E.126th Street (212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org• Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net• Joe G’s 244 W. 56th Street (212-765-3160) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle• Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com• Kellari Taverna 19 W. 44th Street (212-221-0144) Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us• Klavierhaus 211 West 58th Street (212-245-4535) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com• Knickerbocker Bar and Grill 33 University Place at 9th Street (212-228-8490) Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com• Korzo 667 5th Avenue, Brooklyn (718-285-9425) Subway: R to Prospect Avenue www.korzorestaurant.com• Kosciuszko Foundation 15 East 65th Street (212-239-9190) Subway: 6 to 68th Street• The Lambs Club 132 W. 44th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com• Langston Hughes Public Library 100-01 Northern Boulevard, Queens Subway: 7 to 103rd Street• Launch Pad Gallery 721 Franklin Avenue, Brooklyn (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org• Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com• Littlefield 622 Degraw Street (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com• The Loft of Thomas Rochon 100 Grand Street, 6th Floor Subway: 6, A, C, E, N, Q, R to Canal Street• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) Subway: 1 to 145th Street www.londelsrestaurant.com• L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street-Port Authority www.lybane.com• McDonald’s 160 Broadway between Maiden Lane and Liberty Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com• Machiavelli’s 519 Columbus Avenue (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com• Manhattan School of Music 120 Claremont Avenue (212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu• Matisse 924 Second Avenue (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com• Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street www.langhamplacehotels.com• Metropolitan Room 34 W. 22nd Street (212-206-0440) Subway: N, R to 23rd Street www.metropolitanroom.com• Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com• Miller Recital Hall 120 Claremont Avenue (212-749-2802) Subway: 1 to 116th Street www.msmnyc.edu• Miller Theater 2960 Broadway and 116th Street (212-854-7799) Subway: 1 to 116th Street-Columbia University www.millertheater.com

• Minton’s Playhouse 206 West 118th Street (between St. Nicholas Avenue and Adam Clayton Powell Jr. Blvd) (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• Mona’s 224 Avenue B Subway: L to First 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• Neue Galerie 1048 5th Avenue (212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org• Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com• North Square Lounge 103 Waverly Place (212-254-1200) Subway: A, B, C, E, F to West 4th Street www.northsquareny.com• Notaro Second Avenue between 34th & 35th Streets (212-686-3400) Subway: 6 to 33rd Street• Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925) Subway: F, 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• Pão Restaurant 322 Spring Street (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com• Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com• Paul Hall 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu• The Players 16 Gramercy Park South (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org• The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com• Prime and Beyond Restaurant 90 East 10th Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com• Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: F, V to Second Avenue www.rockwoodmusichall.com• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org• Roulette 509 Atlantic Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org• Rubin Museum 150 W. 17th Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org• 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• Sapphire NYC 333 E. 60th Street (212-421-3600) Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com• SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org• ShapeShifter Lab 18 Whitwell Place (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com• Shell’s Bistro 2150 5th Avenue (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com• Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: B, 2, 3 to 135th Street www.shrinenyc.com• Silent Barn 603 Bushwick Avenue Subway: J, M, Z to Myrtle Avenue www.silentbarn.org• Silvana 300 West 116th Street (646-692-4935) Subway: B, C, to 116th Street• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com• Smithfield 215 West 28th Street (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com• Soapbox Gallery 636 Dean Street Subway: 2, 3 to Bergen Street www.soapboxgallery.org• Smoke 2751 Broadway between 105th and 106th Streets (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street www.somethinjazz.com/ny• Sora Lella 300 Spring Street (212-366-4749) Subway: C, E to Spring Street www.soralellanyc.com• Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street www.spectrumnyc.com• Stephen Wise Free Synagogue 30 W. 68th Street (212-877-4050) Subway: 1 to 66th Street www.swfs.org• 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• SubCulture 45 Bleecker Street (212-533-5470) Subway: 6 to Bleecker Street www.subculturenewyork.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 Sharp Theatre & Bar Thalia 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org• Tagine 537 9th Ave. between 39th and 40th Streets (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street• Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: N, R to Union Street www.tealoungeNY.com• 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: 1, 2, 3, 7 to 42nd Street-Times Square www.the-townhall-nyc.org• University of the Streets 130 E. 7th Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org• Via Della Pace 48 E. 7th Street and Second Avenue (212-253-5803) Subway: 6 to Astor Place• The Village Lantern 167 Bleecker Street (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street• The Village Trattoria 135 W. 3rd Street (212-598-0011) Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com• Village Vanguard 178 Seventh Avenue South at 11th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens (718-721-3010) Subway: N to Ditmars Blvd-Astoria• Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com• Water Street Restaurant 66 Water Street (718-625-9352) Subway: F to York Street, A, C to High Street• Williamsburg Music Center 367 Bedford Avenue (718-384-1654) Subway: L to Bedford Avenue• Zeb’s 223 W. 28th Street 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com• Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

CLUB DIRECTORY

Page 46: COOL TROMBONE LOVER

46 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

(BJM CONTINUED FROM PAGE 13)

sensitive playing providing plenty of momentum; at times he placed a towel over one drum head to recreate a tabla timbre. Like Gyselinck, drummers Verbruggen and Lionel Beuvens also played in multiple groups. The former lent his talents to Igor Gehenot’s piano trio, which alternated introspective ballads with aggressive uptempo numbers, while Beuvens’ quartet, which recently released the impressive Trinité (Igloo), found him much more in his element than behind saxophonist/bass clarinetist Fabrice Alleman’s Obviously Quintet’s smooth, syrupy melodies. Joachim Badenhorst, an intense reed specialist, focused on song-like solo miniatures (nothing over five minutes), revealing a distinctive beauty at the core of each piece’s tonal center and multiple technical approaches - from a hypnotic Phillip Glass multi-textural attack on clarinet and Tuvan overtones on bass clarinet to awesome circular breathing on tenor. The gifted, swinging trumpeter Jean-Paul Estiévenart sounded like a future FONT candidate with his lively trumpet/bass/drums trio. He utilized an effective electronic echo treatment, his bandmates interacting as much with him as with his reverberating brass shadow. Another trio (the only drummer-less one) was ¾ Peace. Reminiscent of Jimmy Giuffre with Paul Bley and Steve Swallow, alto saxophonist Ben Sluijs recalled Lee Konitz in a set that especially stood out because of its unamplified nature. Pianist Christian Mendoza took the opportunity to fill the canvas of open acoustic space by effectively plucking the piano’s strings on the moody ballad “From A Distance”, Sluijs featured on flute. The only other all-acoustic set was by Mâäk, a rip-roaring, risk-taking quintet starring tuba extraordinaire Michel Massot, whose unique approach to the instrument supported the three-horn frontline of trumpet and saxophones. Mâäk closed the first night by leading a second line of audience members straight to the bar, a celebration of two of Belgium’s great past times: jazz (after all it was Belgian Adolphe Sax who invented the saxophone) and beer! v

For more information, visit belgianjazzmeeting.be

(CRAK CONTINUED FROM PAGE 13)

and former constantly spinning his drum as he rapped on its top and sides with different sized mallets, the connection with Hayward’s blasts or breaths produced an effect as portentous as it was balanced. 17 Berlin-based improvisers and 23 Parisians on subsequent evenings demonstrated the opposing Gallic-Teutonic views of large ensemble improv. Interpreting a composition by guitarist Jean-Sébastien Mariage - whose bow-sawing and string-pummeling solos were one of the highlights of a set with five other computer, electronic and noise-makers the final evening - the ONCEIM’s polyphonic group performance sounded completely notated. In truth each orchestra member interpreted written instructions that marked the duration and the clef within the person was to play. Mariage used hand signals to select the players in a final variation. Notable in its ability to sustain unhurried tension over a protracted period, the effect of the performance was almost agonizing, since except for a couple of quasi-lyrical motifs from the violinist, nothing else modified ONCEIM’s constant sonic pressure. Arrayed so that they faced every which way on stage, the Splitter Orchester’s performance consisted of 30-minutes-plus of free-form improvisation. With similar instruments paired and sub-divided into groups, the ensemble brought forward intimations of

musical cultures ranging from rock and electronics to folkloric and free jazz; Splitter also had a wider dynamic range than its French counterpart. Hayward’s valve-twisting multiphonics shared space with unprecedented altissimo squeals from Chris Heenan’s contrabass clarinet; Dörner’s staccato slide trumpeting modified Liz Allbee’s pointillist tones on the standard trumpet and quasi-lyrical linkages were propelled by the flute lines of Sabine Vogel and irregular sweeps from Anthea Caddy’s cello. As the performance reached a climax of intermingled timbres, it was further defined with a call-and-response section where Beins’ abrasive rubs on the drum top were paralleled by Olsen’s reverberating mallet pressure. Even electronic impulses were fully integrated into the piece: resonances from Boris Baltschun’s computer and the overt gestures of Berlin-based Mario De Vega, who set wire fires and snuffed them out with light-weight metal sheets. Amid the dour experimentation that characterized this second edition of Crak, what was missing was a sense of humor. Luckily that was supplied in abundance on the final afternoon, with a tribute to the swing sextet of bassist John Kirby (1908-52), which in its heyday featured trumpeter Charlie Shavers and alto saxophonist Russell Procope. Running through a selection of the group’s repertoire, which included originals like “Jumpin’ at the Pump Room” and “Blues Petite”, warhorses like “Royal Garden Blues” and swing versions of so-called classical themes like “Bounce of the Sugar Plum Fairy”, each brief tune was a gem of foot-tapping joy. With solos reduced to merry breaks, clear-toned trumpeter Louis Laurain and flutter-tongued alto saxophonist Benjamin Dousteyssier expressed themselves forthrightly, a change from their subdued dissonance in the ONCEIM. As much of a contradiction this performance might imply compared to Crak’s other sets, the Kirby salute was really part and parcel of the same idea. Whether European and experimental or American and swinging, the raison d’être of the festival is group expression rather than individual flashiness. Maintaining a midpoint between the two and lightening its entire tone will be the festival’s challenge in future editions. v

For more information, visit babbelproductions.com

(KRAKOW CONTINUED FROM PAGE 13)

beautiful tone, hypnotic proto-blues lines and crunchy circular breathing, crafting an intense and deliberate narrative. The EFG trio played for 45 minutes, broken up into three long improvisations and a brief encore. This group, documented on the 2009 release Kopros Lithos (Multi Kulti Project) doesn’t traffic in subtlety; when not crackling with spiky tension, the threesome are creating an unholy squall. What is most wondrous is the level of communication despite almost impenetrable density. Férnandez, who had received a Spanish national cultural prize just prior to coming to Poland, demonstrated a very different side of his playing during his solo set of the third night, spending the entire 12 minutes alongside the piano, scraping and tousling the strings, creating an arc somewhere between a solo acoustic bass piece and digital exploration. After a uniquely meteorological trio set from Motland, Dieb 13 and Nilssen-Love and a typically debilitating solo segment from Evans, Bothén’s Acoustic Ensemble, active well over a decade earlier, with Gustafsson, Nordeson, Håker Flaten, Holmlander and Nilssen-Love, played a short but excellent set of the leader’s originals. Gustafsson in particular was exultant and the vibe was reminiscent of the New Thing/Eric Dolphy axis of ‘60s jazz,

Nordeson’s vibes a bit of cream to mitigate the spice of the others. Bothén fêted his former employer Don Cherry with an encore of “Mopti”. The final night of small formations featured 15 minutes of solo turntables by Dieb 13, as thoughtful and multi-faceted as any acoustic instrument improvisation, followed by a brief but prescient duo by Evans and Holmlander and then a solo set by Nordeson on both expanded drumkit and vibraphone. This was all a polite introduction to 65 minutes of The Thing with McPhee, a band that is the musical equivalent of a Mariano Rivera cut fastball: you know what’s coming and yet you still can’t catch up with it. But the audience wasn’t daunted, demanding and receiving three encores after a set that included many of the group’s Top-40 hits. The goings-on could have ended there and no one could have cause for complaint. But this was all simply a prelude to the 75 minutes at Manggha. Gustafsson is perhaps known more for his bombastic improvising than his thoughtful conceptualizing but both were in effect for his new composition. The Nu Ensemble features two 28-year-olds (Motland and Strøm) alongside a pair of septuagenarians (Bothén and McPhee) and the piece was a timed graphic score dedicated to and drawing on the work of Little Richard. All those earlier smaller formations, enjoyed in a vacuum, became significant to the arc of the piece, as some earlier collaborations were revisited and a whole other festival’s worth of new pairings was introduced. The piece had an elliptical orbit around Motland’s improvisations on Little Richard lyrics (“Send Me Some Lovin’; “Slippin’ And Slidin’”; “Ready Teddy”, “Money Honey”). Evans blew a fanfare over the two bassists and drummers. Gustafsson played slide saxophone in a trio with Evans and Nordeson’s glockenspiel. Bothén’s guimbri was matched against McPhee’s muted trumpet for a township vibe. Evans and Holmlander presented a doleful melody against the scratching bows of Håker Flaten and Strøm, conjuring up an image of a funeral procession with an unwilling guest-of-honor. Gustafsson blasted off with an alternate Thing of Strøm and Nordeson. Dieb 13 looped Little Richard interview segments. Gustafsson cued electronics in a trio with Evans and Dieb 13, yielding to a quartet of guimbri, tuba, vocals and glockenspiel. All of these segments - and many others - were connected by jittery full ensemble improvisatory punctuations or terrifying flurries. The trumpet/tuba/basses theme then reappeared, buoyed by alternating kick drum prods until Motland was left alone to whisper “Come back tomorrow night and try it again” from Little Richard’s “Keep On Knockin’”. High school was never like this. v

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The New York City Jazz RecordNEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE! • EXCLUSIVE CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY • COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] • SUBSCRIPTIONS AND GENERAL INFO: [email protected] • FOLLOW US ON TWITTER @NYCJAZZRECORD & FACEBOOK.COM/NYCJAZZRECORD

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 47

OSCAR CASTRO-NEVES - The Brazilian guitarist was a legend in the bossa nova movement but also integral in mixing that genre with jazz of the ‘60s onward, either under his own name or composing for or playing with figures such as Bob Brookmeyer, Herbie Mann, Antonio Carlos Jobim, Flora Purim, Ella Fitzgerald and long-time collaborator Paul Winter. Castro-Neves died Sep. 27th at 73.

LINDSAY COOPER - The English horn player/bassoonist was a member of numerous progressive European and English bands, most notably Henry Cow in the late ‘60s-late ‘70s and collaborated with Maarten Altena, Mike Westbrook and numerous others while releasing a handful of albums under her own name in the ‘80s. Multiple Sclerosis ended her performing career in the late ‘90s. Cooper died Sep. 18th at 62.

PER GOLDSCHMIDT - The Danish saxophonist came up in ‘60s Copenhagen, working with a wide array of his countrymen, as well as the ex-pats who had settled in Denmark, before progressing to a leadership role starting in the ‘70s, both for his own projects and later the Ernie Wilkins Almost Big Band. In addition to a number of albums as a leader, he was also an accomplished film composer. Goldschmidt died Sep. 17th at 70.

FRED KATZ - The cellist was a crucial figure in bringing his instrument, an outsider to jazz during its early history, into a more prominent role. Katz came from a classical background and used the cello, initially with drummer Chico Hamilton’s ‘50s quintet and then later as a leader, in a frontline melodic role, which established it as a legitimate tool for jazz improvisation. For many years, Katz taught world music in the California State University system. Katz died Sep. 7th at 94.

BERNIE MCGANN - The saxophonist was not well known outside of his native Australia but there he was among the country’s most beloved performers, working locally with numerous groups since the ‘50s and sometimes touring internationally and collaborating with fellow saxophonists like Dewey Redman. McGann died Sep. 17th at 76.

DON NELSON - His brother, Ozzie, was the more famous one in the family, ubiquitous on ‘50s television and Don wrote many of the scripts for The Adventures of Ozzie and Harriet but still found time to be a jazz saxophonist, even releasing an album in 1957 and then again in 1986 and being a longtime member of the Great Pacific Jazz Band in the ‘80s-90s. Nelson died Sep. 10th at 86.

JIMMY PONDER - The Pittsburgh guitarist’s earliest credits came on a wide array of late ‘60s-early ‘70s funk-influenced jazz albums by the likes of Stanley Turrentine, Lou Donaldson, Donald Byrd and Jimmy McGriff and continued in that vein through the ‘90s and ‘00s with numerous sideman credits and over a dozen albums as a leader, mostly on Muse and then HighNote. Ponder died Sep. 16th at 67.

GIA MAIONE PRIMA - The vocalist replaced Keely Smith as both singer for and wife of bandleader Louis Prima in the early ‘60s and continued to perform alongside him until his illness and eventual death in 1978. Maione Prima died Sep. 23rd at 72.

JAROSLAW SMIETANA - The guitarist was a veteran jazz-rocker in his native Poland but gained a more international reputation with work alongside Joe Zawinul, Art Farmer and a 2003 recording pairing him with John Abercrombie. Smietana died Sep. 2nd at 62.

IN MEMORIAMby Andrey Henkin

The vocalist’s potential was cut short a few years after this recording with her death at 36. In addition to this album, Carr fronting a group with Cappy Lewis (trumpet on several tracks), Howard Roberts (guitar) and Red Mitchell (bass) and playing standards like the Hammerstein-Kern title track, “Be Careful, It’s My Heart“ (Irving Berlin) and “You’re Getting to Be a Habit with Me” (Dubin-Warren), Carr made an earlier album for Bethlehem and waxed a track with Charles Mingus in 1946 and then some with King Curtis a decade later.

This is an interesting album in the legendary bassist’s catalogue. Recorded at Nola’s Penthouse Sound Studios, it features only two originals: the title track and “Bugs”. The rest of the material is two standards - “Wrap Your Troubles in Dreams” and “Body and Soul”. Joining the leader for this session is an octet featuring Eric Dolphy, Charles McPherson and Paul Bley for the originals and a sextet with Roy Eldridge, Jimmy Knepper, Dolphy and Tommy Flanagan for the standards, Dannie Richmond on drums throughout.

Saxophonist Gene Ammons was far more than just the son of pianist Albert. After breaking in with Billy Eckstine in the mid ‘40s, the younger Ammons debuted as a leader in 1947 at age 22. By the time of this session, when he was 45, the saxophonist had released a slew of albums under his own name, mostly for Prestige. Joining him here is an allstar band of Harold Mabern (pianos), George Freeman (guitar), Ron Carter (bass) and Idris Muhammad (drums) for a session of standards, Freeman’s title track and the Beatles’ “Something”.

Continuing a partnership that began in 1968, the then-50-something duo of American alto saxophonist Lee Konitz and French pianist Martial Solal convened in Hamburg for what would be their third full album. As with the earlier duo albums, standards make up the bulk of the program: the title track, “Just Friends”, “Body and Soul” and “Cherokee” as well as Konitz’ tune “It’s You”, Solal’s composition “Fluctuat Nec Mergitur” and the almost obligatory piece by Konitz’ mentor Lennie Tristano, “April”.

Benny Carter is one of the monumental figures in jazz, with a prolific career as a player, composer, arranger and bandleader since his first sessions back in the late ‘20s. By the time of this live recording from Princeton University, he was firmly in living legend territory and a NEA Jazz Master to boot. His band is no slouch either: trumpeter Clark Terry, pianist Kenny Barron, bassist Rufus Reid and drummer Kenny Washington, with Billy Hill guesting on vocals, for a program which mixes standards with Carter originals.

ON THIS DAYby Andrey Henkin

Why Do I Love YouHelen Carr (Bethlehem)

November 11th, 1957

Reincarnation Of A Love BirdCharles Mingus (Candid)

November 11th, 1960

The Black Cat!Gene Ammons (Prestige)

November 11th, 1970

Star EyesLee Konitz & Martial Solal (hatART)

November 11th, 1983

Live at PrincetonBenny Carter (Music Masters)

November 11th, 1990

BIRTHDAYSNovember 1†Sabby Lewis 1914-94†Sam Margolis 1923-96Lou Donaldson b.1926 Roger Kellaway b.1939 †Raphe Malik 1948-2006Carmen Lundy b.1954 Conrad Herwig b.1959 Antonio Sanchez b.1971 Tim Luntzel b.1972

November 2†Bunny Berigan 1908-42Rudy Van Gelder b.1924 Herb Geller b.1928 Phil Woods b.1931 Phil Minton b.1940 Ernest Dawkins b.1953 Frank Kimbrough b.1956 Gebhard Ullmann b.1957 Kurt Elling b. 1967 Chris Byars b.1970

November 3†Joe Turner 1907-90†Billy Mitchell 1926-2001Andy McGhee b.1927 Henry Grimes b.1935 Joe McPhee b.1939 Azar Lawrence b.1953

November 4†Joe Sullivan 1906-71†Joe Benjamin 1919-74†Ralph Sutton 1922-2001†Carlos “Patato” Valdes 1926-2007†Larry Bunker 1928-2005†Willem Breuker 1944-2010Eddie Gomez b.1944 David Arner b.1951 Jeremy Pelt b.1976

November 5Diego Urcola b.1965 Kenny Brooks b.1966 Neil Cowley b.1972 Ben Markley b.1981

November 6†Francy Boland 1929-2005Arturo Sandoval b.1949

November 7†Joe Bushkin 1916-2004Howard Rumsey b.1917 †Al Hirt 1922-99†Ray Brown 1948-2002†David S. Ware 1949-2012René Marie b.1955

November 8†Chris Connor 1927-2009Bertha Hope b.1936 Don Byron b.1958 Jerry Costanzo b.1959 Russell Malone b.1963 John O’Gallager b.1964 Vadim Neselovskyi b.1977

November 9†Mezz Mezzrow 1899-1972†Pete Brown 1906-63†Muggsy Spanier 1906-67

November 10Paul Bley b.1932 Houston Person b.1934 Andrew Cyrille b.1939 Hubert Laws b.1939 Stanton Davis b.1945 John LaBarbera b.1945 Mark Turner b.1965 Gustavo Casenave b.1971 Warren Wolf b.1979

November 11†Ivy Benson 1913-93†Willie Cook 1923-2000Mose Allison b.1927 Ernestine Anderson b.1928 Mario Pavone b.1940 Hannibal Peterson b.1948 Kahil El’Zabar b.1953 Mark Shim b.1971

November 12†Buck Clayton 1911-91†Lou Blackburn 1922-90†Charlie Mariano 1923-2009†Sam Jones 1924-81Wolfgang Schluter b.1933 Koby Israelite b.1966

November 13†Bennie Moten 1894-1935†Eddie Calhoun 1921-93†Hampton Hawes 1928-77Idris Muhammad b.1939 Janet Lawson b.1940 Ernst Reijseger b.1954 Ari Hoenig b.1973

November 14†Art Hodes 1904-93†Billy Bauer 1915-2005†Don Ewell 1916-83Ellis Marsalis b.1934 George Cables b.1944 Kim A. Clark b.1954

November 15†Gus Johnson 1913-2000†Jerome Richardson 1920-2000Ali Haurand b.1943 Kevin Eubanks b.1957 Roland Guerin b.1968 Susie Ibarra b.1970

November 16†WC Handy 1873-1958†Eddie Condon 1905-73†Dolo Coker 1927-83Diana Krall b.1964

November 17David Amram b.1930 Roswell Rudd b.1935 Lisle Ellis b.1951 Ben Allison b.1966

November 18†Johnny Mercer 1909-76Claude Williamson b.1926 Victor Sproles b.1927 Sheila Jordan b.1928 †Don Cherry 1936-95Bennie Wallace b.1946 Cindy Blackman-Santana b.1959

November 19†Tommy Dorsey 1905-56Nobuo Hara b.1926 †André Persiany 1927-2004Vincent Herring b.1964

November 20†Skeeter Best 1914-85†June Christy 1925-90Jay Rosen b.1961 Don Braden b.1963 Geoffrey Keezer b.1970

November 21†Coleman Hawkins 1904-69†Lloyd Glenn 1909-85†Alvin Burroughs 1911-50†Sal Salvador 1925-99Peter Warren b.1935 Alphonse Mouzon b.1948 Rainer Brüninghaus b.1949

November 22†Hoagy Carmichael 1899-1981†Horace Henderson 1904-88†Ernie Caceres 1911-71Gunther Schuller b.1925 †Jimmy Knepper 1927-2003Ron McClure b.1941 Tyrone Hill b.1948 Rogério Boccato b.1967

November 23†Tyree Glenn 1912-74Johnny Mandel b.1925 †Pat Patrick 1929-1991†Victor Gaskin 1934-2012 Alvin Fielder b.1935 Jiri Stivin b.1942 Ray Drummond b.1946 Melton Mustafa b.1947

November 24†Scott Joplin 1868-1917†Teddy Wilson 1912-86†Wild Bill Davis 1918-95†Serge Chaloff 1923-57†Al Cohn 1925-88Gary Boyle b.1941Brian Charette b.1972

November 25†Willie “The Lion” Smith 1897-1973†Willie Smith 1910-67†Joe “Bebop” Carroll 1919-81†Paul Desmond 1924-77†Matthew Gee 1925-79†Dick Wellstood 1927-87†Etta Jones 1928-2001†Rusty Bryant 1929-91†Nat Adderley 1931-2000Steve Johns b.1960 Terell Stafford b.1966

November 26†Jack Perciful 1925-2008Kiane Zawadi b.1932 Art Themen b.1939 Mark Dresser b.1952

November 27†Eddie South 1904-62†Nesuhi Ertegun 1917-89Michel Portal b.1935 Randy Brecker b.1945 Lyle Mays b.1953 Maria Schneider b.1960 Joris Teepe b.1962 Wessell Anderson b.1964 Jacky Terrasson b.1966

November 28†Gigi Gryce 1927-83Gato Barbieri b.1934 Roy McCurdy b.1936 Adelhard Roidinger b.1941 Butch Thompson b.1943 †Dennis Irwin 1951-2008Charlie Kohlhase b.1956

November 29†Billy Strayhorn 1915-67†Nathan Gershman 1917-2008†Bobby Donaldson 1922-71Ed Bickert b.1932 Tony Coe b.1934 Billy Hart b.1940 Adam Nussbaum b.1955 Fredrik Ljungkvist b.1969

November 30†Benny Moten 1916-77Jack Sheldon b.1931 †Johnny Dyani 1945-86Stan Sulzmann b.1948 Ted Rosenthal b.1959

KAHIL EL’ZABAR November 11th, 1953

Chicago-born percussionist Kahil El’Zabar is an eclectic musician typical of his home town. He grew up with jazz, blues and R&B, studied African music in Ghana in the early ‘70s and was a member of the Association for the Advancement of Creative Musicians. Much of his output as a leader has come under the auspices of two groups - Ethnic Heritage Ensemble and Ritual Trio (which has featured guests like Pharoah Sanders and Archie Shepp) - as well as duo collaborations with David Murray and Billy Bang. His discography includes sideman credits with Wadada Leo Smith, Murray, Shepp, Bang and Hamiet Bluiett and he has worked with Dizzy Gillespie, Cannonball Adderley, Stevie Wonder and Nina Simone, among many others. -AH

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Miles’ 9 earliest Columbia albums remastered in

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