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Charli Persip • Larry Ochs • Blue Note Records • Miller Theater • Event Calendar

February 2009 | No. 82

CHICOHAMILTON

JOYOUS SHOUT

ALLABOUTJAZZ-NEW YORK | February 2009 3

We hate to be the ones to temper all the post-election enthusiasm for potentiallymore arts support, but it seems like the financial crisis facing the world has trickled (or deluged) down into jazz. Recent reports indicate that FestivalNetwork, which took over George Wein’s Festival Productions company last year,has laid off most its staff, making it uncertain if New York (or any other city forthat matter) has seen its last JVC Jazz Festival. We will report more as we obtaininformation but this is a serious blow as jazz rarely got that level of exposure otherwise. Another, more personal casualty, is the dismissal of legendary jazzjournalist Nat Hentoff from the Village Voice after 50 years. His final column forthe once-proud counterculture rag was Jan. 6th, 2009. Hentoff will still continuewriting for other outlets including, ironically, the Wall Street Journal.

But jazz as an art form has weathered such storms before and, honestly, howmuch smaller can its market share get anyway? It has become a music of perseverance, something to which drummers Chico Hamilton and Charli Persip(On The Cover and Interview, respectively) and saxophonist Larry Ochs (ArtistFeature) can attest. Another entity that thus far has shown ‘staying power’ is BlueNote Records (Label Profile), celebrating its 70th anniversary (overlooking a period of dormancy) this year with numerous local and national events.

In additional coverage, free jazz icon Arthur Doyle (Encore) makes a rare appearance this month and jazz lives on the Upper West Side at ColumbiaUniversity’s Miller Theater (Club Profile). We also have two new CD features:Globe Unity (covering releases from a specific country) and an in-depth look at aBoxed Set, starting with the 50th Anniversary Collector’s Edition of Kind of Blue.

Winter is in full swing and despite depressing news and weather reports, puton an extra scarf and go see some jazz this month. Our Event Calendar is packedand jazz needs your support more than ever.

We’ll see you out there...

On the cover: Chico Hamilton (photo by Todd Boebel)

Corrections: In the January 2009 CD Reviews, the Bo’Weavil label was mistakenlyreferred to as Australian. It is English. Also, Waldron Mahdi Ricks was mistakenly credited as having played on Danny Grissett’s new album.

Submit Letters to the Editor at newyork.allaboutjazz.comU.S. Subscription rates: 12 issues, $30 (International: 12 issues, $40)For subscription assistance, send check, cash or money order to the address below.

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

New York@Night4Interview: Charli Persipby George Kanzler6Artist Feature: Larry Ochsby Marc Medwin7

On The Cover: Chico Hamiltonby Donald Elfman9

Megaphone VOXNewsby Charles Tolliver by Suzanne Lorge11

Encore: Lest We Forget: Arthur Doyle JR Monteroseby John Sharpe by Clifford Allen

10

12 Listen Up!: Kirk Knuffke & Ben van Gelder

36 Event Calendar

1413 Festival Report: Umbria Jazz Winter

41 Club Directory

43 Miscellany

Label Spotlight: Blue Note Recordsby Joel Roberts8Club Profile: Miller Theaterby Marcia Hillman

In Memoriam • Birthdays • On This Day

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CD Reviews: Benny Golson, Uri Caine, Heikki Sarmanto, Max Raabe, Steve Swell, Phil Markowitz, Jeff “Tain” Watts and more

4 February 2009 | ALLABOUTJAZZ-NEW YORK

The big draw of Winter Jazzfest was drummer Jeff“Tain” Watts’ midnight set at Le Poisson Rouge Jan.10th, in honor of Max Roach’s birthday, with TerenceBlanchard (trumpet), Branford Marsalis (tenor andsoprano sax) and Christian McBride (bass) - the quartet heard on Watts’ new release, simply titledWatts. Anticipation was high and the band knew it, sothey flattened listeners against the wall with “Returnof the Jitney Man”. In this breakneck opener, the evenfaster “Dancin’ 4 Chicken” and also the slower, fragmented blues choruses of “Brekky with Drekky” (aMichael Brecker homage), no one could ignore theelectricity of Marsalis and Watts’ interaction, honedover many years. There was, however, something of acreative gulley mid-set as the band seemed to succumbto allstar syndrome: more chops than musical interest.(Interestingly, bassist Eric Revis, Marsalis and Watts’longtime bandmate, delivered a superior set across thestreet at Kenny’s Castaways with the new group TarBaby.) Blanchard played with depth and wit butseemed stuck for ideas in a couple of spots. WhenLawrence Fields, a young pianist from St. Louis, cameon board to reprise his album cameo on the sopranosax ballad “Owed…”, the crowd energy dissipated further. But interest piqued again with the peculiarstructure of “The Devil’s Ring Tone”, pushingMarsalis and Blanchard into a heady round of trading,and “Wry Köln”, an older piece brimming with sonicsurprise and AfroLatin influences. - David R. Adler

As one of three venues hosting the epic WinterJazzfest (Jan. 10th), Kenny’s Castaways had its limitations - mainly a horrid piano barely fit for amateurs, let alone world-class jazzers. Some bandssuffered for it, but thankfully, By Any Means, the trioof saxophonist Charles Gayle, bassist William Parkerand drummer Rashied Ali, was not one of them. Infact, for all its frenetic, crosscutting interplay, the freejazz supergroup - ambassadors from New York’sVision Festival circle, in effect - wrung some of thecleanest sound of the night from the room. The set wassplit into two extended improvisations, but one coulddetect at least five different episodes folded within.Beginning in a fast, busy frame of mind, Parker skatedgracefully across an implied tempo; Ali generated aless-is-more mass of sound he’d favor throughout andGayle blew alto with great endurance and pronouncedOrnette-ian turns of phrase. After 10 or so minutes themusic grew sparser, with Parker’s low, resonant tonescoming into focus. Ali weighed in with a chatty solo,leading the band to reenter at an even faster tempo,with an explicit quarter-note pulse. Parker sawedmanically with his bow, Ali jousted with Gayle in around of trading and the first segment came to anabrupt but logical end. The second piece began slower,with a loopy swing feel highlighting Gayle at his bluesiest. Again the music grew more abstract, thenaccelerated, giving the entire set the contour of variations on a theme. (DA)

The trumpeter Don Cherry was remembered in a concert at Symphony Space Jan. 16th with an octet ledby Karl Berger, the pianist and vibraphonist mostnoted for founding the vital Creative Music Studio in1972, the impact of which is still felt through the manymusicians who worked there. The fact that there wereno vibes on stage was unexpected, but the biggest surprise of all was how safely the music wasapproached. Cherry started his career in the groundbreaking Ornette Coleman Quartet and wenton to incorporate non-Western traditions into hismusic, creating a multicultural aesthetic that not onlyinfluenced Afrocentrism in jazz but has been cited bydub, punk and rap artists. As they worked throughseven of Cherry’s compositions (and one by Bergerthat did show a hint of South African rhythm), theystripped the music down to not just mainstream jazzbut a conservative repertory. Berger assembled astrong band, with Graham Haynes filling the trumpetrole on cornet, saxophonist Peter Apfelbaum, guitarist Kenny Wessel, bassist Mark Helias, drummerTani Tabbal and Bob Stewart on tuba, any one ofwhom would seem inclined to push the envelope.Berger’s wife, the vocalist Ingrid Sertso - who likeBerger and much of the band worked with Cherry during his life - offered invocation through lyrics shewrote to Cherry’s music (some at his request), perhapsthe most heartfelt element of the evening. It’s a shamethe current didn’t run deeper. - Kurt Gottschalk

Nicole Mitchell, one of the brightest stars to risefrom Chicago’s Association for the Advancement ofCreative Musicians (AACM) in years, brought NewYear wishes to New York over two nights at The StoneJan. 2nd-3rd. Dubbing the effort “Sonic Projections”,Mitchell composed separate sets of music for the occasion, played by fellow Chicagoan David Boykinson sax and drummer Tomas Fujiwara, with pianistVijay Iyer on the first night and guitarist MaryHalvorson the second. In true Chicago form, it washorns (Boykins’ saxophone and Mitchell’s flute) outfront most of the time. And in line with AACM tradition, the music worked with unabashedly beautiful, simple melodies and overt messages of hopeand optimism, the composition “Affirmation” (theonly piece repeated both nights) even incorporatingwishes for the coming year written by audience members. At the same time, the music pushed harderthan much of Mitchell’s previous work, giving ampleroom for Boykins’ gutsy tenor, especially in a prolonged and powerful duet with Fujiwara. Mitchellis extraordinarily inventive on her instrument, matching the power of the sax on the wee piccolo andsinging through her flute with slurring pitches reminiscent of a vintage synthesizer. While the setwith Iyer contained some wonderfully pointillisticmoments, it was with Halvorson that Mitchell seemedto open the throttle with enticingly slippery, fragmented scores. (KG)

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Branford Marsalis, Winter Jazz Fest, Le Poisson Rouge

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Don Cherry Tribute, Symphony Space

NEW YORK @ NIGHT

ALLABOUTJAZZ-NEW YORK | February 2009 5

There are few musicians better-suited to be bandleaders than bassists. As sidemen, they areexpected to keep things in order anyway and thenature of their instrument precludes egotistical solo-driven composing. Mingus is the archetype butMario Pavone has been steadily creating his own compelling body of work for decades. His latest project is named “Double Tenor Quintet”, as in TonyMalaby and Jimmy Greene, longtime pianist PeterMadsen and drummer Gerald Cleaver filling out thegroup. For the CD release concert at Iridium Jan. 7th,Pavone showed that the name is not just an honorific;the pieces from Ancestors (Playscape) are writtenspecifically to highlight the many possibilities of atwo-horn group: cutting contests, baton-relay themesand in-tandem stylistic and textural counterpoint. Thetunes on the album are of reasonable length but weredeliciously expanded in the live setting, their densitymaking them seem even longer. The churning rhythmswere a roiling backdrop for the unique approaches ofMalaby and Greene, the legacy of Joe Henderson takenin two very different directions. Even when the twohorns sat for the earlier piece “East Arc”, Pavone’scompositional ethic was clear: he wants his music tokeep generating momentum as it plunges forward.This mission suits Malaby particularly well, givinghim the opportunity to apply his specific brand of virtuosic belligerence to some especially meaningfulstatements. - Andrey Henkin

Right in the middle of the Association of PerformingArts Presenters (APAP) Conference, a new management agency, Company of Heaven, put on itsinaugural festival for three days at three venues. Thetiming couldn’t have been coincidental though anyinterested APAPers would need open minds and earsfor the agency’s eclectic artist roster. The final night ofthe festival (Jan. 12th) took place at the truly bizarreMonkeytown venue in Williamsburg and demonstrated the pool from which Company ofHeaven draws its refreshment. The first set of theevening featured agency head Judith Insell on a brief,almost unrecognizable, deconstruction of JohnColtrane’s “India” for solo viola. For the secondgroup, bassist Mark Helias’ Open Loose with saxistTony Malaby and drummer Tom Rainey, the oddity ofthe room became apparent. Bands play in the centerwith low-lying sofas on all four sides and a very highceiling. As a result, Helias’ braising funk was tempered a bit as the trio figured out the acousticalgeometry, Malaby doing his best not to blow out thespace. The feel was chamber-like and the audienceseemed like well-stuffed nobles watching court musicians. Rainey stayed behind the kit for the lastgroup of the first segment, guitarist Brad Shepik’s triowith bassist Matt Penman. They played previews froma new album and some older material, Shepik’s proto-swing guitar veering into fusion territory,bouncing around the room in every direction. (AH)

The Dave Holland Octet, an authoritative assemblagethat augmented the visionary bassist’s long-standingquintet of saxophonist/flutist Antonio Hart, trombonist Robin Eubanks, vibesman Steve Nelsonand drummer Nate Smith with horn players AlexSipiagin, Chris Potter and Gary Smulyan drawn fromhis award-winning big band, held forth at Birdland forfive nights of intensely idiosyncratic music.Combining the harmonic and dynamic power of thelarger ensemble with the improvisational and rhythmic agility of the small group, the band’s performances throughout the week gave a glimpse ofjazz at its very best, full of intelligence and surprises.The second set, opening night (Jan. 7th), began withHolland’s “Pathways”, a melody built on Nelson’svaguely Eastern vibes wrapped around the composer’spotent bass vamp. Solos by Sipiagin and Holland werebuttressed by bottom-heavy horn harmonies out ofwhich Smulyan’s baritone emerged for a climacticstatement. Potter’s “Sea of Marmara” featured hissoprano and the rhythm section, Smith’s bass drumdancing contrapuntally with Holland’s bass. The latter’s “Happy Jamming” showcased the potent hornsection on a joyous romp, with raucous riffing andbackgrounds driving the soloists to dizzying heights.Kenny Wheeler’s homage to Holland, “So-Fo-Da”,spotlighted his lyricism in an Ellingtonian milieu, setting up the powerful big band-styled closer, “WhatGoes Around”. - Russ Musto

The spirit of the late great Jackie McLean loomedlarge over Smalls during the Steve Davis Quintet’s set(Jan. 7th), which was being recorded live for the basement bastion of bebop’s own record label. Davis,the last of the Jazz Messengers, cut his chops on trombone in McLean’s sextet and, like his frontlinepartner alto saxophonist Mike DiRubbo, was one ofMcLean’s prize students in the jazz program that nowbears his name. Seated at the club’s piano, at the helmof the same tight rhythm section - bassist GeraldCannon and drummer Willie Jones III - that once propelled the band of Roy Hargrove (who had recorded with McLean in the same group that included Davis) was the veteran Larry Willis. Willisfirst gained notoriety as both a pianist and composerwith McLean’s quintet over 40 years ago and Daviswisely called upon him to contribute his long provenskills as a writer to the band’s book. His swingingarrangement of “Surrey With The Fringe On Top”made good use of the contrasting sonorities of Davis’smooth burnished sound and DiRubbo’s tart bitingtone that were also spotlighted on the two horn-tworhythm introduction to the leader’s “Spirit Waltz” thatfollowed. Willis’ solo piano rendition of “Nature Boy”hushed the excited room that then exploded withapproval as he segued into his classic “To Wisdom ThePrize”. Davis featured the pianist on a solo Ellingtonmedley and then ended with the band blowing his“Insidious Behavior”. (RM)

WHAWHAT’S NEWST’S NEWSDAVID S. WAREThe saxophonist, who was diagnosed with kidney failure in 1999 and has been undergoingdialysis since then, is in urgent need of a kidneytransplant. Interested individuals with blood typeO are urged to contact Steven Joerg, David S.Ware’s manager at aum@aumfidelity.com or718-854-2387.

NAT HENTOFFThe prominent music writer Nat Hentoff was laidoff from the staff of the Village Voice as of Jan.6th, ending a 50-year relationship. The layoffcame as part of a larger staff reduction. Hentoffwill continue to write for other outlets, includingthe Wall Street Journal, and the University Pressof California will publish his At the Jazz BandBall: 60 Years on the Jazz Scene this year.

NATIONAL PUBLIC RADIONational Public Radio (NPR) has debuted whatit hopes will be a regular service: downloadablerecordings of recent live jazz in New York City.The inaugural file was from guitarist KurtRosenwinkel’s January 2009 run at VillageVanguard. For more information, visit npr.org/villagevanguard.

JACO PASTORIUSA park has been named for the late bassist inOakland Park, Florida, where the WeatherReport veteran attended high school. JohnFrancis “Jaco” Pastorius died in 1987 at age 35.

KNITTING FACTORYOn Dec. 31st, 2008, the Knitting Factory, once ahome for New York’s Downtown scene in twolocations, officially closed its doors. Plans are fora pared-down version of the club to reopen inBrooklyn and to present concerts under its banner at other local venues. For more information, visit knittingfactory.com.

ROGUE BREWERYRogue Ales has produced a limited edition JazzGuy Ale bottle for the Portland Jazz Festival(Feb. 13th-22nd). Additionally, Jazz Guy Ale willbe available in New Orleans, San Francisco,Boston, Minneapolis, New York City,Philadelphia, Kansas City, Seattle and Chicago.For more information, visit rogue.com.

QUINCY JONESThe legendary producer and arranger (and one-time trumpeter with the bands of DizzyGillespie, David “Fathead” Newman, CliffordBrown, Gigi Gryce and Lionel Hampton) told theWashington Post he would like to discuss creating a Secretary of the Arts Cabinet-levelposition with President Obama. A petition hasbeen created independently to push the idea.Visit petitiononline.com/esnyc/petition.html.

Submit news to ldgreene@allaboutjazz.com

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INTERVIEW

People looking for the magic elixir, the Fountain of Youth,should stop looking and start jazz drumming. CharliPersip, who’ll turn 80 in July, will soon join Roy Haynesand Chico Hamilton as fully active octogenarian jazz drummers with busy careers. Persip grew up in Newark, NJand, after touring with Dizzy Gillespie’s small group andState Department Big Band (1953-58), he became one of themost in demand drummers on jazz recordings, especiallybig band ones, in the late ‘50s and early ‘60s. He’s continued to work steadily ever since and has been leadinghis big band for a quarter-century. Charli Persip’sSupersound’s new album is Intrinsic Evolution and theyplay an exclusive engagement this month at York College.

AllAboutJazz-New York: The book you wrote ondrumming has an odd title: How Not to Play Drums: Notfor Drummers Only. How did that title come about?

Charli Persip: The irony is the title came from Dizzy.When I got in his band I knew all the arrangements; Iloved that band and I thought I played my ass off.Dizzy pulled me aside and said, “You seem to knowthe arrangements pretty well and be doing a great jobbut now that you know what to play you gotta learnwhat not to play.” And the subtitle, Not for DrummersOnly, is because the book is all about the instrument;not just how to play, but how to take care of yourbody, exercise. It’s a book for everybody with anyinterest in drums. And I have my patented drum exercises you can do by just patting your hands andtapping your feet. You don’t have to have a drum setor be a drummer to do them and they’ll help with yourcoordination.

AAJ-NY: How did you get to be such a good reader?

CP: Mainly because I objected to the word that wasgoing around that jazz drummers couldn’t read well.Then it translated into black drummers couldn’t readwell. I totally took umbrage with that. I said OK I’mgonna be the best reader in the land - I’ll fix you. Ispent many hours practicing, I took music books tobed with me to read instead of novels. I was fightingthe fight for the good name of black jazz drummers.

AAJ-NY: You learned some of that in school, right?

CP: No, actually I never studied any instrument whenI was in school. I was self-taught. Learned mostly theparade stuff first. When I got to school I really wantedto play football. Went to West Side High School [inNewark] because Arts High didn’t have a team. TheWest Side football team wasn’t any good and neitherwas I. In my junior year I joined the marching bandand that was a lot of fun because I’d never played inany kind of band before. I used to go see the big bandsat theaters; the Adams Theatre was my real universitywhen it came to how to play big band drums. That andlistening to a lot of records my older sister had. During

my last year at West Side the music departmentformed a stage band and I tried out for it and made it.That was the first time I found myself in a big band situation and that did it for me, I made up my mindthere and then that I was going to be a professionaldrummer.

AAJ-NY: So you went to Juilliard.

CP: That was later. Once I got out of high school I wasplaying around Newark; there were still a lot of littlebands around town. I studied with a private teacher,Al Jamanski, who got me to improve my techniqueand put me on the road to reading. Then I played theR&B chitlin’ circuit up until the early ‘50s then joinedDizzy right after that and that was my first chance toplay bebop. Wade Legge was the pianist and baritonesaxophonist Sahib Shihab was in that quintet too.Everybody is dead except me. It’s kinda sad youknow. One of the reasons why I don’t like to spend awhole lot of time talking about what I used to do isbecause so many of the people I worked with are gone.And the young kids, they want to know about and see something and it’s hard to get through to them whenyou talk about people who are gone they can neversee. I like to talk about what I’m doing now and planto do in the future.

AAJ-NY: You also worked with Randy Weston.

CP: Oh yeah, Randy was great. When I recorded withRandy it was the first time I got to play something inthree [3/4 time], “Little Niles”. After I got to play onthat album, Elvin Jones - we were very good friends,Elvin and me - was getting ready to record “MyFavorite Things” with John Coltrane and he asked me“How do you play in three, I don’t know what the fuckto play?” I was so shocked; as good a drummer as hewas I was flattered and shocked and everything andthe rest is history. If you hear “My Favorite Things”now you know he learned how to do it. Another bandI was very pleased and flattered to have been with isGil Evans. That was the other band I played with thathelped me learn about listening and broadening myconcept. I went with Gil Evans after Billy Eckstine. Gilalways said that there were two drummers he liked toplay in his bands, Elvin and myself.

AAJ-NY: Let’s talk about your band; you’ve beendoing the Superband since the ‘70s, right?

CP: I call it Supersound now because of the PhillipMorris Superband. I was advised not to sue/fightthem even though I had the name first because you’regoing up against serious money and a company likethat can just keep postponing things. So my wife, godrest her soul, said change the name to Supersound.Started out as trumpeter Gerry La Furn’s rehearsalband in the late ‘70s and I became the drummer in

1979. The idea was to make it the resident band atManhattan Plaza, but things didn’t work out andwhen Gerry wanted to keep the band together heasked me, since I had the bigger name at the time, tobe the leader. So the first album we made was as co-leaders. ...I took the band over and made some personnel changes and Frank Foster gave me seven arrangements, then fired me from his Loud Minorityband because he felt I should have my own band.That’s how the band got started and we did our firstalbum in 1985.

AAJ-NY: What was your musical goal, with the band?(CONTINUED ON PAGE 42)

CharliPersipby George Kanzler

6 February 2009 | ALLABOUTJAZZ-NEW YORK

CAROLYN LEONHART &WAYNE ESCOFFERYValentine’s Day WeekendFebruary 12 - 14, 2009

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2751 Broadway @ West 106th Streetsets at 8, 10, and 11:30 pm

reservations are highly recommendedcover charge & minumum apply

visit www.smokejazz.com or call 212.864.6662

ARTIST FEATURE

“It started out as a social thing,” says saxophonistand composer Larry Ochs of what would eventuallydetermine the course of his life. “I played trumpet as akid in New York, but it wasn’t really because I enjoyedit. I played music because friends of mine were doingit; then it was supposed to be good for college credit.My private teachers never even suggested to me that Icould play music I liked or hinted at the idea of self-expression on the instrument, of having fun, so assoon as I got accepted into college, I just dropped theplaying.”

Listening to Ochs’ compositions, improvisationsand arrangements, waxed over the last 30 years, it isdifficult to believe that such a voice was almostquelled by indifference and relative disinterest. Yet,Ochs would go on to co-found such pioneering aggregates as the long-lived Rova Saxophone Quartetand the multi-timbral improvising trio Maybe Mondaywith Fred Frith and Miya Masaoka. Along the way, hehas delved into the world of electronic sound manipulation in projects such as Room and on his electric realization of John Coltrane’s Ascension.

Such a multifarious approach now seemsinevitable. “I was a listener first,” says Ochs of hiscompositional aesthetic. “I went into college and gotinvolved at WXPN, the great radio station at U.Pennsylvania, with a really extensive library, so I gotinto everything - everything that I’d known a littleabout and wanted to explore further.” When Ochsfinally returned to playing and began composing afterrelocating to San Francisco in the early ‘70s, it waswith fresh insight gained from hours of concerts, scorestudy and saturation in all manner of recorded music.He has attempted to remember his experience as a listener, translating it into a compositional language inwhich sound is foremost and in which improvisationimpacts and is impacted by radical compositionalframeworks.

For Ochs, “improvised music is the umbrella termwithin which ‘jazz’ or ‘traditional jazz’ is one form,one way… All forms that last are really deep anddeserve our respect. But for whatever reason, I’vealways been interested in forms for improvisers thatare not the ‘trad jazz’ form. I mean, I love listening togreat jazz soloists, but the form the soloist is exploringinterests me less than the forms I work in now.” Ochslikens his experience of music to looking out his window and seeing unity rather than judging eachcomponent of the landscape. “It was like that when Iheard late Coltrane and Cecil Taylor in the middle ‘60sfor the first times. It was too much for me, no doubt,but I was hearing shapes and energy. Of course now, Ifollow every note of that stuff, but my initial impression was of innovative energy and form.”

Visuals inform not only Ochs’ compositional rhetoric but also the way he articulates the conceptsbehind the groups in which he is involved. He speaksof musicians inhabiting different spaces on differentevenings or after an extended period of rehearsal.

Indeed, space is of primary importance to Ochs,an obvious example being the two realizations of his composition “Mirror World” for filmmaker StanBrakhage, released last year by Metalanguage. In addition to a seamless blend of composed and improvised elements, the project’s soundstage is enormous. On “Hand”, the Rova Orkestrova version, the stereo spectrum is preternaturally wideand each instrument or combinations of instrumentsseems to inhabit its own acoustic space.

The trumpet and didgeridoo duet in “Hand” is astunning case in point, but each transformation in timbre brings fresh awareness of the space in whichthe sounds are developing. Ochs likens such detail inhis music to the hand-painted Brakhage films thatinspired it. “You could mount each frame in one ofthose films as a painting, because there’s so muchdetail in each one, but he was interested in the movingimage.” Yet, even in the context of his epic homage,Ochs is emphatic that Brakhage’s inspiring workserved as confirmation from a like-minded spirit. “Iwas already way into that space; I just wanted to translate what he was doing into something thatwould inspire ideas within my oeuvre.”

Indeed, similar concerns inform many of Ochs’projects, including the lithely-improvised landscapesof all three Maybe Monday discs and his recent contribution to the Rogue Art label, Spiller Alley. Theremarkable sonic pallet Ochs conjures even leaves itsmark on the compositions of others. 2003’s ElectricAscension is as much an update as a tribute, bringingColtrane’s quasi-modal composition into starkly modern relief. “I really feel like we had something tooffer,” states Ochs, “and that we still do, because thepiece can change so much depending on who’sinvolved.” The live recording, released on Atavistic in2005, shares the cinematic approach with The MirrorWorld, using several of the same musicians. However,Ikue Mori and Otomo Yoshihide bring their own vastsonic arsenals into the mix, the whole underpinned bythe swinging rhythms of Donald Robinson, one of thedrummers (along with Scott Amendola) for yet another Ochs ensemble, the Sax and Drumming Core(now a quintet with Satoko Fujii and Natsuki Tamura).

A harder rawer edge can be heard in much of TheCore’s recent work and Ochs’ playing, as mutable ashis compositional approach, follows suit. Much shouldbe said of his tenor and sopranino saxophone work,veering wildly as it does between the emotive powerof the Trane/Ayler axis and the pointillisms of AACMmembership or European improv. It is particularlyfine on Juke Box Suite, the most recent Rova disc,released on Not Two last year. Perhaps such versatility comes from being self-taught. “Teachers,”Ochs laughs. “Braxton, Roscoe [Mitchell], Leo Smith -I learned from all of them.” K

For more information, visit ochs.cc. Ochs is at Roulette Feb.27th. See Calendar.

Recommended Listening: • Rova - Favorite Street: Rova Plays Lacy

(Black Saint, 1983)• What We Live - Trumpets (Black Saint, 1996-98)• Larry Ochs/Joan Jeanrenaud/Miya Masaoka -

Fly Fly Fly (Intakt, 2001-02)• Larry Ochs Sax & Drumming Core -

Up from Under (Out Trios, Vol. 5) (Atavistic, 2004)• Larry Ochs/Rova Special Sextet/Orkestrova -

The Mirror World (Metalanguage, 2005)• Larry Ochs/Miya Masaoka/Peggy Lee -

Spiller Alley (Rogue Art, 2006)

ALLABOUTJAZZ-NEW YORK | February 2009 7

LarryOchsby Marc MedwinPh

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"of the highest order"

- ALLABOUTJAZZ

Blue Note Recordsby Joel RobertsNo label in jazz can match the history and legacy ofBlue Note Records. Since its founding in New York in1939 by German émigré Alfred Lion, Blue Note hasbeen associated with an amazing assortment of jazzluminaries including Thelonious Monk, Miles Davis,John Coltrane, Cannonball Adderley, Horace Silver,Art Blakey, Jimmy Smith, Lee Morgan, FreddieHubbard, Joe Henderson, Herbie Hancock, WayneShorter, McCoy Tyner, Andrew Hill and OrnetteColeman, among many others.

While hundreds of jazz labels have come andgone over the past 70 years, Blue Note continues tosurvive and thrive with an impressive roster featuringsome of today’s most important jazz voices such asTerence Blanchard, Bill Charlap, Eliane Elias, JoeLovano, Wynton Marsalis, Jason Moran, GonzaloRubalcaba and Cassandra Wilson.

“We’ve always been driven by artists we believein,” said Blue Note president Bruce Lundvall, who hasbeen at the label’s helm since it was relaunched in 1984after a brief hiatus. “We never panicked in bad timesand tried to second guess the public, signing artistssomebody else thinks can be ‘hits’. That has derailedlabels in terms of their marketing spending and theirdirection. We try to make as few bad decisions as possible.”

To commemorate the label’s 70th anniversary, aswell as the 25th anniversary of its revival, a slew ofspecial album releases, concerts and tributes areplanned in New York and throughout the US and theworld, including a salute to Blue Note at this month’s

Grammy Awards.In February alone, as part of what’s being billed

as “Blue Note Records Takes New York”, area jazzfans can look forward to performances at various local venues by label artists like Blanchard, Charlap, RobertGlasper, Lionel Loueke, Lovano and Dianne Reeves(with the Lincoln Center Jazz Orchestra), WyntonMarsalis and Willie Nelson (with Norah Jones) andMoran, among others.

Blue Note has also released Mosaic: A Celebrationof Blue Note Records, an eight-song disc revisiting someof the label’s classic repertoire, by the Blue Note 7, anall-star septet led by pianist Bill Charlap and featuringRavi Coltrane, Nicholas Payton, Steve Wilson, PeterBernstein, Peter Washington and Lewis Nash.

So why has Blue Note been so successful for solong? Much of the credit goes to Lundvall.

“He’s the inspiration and force behind the label,”said pianist-vocalist Elias, who has recorded 18albums for Blue Note, including her latest, Bossa NovaStories. “He’s a major force in jazz and the music business. He loves music and understands the soul ofthe musician. He’s one of a kind,” Elias said.

That sentiment is echoed by another longtimeBlue Note artist, saxist Lovano. “It’s been a thrill and a pleasure to work with someone like Bruce,” saidLovano, whose latest release, Symphonica, is his 20thfor the label. “Bruce encouraged me to be myself.”

Lovano said Lundvall “first heard me at Sweet Basilwith the Peter Erskine band” around 1990. “I didn’tknow who he was, but from the first moments Iwalked into his office he really knew who I was. Hewas so warm, so incredible. I never had to provemyself.”

For his part, Lundvall says his friendships withmusicians are the things he cherishes most. “The bestpart of the job is hearing and facilitating great musicand having relationships with so many wonderfulartists,” Lundvall said. “They are not just fantasticmusicians; they are unique, interesting and brilliantpeople. ... It’s been an honor and I consider myself tobe extremely lucky to be doing this.”

While it remains an artist-centered label, BlueNote has certainly changed since its heyday in the ‘50sand ‘60s when there was a clearly defined Blue Notesound, rooted in hardbop, as well as a Blue Note lookthanks to the label’s striking album design and photography. “There isn’t a Blue Note sound today,”said Lundvall. “It’s a different world. We record agreater variety of music. Individual artists have preferences in studios, producers, album designers,etc. So it’s not all Alfred Lion, Francis Wolff [labelexecutive and photographer], Rudy Van Gelder [engineer] and Reid Miles [designer] and a circle ofgreat New York-based jazz artists anymore.”

(CONTINUED ON PAGE 42)

8 February 2009 | ALLABOUTJAZZ-NEW YORK

LABEL SPOTLIGHT

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Miller Theaterby Marcia HillmanJust to the left of the impressive Columbia Universityentrance gate at Broadway and 116th Street is theMiller Theater. Beginning its life as a lecture hall, thetheater was established with funding from theKathryn Bache Miller Fund, Brooke Astor and JohnGoelet (marking last year as its 20th anniversary) andis now a performing arts center covering contemporary classical music, opera, dance, film andjazz.

George Steel, who was the Director until lastOctober when he left to head up the Dallas Opera, wasresponsible for reshaping the theater’s programmingto include a jazz series. There were only three jazzevents per season scheduled for the first few years, butas the acceptance and audience has grown, the jazzevents now number up to five per season. MelissaSmey, who is now the Acting Director and wasGeneral Manager for eight years, had been doing thejazz programming for the last few years. She isdelighted to be working with jazz artists: “It’s such adream job to be able to work with musicians and puton their concerts, bring an audience to it and bring themusicians to the audience and have them enjoy it.”Musicians such as Eric Reed, Wycliffe Gordon, LewisNash, Cyrus Chestnut, Terence Blanchard and evenJohn Zorn have performed at the theater. The programming leans towards straightahead jazz withfew forays into ‘new’ or avant garde jazz. “Our audience likes straightahead jazz best,” commentedSmey.

Miller Theater is a (comfortable) 688-seat

proscenium-style theater designed to support its eclectic mix of artists and programming. The theater iswider than it is deep, making for a more intimate feeling for the audience.

Aside from the talented musicians, the events alsooffer low ticket prices. The top price for a concert is$25, but there are discounts for Columbia studentswho pay only $7. Seniors get a 15% discount and otherstudents and people under 25 get a 40% discount.There is also a price break if you buy a subscription.Smey explained this is done “so that we are able toattract new and younger audiences. Especially for thejazz concerts, up to 25 to 30 percent of the audiencewill be people under the age of 30 who are not regularconcert goers. But for a low price, they are willing totake a chance on something. We are getting peoplefrom the neighborhood, people from the communityand from the surrounding areas that are willing tocome to something close by. And we’re getting topquality artistic choices that are affordable. And so, atleast for the past five years, it’s been a winning combination.”

The jazz events at the theater are also tied into theUniversity’s radio station, WKCR (89.9 FM). OnFridays from 4:30-6 pm, the station features a “LiveFrom Miller Theater” program which plays musicfrom the concerts and also interviews some of the performers. George Steel founded the show aboutseven years ago and it was decided to continue it afterhe left. Director of Marketing Lauren Bailey, AudienceServices Manager Denise Blostein and Smey are co-producers and co-hosts for the show. Lewis Nashwas Smey’s first on-air interview when he guestedbefore his concert last October.

The theater is able to draw audiences from its student body. College students have always leanedtowards jazz, possessing a curiosity and a spirit of

adventure. Another plus for attendance is theUniversity’s hosting of a family/parents weekendevery October. “We always try to have one of our jazz concerts on that weekend because the chances are thatthe performance will be a complete sellout,” saidSmey. Family and parents come in from all parts of thecountry and “this makes for a wonderfully diverseaudience and they definitely get the music.”

The Miller Theater is one of the few venues featuring jazz left on the Upper West Side ofManhattan, and although it does not advertise in theusual media outlets, has a loyal core audience towhom it markets. Smey added, “We even get peoplefrom New Jersey because it is easy to get here forthem.” And since the attendance at the jazz concertshave been good, “500-600 people is the norm, “ statedSmey, “our plans are to keep doing more of whatwe’ve been doing.” K

For more information, visit millertheater.com. Artists performing this month include James Carter (Feb. 7th) andWycliffe Gordon (Feb. 21st). See Calendar.

CLUB PROFILE

When Chico Hamilton was a boy growing up in LosAngeles, the film studios used to send trucks out topick up the little African-American children to playnatives in their Tarzan movies. “It was work, after all,and we got paid for it,” says the drummer, now 87years of age. ”And what you learned very quickly isnot to look into the camera. Once you did that theycould never hire you again.” That’s a lesson thatrelates to Hamilton’s entire career as a musician; it’sthe craft and the work that have always mattered tohim and though he’s done countless things to appealto many audiences, it’s always been about the music.

Let’s review that career a bit,because it’s truly quite extraordinary.Born Foreststorn Hamilton in East LosAngeles in 1921, he was in a big family.His mother’s heritage was Mexican,Indian and German Jewish and hisfather worked as a railroad porter andlater, in LA, at the University Club ofSouthern California. It was the firstGreat Depression and things were tightfor the Hamiltons. Says Hamilton,“Everyone was poor so we didn’t thinkof ourselves that way. Many ethnicgroups lived together there so it wasn’treally a ghetto.”

Hamilton started playing clarinetat age eight but switched a year or solater to a set of drums that belonged toan older brother who had graduated. “Imade my own drumsticks and playedthem on everything in the house. Myparents weren’t necessarily musical butthey encouraged me to play despite thefact that the church frowned on it. Mymother took me to hear Duke Ellingtonwhen I was about nine and I had neverseen anything like that. The band wasin a pyramid and Sonny Greer was atthe top. I consider him the first truepercussionist - he played everything.”

Hamilton bought his first set ofdrums at age 12 with money he earned from shiningshoes. While in junior high school, Chico competed inan “amateur hour” at a local theater and won a firstprize of $50, playing with a local pianist. Hamiltonwent to the noted Jefferson High School where some ofhis celebrated schoolmates were Ernie Royal, DexterGordon, Buddy Collette and Charles Mingus.

Soon, Hamilton had engagements with a widevariety of extraordinary musicians including LionelHampton, Slim Gaillard and Slam Stewart, T-BoneWalker, Lester Young, Count Basie, Duke Ellington,Charlie Barnet, Billy Eckstine, Nat King Cole, SammyDavis Jr., Billie Holiday and Gerry Mulligan. He alsowas part of the group backing Fred Astaire in the 1941film You’ll Never Get Rich.

For eight years, starting in the late ‘40s, Hamiltonbecame the drummer for Lena Horne. He remembers,“I was a ‘hotshot’ drummer on the West Coast and Iworked for a dancer, Marie Bryant, who was a friendof Lena’s. When Lena needed a drummer, Marie recommended me. I had never even heard of her. Iwent to her house in the hills and the guy that openedthe gate was this sharply dressed dude - turned out tobe Luther Henderson, Lena’s pianist and musicaldirector. We started rehearsing right away and whilewe were there a guy with a painter’s outfit and a canof paint came in a few times. I find out later it’s LennieHayton, Lena’s husband. Both he and Luther weregreat musicians and major mentors for me. Werehearsed and only saw Lena after about a week!”

In 1955, Chico Hamilton left the employ of Horneand went out on his own as a leader. That year hemade the eponymous debut recording of a unique,chamber-like group that included Buddy Collette, JimHall, Carson Smith and, on cello, Fred Katz. The

personnel changed over the years and showcased suchnotables as Paul Horn, John Pisano and Eric Dolphy.In 1961, he revamped the group yet again, this timewith Charles Lloyd, George Bohanon, Albert Stinsonand Gabor Szabo. During these years, these groupsmade hit recordings and Hamilton did film work (hescored the Roman Polanski film Repulsion). “I had afamily to feed and, besides, good music is good music.All of my work was part of a lifelong learningprocess.”

The latest chapter in Hamilton’s career also involvedlearning. As one of the original faculty members of The New School jazz program, the drummer found a way to discover and highlightanother generation of great players. The groupEuphoria was founded in 1987 with saxophonist EricPerson, guitarist Cary DeNigris and bassist ReggieWashington. This group’s personnel has also changed;it still features DeNigris but also includes saxophonistEvan Schwam and bassist Paul Ramsey.

The continued activity - as a teacher, bandleader,composer, recording artist and more - has been accomplished with the extraordinary and tireless workof Hamilton’s manager, Jeffrey Caddick. Based inEvansville, Indiana, Caddick booked Hamilton into acollege performance many years ago and was soon hismanager. Caddick says, “Chico taught two of the mostvaluable lessons of my life. One is what it means togive yourself unreservedly to something. He consistently crosses the line from playing music tomaking music. Secondly, he proves that when you create a comfortable and supportive space for others,you provide them with the opportunity to discovertheir own voices and personalities and then shareknowledge with others. This is a remarkable act ofhumility.” And Hamilton notes, “Oh, man! I trust

Jeffrey implicitly with everything! He even started alabel [Joyous Shout] to release my music. He’s a greatmanager and a wonderful and caring human being.”

Some of the recent days have been difficult forHamilton. In 2008 he lost his wife Helen and his brother Bernie. (Bernie, incidentally, was an actor, akind of pioneer in film acting by African-Americans.)And, at 87 years old, he’s had some health problems.But, says the musician, “Hey, I’m still here! I’mblessed, man! How many guys get to do what I’vedone? I’ve played with and known some of the greatest musicians on the planet. My family has been

wonderful and supportive. And I’mstill writing, studying and teachingmusic!” So, yes, some things have beendifficult, but one look at the activity ofthis giant lets us know how therapeuticwork - and especially the work of making music - can be. Since 2001, hehas released nine recordings. On thosehe has played with old friends ArthurBlythe, George Bohanon, Larry Coryell,Rodney Jones, Joe Beck and more. Inaddition he has written music for everyone of those albums and has taken theopportunity to work with some of histalented students.

Three unique recordings in theHamilton canon were released in 2008.On Trio! Live @ Artpark, the drummer isat the helm of a trio that includes stalwart guitarist DeNigris and, on afiery Fender bass, Matthew Garrison,son of Coltrane’s famous bassist, JimmyGarrison. The other Joyous Shoutrelease is Dreams Come True, a rare duosession from 1993 with the late AndrewHill. Hill and Hamilton were oldfriends and this collaboration had neverbefore seen the light of day. And for atrue change of pace, there is TheAlternative Dimensions of El Chico, billedas “recastings from and of” Blaze, ‘Joe’

Claussell, Fertile Ground, Soul Feast, Mark De Clive-Lowe and Chico himself.

This year looks to be similarly fruitful. He and hisEuphoria band play the Rubin Museum of Art thismonth. And April sees the release of still another newrecording called Twelve Tones of Love, featuring somevery special guests. First, there’s the old cohort GeorgeBohanon on trombone. Then there’s a sterling youngsaxophonist/flutist from Juilliard, Eddie Barbash anda young singer José James - Chico taught him at theNew School. “He’s terrific,” say both Hamilton andCaddick. Finally and possibly most surprising andexciting of all, is the appearance of Jack Kelso. “He’smy oldest friend in the world,” Hamilton says fondly,“and it’s a thrill to have recorded with him.”

The thrills of Chico Hamilton keep coming ourway too. K

For more information, visit joyousshout.com. Hamilton isat Rubin Museum Feb. 20th. See Calendar.

Recommended Listening: • Gerry Mulligan - The Original Quartet with

Chet Baker (Pacific Jazz-Capitol, 1952-53)• Chico Hamilton - The Complete Pacific Jazz

Recordings (Pacific Jazz-Mosaic, 1954-59)• Chico Hamilton - Passin’ Thru (Man From

Two Worlds) (Impulse-GRP, 1962)• Chico Hamilton - The Dealer

(Introducing Larry Coryell) (Impulse, 1966)• Chico Hamilton and Euphoria -

My Panamanian Friend (Soul Note, 1992)• Chico Hamilton - Believe (Joyous Shout!, 2000-05)

ON THE COVER

ALLABOUTJAZZ-NEW YORK | February 2009 9

JOYOUS SHOUTby Donald Elfman

Photo by Matthew Sussman

10 February 2009 | ALLABOUTJAZZ-NEW YORK

Arthur Doyleby John Sharpe

Better known byrepute than in personsaxist Arthur Doyle isnonetheless a free jazzlegend. Though activesince the ‘60s he hasgarnered barely a

footnote in the written accounts of the music’s history,not helped by a diminutive discography on obscureindependent labels in limited pressings. But he haspersevered and his rediscovery by a younger generation hungry to experience noise allied with passion led to a late career resurgence of sorts.

Doyle was born in Birmingham, Alabama on Jun.25th, 1944, the second of five children. Inspired to playmusic by Louis Armstrong and Duke Ellington on TV,the sound of the saxophone fascinated him as a child.His first gig as a teenager was with Sun Ra alumnitrumpeter Walter Miller. “It paid six dollars,” Doylerecalled in a 1994 interview with Cadence magazine.Following a degree in Music Education at TennesseeState University in Nashville, Doyle stayed in the area,gigging with Gladys Knight and the Pips and DonnyHathaway among others, grounding him in the R&Bwhich was to reemerge later in his solo work. At thesame time he played bop, touring as far as Detroit.

Initially Doyle was unmoved by reports of theNew Thing of John Coltrane, Archie Shepp andPharoah Sanders, telling WHRW Radio in 1979, “Noman, I didn’t want to play that shit. I just wanted tostudy some more. I learned all these changes andscales and arpeggios. I couldn’t abandon all that.” Butwith social change afoot, Doyle played at a BlackPanthers festival channeling the same rhetoric asShepp and others and little by little moved to the related style of music. “When I first got to New York,I tried to play both musics but I thought I had to givea total commitment to what I was doing. You can’tplay bop and then turn around and play somefreeform.” A friend saw drummer Milford Gravesplaying on the street and told him he knew a musicianfrom Nashville who played the same sort of music.Graves gave him his number and so Doyle hooked upwith him and also began sitting in on dates withSanders and Sun Ra.

Part of Doyle’s mystique has been his appearanceon some of free jazz’ most important documents: his

earliest recording was the classic The Black Ark (1969)under alto saxophonist Noah Howard’s leadership,while his next exposure was on Graves’ Babi Music(1976). It wasn’t until 1977 that he made his leadership debut, his much sought after quintetrecording Alabama Feeling. Sonic Youth guitaristThurston Moore cites this disc as one of the Top Tenfrom the Free Jazz Underground, for “its incrediblepost-Aylerisms - mystic music which took on the air ofchasing ghosts and spirits through halls of mirrors.”

Like many of his peers, a greater appreciation forhis music in Europe attracted Doyle to Paris in theearly ‘80s, but there was to be a bitter twist. Accusedof rape, Doyle was imprisoned for five years untilreleased in 1988, still maintaining his innocence.During that time, without access to a horn, he composed some 150 songs, which he set about documenting once he had got himself back in theframe of mind to play again. Recorded onto a portablecassette recorder, a series of low-fi solo recordingsappeared on small independent labels through the‘90s, featuring raw shrieking saxophone alongsidesometimes otherworldly vocals.

Doyle’s unique sound on the saxophone wassomething that happened by accident. He told Cadence:“I had this reed on that was too soft and my voicecame through my saxophone. I liked the sound so Ibegan singing and playing at the same time.” Evenapplying the same technique to the flute, he found thatthis wasn’t enough to express all he wanted and nowalternates saxophone and flute with passages ofsinging and chanting, with the words sometimes slurring into scatting and sounds. Doyle terms hismusic “free jazz soul music” and in a strange way itdoes combine the repetition of the R&B he played inhis youth with the passionate conviction music of hisadult self. “You can’t separate the singing from thesaxophone, you can’t separate the flute from the saxophone, you can’t separate none of it from the saxophone. It all revolves around one instrument andthat is Me, Myself,” he asserted in a 1998 interview.

Life has come full circle for Doyle who once againlives back in Birmingham, making New York appearances all the more rare. He last played in townat the now defunct Tonic back in 2006. Make the mostof chances to catch this still indefatigable spirit. K

Doyle is at Issue Project Room Feb. 20th. See Calendar.

Recommended Listening: • Noah Howard - The Black Ark

(Freedom-Bo’Weavil, 1969)

• Milford Graves - Babi Music (IPS, 1976)• Arthur Doyle - Alabama Feeling

(AK-BA - DRA, 1977)• The Blue Humans - Live NY 1980

(Audible Hiss, 1980)• Arthur Doyle - Prayer for Peace (Zugswang, 1999)• Arthur Doyle/Sunny Murray -

Live at Glenn Miller Café (Ayler, 2000)

ENCOREBack in the spotlight...

JR Monterose (1927-1993)by Clifford AllenThe jazz scene is full of players whose lives and workstretched decades, but were never given the sort ofdue their playing deserved. Tenor saxophonist JRMonterose is a prime example. Born Frank AnthonyMonterose, Jr. in Detroit Jan. 19th, 1927, Monterosemoved to Utica, New York at a young age, playingclarinet by the time he was 13. Despite a big sound thatechoed Chu Berry and a little bit of Coleman Hawkins,Monterose told Leonard Feather in the EncyclopediaYearbook of Jazz that “the real inspiration that decidedme to take up tenor seriously rather than clarinet oralto was, believe it or not, Tex Beneke [of the GlennMiller Orchestra].” Later, Charlie Parker, SonnyRollins and John Coltrane became more prevalent inhis playing, though he did his best to distance himself

from any marked influence.Monterose journeyed with territory bands around

upstate New York in the late ‘40s. His education inbebop came from local pianist/guitarist Sam Mancusoand he quickly became an aficionado of the harmoniccomplexity of Bud Powell. In 1951, he had a six-monthstint with the Buddy Rich Orchestra, which also featured Philly Joe Jones. He then worked with theClaude Thornhill band and with drummer NickStabulas in New York City in the early ‘50s, becomingacquainted with fellow modernists like CharlesMingus and Teddy Charles, recording on significantdates like Mingus’ Pithecanthropus Erectus (Atlantic,1956) and The Teddy Charles Tentet (Atlantic, 1956).

Following an all-too-brief stint with KennyDorham’s Jazz Prophets, with whom he recorded forBlue Note and ABC-Paramount, Monterose steppedout as a leader for Alfred Lion’s esteemed label in late1956. He was joined by Horace Silver, Philly Joe Jonesand two Chicagoans: bassist Wilbur Ware and multi-instrumentalist Ira Sullivan (here featured on

trumpet). Monterose recorded again in 1959, this timefor the Jaro label (The Message), joined by TommyFlanagan, Jimmy Garrison and Pete La Roca. However,he soon lost his cabaret card and working around NewYork became difficult. He returned to Utica beforegoing to work in the Quad Cities of Illinois and Iowain 1963-64, where he recorded the excellent J.R. inAction LP with the Joe Abodeely Trio.

Monterose journeyed to Europe in the late ‘60sand was a featured leader at the Paradiso Jazz Club inAmsterdam in 1969, where he recorded for HansDulfer’s Heavy Soul Music label. In addition to regular appearances at the Paradiso, he also performed in Denmark and Germany during the early‘70s and recorded with Dutch pianist Rein de Graaff(Body and Soul, Munich Records, 1970). He returned toNew York State in the late ‘70s and worked withpianist Hod O’Brien and bassist Teddy Kotick, recording more frequently than he had in nearly 20years, but still little-known to the public. Monterosedied in Utica Sep. 29, 1993 at the age of 66. K

LEST WE FORGETGone but not forgotten...

‘70s ‘00s

ALLABOUTJAZZ-NEW YORK | February 2009 11

MEGAPHONE

VOXNEWS

Monk at Town Hallby Charles TolliverThelonious Monk was and is a central and seminalfigure, along with Bird and Diz et. al., responsible forthe creation and growth of the jazz idiom. His patented and innovative stride-intervallic improvisatorial style was inextricably tied to his harmonic genius as a composer. In fact, nearly all ofthese original innovators possessed this quality. At thedawn of the creation of modern jazz in the early ‘40s,Monk had already worked out how to utilize certainmusical theoretical formulas - II-IV-I, flatted V, wholeand half-scale use, substitute and passing chords - in ways that would become substantive underpinningsfor all jazz improvisation and composition then, nowand forever. Diz has said that looking over Monk’sshoulders at his voicings during those fertile creativeyears informed us harmonically by sight and ear thatwe were on track with the new approach to improvisation and composition.

Perhaps one of the most enduring qualities ofThelonious Monk, already immediately apparent circathe early ‘40s, was his innovative use of dominant seventh, tritone, whole tone and minor second harmonies in constructing his compositions. Albeitdiatonic, his compositional technique however notonly suggested and anticipated but was in the forefront of what is now commonly referred to as ‘outside’, much the same as the similar feat accomplished by Bartók with his new idiom- shattering compositional language that did not rely ona hubristic use of dodecaphony.

Since the original orchestrations by Hall Overtonof the six Monk compositions premiered at Town Hall,Feb. 28th, 1959 were lost many years ago, the Directors

of Duke Performances and The Center ForDocumentary Studies at Duke University asked me torecreate the scores. I completed the entire transcription in 2007. Even though an opportunity hadbeen offered to listen to newly found recording tapesof the actual rehearsals for the Monk Town Hall concert, I decided not to give a listen to them becauseI wanted to recreate his orchestra’s actual visceralreading of Hal Overton’s orchestrations exactly as theperformance of them was captured, notwithstandingthe difficulty of gleaning a precise ur-text transcription from the recorded LP with respect to thenear inaudibility of the low-horn instruments in manypassages. In order to pull that off necessitated a totalworking ‘inside’ chordal and nuance knowledge ofMonk’s compositions pianistically. Suffice it to saythat even though it was a daunting task working onthis historic project, it gave me a great deal of pleasurewhile doing it, reliving and remembering how Iabsorbed Thelonious Monk during my formativeteenage years and how and why I fell in love withwhat was to become my life’s work, being a jazz musician.

To be called on to present once again, in its entirety, the 50th anniversary celebration of Monk’s1959 Town Hall orchestra repertoire program isindeed an honor. K

For more information, visit charlestolliver.com. Tolliver isat Town Hall Feb. 26th as part of the two-night Monk AtTown Hall 50th Anniversary Celebration. See Calendar.

When once asked “What trumpet players do you hear todaywhom you like?” Dizzy Gillespie’s reply was, “CharlesTolliver - I like him.” Tolliver is a recent Grammy Nomineeand Jazz Journalist Association’s “Best Large Ensemble ofthe Year” award recipient. His new CD, recorded live at theBlue Note, will be released this March on Half Note.

by Suzanne LorgeOne of the greatest things about being the VoxNewscolumnist is speaking with singers I’ve long admiredand asking all of the burning questions. Like “what areyou thinking when you first look at a chart,” and“what song just really tears you apart every time yousing it” and “what is vocal jazz, really?” Actually, I’vestopped asking that last question because no one really knows and everyone is starting to get annoyed.

The long-admired Ann Hampton Callawayrecently agreed to a quick interview to discuss her newalbum, At Last, a mix of 11 pop, standard and originaltunes on the Telarc label. Callaway has been a mainstay on New York jazz stages for at least twodecades, but it’s hard to sum up the full extent of herreach as a singer. She’s done everything from clubwork to Broadway to TV and film and as a composershe’s contributed to three platinum albums and written for some of the most popular of contemporaryentertainers - Barbra Streisand, Liza Minnelli, PattiLupone, Carole King, Michael Feinstein and others.

But on her albums (all 12 of them) and in her liveperformances Callaway is anything but hurried; herbailiwick has been the slow mournful ballad where shetreats each note, each word, as something precious,something too easily lost. I once read a review ofCallaway that described her singing as so heartbreakingly beautiful that it made you want tojump off a building (the reviewer meant this in a goodway). I do agree that it is nothing if not a catharticexperience and the adjective “beautiful” is always apt.

“Making an album is such a personal thing,”Callaway asserts. “It’s always a record in time ofwhere you’re at emotionally.” Over the years we have

seen the prism of Callaway’s emotional life changeand on this album we find Callaway in a mellow, optimistic mood, as someone who has come into herown and wants to encourage others on their way tofulfillment. The first tune, “What Is This Thing CalledLove”, poses the question on Callaway’s mind thesedays and the answer, the driving R&B rendition of thetitle cut, will surprise anyone who thinks they knowthis singer. But if you’re still looking for heartbreakingbeauty, listen to her version of “Landslide” - repeatedly. The album launches Feb. 3rd and Callawayperforms at Dizzy’s Feb. 17th-Mar. 1st.

Singer/pianist Liz Childs also asks “What Is ThisThing Called Love” on her superb debut album ofstandards, Oh, You Crazy Moon (s/r). Childs’ infectiously rhythmic answer differs from Callaway’sbut like her, Childs is an expert at swinging and scatting. One curious thing: Some of the tunes wererecorded almost a decade ago - an unusual deferral forone so masterful. We urge this wonderful singer not towait so long next time. Childs is at 55Bar Feb. 15th.

Let’s duet: Two guys with great voices and serious piano and/or guitar chops team up with twogals with great voices and the result is two terrificalbums. Andy Scott just released Don’t Tempt Fate, featuring Madeleine Peyroux and will perform atJoe’s Pub Feb. 18th. And Tony DeSare’s new offering,Radio Show, includes a track with guest singer JaneMonheit; he’ll be at the Oak Room Feb. 2nd-21st.

Finally, what a great month in the city’s rooms:Robin McKelle (Feb. 1st at Blue Note), Laurie Krauz(Feb. 3rd at Iridium), Cassandra Wilson (Feb. 10th-15th at Blue Note), Catherine Dupuis (Feb. 11th atSaint Peter’s Church) Dianne Reeves (Feb. 19th-21that Rose Hall), and The Bad Plus with Wendy Lewis atBowery Ballroom (Feb. 17th). K

Musicians in their own words...

12 February 2009 | ALLABOUTJAZZ-NEW YORK

Kirk Knuffketrumpet

Kirk Knuffke was born inColorado in 1980 and began playing the trumpet at 12. Hedropped out of music school at 19and focused his energy on takinglessons and playing

professionally in a variety of venues. Knuffke movedto New York with his wife Stephanie in 2005, where hedeveloped musical collaborations and friendshipswith many great individuals. Knuffke's first album asa leader, Big Wig, came out on Clean Feed Records in2008, featuring the Kirk Knuffke Quartet.

TEACHERS: Mike Smith, Ron Miles, Art Lande,Ornette Coleman. And my friends!

INFLUENCES: My friends are a big influence on me; Iconsider them as teachers too. Others include ChetBaker, Art Pepper, Pee Wee Russell, Sonny Terry,Lester Bowie, Roscoe Mitchell, Butch Morris, OrnetteColeman, Robert Pete Williams, Steve Lacy, Howlin’Wolf and Jimmy Giuffre.

CURRENT PROJECTS: Co-leading the Butch MorrisSextet; the Kirk Knuffke Quartet with Jeff Davis,Reuben Radding and Brian Drye; a duo with BrianDrye; a duo with Jesse Stacken (CD out onSteepleChase in the summer of 2009); leading a newtrio with Kenny Wollesen and Doug Wieselman,which was inspired by compositional work I havedone thanks to a Jerome Foundation Grant that Ireceived through Roulette in 2009 (debut at Roulettein March). I also work as a sideman with the NubluOrchestra, Jeff Davis Band, Bizingas, Ideal Bread, TheE.R.A., Andrew D’Angelo/Curtis Hasselbring BigBand, James Ilgenfritz, The Invisible Landscape,Kenny Wollesen and Federico Ughi.

BY DAY: Practice and rehearse, play with the cats,work part-time at the Juilliard Bookstore.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I went to my brothers Jay’s high school big band concert. I thought the trumpet players looked coolbecause they got to stand up while playing.

DREAM BAND:Art Pepper, Elvin Jones, Gary Peacock and Paul Bley.

DID YOU KNOW?When I was 19 I got rid of my bed because I thoughtthat if I slept less I could practice more, but it endedup making things much worse. This experiment lastedfour months.

FOLLOW UP WITH:Email: kirknote@yahoo.comWeb: kirkknuffke.com

Knuffke is at Douglass Street Music Collective Feb. 12th,CoCo66 Feb. 15th with Brian Drye’s Bizingas and TeaLounge Feb. 17th with Andrew D’Angelo/CurtisHasselbring Big Band. See calendar.

LISTEN UP!

Ben van Gelderalto sax

Ben van Gelder, born in TheNetherlands in 1988, grew up in amusical family, his father a recordstore owner and his mother a classically-trained musician. Hedecided to pursue music at a

young age studying with main figures in the Dutchjazz scene such as Simon Rigter, Benjamin Hermanand Wil Jasper. Van Gelder has received variousnational and international prizes and honors such asFirst, Audience and Alumni Prizes at the PrincessChristina Jazz Competition in 2004 (as a duo with hisbrother Gideon) and the “gold award” from NationalFoundation for the Advancement in the Arts. VanGelder has performed with Jean-Michel Pilc, AriHoenig, Adam Rogers, David Binney, James Genusand Keith Carlock at venues such as 55Bar, Smalls,Jazz Gallery, Dizzy’s Club and the IAJE conference,both as sideman and as a leader.

TEACHERS: As a student of the Conservatory ofAmsterdam, I studied under the tutelage of FerdinandPovel, Dick Oatts and Albert Beltman. After highschool, I moved to New York where I now attend theNew School for Jazz and Contemporary Music. I havestudied with George Coleman, George Garzone, LeeKonitz, Ari Hoenig and Jimmy Halperin.

INFLUENCES: My influences are too numerous but afew in no order of importance are Lee Konitz, FLY,Mark Turner, Hank Mobley, John Coltrane, CharlieParker, Kurt Rosenwinkel, Dick Oatts, Elvin Jones,Ornette Coleman, Benjamin Herman, Simon Rigterand Ferdinand Povel.

CURRENT PROJECTS: The Ben van Gelder Trio.

BY DAY: Student

I KNEW I WANTED TO BE A MUSICIAN WHEN...I saw jazz performed by young inspiring musicians.

DREAM BAND:I would love to play with Jeff Ballard and KurtRosenwinkel some day.

DID YOU KNOW? I´m also an aspiring art historian.

FOLLOW UP WITH: Email: benvangelder@yahoo.comWeb: benvangelder.com

Van Gelder is at Jazz Gallery Feb. 5th. See calendar.

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Sun Feb 1 PETE ROBBINS & SILENT Z 8:30PMPete Robbins, Jesse Neuman, Mike Gamble, Thomas Morgan, Tyshawn Sorey

Mon Feb 2 AMRAM & CO 8:30PMDavid Amram, Kevin Twigg, John de Witt, Adam Amram, John Ventimiglia

Wed Feb 4 ENSEMBLE ELEKTRA 8:30PM Elektra Kurtis, Curtis Stewart, Lefteris Bournias, Brad Jones, Kahlil Kwame Bell

Thu Feb 5 GNU VOX: AMANDA BAISINGER & KRISTIN ANDREASSEN 8:30PMMike Moreno, Pete Rende, Peter Slavov, Jordan Perlson

Fri Feb 6 LUCIAN BAN’S ASYMMETRY QUARTET 9PM & 10:30PMJorge Sylvester, Brad Jones, Gene Jackson

Sat Feb 7 LUIZ SIMAS TRIO 9PM & 10:30PMItaiguara, Kenny Grohowski

Sun Feb 8 SARA SERPA QUINTET 8:30PMAndre Matos, Vardan Ovsepian, Tyshawn Sorey

Mon Feb 9 COMPOSERS COLLABORATIVE: SERIAL UNDERGROUND 8:30PMNewspeak, Tom Bolster, Jenny Lin, Miranda Sielaff

Wed Feb 11 FLOW 8:30PMKim Bock, Soren Moller, Peter Retzlaff

Thu Feb 12 GNU VOX: DIANE BIRCH 8:30PMFri Feb 13 MARK HELIAS’ OPEN LOOSE 9PM & 10:30PM

Tony Malaby, Nasheet Waits

Sat Feb 14 VALENTINE’S WITH TESSA SOUTER 9PM & 10:30PM

Jason Ennis, Gary Wang, Conor Mehan

Sun Feb 15 OREN NEIMAN QUARTET 6PMKenny Warren, Javier Moreno Sanchez, Martin Urbach LUCIAN BAN/BADAL ROY DUO with SAM NEWSOME 8:30PM

Mon Feb 16 JACAM MANRICKS GROUP 8:30PMJacob Sacks, Thomas Morgan, Dan Weiss

Thu Feb 19 PO’JAZZ HOSTED BY GOLDA SOLOMON 6PMJames Bartow, Hope Berkely, Golda SolomonGNU VOX: MIKE AND RUTHY & CADY WIRE 8:30PMMike Merenda, Ruth Ungar Merenda, Sam Riley, Nila K Leigh, Mike Nolan, Jonathan, Nick Cisik

Fri Feb 20 JOHN MCNEIL GROUP 9PM & 10:30PMSat Feb 21 JEREMY UDDEN'S PLAINVILLE 9PM & 10:30PM

Pete Rende, Brandon Seabrook, Eivind Opsvik, RJ Miller

Mon Feb 23 21ST SCHIZOID MUSIC presents: MARC OSTROW 8:30PM

Tue Feb 24 KAORU AZUMA: “FOOTPRINTS IN NEW YORK” - CD RELEASE 8:30PMScott Reeves, Mike Holober, Jesse Forest, Rob Morse, Paolo Orlandi

Thu Feb 26 SCOTT DUBOIS QUARTET 8:30PMLoren Stillman, Eivind Opsvik, Jeff Davis

Fri Feb 27 JAMES SHIPP’S NÓS NOVO 9PM & 10:30 pmJo Lawry, Steve Cardenas, Rogerio Boccato

Sat Feb 28 PIANO TRIOS 9 PMKerry Politzer Trio & George Colligan TrioJosh Ginsberg, Jeff Hirshfield

Umbria Jazz Winter by Thomas Conrad

Umbria Jazz Winter in Orvieto, Italy (Dec. 30th-Jan.4th) has a very different vibe from the huge UmbriaJazz summer festival in Perugia. It is too cold for all-night conga parties in the piazzas. There is more intimacy and more concentration on the music. Thewinter sunlight is pale, but still fires the gold on thefaçade of the 13th century duomo, described by historian Jacob Burckhardt as “the greatest and richestpolychrome monument in the world.”

The scheduled headliner was João Gilberto. Hiscancellation because of a hernia left the festival without a major international star, but had no adverseeffect on attendance. Virtually every concert was nearor at or overflowing capacity.

The festival may have been shy of big names, butnot talent. There were musicians from the US (JoeLocke, the Harlem Jubilee Singers), France (MartialSolal) and the wider world (Duduka da Fonseca andClaudio Roditi from Brazil, Anat Cohen from Israel,Lionel Loueke from Benin). There was also broad representation from Italy, including Stefano Bollani,Enrico Rava, Enrico Pieranunzi, Danilo Rea, PaoloFresu, Antonello Salis, Dado Moroni, Renato Sellaniand Gianni Basso. They were grouped (andregrouped) in a variety of ensemble configurations,but the format that dominated was the duo.

This reporter acknowledges that he rarely likesduos. The decision to present Stefano Bollani/Antonello Salis and Bollani/Martial Solal in duos tookgreat pianists and turned them into novelty acts. Theconservatory-trained Bollani and Salis, the wild manfrom Sardinia who does not read music, are very different pianists, but share a manic sense of musicalhumor. In the joint general mayhem of forearm smashes on keys and metal discs thrown onto pianostrings, “Caravan”, “Something In The Way SheMoves” and “Lady Madonna” became audible. Salisalso leaped off his piano bench for a wheezing, soaringfree-form interlude on “fisarmonica”, which is thelovely Italian word for accordion.

The scheduling of Martial Solal in duos for two ofhis three performances was even more of a lost opportunity. Only his solo concert provided a representative example of his mastery, unique amongliving pianists. Pieces like “In A Sentimental Mood”and “‘Round Midnight” were camouflaged in astonishing embroidery and dizzying successions ofdigressions. In his duo with Bollani, Solal seemed ahalf-reluctant participant, serving as a muted voice ofreason while Bollani pursued random keyboardimpulses. In a later duo with vibraphonist Joe Locke,the two were tentative, seeking common ground fortheir dissimilar musical languages.

Another duo that didn’t work was pianist EnricoPieranunzi with alto saxophonist Rosario Giuliani.

Piano/alto duos often sound like gigs where half theband failed to show up.

But even the duo-averse must admit that sometimes duos rock. Pianist Helio Alves and vocalistMaucha Adnet gave a flawless recital of Braziliansongs at noon in the Museo Emilio Greco. The surfaceof the music was elegant but the sensuous undercurrents were passionate. Another successfulduo combined the piano of Danilo Rea with the synthesizers of Martux_M. Their “Belle Epoque Suite”was a “concerto multimediale”, with video byMassimo Achille. Although the visual imagery fromturn-of-the-20th-century Europe was not memorable(it appeared that Achille had just discovered the filtersin Photoshop), the music prevailed. It was not alwaysapparent in Rea’s suite where notation left off andimprovisation began, but his towering, spilling,singing inventions all tied together.

Joe Locke played everyday at the Palazzo delPopolo with a quartet: pianist Dado Moroni, bassistBob Cranshaw and drummer Joe LaBarbera. Locke hasbecome a fixture at Umbria events, usually with moreadventurous ensembles than this one, which stuckmostly to standards. No one complained. To be in thepresence of this group working through timeless songslike “But Beautiful” was simultaneously reassuringand stimulating. Locke is known for his speed, energyand showmanship, but his secret weapon is his balladplaying.

Another band that played five times was a sextetled by drummer Duduka da Fonseca. All the membersare from Brazil - trumpeter Claudio Roditi, guitaristGuilherme Monteiro, pianist Helio Alves, bassistLeonardo Cioglia - except for the reed player, whomda Fonseca introduced as “Anat Cohen, from Tel Aviv,Brazil”. Da Fonseca’s drumming and world-classsoloists like Alves and Roditi and Cohen makes thisband’s version of ‘samba jazz’ special.

In the blur of sensory overload and sleep deprivation that is a six-day jazz festival, two impressions remain as the most lasting. One is AnatCohen. She is highly accomplished on tenor and soprano saxophones and as she dances to the music,glorious mop of curls flying, it is impossible to takeyour eyes off her. On clarinet she is so strong that,when she follows another clarinetist in the program,whether playing parts or blowing, it is startling:Cohen plays a clarinet on steroids. She is also versatile. In Orvieto she played Brazilian music exclusively, in da Fonseca’s band and with StefanoBollani on his “Brazilian night”. Da Fonseca, whoshould know, says, “Anat plays Brazilian music withno accent.”

The other is Stefano Bollani, who dominated thisfestival. Because he filled in for João Gilberto, Bollaniplayed six times, with six different groups, usually inthe ornate 19th century Teatro Mancinelli, where hefilled all four tiers of opera boxes. He played in threeduos, with his own Italian quintet and Brazilian project and as a sideman with Roberto Gatto. It wouldhave been preferable if, with so much exposure, hehad been able to perform at least once solo or with hisworking trio. Then he would have made it even moreindisputable that, at 36, he has become one of the mostcreative and complete pianists in jazz.

But the set with Enrico Rava was magical. Forgeteverything you heard earlier about duos. Rava andBollani made one of the best albums of 2008 together,The Third Man (ECM). In Orvieto they recreated itsrapt atmosphere. Rava makes Bollani stay within himself. When Bollani and Rava are alone together,there is space for silence. Behind Rava, Bollani playedsoft, broken chords and his solos were poetic fragments and suggestive implications. Rava, too, wasinspired to pare his own lines down to cryptic partialmessages that he left to hang in the air. K

For more information, visit umbriajazz.com

FESTIVAL REPORT

ALLABOUTJAZZ-NEW YORK | February 2009 13

Martial Solal

The seductive charm that makes Benny Golson’s“Whisper Not” so appealing has not diminished inhalf a century, as is evident when listening to the twoperformances found here, one recorded in 1956, theother just last year. The latter, with Al Jarreau singingthe Leonard Feather lyrics with surprising sensitivity,comes from Golson’s latest version of the sextet heoriginally formed with the late Art Farmer in 1959. The1956 instrumental recording, by a nonet, is an opulentrendering with heraldic flourishes by Julius Watkins’French horn plus solos from Farmer’s trumpet, GigiGryce’s alto and Golson’s rococo climactic tenor sax.

“Whisper Not” is one of many tunes that havemade Golson one of jazz’ leading composers. He hasdisplayed an unfailing gift for suave melodies combined with elaborate and sophisticated harmonies,all spiced with rhythms ranging from sultry sauntersto high-stepping marches. And his playing, like hiscompositions, never relinquishes melody, no matterhow baroque or extravagant his bebop-inspired harmonic flights may soar. So it’s not surprising thaton the new CD he includes interpretations of those romantics Chopin and Verdi, as well as an affectionatetake on El DeBarge’s “Love Me In A Special Way”,complete with an R&B triplet rhythmic feel.

Six of the ten tracks on New Time, New ‘Tet arefrom Golson’s pen, including the Chopin and Verdiadaptations, the first a ballad feature for Harmon-muted trumpet, the second a stomping contrapuntalswinger. Trombonist Steve Davis, whose cool soundand melodic bent perfectly complement Golson, contributes “Grove’s Groove”, a piece in the traditionof Golson’s “Blues March”. Sonny Rollins’ “Airegin” isgiven the Jazztet treatment in a performance highlighted by Eddie Henderson’s crackling trumpetsolo and Golson’s low, slippery smooth tenor sax turn.Monk’s “Epistrophy” is slowed down a bit, allowingthe leader’s solo to yearn and slither and providingdeft turns for bassist Buster Williams and drummerCarl Allen. Golson’s sumptuous, long-form ballad“From Dream to Dream” showcases Davis at his mostlyrical and Mike LeDonne’s elliptically tender pianomusings. The frisky “Gypsy Jingle-Jangle” is Golson’smost entertaining piece, mixing stop-time march andfast swing sections plus a tongue-in-cheek interludefor trombone and arco bass.

The Best Of CD concentrates as much on presenting Golson the improviser as it does the composer, with his early work represented by tracksfeaturing mostly quintets with trombonist CurtisFuller. His solos reflect the influence of LuckyThompson with intimations of John Coltrane’s explorations, especially on an aggressive “Are YouReal?” The heavy, breathy vibrato of Thompson, mostprominent on a very slow “April in Paris” from 1959,became much less pronounced over the years, astracks from the ‘80s on confirm, but Golson never lostthat edge of velvet in his tone, nor that commitment tomelody that make his solos on “Five Spot After Dark”(1997) and “Killer Joe” (2004) so warmly engaging.

For more information, visit concordmusicgroup.com.Golson is at Dizzy’s Club Feb. 3rd-8th and Jazz Museum ofHarlem Feb. 12th. See Calendar.

Clifton Anderson has spent almost a quarter-centuryplaying trombone in Sonny Rollins’ band, rarely leading his own groups. Decade is Anderson’s secondrelease as a leader, utilizing a variety of musicians indifferent combinations (several of whom are Rollinsalumni or sidemen): pianists Larry Willis and StephenScott, bassists Bob Cranshaw or Christian McBride,drummers Al Foster or Steve Jordan, saxophonistsKenny Garrett or Eric Wyatt, plus percussionist KimatiDinizulu. On his own, Anderson has a better chance toshowcase himself without the competition from hisuncle’s long solos, as well as featuring his catchy postbop compositions. He isn’t trying to ignore hisassociation with Rollins though; check out the upbeatcalypso “Aah Soon Come”, which features Wyatt’spunchy tenor in a humor-filled solo. His snappy “SoWrong About You” is a strutting affair that soundslike it was written during the heyday of hardbop.

The standards are just as much fun. Anderson’simprovised muted introduction to “I’m OldFashioned” is backed solely by Foster, taking this oldwarhorse for a spirited ride in a driving bop setting.Anderson also uses a mute for “We’ll Be TogetherAgain” with Scott as his only partner, taking the songaway from its typical bittersweet flavor and adding atouch of whimsy. He transforms the ‘70s pop song “If”into a slightly breezy hardbop setting, with his expressive solo complemented by Scott, McBride andJordan. Hopefully it will not be another decade beforeClifton Anderson releases his next CD.

For more information, visit cliftonanderson.com. Andersonis at Dizzy’s Club Feb. 2nd. See Calendar.

Pianist Boris Netsvetaev’s Das Hammerklavier Trio(archaic German for Grand Piano Trio) is a throwbackin name only. The fleet, youthful ensemble is deeplyentrenched in jazz’ 21st century incarnations, embracing genre-hopping styles, global influences anda devotion to collective freedom. The group is alsoaptly named in that Netsvetaev’s piano occupies theforeground for the vast majority of Now I Know WhoShot J.F.K., unleashing eighth-note runs and thundering fourths over the nimble, more reservedrhythmic underpinnings of bassist Phillipp Steen anddrummer Kai Bussenius.

Born in St. Petersburg, Netsvetaev views the jazztradition through the thick lens of European classicism. His piano is equal parts Monk and Hancockwith a healthy dash of Ellington and Prokofiev. Fourminutes into “Crazy Eighths”, the album’s exuberantopener, Netsvetaev follows a group of sharply-

accented triads with a series of sweeping, intervallicruns that blanket the steady, swinging rhythm. It’s atypical exchange for the trio, blurring the linesbetween composition and improvisation and balancing freedom with rhythmic cohesion and structure.

Nodding to his classical roots, Netsvetaev offers aloping take on Prokofiev’s “Intermezzo” that finds thepianist coyly layering dense - at times heavy-handed -lines over Steen and Bussenius’ playful beat. Steenoffers a virtuosic statement of his own over a beat thatvacillates between loose time and lock-step quarter-notes. The album’s other cover, Billy Strayhorn’s“Bloodcount”, is a rich rendering that, nonetheless,lacks the depth of feeling and patient delivery that theevocative melody demands.

Now I Know Who Shot J.F.K. ends with the expansive title track, a vast exploration of time andfreedom that morphs from a swift flag-waver to anopen-ended improvisation that features the group atits most avant garde. Netsvetaev strums up the piano’sstrings behind Steen’s screeching multiphonics beforethe group makes way for an extended solo explorationby Bussenius. A percussive jumble is reassembled bythe resourceful drummer before the trio launches backinto the original, breakneck tempo as Netsvetaev takesthe melody out, ending in a cloud of emphatic glissandos.

For more information, visit altrisuoni.com. BorisNetsvetaev is at Joe’s Pub Feb. 3rd with Steve Reid. See Calendar.

14 February 2009 | ALLABOUTJAZZ-NEW YORK

CD REVIEWS

• Lotte Anker/Craig Taborn/Gerald Cleaver - Live at the Loft (ILK)

• Ravi Coltrane - Blending Times (Savoy Jazz)• The Flatlands Collective - Maatjes (Clean Feed)• Rudresh Mahanthappa’s Indo-Pak Coalition -

Apti (Innova)• Jen Shyu - Jade Tongue (s/r)• Tar Baby - Eponymous (Imani)

David Adler New York@Night Columnist

• Steve Adams Trio - Surface Tension (Clean Feed)• Cory Combs & The Great Plains Ensemble -

Fairfax in the Pacific (Evander Music)• Garrison Fewell - Variable Density Sound Orchestra

(Creative Nation Music)• Jim Hall/Bill Frisell - Hemispheres (ArtistShare)• Bill Henderson - Beautiful Memory

(Live at the Vic) (Ahuh Prod.)• Joshua Redman - Compasss (Nonesuch)

Laurence Donohue-GreeneManaging Editor, AllAboutJazz-New York

• Box - Studio 1 (Rune Grammofon)• Braff Blaser Duo -

YaY (Fresh Sound-New Talent)• Robert Dick/Steve Baczkowski/

Ravi Padmanabha - Doh Tala (Epoch Music)• John Edwards - Volume (psi)• Harry Miller’s Isipingo - Full Steam Ahead

(Reel Recordings)• Aki Takase/Alexander von Schlippenbach -

Iron Wedding - Piano Duets (Intakt)Andrey HenkinEditorial Director, AllAboutJazz-New York

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

New Time, New ‘TetBenny Golson Jazztet

(Concord)

The Best Of Benny Golson

(Concord)by George Kanzler

Decade Clifton Anderson (Doxy-Emarcy)

by Ken Dryden

Now I Know Who Shot J.F.K. Das Hammerklavier Trio (Altrisuoni)

by Matthew Miller

Every now and then - in the sea of good but interchangeable, up-and-coming female vocalists -arrives a distinctive voice. Denise Donatelli is such avoice. Backed by Geoffrey Keezer (piano/arranger),Carl Saunders (trumpet), Bob Sheppard (reeds), PeterSprague (guitar), Hamilton Price (bass), Marvin“Smitty” Smith (drums), Carlos Del Rosario (organ),Giovanna Clayton (cello) and Alex Acuña (percussion), the LA-based singer sails through aninteresting and unhackneyed selection of material.

As the liner notes indicate, Donatelli chooses to“be another instrument”. This approach is reminiscentof Stan Kenton’s work with vocalist June Christy.However, Donatelli sounds like no other instrument.She possesses a silky smooth quality that enables herto sing anything, is lyric-driven and gifted with perfect pitch and wonderful timing.

The CD is well-crafted and paced to keep you listening. The selections demonstrate how wellDonatelli can handle any kind of material - possiblyeven singing the telephone book. The underdone standard ballad “My Shining Hour”, here in a swinging uptempo fashion with scatting in the finalbars, is an attention-grabbing starter. The cute littleitem “I Love It When You Dance That Way” shows offDonatelli’s sense of humor and features some voiceand bass collaboration. Her sensitive rendition of“We’ll Be Together Again” in a trio setting, featuringsome fine work by Price, can take your breath away.But Donatelli can bop with the best of them as on Clifford Brown’s “Daahoud” (done here as“Beloved” with a lyric by Meredith D’Ambrosio).Notable also is her turn on a funky blues called “BeCool” on which Saunders’ muted trumpet shines.

Keezer’s fine piano contributions and arrangingare heard throughout the CD but it is Donatelli’s voicethat stands out, having the power to envelop the listener. Perhaps a CD done in a trio setting might be athought for a future offering. At any rate, there will bemore to be heard from Donatelli - a welcome andneeded arrival.

For more information, visit jazzdepot.com. Donatelli is atDizzy’s Club Feb. 10th-14th. See Calendar.

Addressing the output of classical composers seemseventually to have become the dominant thrust of keyboardist Uri Caine’s work. Schumann, Wagner,Bach, Beethoven and Mahler have fallen to sometimesradical reposturing of their grand scores. Caine messes with the old assumed interpretations, deliberately distorting the usual expectations of

performance by inserting elements of jazz, rock, funk,soul, blues, hiphop and electronica, always utilizing acast of players from a broad range of backgrounds.

Now, it’s a Verdi mashup. Othello is similarly dissected, analyzed, reshuffled and responded to,making an opera that could possibly possess appealamong the united front of opera-loathers. The expected schizophrenic changes ensue, quite like alyrically marshmallowed John Zorn. Or like a house-trained Frank Zappa. Or even like a Hal Willner project from Beyondsville. This work debuted at the2003 Venice Biennale and was mostly recorded twoyears later, aside from the odd overdubbed drop-in.

Caine seeks grandiloquent melodrama onemoment, komic kapering vaudeville the next. He preserves the pomp, but also sets off the pearl necklacedetonators at the soirée. His vocalists arrive fromdiverse zones: Bunny Sigler (Philly soul on the Metstage), Dhafer Youssef (taking Moorish flight), SadiqBey (rap-poetic toughness), Josefine Lindstrand (ethereal balladry), Marco Paolini (Italian theatricality) and Julie Patton (cooled narration) andmusicians include Ralph Alessi (trumpet), ZachDanziger (drums), Joyce Hammann (violin), NguyênLe (guitar), Tim Lefebvre (bass), Stefano Bassaneseand Bruno Fabrizio Sorba (electronics), although several more are on hand for guest appearances.

Prog posturing creams up against lounge soul,then Caine runs his pianistic rivers like OscarPeterson, but the interleavings usually keep to separate songs rather than co-existing in a smearedslide of seamless development. Bey wins out in thevoice battles, as wiry as Sigler is soft. The channel-hopping frenzy is tightly controlled, but emits an airof looseness and chaos. The only problem is that evenadmirers of tiny-attention-span event-packed soundsmight get lost amidst this style-shuffling maximalistphantasmagoria. Each time something engaging happens, Caine is already traipsing off to the nexthighly-orchestrated collision. This is a work to beadmired within the head, but it provokes a sense ofcoitus interruptus down below.

For more information, visit winterandwinter.com. Caine isat Abrons Arts Center Feb. 6th with Masada Sextet. See Calendar.

It’s been ten years since Thirsty Ear tempted MatthewShipp out of his recording exile and in that time he hasnot only made some of his most adventurous recordings for the label but has proven to be a daringA&R man as well. Now, a decade in, he seems to becircling back on his career. While some of the strongestprojects on the label’s Blue Series (including his own)have worked electronic instruments into jazz settings,Shipp has returned to the piano trio and two of hisoldest musical relationships.

His new group with Joe Morris and Whit Dickey,which first appeared on 2007’s Piano Vortex, returnswith Harmonic Disorder, a set of 14 brief pieces (threeunder three minutes, only one tops six) that follow thegraceful ease of the previous album while recalling thepunch of his earliest records. The band sounds fineand is a strong vehicle for guitarist Morris’ recent bassplaying, but the record moves all too quickly. The

calypso crawl of “Mel Chi 1”, for example, barely hastime to make itself known, when the band could havedone so much with it. Their takes on “There WillNever Be Another You” and “Someday My Prince WillCome” invert the problem, familiar melodies barelysurfacing as the tracks whiz by. The production itselffeels rushed as well, lacking the label’s customary crispness. It’s a good album, but somehow it ends upfeeling like a demo from Shipp’s past.

For more information, visit thirstyear.com. Shipp is at JazzStandard Feb. 3rd. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 15

In the movie Manhattan, Woody Allen’s depressedprotagonist dictates a list of the things he believesmake life truly worth living. Along with WillieMays and Cézanne’s paintings of apples and pears,Allen includes Louis Armstrong’s recording of“Potato Head Blues”. Whenever you listen to LouisArmstrong, you are doing right by your soul.

And you can keep doing right by it in 2009,thanks to this live date from Switzerland, whichcomprehensively chronicles a performance byArmstrong’s (what I like to call) “Hot Six” given inZurich in October of 1949. The term ‘All-Stars’ is apt, describing a six-man summit of premiereartistry. Along with the legendary Armstrong, whosounds more vibrant and exciting than ever, itincludes the great Jack Teagarden (trombone), whoshows off his second talent as a singer on two wonderful odes to the Big Easy: “Do You KnowWhat It Means (To Miss New Orleans)?” and “BasinStreet Blues”.

The rest of the group only enhances this formidable horn-duo, beginning with “MoodIndigo” co-composer Barney Bigard (clarinet), freshoff a years-long engagement with Duke Ellington’sorchestra. Bigard shines brightest on a lengthy“Body and Soul” that unexpectedly evolves into aswinging party. Earl Hines, who would remain withArmstrong for many years, had already finishedleading what many considered to be the first beboplarge ensemble. You never would’ve known it whenhe seamlessly sinks into a stride-oriented reading ofFats Waller’s “Honeysuckle Rose”. Rounding outthe rhythm section are Armstrong mainstay ArvellShaw (bass) and another swing-king in drummerCozy Cole, known as one of the top men in his fieldafter supporting Cab Calloway and Jelly RollMorton.

Solid (though not totally pristine) audio quality, as well as comprehensive liner notesincluding fascinating photos and promotional flyersfrom the event, combine with the terrific musicitself to make Live in Zurich, Switzerland a purchaseno Armstrong (or jazz) fan will regret.

For more information, visit tcb.ch

UNEARTHED GEM

Live in Zurich, Switzerland Louis Armstrong All-Stars (TCB)

by Graham Flanagan

What Lies Within Denise Donatelli (Savant)

by Marcia Hillman

The Othello Syndrome Uri Caine Ensemble (Winter & Winter)

by Martin Longley

Harmonic Disorder Matthew Shipp (Thirsty Ear)

by Kurt Gottschalk

16 February 2009 | ALLABOUTJAZZ-NEW YORK

Jazz and the string section have had a long and oftenuneasy relationship, strings often signaling a selectionof lachrymose ballads suited for consumption as easylistening. Despite critical opprobrium, however, thethought of strings have often been close to the heart ofsome great musicians, especially since the significantsuccess of Charlie Parker’s 1949 venture. Since then, serious string projects have matched improvised andcomposed elements in varied proportions, usuallyplacing improvising jazz musicians among score-reading classical players. What’s striking about thisrecent collection of jazz and strings projects is the frequency with which the string players demonstratefluid improvising skills.

Guitarist Bucky Pizzarelli’s So Hard to Forget is themost traditional-sounding of these CDs, a lyrical effusion that matches great songs with a fluid swing-based musical conception. Bassist Jerry Bruno firstworked with Pizzarelli in 1949, while Frank Vignolahas often joined him in duets. The string quartet hereincludes two violinists - Sara Caswell and AaronWeinstein - who are adept improvisers, able to shiftfrom a carpet of melody to idiomatic solos that showsome passing relationship to Stuff Smith and StéphaneGrappelli. Pizzarelli sometimes goes it alone on themestatements, drawing warm, singing tones from hislightly amplified seven-string, acoustic and classicalguitars, finding grace and emotional resonance insongs like “Laura” and “Last Night When We WereYoung” and some brief classical pieces by Torraba andCastelnuovo-Tedesco. The swing is strongest onEllington’s “Do Nothin’ Till You Hear from Me” andthe robust “Boot’s Blues”. Few musicians make betterswing records and this is a genuine treat.

Tyrone Brown’s roots are definitely in a laterstyle; witness his long association with Max Roach anda tribute here to McCoy Tyner. Moon of the FallingLeaves is the third outing for his string ensemble andit’s a well-conceived project, both for the richness of itstextures and Brown’s compositional interests.Anchored in the leader’s rich bass sound, the fivebowed strings (two violins, two violas and cello)sound like a much larger group and the frequent useof sustained chords and dense harmonies combinewith Craig McIver’s drums to create complex multi-dimensional music. Several additional percussioniststurn up, including vibraphonist Randy Sutin, to createmusic that’s as much about rhythmic specifics as textural generalizations. The drifting tones ofColtrane’s “Giant Steps” are as mysterious in thisforum as they are familiar. Brown is to be applaudedfor finding an approach to strings that’s so distinct andyet so natural and he’s aided tremendously in this byviolinist John Blake’s gifts as a soloist.

Trumpeter Kenny Wheeler is both a major

improviser and a memorable composer. On OtherPeople he presses his vision far into the territory ofclassical chamber music in the company of long-timeassociate pianist John Taylor and the Hugo WolfString Quartet. Wheeler has developed his own harmonic language in the combination of wide intervals and compound chords with close voicings,creating intriguing tension. His thoughtful concernwith characteristic overtones was apparent in his workwith a brass choir a decade ago on A Long Time Ago(ECM) and here he’s continued his preoccupationswith voicings and overtone patterns with strings.While Hugo Wolf is a traditional string quartet, it’s abrilliant one and it’s remarkable to hear how closelytheir phrasing is continuous with Wheeler’s own. Thebiggest surprise here may be the pieces on whichWheeler isn’t performing, marking his first forays intothrough-notated composition with the richly textured,deeply evocative “String Quartet No. 1”.

Quinsin Nachoff is a young Canadian saxophonistnow residing in Brooklyn. He can create striking contrasts between the dry clarity of his soprano andthe raw, R&B-derived honk of his tenor. His HorizonsEnsemble combines two veteran improvisers, Dutchcellist Ernst Reijseger and English pianist John Taylor,with violinists Nathalie Bonin and ParmelaAttariwala. There are moments of angular compositionand extended improvisation within each of the saxophonist’s suite-like pieces and the exploration ofheritage ranges from spiky composed approaches thattouch on bop and School of Vienna with improvisedpassages that invoke meditative Eastern approaches.Reijseger is a bridge between many musical worldsand he makes a key contribution to Nachoff’s success.

Ben Wolfe finds yet another approach to themerging of jazz and strings on No Strangers Here,working from the combination of two quartets, onejazz and one strings, to create a kind of compoundmusical space. Wolfe’s jazz approach runs to the modern mainstream - his notable soloists includeBranford Marsalis and Marcus Strickland on saxophones and Terell Stafford on trumpet - and thesustained string sounds provide a striking backdrop.They seem to fix the jazz approach in time with analmost cinematic clarity, creating a mood of urbanromance akin to film noir. Pianist Luis Perdomo combines with the strings to create a strikingly lushambience on the title ballad, while Marsalis solosacross the strings and rhythm section to achieve astriking complexity on “The Filth”.

For more information, visit arborsrecords.com, dreamboxmedia.com, camjazz.com, quinsin.com and maxjazz.com. Pizzarelli is at Smalls Feb. 2nd with JohnBunch, Bella Luna Feb. 17th and Jazz Gallery Feb. 18th.Nachoff is at Brooklyn Lyceum Feb. 8th. See Calendar.

Is there a unique, identifiable Australian jazzsound? If there is, it would be as hard to define as‘jazz’ itself. But there are plenty of musicians inAustralia producing highly distinctive music. Hereare three releases from 2008 that support that claim,all emerging from the fertile Melbourne scene.

Lost And Found combines three of the country’smost accomplished players: Jamie Oehlers (tenorsaxophone), Paul Grabowsky (piano) and DaveBeck (drums). Their music is wholly improvised, achallenge they approach with a collective disciplineand logic, making ‘spontaneous composition’ amore apt description. They avoid the tentativepokes and frantic outbursts that often constitute theclichés of free blowing. Instead, they latch ontosome form or structure (perhaps a pulse that Beckestablishes or a Grabowsky pattern) that givesOehlers a platform over which to blow. Forinstance, they generate unstoppable momentum on“Evolution Part III” or build up to an intense climaxon “Evolution Part IV”. “Vanquish” is the shortesttrack at under 5 minutes and it’s a brilliant, sharplyfocused exploration. At 50, Grabowsky is one of themajor figures on the Australian scene; it’s no meanfeat for the 30-something Oehlers and Beck to joinhim as equal partners.

Another trio whose music is based on anuncanny rapport combines Julien Wilson (tenor sax)with Stephen Magnusson (nylon string acoustic guitar) and Stephen Grant (piano and accordion).Trio-Live, recorded at the Melbourne club BennettsLane, begins with Milton Nascimento’s “Clube DeEsquina #2”, establishing a lilting, Brazilian moodcarried over in ensuing originals. Wilson andMagnusson have been known to live on the edge inother contexts, but pursue their lyrical inclinationshere. The trio seems to breathe and sigh throughtheir instruments as one (even the guitarist, especially when he employs discreet electroniceffects to sustain his notes). Irresistibly gorgeous.

The same applies to the intricate, intimate, finely balanced music that acoustic bass guitaristChristopher Hale has been playing with pianist WillPoskitt and cellist Will Martina for several years.For this project, they are joined by American trombonist Josh Roseman (who met them at a workshop in Banff). He fits in perfectly here, matching the richness of tone and the fluid eloquence of his younger colleagues. Kodaly/We AreNone Of Us Precious is all original save for anarrangement of Zoltan Kodaly’s cello sonata, whichdemonstrates how successfully this group blurs theline between chamber music and jazz.

For more information, visit jazzhead.com,soundvault.com.au and uar.com.au

GLOBE UNITY

Lost and Found Jamie Oehlers/Paul Grabowsky/David Beck

(Jazzhead)Trio-Live Julien Wilson (Sound Vault)

Kodaly/We Are None Of Us Precious Christopher Hale Ensemble & Josh Roseman (UAR)

by Adrian Jackson

So Hard to Forget Bucky Pizzarelli and Strings (Arbors)

Moon of the Falling Leaves Tyrone Brown String Ensemble (Dreambox Media)

Other People (with John Taylor) Kenny Wheeler/Hugo Wolf String Quartet (CAMJazz)

Horizons Ensemble Quinsin Nachoff (Musictronic)No Strangers Here Ben Wolfe (MAXJAZZ)

by Stuart Broomer

Call 1-800-JFA-JAMS or visit jazzfoundation.org to help.

After 40 years ofPAYING HIS DUEShe shouldn’t have to struggle

to payhis rent,

.© photography by Bradley Smith.

The Jazz Foundation of America / 322 West 48th Street / New York, NY 10036

It’s been 50 years since Ornette Coleman’s Five Spotresidency pushed jazz inexorably toward its next evolutionary step. Since that time he’s left a hefty bodythat has been largely unexplored. While several of histunes have become standards (“Lonely Woman”,“Happy House”, “Focus On Sanity”), there is so muchmore as these two albums show. Both are also a studyin contrasts in how to approach a tribute album.

On first hearing, Tiziano Tononi’s Peace Warriors,Vol. 2 sounds scattered. It’s loud, messy and seems tohave everything thrown into the mix in a haphazardfashion. But repeated listening reveals a method toTononi’s madness. The drummer loves to pay homageto his heroes; earlier tributes to Don Cherry andRahsaan Roland Kirk were superb and idiosyncraticexamples of the genre and the first volume of PeaceWarriors was well-received.

While there are some holdovers from that session(reed players Daniele Cavallanti and Achille Succi andviolinist Emanuele Parrini) there are some significantdifferences. The two-bass team has been replaced by apair of electric guitars; lack of a bass means the sonicorientation of this music leans towards the high end.Like the player he is fêting, Tononi has his own way ofdoing things. He throws in a barrage of elements thatshouldn’t fit Coleman’s music: guitar feedback, thrash-metal rhythms, sung and spoken word passages (courtesy of the great Italian singer TizianaGhiglioni) and bits of electronics. But somehow it’s allpulled together in an epic two-disc tribute to the master iconoclast.

While Happy House isn’t precisely a tribute toColeman, four out of the seven tracks are his compositions. Makaya Ntshoko was part of the SouthAfrican diaspora in Europe in the ‘60s as AbdullahIbrahim’s (then Dollar Brand) drummer. He eventually settled in Switzerland, backing many players including Joe McPhee, John Tchicai and MalWaldron. Little was heard from him on disc since themid ‘80s until a few years ago when he formed a band,the New Tsotsis (his 1974 Enja debut was calledMakaya & the Tsotsis) with some younger Swiss players. This is their second release.

The New Tsotsis approach Coleman’s music fromtheir own perspective. Vera Kappeler’s very enjoyablepiano is part of the reason, Coleman rarely employingthe instrument, and tenor saxophonist Andy Scherersounds more closely allied to Coltrane. Rhythmically,the music hovers closely to freebop territory and is alittle more straightforward than Coleman’s. That said,this is a solid session, one getting the sense of joy thatColeman’s music can convey and it’s good to see someunusual cover choices as well. “Morning Song”, anobscure, haunting ballad from the 1965 Golden Circle sessions, should be better known. Ntshoko directs thissession, eschewing his earlier bashing style, yet no lessdriving. His return to active playing is welcome andhe benefits greatly from his spirited group.

For more information, visit blacksaint.com and steeplechase.dk. A seminar on Ornette Coleman is taught byWKCR’s Ben Young at Jazz at Lincoln Center Feb. 17thand 24th. Visit jalc.org/jazzed.

ALLABOUTJAZZ-NEW YORK | February 2009 17

Peace Warriors(Forgotten Children)

Tiziano Tononi & TheOrnettians (Black Saint)

Happy House Makaya Ntshoko &

The New Tsotsis(SteepleChase)

by Robert Iannapollo

18 February 2009 | ALLABOUTJAZZ-NEW YORK

Marlene VerPlanck is a singing canary of the old-fashioned sort, one who consistently picks great songsand then sings them in a brightly chirping soprano sothat every single lyric is quite intelligible. The songscome out radiating an aura of a singer in love withwhat she’s doing. Maybe that all ought to be commonplace in music, but it isn’t. On this latest setshe continues to demonstrate what a reliable custodian she is of the American Songbook.

Although some of the songs here are well known,VerPlanck has a way of going her own fresh way withthem. For instance, Irving Berlin’s “The Best Thing ForYou” (and the simplicity of Berlin’s song fits hand-in-glove with her style) gets a racing-breathlessly-down-the-street-in-love-hooray delivery. By contrast, ColePorter’s “I’ve Got You Under My Skin” finds her in anafter-hours meditation, the mood somehow bothinsouciant and cheerfully obsessed.

Happily, along with those gems there are morethan a few old treasures to (re)discover. Among themis Segal-Wells’ slyly seductive “What Are You AfraidOf?” When she invitingly warbles, “Take your shoesoff, baby”, surely only a fool would delay. Resonantand haunting, Benny Carter’s romantic “Evening Star”offers an irrefutable reminder of what a fine song-writer that great musician also was. Another gem isBob Haymes-Marty Clarke’s “They Say It’s Spring”. Abreathless consideration of love in bloom, it’s irresistible and, as throughout, Tedd Firth’s pianoaccompaniment is the keyboard Baccarat for servingup VerPlanck’s dry martini vocalizing.

For more information, visit marleneverplanck.com.VerPlanck is at Iridium Feb. 10th and NYC Baha’i CenterFeb. 24th. See Calendar.

Porter Records, one of the most unpretentiously eclectic labels around today, now has three titles byFinnish composer/pianist Heikki Sarmanto in itsalready diverse catalogue. They speak to his range andsubtlety as a composer and performer, not to mentiondemonstrating the fruits of continued collaboration.

The newest disc on offer is Moonflower, butSarmanto uses musicians that have worked with himin various capacities for more than 30 years. Theresults are gorgeous, each moment full of rhythmicand melodic detail. Just check out the different kindsof swing informing the two versions of “At theFountain” to hear this quartet interact, blues and

balladry mixing in two penetrating studies of triplemeter. Drummer Craig Herndon is beautifully subtleand never shies away from gorgeously intimate brushand cymbal work. This album is more straightforwardthan its counterparts, but don’t be fooled by the softveneer; there are snakily deceptive runs from saxophonist Juhani Aaltonen which complement thesinewy-sweet melody of a track such as “Run”.Equally fascinating are the multi-rhythmic experiments of “African Echos”, Sarmanto’s keyboardwork almost Monkish in its sparseness.

Only occasionally does Aaltonen show signs ofhis growlingly Ayler-esque roots, evident throughoutthe other two discs. A Boston Date is a previously unreleased outing from late 1970 and it’s the most blatantly experimental of those on offer. All groupmembers are obviously firing on all cylinders and themusic swings between jazz and some other unnameable but freer trope as Sarmanto finds himselfin Keith Jarrett American Quartet territory. The epic“Top of the Prude” is a case in point, swinging in andout of steady tempo and rhythm at key moments. The guitarwork of Lance Gunderson brings a slightlyfusion feel to the proceedings.

This also occurs on Counterbalance, the first studiorecording by this group, originally released on EMI in1971. Here, we are treated to very different versions ofsome of the pieces that would appear on Moonflower,including that album’s title track. Sarmanto is on electric piano and Aaltonen’s flute work is exquisite asthe track follows its meditative path. In stark contrast,“Seagull” exudes raw energy as Sarmanto slamspower chords out of his instrument before everythingkicks into high gear with a dramatic tempo increase.The recording is slightly distorted at key moments, butis a welcome reissue and one hopes this trilogy ofreleases will introduce many to Sarmanto’s fine contributions.

For more information, visit porterrecords.com. Sarmanto isat Salmagundi Club Feb. 12th and St. Mark’s Church Feb.25th. See Calendar.

Multi-instrumentalist Sam Sadigursky has releasedthe second of his Words Projects wherein musiciansand like-minded vocalists present poetry in a beat-cum-back to the future manner. This is not yourgrandfather’s poems read over a bongo but is creativeintegration of vocals into an instrumental fabric.

Sadigursky’s saxophones and clarinet as well asPete Rende’s piano/Rhodes and accordion thoroughlyblend with the vocals to create a ‘reading’ true to theoverall meter and phrasing of the poem(s). NateRadley’s guitar/banjo stylings and Richie Barshay’spercussion add a bit of needed color to what otherwiseis a fairly monophonic sound palette, texturally richbut sonically narrow. This, combined with the artfulvocals of Wendy Gilles, Monika Heidemann and BeccaStevens, makes for a deeply engaging listen.

Poet Andrew Boyd’s three contributions arechoice narrations of desperate situations that are a perfect fit for these environs. A lyric sheet is includedand the way to experience these pieces is to use itwhile listening; otherwise one might not realize thatthe true definition of “rock bottom’ is “purchasing the

collected works of Yanni”. Subjects also include DavidIgnatow’s “No Theory”, a description of the evisceration of a chicken, and “Miss Teen USA”,whose legendary incoherence might be the seeds of aVice Presidential candidacy someday. While the bitingsarcasm of “The War Works Hard” is presented over acacophonous build, all is not dark and moments likeLangston Hughes’ uplifting “The Dream Keeper” andSadi Ranson Polizzotti’s lover’s delight “Such Fruit-The Ritual” are points of light.

For more information, visit newamsterdamrecords.com.This project is at Greenwich House Music School Feb. 28th. See Calendar.

Feb 3rd Warren Chiasson Red Norvo Tribute

Feb 10th Mike Longo and

the New York State of the Art Jazz Ensemble with

Hilary Gardner

Feb 17th Chip White Ensemble

Feb 24th Marlene and Billy VerPlank

Moonflower (Porter)A Boston Date (1970) (Porter)

Counterbalance (EMI/Odeon - Porter)Heikki Sarmanto by Marc Medwin

Words Project II Sam Sadigursky (New Amsterdam)

by Elliott Simon

Once There Was A Moon Marlene VerPlanck (Audiophile)

by Andy Vélez

The bass is something like the spinal column of a jazzensemble, where rhythm and harmony are made tocohere. For over 40 years, Gary Peacock has fulfilledthe role with mastery, enmeshing himself in nearlyevery modality of modern jazz, in trios as dissimilar asAlbert Ayler (Spiritual Unity) and Bill Evans (Trio 64).While he can point to a respectable archive as a leaderand composer, he’s spent the bulk of his time as a sideman, interpreting the music of famous and not-so-famous colleagues. Admirers of this complex figurecan now sink their teeth into three piano trio recordings - Keith Jarrett’s double-DVD Live in Japan93/96, Bill Carrothers’ Home Row and LowellDavidson’s Trio - to get a fuller sense of Peacock’s aesthetic range and adaptability.

Obviously, Peacock’s highest-profile gig is withKeith Jarrett and Jack DeJohnette in a trio that continues to parse the American Songbook. ToJarrett’s already extensive trio catalogue, Live in Japan93/96 adds a pair of ‘90s dates from Tokyo, the first ofwhich is filmed outdoors and has more of an up-close-and-personal feel. The Peacock we encounter here is afierce bebopper and sensitive ballad player - hismelody feature on “Mona Lisa”, from the ‘96 date,comes across like a classical piece, short and to thepoint. But we also hear Peacock as an expounder offunky straight-eighth vamps on “Caribbean Sky” and“Extension” (improvised codas to “Last Night WhenWe Were Young” and “Solar”, respectively). For all itsfocus on straightahead swing, Jarrett’s trio is alsoquite the soul-jazz band, putting the grooviest spin onRay Bryant’s “Tonk” and venturing the dark original“The Cure”, which could even be said to recall Jarrett’selectric Miles period (imagine the tune played onRhodes).

Peacock is as much if not more effective on HomeRow, Bill Carrothers’ long-shelved 1992 date with BillStewart on drums. Living off the grid on Michigan’sUpper Peninsula, Carrothers is Jarrett’s heir in someways: an elegant, vehemently swinging pianist whocomposes but devotes serious time to standards, playing within tonal bounds yet leading off Home Rowwith a weirdly polyphonic gloss on Ornette Coleman’s“When Will the Blues Leave”. The sound is consistently rich and assertive and the woody, three-dimensional bass tone greatly helps. Peacockleaps from the speakers on the hard midtempo swingtunes, including Thelonious Monk’s “Off Minor” andthe original title track. He makes short work of theextremely difficult head to Carrothers’ “A Squirrel’sTale”. His patient, deeply felt single notes lend ahaunted quality to the pianist’s more meditativeworks “Hope Song” and “Ballad of Billy Milwaukee”.

On Lowell Davidson’s Trio, we hear Peacock inlate July 1965, when Carrothers was one year old andJarrett’s breakthrough with Charles Lloyd was still ayear away. In a mere two weeks, Peacock would enterthe studio to record Spring, Tony Williams’ secondavant garde album for Blue Note. Davidson, a trainedbiochemist, was subsequently injured in a lab accidentand never recorded again. On his one and only outing,very much a product of those extraordinary times, he

joins Peacock and drummer Milford Graves for fiveriveting pieces of post-tonal jazz totaling 44 minutes inlength. There are echoes of Cecil Taylor in the denseand ceaseless movement of “‘L’” and “Ad Hoc” (thelatter featuring an unaccompanied bass solo). But“Stately 1” starts in a calmer rubato feel with a minor-key tinge, bringing Andrew Hill to mind. Thesound is rewarding, although Peacock’s is the leastpresent instrument in the mix. Still, he cuts throughthe oddly placed intervals of “Dunce” and the acidicmotifs of “Strong Tears”, heightening the record’saura of mystery.

For more information, visit ecmrecords.com, pirouetrecords.com and espdisk.com. Peacock is at BirdlandFeb. 25th-28th. See Calendar.

Over the past decade, street-savvy, hard-hittingurban quartet Cosmologic has built its high-impact,low-comfort-zone approach to groupwork that recallsAnthony Braxton’s small-band intelligence and TheFringe’s raw energy. The California-based band enjoysbumpy textures, aggressive stances, loose-wheeled (ifnot off-track) soloing and equal voices for horns andrhythm players.

The writing in Eyes in the Back of My Head, generally implied rather than scored, is weightedequally between drummer Nathan Hubbard (longishsuite-like pieces that roil and reflect in jagged parts),trombonist Michael Dessen (“Code View”’s open-ended circle jam rumbles into weird chorale andout to hammering dance and “The Rumpus” instigatesa group shout) and sax-man Jason Robinson (an impatiently pulsing pro-Darfur rail-wail and a pensiveFuture/Past poem that opens memorably with abooming arpeggiated bowed bass turn for ScottWalton). A swaggering unison melody for horns aloneends the set.

Fingerprint, on Robinson’s newly formedCircumvention Music label, offers quite a differentquartet (and perspective on the leader’s cross-culturalinterests): Hubbard stays on drums with bassist RobThorsen and pianist/soprano saxist Kamau Kenyatta.Robinson, whose tenor sax owns a burly, robust soundand stirs up skeins of fluttering melody, is sometimesreminiscent of Lew Tabackin’s expressive grit andBilly Harper’s declamatory keening. He’s plentyadventurous in terms of environments and horn sonics(he works stuttering triple-tonguing into his playinglike rock salt rubbed on raw steak, as in the openingcadenza of his hauntingly Strayhorn-esque ballad“Conundrum”).

The foursome amble unhurriedly across four tidyoriginals, stretched with juicy vamps and solo spots,and tantalizingly titled like “The Wiggle Room” and“Thin Veil”. A trio without Kenyatta expands to quintet on two tracks featuring guest pianist AnthonyDavis and Dessen. This quintet is further fleshed outby flute section on “Silence Becomes A Roar”, a languid sassy romp balancing 6/8+2/8 with seethingsolos by Davis and Dessen, where Robinson reaches asonority that’s fuller and deeper amid the treble voices, especially in the framing call-and-responsechorales and the all-out coda (composer credits are

missing on the CD package, but one can hear Davis’influence). “Forest Cover”, a spirited stutter strut, features agile soprano, a feisty duel between Robinsonand Dessen and a rattling solo fantasia by Davis.Robinson leads decidedly thoughtful, ebullient explorations into interior creative landscapes.

For more information, visit cuneiformrecords.com andcircumventionmusic.com. Cosmologic with Jason Robinsonis at Le Grand Dakar Feb. 19th. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 19

FEBRUARY SSCHEDULESHOWTIMES - 88:30, 110, 111:30 ppm WEEKEND CCOVER CCHARGE - $$20WEEKDAY CCOVER CCHARGE - $$10

Fri & Sat, February 6 & 7WILLIE MARTINEZ

Fri & Sat, February 13 & 14DANNY MIXON

Fri & Sat, February 20 & 21ALYSON WILLIAMS

Fri & Sat, February 27 & 28WINARD HARPER

Sun. Jazz vocalist Open Mic

with Lafayette Harris Trio

Mon. Patience Higgins & Sugar Hill Quartet

Wed. Nathan & Max Lucas Organ Trio

288 Lenox Avenue(Malcolm X Boulevard/124th & 125th)

212-427-0253www.lenoxlounge.com

Eyes in the Back of My Head

Cosmologic (Cuneiform)

Fingerprint Jason Robinson

(Circumvention Music)by Fred Bouchard

Live in Japan 93/96 (DVD) Keith Jarrett/Gary Peacock/Jack DeJohnette (ECM)

Home Row Bill Carrothers (Pirouet)Trio Lowell Davidson (ESP-Disk)

by David R. Adler

Lest anyone think that solo trombone is moderngeneric innovation, know that unaccompanied musichas been written for the instrument since the 1600s.However, the form has arguably reached its creativeapex in the hands of modern, usually European, practitioners like Vinko Globokar, AlbertMangelsdorff and Paul Rutherford. The wide tonaland textural range of the instrument makes it a perfectcandidate for solo investigation.

At the end of last year, Universal released thecomplete works of Albert Mangelsdorff from MPS(Most Perfect Sound) Records, in celebration of whatwould have been his 80th year. Part of this campaigncollects all three of his solo recordings for the label ontwo discs: 1972’s Trombirds, 1976’s Tromboneliness and1982’s Solo. Though he is inaccurately credited as thecreator of trombone multiphonics, this extended technique abounds on the three sessions. ButMangelsdorff was also wrongly relegated to the worldof the avant garde. His early traditional foraysinformed the rest of his life’s work and what becomesimmediately apparent is that Mangelsdorff was usingthe solo form as a melodic, rather than sensory, vehicle. Unlike, say, Rutherford’s concurrent work,some of the pieces on these three albums, perky dittieslike “Trombirds”, “Do Your Own Thing” or“Responsory”, could be played with a band,Mangelsdorff’s approach best equated with early ragtime piano. On other more abstruse tracks, extended technique is still in the service of specificmotific development. And it should be stressed thatthe graceful ease with which Mangelsdorff plays thesepieces belies how challenging they are technically.

Another German, Conny Bauer, also has a longhistory releasing solo trombone albums, with fourfrom 1980-91 and a more recent one from 2002. Der Gelbe Klang (The Yellow Sound) is a 2007 recordingthat features this Bauer brother (Johannes is also atrombonist who has yet to record solo) on both trombone and electronics. The solo material wasplayed continuously, with electronic flourishes andadditional Bauers layered above and below in variedarrangements. As such, it is satisfying both as a recitaland a post-production endeavor. Like Mangelsdorff,Bauer works with a strong melodic foundation, evenwhen improvising, so many of these pieces are simplybeautiful. The digital supplements, usually introducedafter a solo exposition of a theme, fill out these pieceswith appealing section work and harmonic expansion.Though his own player, and also a remarkable technician in his own right, this album is the heir tothe earlier Mangelsdorff works, at least in intent.

Jen Baker and Samuel Blaser, forward-thinking30-something musicians, are keeping the tradition of“posaune solo” established by the likes ofMangelsdorff and Bauer going with new albums, bothinitial recorded forays into the discipline.

Baker’s disc, Blue Dreams, is short and to thepoint, with 13 tracks of manageable length (less than a

minute to a shade over five) totaling about 40 minutes.The West Coast-based Baker, who has worked withkindred spirits like Joëlle Léandre and Alvin Curran,improvised all but one of the tracks contained therein,what she refers to as “lyrical vibrations”. Interestingly,she claims as her inspiration Tuvan throatsinging andGregorian chant, a new way to think about what multiphonic playing is trying to accomplish. As such,these pieces are more ethereal, quite different from thetuneful explorations of Mangelsdorff and Bauer without veering too far in the Rutherford direction,structural sense being retained, particularly in thelonger pieces. Blue Dreams manages to be both sereneand disconcerting at the same time, Baker’s expertmultiphonic technique almost extraterrestrial at times.

Blaser, a native Swiss who splits his time betweenNew York and Berlin, follows up his excellent debutquartet recording 7th Heaven with a live documentrecorded for Swiss Radio. Solo Bone is the direct heir toMangelsdorff’s work in conception and aesthetic. Evenif one didn’t read the liner notes that make the connection clear (Blaser studied the German’s workextensively), it would be apparent from the first twotracks, “La Vache” and “Solo Bone”. In fact Blaser’sversion of Ellington’s “Mood Indigo” is based on anearlier Mangelsdorff interpretation and the original“Solo Bone” was inspired by Mangelsdorff’s “Bonn”from the aforementioned Tromboneliness. But like bassclarinetists escaping Dolphy’s shadow, Blaser’s soloeffort is far more than a Mangelsdorff tribute. Thetechnique is there as is the emphasis on tonal melodicimprovisation, but it was up to Blaser to make something of it, and in a live setting no less. Solo Boneis an eminently listenable album that shows muchpromise if, like his forbearers, he decides to explorethe genre further.

For more information, visit mps-label.de, jazzwerkstatt-berlin-brandenburg.de, baker7jenz.com andslamproductions.net. Baker is at ABC No Rio Feb. 15th andLe Grand Dakar Feb. 19th. See Calendar.

This tribute album by bari saxist Gary Smulyan features his bebop-based nonet pulling inspirationfrom a 1956 album by pop singer Frankie Laine (1913-2007) and trumpeter Buck Clayton. As Laine’s forayinto jazz’ ‘50s mainstream, Jazz Spectacular (Columbia)represented a piece of the singer’s repertoire not asknown as his pop music. It allowed him to interactwith instrumentalists of the era who represented jazzauthority and had little to do with themes such as“High Noon”, “Mule Train”, “Cool Water”,“Rawhide”, “Gunfight at the O.K. Corral” and themore recent “Blazing Saddles” and “3:10 to Yuma”.Laine did not sing on the soundtrack for High Noon,but did record it as another of his Western-based hits.

On Smulyan’s album, “High Noon” is hardly recognizable. While the ten songs come from a broadspectrum of Laine’s career, each has been rearrangedby Mark Masters to fit a nonet akin to that found onThe Birth of the Cool, with similar instrumentation, apervading blues quality and soulful soloing. Here,“High Noon”’s theme dances in and out of dense harmony and ‘gunfight’ choruses traded betweenFrench horn and trombone and alto sax and trumpet.

On bass clarinet, Scott Robinson’s lengthy intro clearsthe main street of town while Smulyan closes the piecewith one big booming chorus after another.

Laine wrote the lyrics for “A Man Ain’t Supposedto Cry”, “Torchin’” and “We’ll Be Together Again”, allwhich come with heavy blues overtones. Smulyan’shorn ‘sings’ like the original, his nonet providing plenty of jazz atmosphere, affixing a balance to theeclectic quality of Laine’s emotional Italian-Americancrooning melded with whiplash cowboy stories.

For more information, visit reservoirmusic.com. Smulyan is atVillage Vanguard Feb. 3rd-8th and Mondays with theVanguard Orchestra. See Calendar and Regular Engagements.

20 February 2009 | ALLABOUTJAZZ-NEW YORK

High Noon: The Jazz Soul of Frankie Laine Gary Smulyan (Reservoir Music)

by Jim Santella

Solo Albert Mangelsdorff (MPS-Universal)Der Gelbe Klang Conny Bauer (Jazzwerkstatt)

Blue Dreams Jen Baker (Dilapidated Barns)Solo Bone Samuel Blaser (SLAM)

by Andrey Henkin

723 7th Ave. 3rd FloorNew York, NY. 10019

212-730-8138 Store Hours: Mon-Sat: 11-7 Sun: Closed Owner: Steve Maxwell Manager: Jess Birch

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

WE HAVE A NEW LOCATION IN MANHATTAN

After six years in Chicago we’ve opened a new location in Manhattan. Our shop is located at 723 7th Ave. 3rd floor. We’re right atthe corner of 7th Avenue and 48th Street,which is known as “Music Row” in Manhattan. Our NYC manager is Jess Birch and he andSteve will both be at the shop. We’ve been opensince April 1st and business has been great. Thanks to all who have stopped by!!! Now we’reready to spread the word!

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

Our shop includes:• Craviotto: World’s largest selection of Craviotto

one-ply snares and drum sets. We are the largest Craviotto dealer in the world.

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• Player’s Specials: Snares, sets and cymbals focused on the needs of players

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Stop in and see our museum section with items such as:Gene Krupa’s 30s Slingerland Radio King! • Elvin Jones’s Tama brass shell snare used by him from 78-88. Rare Slingerland black beauty snare drum.

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TEACHING STUDIO IS OPENRon Tierno has relocated his long standing teaching studio to

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What might seem the most innocuous music is oftenthe most avant garde, the most challenging, the sparkthat forces us to question the boundaries of what wemight call jazz. Gunther Schuller’s “Journey IntoJazz”, composed in 1962, is just that: a children’s narrative, telling the story of one Eddie Jackson, “aboy who learned about jazz”, a communal mode ofmusic-making that is free, ostensibly, of all therestraints that come with genre labels. Though thepiece is over 40 years old, the Boston ModernOrchestra Project’s new recording captures Schuller’sstrong aesthetic statement about the “third stream” ofjazz and its staying power throughout history - withits composer narrating.

“Journey Into Jazz” walks a fine line between simplicity and didacticism. Described by LeonardBernstein (among others) as “a sort of ‘Peter and theWolf’ of Jazz”, it seems simple: a young boy has ahunger for music, picks up the trumpet and eventually discovers that music need not be notated,that it can be free-flowing, stemming from raw emotion. Yet the music that accompanies the narration, written by Nat Hentoff, seems slightly static: made legible for even the youngest ears, ‘classical’ and ‘jazz’ are rendered into crystallizationsof their mass-market definitions. Though the playingand recording quality of this album are undoubtedlyhigh, they cannot escape the constraints of the self-ascribed “third stream” genre, stuck literallybetween European and African musical traditions.Reduced to its most basic argument, Schuller’s children’s narrative also brings the music down to its‘essentials’, reducing both other ‘streams’ to overlysimplistic, often bland passages.

The other two pieces on this album, “Variats” and“Concertino”, both scored for Jazz Quartet andOrchestra, come closer to Amiri Baraka (then LeRoiJones’) demand of third stream music, that the “techniques [of jazz and classical music] be used andnot canonized”. All three are pieces full of contradictions, which make them some of the mostinteresting compositions of the ‘50s and late ‘60s: theystruggle to reconcile composition and improvisation,not perfectly, but resoundingly musically.

For more information, visit bmop.org. Schuller is atManhattan School Feb. 20th as part of the Mingus Summit.Visit msmnyc.edu.

Since 1978 saxophonist Larry Ochs’ activities havebeen primarily centered on the Rova Saxophone

Quartet, but increasingly, survival in the jazz worlddemands the pursuit of parallel projects.Consequently Ochs participates in groups as diverseas the all-improv Maybe Monday and his uncategorizable Sax and Drumming Core, as well asthe trio found on Spiller Alley. Ochs has stated that allhis written music has been concerned with the integration of composition and improvisation usingnon-traditional forms and/or alternative devices. Inthese two fine but very different live recordings hereveals how a clear overall intent can be deliveredthrough an almost ghostly compositional framework.

Now in its ninth year the unusual trio with PeggyLee’s cello and Miya Masaoka’s koto conjures a kaleidoscopic mélange encompassing free improv,country blues, contemporary chamber music and oriental courtliness, but beholden to none of them.Recorded in 2006 at three European venues, SpillerAlley’s two collective improvisations buttress threeOchs pieces, though the distinctions between them aresubtle, with Ochs’ light structures allowing full freedom of expression within their airy demarcations.Though there are many pleasing passages - one comesin the lengthy title track where plucked koto is pitchedagainst arco cello whooshes, suddenly echoed byOchs’ swooping sopranino - this is in truth a groupmusic which demands to be judged on its own terms.

A deeply felt project for Ochs, evidenced by theattention to detail on the gatefold sleeve and linernotes, The Mirror World draws musical inspirationfrom the fast cuts, juxtaposition of images and sometimes luminous colors of avant garde film makerStan Brakhage’s works. Both versions are continuousperformances, though tracked for listening convenience, but they could easily pass for differentpieces. “Hand”, for the 17- strong Orkestrova, blendsoverlapping instrumental textures and billowing electronics into a haunting canvas, where change canbe imperceptible or erupt suddenly. Midway throughthe ensemble explorations comes an interlude forBruce Ackley’s Bb clarinet and Moe! Staiano’s percussion, reprised for a wonderful conclusion wherethey pierce the enveloping murk of two didgeridoos.

“Wall”, for the Rova saxophone quartet abettedby percussionists Gino Robair and William Winant, isall darting horn lines and energetic polyrhythms, marshaled by a mix of cues, notation and game pieces,though with space for brief cameos and duets againstthe swirling backdrop. Though the sparser instrumentation promotes a more easily absorbedexperience, both versions make for rich listening payback.

For more information, visit web.roguart.com and ochs.cc.Ochs is at Roulette Feb. 27th. See Calendar.

22 February 2009 | ALLABOUTJAZZ-NEW YORK

Thu - Sat, February 5 - 7THE GROOVEMASTER OF SOUL JAZZ

REUBEN WILSONMelvin Sparks • Jerry Weldon • Vince Ector

Thu - Sat, February 12 - 14CAROLYN LEONHART &

WAYNE ESCOFFERY QUARTETDave Kikoski • Ed Howard • Jason Brown

Thu - Sat, February 19 - 21A TRIBUTE TO TADD DAMERON

Eric Alexander • Richard Wyands • Nat Reeves • Joe FarnsworthThu - Sat, February 26 - 28

RON CARTER MIKE LEDONNE JOE FARNSWORTH

Gunther Schuller: Journey Into Jazz Boston Modern Orchestra Project (BMOP)

by Ted Gordon

Spiller Alley Ochs/Masaoka/Lee

(Rogue Art)

The Mirror World Larry Ochs/Rova(Metalanguage)

by John Sharpe

Anat Cohen, an Israeli-born multi-reedist, is rapidlyemerging from the jazz ‘underground’. Notes from theVillage, her fourth release, is sure to enhance her growing reputation. Ably abetted by Jason Lindner (keyboards), Omer Avital (bass) and Daniel Freedman(drums), with strong support by Gilad Hekselman(guitar), Cohen covers a lot of musical ground, fromgraceful tone poetry to raw-boned ‘world-bop’.Playing the soprano and bass clarinets and the soprano and tenor saxes with equal facility, her soundis light and unforced, ranging from subtle pastels tobold primary colors. Tracks like “Washington SquarePark” and “Until You’re in Love Again” (both originals) and Ernesto Lecuona’s “Siboney” displaythe former quality, while workouts such as “J Blues”,“Lullaby for the Naïve Ones” (also originals) and FatsWaller’s “Jitterbug Waltz” flaunt Cohen’s considerabletechnique and quicksilver imagination. The bandmembers, frequent collaborators on various outings,exude well-oiled synergism. Lindner is particularlystrong as a creative accompanist and as an arranger,writing rhythmically vibrant charts for three tracks.

Cohen also makes a brief guest appearance on theCuarteto de Clarinetes de Caracas’ Suelos, filling in asfifth clarinetist on Lecuona’s “Danza Negra” and contributing a powerful cadenza mid-chart. Animpressive date by Venezuela’s premiere clarinetchamber quartet, Suelos continues the group’s 20-yearmission to feature and foment the work of SouthAmerican composers, arrangers and song forms.Comprised of Gregory Parra, Orlando Pimentel, VictorSalamanques and Gorgias Sanchez (piccolo, soprano,alto and bass clarinets, respectively), the quartetboasts strong chops and sensitive interpretative skills.Featuring compositions by Aldemaro Romero,Silvestre Revueltas, Hermeto Pascoal and PaquitoD’Rivera and representing the genres of Venezuelanjoropo and guasa, Colombian bambuco, Cuban danzon, Mexican mariachi, along with Latin jazz andavant-leaning classical music, Suelos is local in flavor,pan-national in scope.

For more information, visit anzicrecords.com and cacaomusica.com. Cohen is at Bargemusic Feb. 12th, SmallsFeb. 18th and Tribeca Performing Arts Center Feb. 19th aspart of Highlights in Jazz. See Calendar.

Guitarist Mike Baggetta might not be a familiar nameto those outside the coasts, though he’s recorded andworked on both. He received his formal education inmusic from Rutgers and name checks players like Ted

Dunbar and Jim Hall, yet his first release was decidedly un-bebop - a half-hour solo recording ofprepared and abused acoustic guitar entitled Canto.Bows, rattles and knocks then traversed their waythrough the long-running (if sporadic) duo Tin/Bagwith California-based trumpeter Kris Tiner (of theEmpty Cage Quartet). Now, on Small Spaces, Baggettahas applied these experiences to an expanded andthorny postbop quartet. He’s joined by Fresh Soundregulars, bassist Eivind Opsvik, tenorman Jason Rigbyand drummer RJ Miller (since replaced by GeorgeSchuller) on seven originals and an arrangement of theTaiwanese folksong “Olive Tree”.

Opener “The Heights” is a subtle manifesto forthe leader’s approach to group music. After an eddying free duet between Opsvik and Miller, withthe bassist pushing the tempo slightly, tenor and guitar enter in a series of phrases that float around,ahead of and behind the beat, in a jumpy unison thatrecalls Warne Marsh and Billy Bauer on a wobblydeck. The Dunbar training seems readily apparent;Baggetta comps with dissonant chordal accents,placed at odd intervals and spiking the quartet’spunch. Yet he expands on that as a “pure-sound player”, his holdover from preparations and detuninga tendency to sit and chew a tart chord, isolating and letting it hang in the air. Even on a taut groover like“No Gravity”, cutting edges poke through the theme’s fabric, piercing highs that tug at comfort zones.Baggetta’s single-note lines are evenly paced, but theear recalls the head’s lemony flavor and his soloretains a strong, wiry nature. By comparison, Rigby’shard edge is positively rounded and the two make anexcellent frontline. Indeed, Baggetta’s work with hornmen plays out in an affinity for breath if only tocoil around it over supple rhythmic support. Rare isthe young musician who fuses avant garde and postbop mettles so effortlessly - Small Spaces is arefreshingly unsafe approach to modern jazz.

For more information, visit freshsoundrecords.com.Baggetta is at Tea Lounge Feb. 25th. See Calendar.

The Vinnie Sperrazza/ Matt Blostein Band sits boldlyon the outer branches of the jazz tree. This group specializes in what might be described as art-house, astyle defined by complex, cutting edge compositionsand arrangements played at perfect pitch. Their newrecording displays a balanced and impressive combination of color and substance.

These tunes, penned by alto saxophonist Blosteinor drummer Sperrazza (and in the case of “Liftoff”,both) are poetic in structure, unfolding slowly toreveal a wealth of layers and textures, each one givingthe fine musicians on board space to weave their richtapestries of sound. Pianist Jamie Reynolds’ deep bluesingle-note highlights and Khabu Young’s guitaramply support Bryan Drye’s thoughtful, articulatetrombone on “Color Red”. The title cut, a pianolessquartet piece, is a slow burn that develops graduallyaround Blostein’s appropriately moody alto andYoung’s edgy, persistent licks. Young and pianistJacob Sacks’ delightfully fractured duet on “Hey Jax”sounds like a playful riff on free jazz; ThomasMorgan’s pizzicato on this tune is sotto voce almost to

the point of being subliminal. The compelling “JuniperTree” sounds like free jazz and straightahead armwrestling for dominance, with tenorman MikeMcGinnis and Sperrazza leading the charge.

Even when stripped down to its essentials, as onthe Blostein/Morgan/Sperrazza trio tune “Liftoff”,the sound is just as compelling. Jazz is clearly the irresistible force at the core of this band, but it’s theirdeep sense of musical heritage and willingness toexplore, challenge and transform genres, that givesthis excellent group its singular voice and vibrancy.

For more information, visit envoirecordings.com. Thisgroup is at I-Beam Feb. 6th, 13th and 27th. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 23

Feb 6: Diana Wayburn Quartet + Pascal Niggenkemper Group 8pm ($7)Feb 7: Michael Vallarelli & Dwight Goodyear 8pm ($7)Jah of York presents hip-hop+ 10pm ($7)Feb 14: Sean Baucom hosts words n motion 8pm ($5)Feb 19: Albey Balgochian, Lisle Ellis,Francois Grillot & Lola Danza 8pm ($8)Feb 21: Secret Orchestra 8pm ($8)Feb 27: Billy White Trio 8pm ($7)Feb 28: Dom Minasi String Quartet 8pm ($8)

5C CAFE68 AVENUE C (AT 5TH STREET)212-254-1142WWW.5CCC.COM

Small Spaces Mike Baggetta Quartet (Fresh Sound-New Talent)

by Clifford Allen

Ursa Minor Vinnie Sperrazza/Matt Blostein (Envoi)

by Terrell Holmes

Notes from the VillageAnat Cohen

(Anzic)

Suelos Cuarteto de Clarinetes deCaracas (Cacao Musica)

by Tom Greenland

24 February 2009 | ALLABOUTJAZZ-NEW YORK

In November 2007 German singer Max Raabe performed at Carnegie Hall with the Palast Orchester,presenting a half-English, half-German program ofsongs from the golden years of Weimar Germany. Theresulting recording - Heute Nacht Oder Nie (Tonight OrNever) - has spurred a flurry of activity both here inthe States and abroad and Raabe has been on the roadever since its release in 2008.

Raabe and the Palast Orchester, 12 musicians ofstunning precision (multiple horns, violin, viola, guitar, banjo, piano, bass and percussion), have beenperforming together for the last two decades, but thenew CD represents the group’s first major launch inthe US. And what a launch it is: two discs and almosttwo hours of resurrected tunes from the ‘20s and ‘30sby composers such as Irving Berlin, Walter Jurmannand Kurt Weill, delivered in Raabe’s faultless baritone.

To appreciate Raabe’s innovation one must firsttoss aside any preconceived notions. Perhaps it’sRaabe’s ironic take on each number that pulls theminto the 21st century, but never once do the well-seasoned tunes (“Bei mir bist Du schoen” and “JustOne Of Those Things”, for example) sound clichéd.And the German tunes that never really made it acrossthe ocean (“Mein kleiner grüner Kaktus” and “Ichküsse Ihre Hand, Madame”, among others) come as a surprising discovery to our modern American ears.You mean, there’s more jazz-era music to be discovered? What good news!

Raabe was in New York last month to promote theCD and performed solo at the Neue Galerie Jan. 9th-10th as part of that effort. Raabe is an utterly captivating performer, even without the orchestra,even if you don’t understand German, even if his tuxand clearly enunciated vowels seem a bit formal fortoday’s more casual music scene. True, his presentation is all very stylized, but this serves as aclever backdrop for his deadpan humor, a humor thatseduces as much as does the music. Of course, it’s a loteasier to get the songs’ jokes if you speak German, buteven in English, Raabe is a pretty funny guy.

Raabe drew much of his repertoire for the NeueGalerie from that of Weimar singers like Max Hansenand the Comedian Harmonists, whose popularity inGermany ended for the most part once the Nazis cameto power in the ‘30s. Some of these songs are satiresfrom that time - like “War’n Sie schon mal in mich verliebt”, a spoof of Hitler that Raabe performed asone of his encores - and some are evergreen, melancholic airs, like “Liebesleid”, about the quixoticnature of love. But Raabe never lingers on the seriouspoints that might be made, whether topical or timeless, and thus leaves us pondering the deepermeanings in his work, wishing he would explain.

That evening Christoph Israel accompanied Raabeon piano and at times joined Raabe in whistling duets- this kind of virtuosity is not something you heareveryday and, quite frankly, it’s rather a brillianttouch. After some 12 tunes the two closed the eveningwith three encores, the last being “Gib mir den letztenAbschiedskuss”, which, roughly translated, means,“Give me a farewell kiss”. A precipitous request, perhaps: Raabe will most likely be back.

For more information, visit spv.de

The prolific pianist Marc Copland continues the trendof high quality music that he and Pirouet release withtwo more immaculately recorded CDs.

Another Place features John Abercrombie (guitar),Billy Hart (drums) and longtime collaborator DrewGress (bass), the same personnel found on Copland’sSecond Look (1994). Abercrombie contributes threeattractive and effective compositions; his “River Bend”is interesting in that it gives a guitar-like arpeggio tothe piano, with an almost African 12/8 underpinningin the drums and the “B section” is a 10-bar phrasethat proceeds in a relaxed swinging groove. Hart andGress make a good rhythm section and effortlesslybring out the contrast between the two sections. Theguitarist’s soloing here, indeed throughout the album,weaves melodically up and down through the sky ofthe piano and the earth of bass and drums.Abercrombie’s “Car Blue Lady”, one of the CD’s moststriking pieces, launches great solos by the composer,Copland and Hart over the hypnotic section of themelody. “Ballad in Two Keys” is his final piece andthis time the first soloist is Gress, who sets the soundstage for introspective, emotive melodicimprovisation. It is to Copland’s credit that he provides so much space for his players (and composers). His accompaniment for both the solos byGress and Abercrombie is so sensitive it also causeshis own solo to be immediately impressive upon entry.Cole Porter’s “Everything I Love” supplies the perfectending, a friendly reminder that loose, relaxed jamming on a standard is a wonderful way for anaudience and musicians to bond.

Night Whispers is part of a series of trio recordings, this one featuring Bill Stewart (drums) andagain bassist Gress. One of the CD’s features is that itcontains three solo piano takes of Johnny Mandel’s“Emily”, spread out between the ten tracks. All threeare relatively short (between two and three minutes)and offer a great glimpse into the working process ofan improvising musician. For instance, one could lookat “take one” as being somewhat Bill Evans-ish in itsflexible, breathy phrasing while “take two” sounds asif “Emily” is being filtered through Chopin’s“Revolutionary Etude”. “Take three” brings the tuneback to its waltz roots, with a pedal tone that makesthis the most poignant variation. As on Another Place,Copland invites his colleagues to contribute originalcompositional work: Stewart offers “Space Acres” andGress presents “Like It Never Was”. The latter is setup like a passacaglia, a repeating set of harmoniesover a descending bass line. The musical events thattake place over that ostinato run the gamut from gentle block chords through a lyrical bass aria to a fulltrio crescendo urged on by Stewart’s polyrhythms.Copland includes three of his own compositions - thetitle track, “Scattered Leaves” and “The Bell Tolls”.The latter starts with a single note on the piano andconjures the image of a tolling bell but also serves as amid-register pedal point around which cymbals andbrushes swirl, bass notes fall and upper registerchords float.

For more information, visit pirouetrecords.com. Copland isat Birdland Feb. 25th-28th with Gary Peacock. See Calendar.

Another Place New York Trio Recordings, Vol. 3: Night Whispers

Marc Copland (Pirouet)by Francis Lo Kee

Heute Nacht Oder NieMax Raabe & Palast Orchester (SPV)

by Suzanne Lorge

The Art and Soul of Houston Person is an irresistiblecombination of the celebrated tenor saxophonist andthe Great American Songbook. The 30 songs on thisgenerous three-CD set were culled by Person from tenof his HighNote CDs, with the addition of four newsongs recorded in Spring 2008. The songs feature anarray of talented sidemen, including pianist BillCharlap, bassists Ron Carter and Ray Drummond anddrummer Grady Tate. If that isn’t compelling enough,all the tracks were mixed, edited and mastered by theeminent Rudy Van Gelder in his legendary EnglewoodCliffs studio.

The collection is full of high points, with severalsongs particularly worth noting. The upbeat opener“You Do Something to Me” showcases Houston’s golden warmth and impeccable swing. The song alsofeatures John di Martino’s exquisite touch on pianoand John Burr’s fluid bass. The same group shines on“I Don’t Stand a Ghost of a Chance”, elegantly capturing the song’s quiet longing. Person exhibits apoignant tenderness and drummer Jerome Jenningsadds just the right backup with incredibly spaciousbrushwork. “Sentimental Journey” is a joyful toe-

tapper; “Here’s That Rainy Day” explores the richundertones of melancholy and “Blue Moon” is surprisingly upbeat, with Person’s tenor fat andhappy. And don’t miss “Mack the Knife”, a duet withRon Carter where the two musicians turn the songinside out and trade lines with fluent ease.

In a 2004 interview, Person defined jazz as,“Something that when the end of the day comes, aftera hard and frustrating day out in the world, thatrelieves you. Relaxes you and makes you feel good.”The Art and Soul of Houston Person is exactly that kindof music, a treasure chest of luscious, soothing sound.

For more information, visit jazzdepot.com. Person is atAllen Room Feb. 13th-14th with Bill Charlap. See Calendar.

British saxophonist John Butcher is a longtime practitioner of spontaneous performances, game forplaying with unfamiliar musicians in concert. For the2007 Vancouver Jazz Festival, he took the stage withlocal musicians that shared his sensibilities: the adventurous bassist Torsten Muller and the

increasingly ubiquitous drummer Dylan van derSchyff. Way Out Northwest documents the trio’s initial outing, a nearly 50-minute performance of siximprovisational exercises.

Butcher and van der Schyff had previously playedas a duo at the festival and other concerts and thedrummer and Muller have also worked together. Theirintertwined histories provide a sense of familiarity,bolstering their confidence as the music developschancier ideas. Tentative probes of sputtering sax andwarbling bowed bass open as the trio settles in, soonunfurling in sweeping dynamic arcs that build intensity then recede to nuance. The improvisers alltake turns prodding the music, the others uncannilyresponding in an instant.

Alternating between and using the full ranges oftenor and soprano, Butcher extends the trio’s sonicpotential. He also judiciously uses multiphonics, creating the illusion of two horns, as in the ghostlyintroduction of “Magic Clock Machine”. Muller wieldshis bow to tease the upper register and often blendswith the horn’s piercing notes. He avoids obviouslines, preferring to color abstractly and shape the proceedings with thick notes and percussive flourishes that sound like prepared piano. Likewise,van der Schyff eschews beats, using the full kit toshade with rumbling toms, scraping cymbal edges orclattering sticks across the rims. The kinetic burst of“Gone, Goner” finds the trio playing more tightly, aneffective epilogue hinting at another path.

What might have been a one-off became an auspicious beginning for the trio: building on theiraffinity for each other’s playing, they have performeda handful of dates since.

For more information, visit dripaudio.com

BOXED SET

If you’re reading this periodical, chances are youalready own a copy (or copies) of Kind of Blue, widely acknowledged to be the best-selling jazzrecord of all time. The funny thing and what makesit a phenomenon is how many people who don’t readAllAboutJazz-New York own a copy of the record. It’susually the first jazz title someone buys and it’sprobably the one record that has appeal to listenersregardless of their prevailing tastes.

Just what accounts for this album’s enduringpopularity is the central question raised by Sony’s50th Anniversary Collector’s Edition, a lavishly packaged LP-sized box set that includes a CD of theoriginal release (plus the session’s lone alternate version and some brief snippets of studio chatter); asecond CD of the only other recordings from theKind of Blue sextet (as well as a live “So What” fromthe following year, all excellent); a beautiful hardcover book of photographs and essays byFrancis Davis, Gerald Early and Ashley Kahn (Earlyand Kahn have both written books on the subject); awax paper envelope of black and white stills and

reproductions of a Columbia Records promobrochure and Bill Evans’ hand-written liner notes; aposter, a DVD documentary and, perhaps of mostinterest to completists and/or collectors, a 180-gramblue vinyl LP that brings myriad versions of thisrecording full circle.

Sony has come a long way from the neglectKind of Blue had suffered by the ‘80s. Its then-current“Columbia Jazz Masterpieces” version was releasedwith a different cover (Miles in a post ‘50s floralprint shirt) and even more outrageously, the musichad been transferred at the wrong speed. The reissue prepared for CD restored the original cover,corrected the pitch and added the alternate versionof “Flamenco Sketches”. Unfortunately, the shortbits of studio dialogue tacked on here don’t addmuch to the picture. If anything, what you hear isMiles as affable as he was ever likely to be at a session, audibly upbeat about the proceedings.

And why not. Miles, along with significant collaborative input from pianist Bill Evans, wasabout to rewrite the rules of jazz, moving away fromthe speedy intricacies of bebop toward modal-basedimprovisation, an approach that endures to this day.Everything seems to have come together at the rightmoment to have made this record a masterpiece(Evans, Coltrane and Cannonball Adderley were allonly a year or two away from leading bands that cuttheir own paths through jazz history). The openingpiano notes of “So What” establish a mood ofthoughtful reflection before bassist Paul Chambersenters with his cool wooden bass and engages in acall and response with the horns. It’s a beginning asfamiliar as anything in jazz. Followed by the relatively jaunty “Freddie Freeloader” (characteristic of Wynton Kelly, the pianist on thistrack), the record gets so quiet you lean in for “Blue

in Green”, so easy-going on “All Blues” you begin torelax and so arresting and still on “FlamencoSketches” you almost stop.

All of this is well known to listeners, but it’s ajoy to hear the likes of the late Ed Bradley, BillCosby, Ron Carter, Jimmy Cobb, Q-Tip and, at hismost eloquent, Herbie Hancock, talk about jazz inthe ‘50s, the effect Miles has had on jazz andAmerican culture and about the music of Kind of Blueitself. The DVD’s hour-long documentary combinesphotos and radio interviews with comments fromMiles admirers, as well as clips from a 1959 television special that featured Miles, Coltrane,Cobb, Chambers and Kelly augmented by a jazzorchestra conducted by Gil Evans. This programappears in its entirety on the DVD and the musicand conversation reward repeated viewing.

Ironically, if you want a digital copy of Kind ofBlue as it first appeared you have to recreate it yourself. If you never junked your record player,though and you spring for the Kind of Blue: 50thAnniversary Collector’s Edition, you can put the LP onthe turntable, page through the book and browse theessays and the photos or flip through the 8x10s andhandle Evans’ liner notes as if getting acquaintedwith a secret dossier, all while the music plays. Butthis is bad music for the background. It draws you inand holds you as only the highest art can. Therearen’t too many recordings that demand such attention and appreciation. This package does: atowering achievement for past, present and futurelisteners to pass along and cherish.

For more information, visit legacyrecordings.com. ATribute to Kind of Blue is at Rose Hall Feb. 12th-14th,featuring Jimmy Cobb, the last surviving member of thegroup. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 25

Kind of Blue (50th Anniversary Collector’s Edition)Miles Davis (Columbia-Legacy)

by Jeff Stockton

The Art and Soul Of Houston Person Houston Person (HighNote)

by Florence Wetzel

Way Out Northwest John Butcher/Torsten Muller/Dylan van der Schyff

(Drip Audio)by Sean Fitzell

Journeys. Greek religious artifacts. Oracles that sendyou into the mystic. Trombonist Steve Swell and hisRivers of Sound Ensemble direct their stream-of-consciousness improvisations toward the deepest seaof musical inspiration they can find.

Swell’s Slammin’ the Infinite pianoless quartethas been expanded before (Live at the Vision Festivalfrom 2006, when they were joined by pianist JohnBlum), but the band retained the essence of its swinging inside/out approach. On this date, trumpeter Roy Campbell joins the frontline and thename of the band has changed along with the bassist.As downtown veteran Hilliard Greene replaces MattHeyner, the melodies evaporate and the rhythms growmore attenuated. Greene is a monster pizzicato playerand his presence on any date is a mark of quality, buton News from the Mystic Auricle it’s his arco playingthat sets the mood and tone on the three long improvisations offered. Campbell’s lines sound as ifthey follow from the introspective, questing style bestpresented on 2008’s Akhenaten Suite, where the processof music-making is more to the point than merelyarriving at an end. Sabir Mateen is his usual fiery selfon tenor and alto and then turns reflective on flute andclarinet. Swell, as usual, prefers to play in his bands asan equal, enabling each horn to follow its own path.

With the horns coming together and cleavingapart in a continuous seamless flow and Greene’sstrings squealing under his bow, it’s Klaus Kugel’stireless drumming that tethers Campbell, Swell andMateen to the ground. Every journey requires a driving force and in the Rivers of Sound Ensemble,Kugel is the engine that keeps it going.

For more information, visit nottwo.com. Swell is at YippieCafé Feb. 9th and Webster Hall Studios Feb. 20th. SeeCalendar.

Made in the mid ‘60s, over a decade before ThadJones led the Danish Radio Big Band, this gem of analbum offers more evidence of the centrality ofDenmark to the modern, post-World War II jazz scene.It’s also a forceful reminder of the limitations of the“great names” approach to jazz history, where suchworthy talents as the late Sahib Shihab (1925-89) areignored or marginalized. Shihab, a pioneering bebopbaritone saxophonist and flutist, continued to developand innovate in the postbop years, as these compositions/arrangements with a slightly smallerversion of today’s Radio Big Band, ably attest.

Shihab’s approach to orchestral jazz is decidedlypost-Swing era modern (Charles Tolliver’s current big

band comes to mind), employing novel voicings, contrapuntal and fugal strategies and a highly developed architectonic structure that makes each ofthe eight instrumental pieces here utterly engrossing:complete and detailed jazz creations that seem muchlonger than their three-plus to six-plus minute running times. Take “Dance of the Fakowees”, whichmanages to develop three distinct melodic strains andshifting rhythms through four turns by soloists plus acoda featuring dueling wah-wah trumpet and trombone over handclaps - all in just four-and-a-quarter minutes. Or “Tenth Lament”, a three-part(slow-fast-slow) impressionistic concerto-like piecefeaturing Shihab’s muscular baritone over chimedorchestral voicings in the middle section - clocking inas the longest track at 6’20”.

“Mai Ding”, a piece with AfroLatin beats thatseem unique to Shihab (he’s heard introducing them tothe band on cowbell as a prelude to the track) alternating with two- and four-beat rhythms addsextra time layers in the chordal pacing of the lowhorns (bari sax and tuba), building tension throughinterlocking lines. “Da-Di” builds a simple phrase intoa full-bodied theme by slowly adding instruments andlayers of staccato counterpoint. “Harvey’s Tune”, awaltz featuring Shihab’s hummed-blown flute solo,employs a counter-melody hinting at a round, while“The Cross-Eyed Cat” develops a busy little themeinto a fugue.

Shihab’s compositions and solos are the starshere, but the band is terrific too, with fine solo contributions from the likes of bassist Niels HenningØrsted-Pedersen, trumpeter Palle Mikkelborg, tenorsaxophonist Bent Jaedig and numerous others.

For more information, visit naxosjazz.com

26 February 2009 | ALLABOUTJAZZ-NEW YORK

The Zinc Bar presents

JD Walter CD Release Party

Wed. February 18thfor his New Double CD

“Live in Portugal”w/Donald Edwards-drumsMark Kelley-electric bass

Jim Ridl-keyboard

82 West 3rd Street (btw Thompson & Sullivan)

Set times-9:30, 11pm, 12:30am

“Walter is reshaping what jazz singing is all about.…he is an original in an art overpopulated

with copycats.” – Don Heckman, LA Times

JDWalter.com

And the Danish Radio Jazz Group Sahib Shihab (OKTAV Music)

by George Kanzler

News from the Mystic Auricle Steve Swell Rivers of Sound Ensemble (Not Two)

by Jeff Stockton

Phil Markowitz has been on the jazz scene for severaldecades, though the veteran pianist is more widelyknown to many jazz fans as a sideman than as a leader,having worked with Chet Baker, Bob Mintzer, DaveLiebman, Jack Wilkins, Al Di Meola and many others.But Markowitz has written a number of impressivecompositions over the years, one of the best being“Sno’ Peas”, recorded by the late Bill Evans on hisalbum Affinity with Toots Thielemans in the late ‘70s.

Catalysis is just his fourth CD as a leader, but likehis earlier efforts, it is a potent session full of tense,challenging postbop works. Joined by bassist JayAnderson and drummer Adam Nussbaum, many ofMarkowitz’ eight selections have an ominous edge tothem, beginning with the opener, “M.D.A.”, which isbuilt upon an eerie unison line between the piano andbass accompanied by sparse percussion. The title of“For the Sake Of …” suggests that one is about to heara ballad, but it is a turbulent uptempo affair with theenergy of his earlier composition “Taxi Ride”. Theswaggering “Whys and Wherefores” is a bit cynical,giving the impression of politicians talking at lengthwithout providing solutions to real problems.

Nussbaum’s role becomes more prominent in the hurried atmosphere of the title track as he switches tobrushes. “Fine” closes the release in a more conventional setting, while retaining an element ofpotential danger woven into its theme.

For more information, visit sunnysiderecords.com.Markowitz is at Manhattan School Feb. 3rd. See Calendar.

Having both studied under Anthony Braxton atWesleyan University and now playing in his ensembles, Taylor Ho Bynum and Mary Halvorsonhave established themselves in town working togetherin various other groupings. Halvorson plays inBynum’s sextet and they play together in theThirteenth Assembly quartet. They are also two-thirdsof Braxton’s Diamond Curtain Wall trio, as heard onlast year’s excellent release on Victo.

That trio was augmented with Katherine Youngfor a concert in Moscow in June of 2008 - just over amonth after the Victo recording. And where the Victoset introduced a new field of work for Braxton, incorporating Supercollider electronics, here theyreturn to more familiar ground, with Halvorson’stasteful use of effects being the only electronics heardhere. The group plays the leader’s “Composition367B” and gives it a fantastic reading. Given the instrumentation - Braxton on contrabass clarinet andsopranino, soprano and alto saxophones; Bynum oncornet, flugelhorn, valve trombone and bass and piccolo trumpets; Halvorson on electric guitar; Youngon bassoon - and given the intricacies of Braxton’swork, it’s fantastic how organic the playing sounds.While the sophisticated interplay indicative of hiswork is, of course, present here, the group is grounded in a familiarity that makes this one of themost accessible Braxton releases in recent memory.

Bynum and Halvorson also collaborated in aninteresting configuration for the 2006 Festival of NewTrumpet Music (FONT). The set paired Bynum’s trio(with Halvorson and drummer Tomas Fujiwara, alsoof Bynum’s sextet and the Thirteenth Assembly)against fellow trumpeter Stephen Haynes’ trio (guitarist Allan Jaffe and drummer Warren Smith).The “double band”, a collision of two groups with like instrumentation, is always an interesting challengeand theirs is a thoughtful take on the concept. Alongwith original compositions by each of the co-leaders,they play arrangements of Ornette Coleman’s “YX 6C”and Dizzy Gillespie’s “Kush” that show this was morethan a tossed-together meeting. While double bandscan end up stepping all over each other, the playershere are cognizant of not taking up more than theirshare of the soundspace. It’s a shame then that thegroup didn’t make it into the studio. The recordingquality is not great and the case - laudably using recycled chipboard but roughly assembled - is lessthan the music deserves.

For more information, visit leorecords.com and engine-studios.com. Taylor Bynum is at HVG Lounge Feb.22nd with Adam Lane and Tea Lounge Feb. 26th. MaryHalvorson is at Roulette Feb. 13th and Issue Project RoomFeb. 18th. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 27

Catalysis Phil Markowitz Trio (Sunnyside)

by Ken Dryden

Quartet (Moscow) 2008Anthony Braxton

(Leo)

The Double TrioStephen Haynes/Taylor

Ho Bynum (Engine)by Kurt Gottschalk

Trumpeter Eddie Henderson has been moving in andout of jazz since the ‘60s, combining parallel careers asa musician and psychiatrist. In that time he’s appliedhis strongly lyrical playing to both acoustic postbopand fusion settings, but his greatest celebrity has definitely come from his credits on the electric side. Inthe early ‘70s he was a charter member of the HerbieHancock sextet that recorded Mwandishi and thatfusion of horns and funk rhythms would shape someof Henderson’s most successful recordings.

Heritage is close to the Hancock fold. Recorded in1976, it includes trombonist Julian Priester,Henderson’s bandmate from the sextet, while therhythm section of bassist Paul Jackson and drummerMike Clark was drawn from Hancock’s contemporaneous Head Hunters. There’s a definiteMiles influence at work in Henderson’s trumpet, ataste for few notes placed for maximum dramaticimpact, but what ultimately shapes this music isHenderson’s vision of jazz-funk as a community enterprise, a dynamic and democratic mix of the wholeband and its available technologies. Jackson’s popping, bending electric bass, for instance, is frequently prominent, as far up in the mix as the soloing horn, while there’s usually an intensepolyrhythmic dialogue going on between Jackson,Clark, conga drummer Mtume and Patrice Rushen,who provides bubbling electric keyboards in advanceof her own success in R&B.

Each of the horns is willing to improvise withinthat rhythmic dialogue and reed player HadleyCaliman is as apt to be assigned a structuring ostinatoas Jackson or Rushen and there are moments whenHenderson will play a drum part on his trumpet. Theoriginal LP has provided samples for several hiphoprecords (including Jay-Z’ “Coming of Age”), but it definitely deserves to be heard on its own terms as oneof jazz-funk’s most creative moments.

For more information, visit bluenote.com. Henderson is atDizzy’s Club Feb. 3rd-8th as part of Benny Golson’s 80thBirthday Celebration. See Calendar.

Alto saxophonist and flutist David Sanborn has beenassociated with everything from electronica, fusionand disco-tinged recordings to Svengali, a now-classicset he recorded with Gil Evans. Although he’s acknowledged having been influenced by HankCrawford, Charlie Parker and Jackie McLean, he’s noteasily categorizable. Other musical partners have beenas diverse as Billy Butterfield early on in his career andon to Stevie Wonder and the Brecker Brothers. For this

set it’s a typically diverse gathering of musicians.Because his music goes down so easily and is yes!

romantic, some mistakenly dismiss it as being merelysome of that bland pablum, smooth jazz. His relentlessly driving sound on “Stoney Lonesome” islike one long hot breath. If the sound is smooth, it’s thesmoothness of unpitted heat.

On the opener, he slides into “St. Louis Blues”,playing with his distinctive warmth and a minimum offrills. You’ll listen in vain for wasted notes. He’s solidly backed up on this one with a shimmering wallof brass (Keyon Harrold, Lew Soloff and WallaceRoney) as well as Gil Goldstein’s funky Rhodes. Lateron “Brother Ray”, Goldstein switches over to aHammond B3, delivering a heavy, rhythmical accompaniment to Sanborn’s gospel testimony.

On “I’m Gonna Move to the Outskirts of Town”,Eric Clapton jumps in for some very Ray Charles-influenced vocalizing as Sanborn flavors and accentuates each line with steeped-in-the-blues blowing. With Sam Moore’s sweet potato pie vocal onthe closing, “I’ve Got News For You”, plus more ofthat Hammond B3 and Sanborn cooking full tilt, itdoes not seem they may have left any cobwebs hanging around in the recording studio.

For more information, visit deccaclassics.com. Sanborn is atBlue Note Feb. 17th-22nd. See Calendar.

This sextet, put together by drummer Tim Kuhl forhis debut, has a big sound while also incorporatingunique voices. Most specifically, trombonist RickParker and guitarist Nir Felder combine to differentiate this release from the rest of the pack bybroadening the sonic palette in a way that adds surprising twists to strong compositions. SaxophonistJC Kuhl and pianist Mark Aanderud blend into thismix exceedingly well, the former evincing a crisp cleantouch and the latter, on both tenor and soprano, contrasting Parker’s more venturesome playing.

Kuhl has himself up in the mix and is an ever-present force. His primary focus, however, withbassist Jeff Reed, is in keeping things from straying toofar afield from his compositional intent. He does thisadmirably well and tunes like the title cut, with its eloquent horn lines and pleasantly puzzling guitaropener, still maintain their melodic purpose. The all-too-short “Dr. Doom” kisses up against the crime jazzgenre with its pumping rhythm and fantastic call-and-response tradeoffs as do the twists and turns of thefull-speed-ahead “Eye of the Beholder”.

While “Nemesis” is a delicately produced pensiveportrait that features expert storytelling by piano andtenor, the band for the most part cooks. They do this ina little big band way as evidenced by improvisationalvehicles such as opener “Versus” and the uptempo“Boogie Monsters of Swing” but also in the more narrative tunes. “(N)” is a tantalizing brief guitar codathat opens up more possibilities than it closes out.

Kuhl and his like-minded musicians have coineda sound that is both melodically accessible and improvisationally impressive.

For more information, visit wjazzfestival.com. Kuhl is atGoodbye Blue Monday Feb. 24th. See Calendar.

Players as acclaimed as Uri Caine speak highly oftheir fellow Philadelphian, pianist Sumi Tonooka, whodeserves a far wider hearing but works at her ownpace. Long Ago Today, her first leader date in 10 yearsand her fifth since 1990, is accurately titled in the sensethat it was recorded back in 2004. Sadly, drummer BobBraye died in the interim. But thanks in no small partto him, the music from this trio session pulses withlife. Bassist Rufus Reid, Tonooka’s longtime musicalassociate and by far the best known of the three, completes the lineup.

Tonooka made a gripping appearance on Reid’sLive at the Kennedy Center, a 2007 CD/DVD packagefrom Motéma. Her firm attack and lush, off-centeredharmonic palette had much to do with the Reid quintet’s appeal and the same qualities permeate hertrio music. On “Be the Dance”, the leadoff track, sheand Reid play a bass melody in coordinated, springingforward motion - the very model of ensemble counterpoint and rhythmic confidence, a nugget ofjazz modernist perfection.

Having commanded our attention, Tonooka carries on with eight more original tunes. But first shereads Cole Porter’s “All of You”, departing fromMiles’ definitive version. Rubato musings over brushes give way to subtle reharmonization and arching, chromatic bass figures played in unison withReid. It’s this kind of consistent piano-bass chemistrythat underlies the album’s success.

In the fragmented theme of “The Clinging”, onecan hear traces of “Effendi” by McCoy Tyner,Tonooka’s Philadelphian forebear. “Renewal”, a 24-bar extended blues, harks back to the swinging fanfare of the opener. “Dreaming of Tibet” and“Moroccan Daze” evoke worlds beyond jazz. Duringthe latter, Tonooka moves from tense 7/8 to flowing3/4; her surprise solo piano interlude abounds in dissonance, rhythmic and melodic. The title track andthe closing “Nami’s Song” inject a calmer, more introspective feel, just as integral to the set.

For more information, visit sumitonooka.com. Tonooka is atBargemusic Feb. 19th. See Calendar.

28 February 2009 | ALLABOUTJAZZ-NEW YORK

Ghost Tim Kuhl (WJF)by Elliott Simon

Here & Gone David Sanborn (Decca Label Group)

by Andy Vélez

Long Ago Today Sumi Tonooka Trio (Arc)

by David R. Adler

Heritage Eddie Henderson (Blue Note)

by Stuart Broomer

Anyone who might be revisiting classic movies via aNetflix subscription has probably noticed they don’tmake films like they used to. A similar observation canbe applied to jazz records from the ‘60s. Some of themost striking examples can be found on the being-reissued-as-we-speak ESP-Disk catalogue. Labelsoften function as time capsules and few took that rolemore seriously than Bernard Stollman, who captured agrittily inventive period in New Thing history withstarkly recorded and designed LPs.

That period claimed a lot of lives, both literallyand figuratively. A look through the label’s back catalogue is to see a number of fine musicians gonebefore their time: Albert Ayler, Byron Allen, MarzetteWatts, Jacques Coursil, Henry Grimes (the last twohaving resurfaced in the last several years) andGiuseppi Logan. The latter, who played alto and tenorsaxes, Pakistani oboe, bass clarinet, flute and piano,had a brief recording career: this eponymous debutalbum from October 1964, a live followup from May1965 and two Spring 1966 sideman dates, one withPatty Waters and the other a major label release with

Roswell Rudd. If for no other reason, Logan is significant for essentially starting the recordingcareers of pianist Don Pullen, bassist Eddie Gomezand drummer Milford Graves, the band found on thissession. Apart from that, Logan, who himself suddenly reappeared at last year’s Vision Festival (apattern to be sure), probably had a hand in influencingthe modern freeish reedmen who seem to play everyinstrument out there. The five tracks on this disc,remastered as best they could be, are all Logan originals, including “Dance of Satan”, recast as“Satan’s Dance” on Rudd’s 1966 Impulse discEverywhere. “Tabla Suite” features Graves on the titular instrument in an Eastern foray and the rest istypical avant garde jazz of the time, meaning completely all over the place and reflective of the citywhen it was really dynamic and diverse. Word is thatLogan intends to record again and it will be interestingto see if the results are anything like plans to clonedinosaur DNA.

The stimulus of New York City in the early ‘60smade it to Europe via two dissimilar conduits: the1964 tours of Albert Ayler and Charles Mingus (and byextension Eric Dolphy’s addendum performances afterleaving the latter’s group). That influence sowed theseeds of the region’s soon-to-be mighty free and avantgarde jazz scenes. German multi-instrumentalistGunter Hampel may have released the first original-sounding European jazz album in 1965 (Heartplants,SABA) but his US debut Music From Europe (and conversely ESP-Disk’s second album by a Europeanafter countryman Karl Berger) actually fits quite wellwith the rest of the music being released by the label atthe time. Dutchman Willem Breuker (soprano, alto,tenor, baritone, clarinet and bass clarinet) is featuredprominently alongside Hampel’s vibes, bass clarinetand flute; interestingly, two weeks prior they wereboth playing on the landmark album Globe Unity byAlex von Schlippenbach, who was in Hampel’sHeartplants band. Hampel wrote all three tunes: the“Assemblage” suite, “Heroicredolphysiognomystery”,dedicated to Dolphy, and “Make love not war toeverybody”. Piet Veening and Pierre Courbois (the latter appearing on the label later as part of the DutchFree Music Quintet with trumpeter Boy Raaymakers,still a member of Breuker’s Kollektief) are a solidrhythm section but it is the battle between Hampel andBreuker, two natural leaders, that gives this session itswonderful prickliness. Fans of bristling European freejazz will be reminded that Breuker was easily theequal of any other squawking continental saxophonist,even if he hasn’t played this way in years.

For more information, visit espdisk.com. Hampel and Loganare at Bowery Poetry Club Feb. 17th. See Calendar.

Donald Harrison’s The Chosen is dedicated to the people who do their “best, no matter what circumstances come” their way. If you know anythingabout Harrison, you know that he’s from New Orleansand suffered significantly after Hurricane Katrina sohe knows what he is talking about. This collection of originals and standards displays Harrison as a saxophonist who prefers the honest, direct route tomusical expression. Though there are some intricate

approaches to the material, all the pieces display theagile and muscular (as well as sensitive) alto playingof the leader. Even though the references to NewOrleans are throughout the CD, Harrison chooses tobegin the CD with “Mr. PC”, John Coltrane’s minorkey blues dedicated to bassist Paul Chambers. At onepoint the piece becomes a sax-and-drum duet (JosephDyson, Jr.), a very Trane-ish thing to do, yet the duopresents some very strong, unique musical ideas demonstrating they don’t have to copy Coltrane andElvin Jones to be in the tradition.

Another example of pushing the tradition forward is “If I Were a Bell” (Frank Loesser’s songfrom the show Guys and Dolls, made famous by Mileson Relaxin’ with Miles and since then a jazz standard).The leader literally extends the tradition of this tuneby playfully elongating the final measures of it (akatagged). The extra measures get used in the improvisations, giving the soloists - Harrison andpianist Victor Gould - that much more harmonic fuelfor melodic surprise. Harrison is so inspired, he quotesEllington’s “Rockin’ in Rhythm”. “To Nola with Love”is a very slow, musical love letter.

Harrison is right in that lineage of saxophonists as testifiers: Stanley Turrentine, Gene Ammons,Cannonball Adderley, Lou Donaldson and CharlieParker. Speaking of Bird, Harrison covers one of thelegend’s greatest performances (from Bird withStrings), “They Can’t Take That Away from Me”.Other highlights on this solid CD include Ellington’s“Caravan”, the title track and “Drum Line”, whichexhibits some deep groovin’ between Harrison andThe Old School Drum Line from New Orleans.

For more information, visit nagelheyer.com. Harrison is atBB King’s Feb. 21st. See Calendar.

30 February 2009 | ALLABOUTJAZZ-NEW YORK

The Chosen Donald Harrison (Nagel Heyer)

by Francis Lo Kee

Quartet Giuseppi Logan

(ESP-Disk)

Music From EuropeGunter Hampel

(ESP-Disk)by Andrey Henkin

ALLABOUTJAZZ-NEW YORK | February 2009 31

Though in the jazz world Detroit and southernMichigan often get the most credit for producing hardbop talents like Kenny Burrell, Tommy Flanaganand the brothers Jones, there has long been a slow-burning fire of free improvisation and creativemusic tapping into the Motor City’s pulse. ReedmenFaruq Z. Bey and Skeeter Shelton, both onetime co-leaders of the Griot Galaxy, are longtime membersof the region’s new music community. A somewhatyounger set (but not by much) are the NorthwoodsImprovisers, who have been collaborating with thesaxophonists since earlier in the decade. TheNorthwoods Improvisers have been active since 1976,though their initial steps were a brand of unclassifiable homegrown electro-acoustic improvisation. Since that time, their approach hasbecome keyed into a well-groomed hybrid of modaljazz, freedom and non-Western musics that fit perfectly with the approach - somewhat tangential tothe AACM - that collaborators Bey and Shelton havelong instilled in their playing.

Journey into the Valley (a set that also includes aDVD of the ‘live’ recording session) is one of tworecent Bey-Shelton-Northwoods Improvisers discs andtheir sixth collaboration. Reedman Mike Carey introduces “Family Folk Song” on concert flute in aspare cascade of metal, wood and air before vibes, bassand drums produce the meaty slink of “Moors”. Thethree tenors - Bey, Shelton and Carey - weave togetherinto an earthy bounce in thematic homage to ArchieShepp’s “Wherever June Bugs Go”. Bassist MikeJohnston and drummer Nick Ashton sally forth adownbeat as Mike Gilmore’s vibes provide sleek counterpoint, an interpenetration of deft, nearlyurbane minimalism and musty energy from somewhere more rural. A Griot Galaxy staple,“Zychron”, replaces the R&B honk of “Moors” with delicately-spread long tones that mirror electronics,before Bey’s alto is off at a curling run, buoyed by anincredibly uptempo rhythm section romp of dust andglass. There’s a delicate play here between adroit,detailed technique and a coarseness befitting an earlier age, gritty tenor playing soft as a handkerchief

and likewise creased, gentle swing. “Blue Monk” takesthis to a coy extreme as the saxists inhabit a disheveledSun Ra-like space apposite precision timing.

Mostly, though, the band is incredibly tight andfleshes out arrangements like the stately Tunisianwhirl of “In the Valley” with uncommon poise. Thisschooled reverence is likely wholly in response to thehistory and weight sprung forth from players like Beyand Shelton, who are far from household names incontemporary improvisation, but whose groundworkthe Northwoods Improvisers will doubtless expandupon for years to come.

For more information, visit entropystereo.com

The title of drummer Jeff “Tain” Watts new CD,Watts, isn’t as superficial as it seems. While referringnaturally to the leader, it also recalls the site of theapocalyptic riots in 1965, a neighborhood that produced jazz legend Charles Mingus. This is important because the tunes on the disc, written byWatts, are reverential, referential and have a satiricaledge that echoes some of Mingus’ finest moments.

This disc reteams Watts with his long time partners in crime: sax titan Branford Marsalis, bassistChristian McBride and trumpeter Terence Blanchard.Watts pays immediate homage to his Pittsburgh rootswith “Return of the Jitney Man”, setting a fierce pacefor Marsalis’ lightning quick tenor and Blanchard’svibrato rich trumpet. The blues “Brekky with Drekky”,a tribute to the late Michael Brecker, has more solidtenor by Marsalis. Watts himself pays homage to MaxRoach and Elvin Jones with the passionate drum solo“M’Buzai”. The satirical tunes here are sharp withoutthe messages overshadowing the music. The funky“Katrina James”, for example, is James Brown meetsDixieland - protest music to which you can dance.McBride’s gutbucket arco on the gospel-tinged UncleTom indictment “Dancin’ 4 Chicken” is brilliant. “TheDevil’s Ring Tone - The Movie” is an sneering indictment of our former President with a NewOrleans funeral segment that is at once a joyful goodbye and another reference to the Katrina debacle.

This quartet played a set in front of a packedhouse at Le Poisson Rouge as the highlight of the 2009NYC Winter Jazzfest last month. All of the memberswere present, with Marsalis billed as his alter ego,Prometheus Jenkins. Over two hours the band performed the entire album. With a Pittsburgh Steelersdoll at hand for inspiration, Watts claimed that theband hadn’t played together since recording thealbum but the chemistry was dynamite from the top.Marsalis blew tirelessly throughout the set andBlanchard, who flew in from New Orleans for the gig,actually stood on his tip-toes to coax high notes fromhis trumpet a few times. With the crowd energy behind them, the band’s blistering live version of“Dancin’ 4 Chicken” actually surpassed the studiotake. The ballad “Owed…” is the only tune with apiano, with lyrical keyboard work by guest starLawrence Fields, who played the song as gently as alullaby, Marsalis accompanying on his typically lovelysoprano. Watts playfully described “Dingle-Dangle”as “the lazy man’s “Trinkle Tinkle” and his cleverarrangement smoothed the brilliant corners of Monk’s

classic without diluting its character. This pride ofonce-young lions are all standard bearers now,ascending gradually toward elder statesmanship. Forone very special night, it was exciting to hear them intheir prime.

For more information, visit darkkeymusic.com. Watts is atPuppet’s Feb. 3rd, Jazz Standard Feb. 2nd and 23rd withMingus Dynasty and Feb. 4th-5th with Joey Calderazzo.See Calendar.

Don Braden has come a long way since his days atHarvard, where he studied engineering along withplaying in the university’s jazz band. Over twodecades into his career in jazz at the time of theserecording sessions, the tenor saxophonist is very muchat the top of his game. Joined by pianist GeorgeColligan, bassist Joris Teepe and drummer CecilBrooks III, all who have worked together on a numberof occasions, Braden assembles a terrific program.

He recasts the standard “Secret Love” as a turbulent postbop vehicle, with Colligan showingshades of McCoy Tyner. Braden’s laconic, blues-drenched setting of another standard, “WillowWeep For Me”, features some of his most heartfeltplaying of the date. Braden offers a punchy take of LeeMorgan’s hardbop masterpiece “Speedball”. Notmany artists could take a hit for the pop group TheJackson Five and turn it into meaningful jazz, butBraden’s bluesy treatment of “Never Can SayGoodbye” in a midtempo groove works perfectly.Leon Russell’s “This Masquerade” has been tackled byjazz players with mixed success; the tenorist’s punchy,soulful arrangement makes it one of the better interpretations. Braden switches to alto flute for awarm rendition of “My Foolish Heart”, accompaniedsolely by Teepe. The leader’s originals are just as valuable. “Gentle Storm” is a low key, lyrical bossanova, while “The Hunter” is an intricate duet withTeepe. Highly recommended.

For more information, visit jazzdepot.com. Braden is at TheCellar Feb. 15th. See Calendar.

Gentle Storm Don Braden (HighNote)

by Ken Dryden

Watts Jeff “Tain” Watts (Dark Key Music)

by Terrell Holmes

Journey into the Valley Faruq Z. Bey (Entropy)

by Clifford Allen

Ken Peplowski and Jesper Thilo have much more incommon than the solid expertise of each on both tenorsaxophone and clarinet as demonstrated here. The twoeffortlessly and authentically bring the Swing Era tovibrant life anew. With “Peps”, who began his professional career with the Tommy Dorsey Orchestra,one has only to hear the first few notes from his clarinet on “I Want to Be Happy” to appreciate howgreat an influence Benny Goodman had on him.Thilo’s thrilling trilling as he races up and down thescales on “The World is Waiting for the Sunrise” ismore straightahead and euphoric Swing Era jazz. Thisnumber is also an opportunity for some friendly dueling of clarinets that understandably evokes excited roars from the audience on this live set.

Don’t misunderstand. This is no mere nostalgic orimitative nod to a bygone era. On the ‘40s classic,“Polka Dots and Moonbeams”, Peplowski weaves analluring spell that is as intricate as it is delicatelydreamy. On this tune and throughout the set, ThiloWagner’s piano offers accompaniment that is subtleand quiet so that at times it almost seems on the vergeof disappearing. Yet somehow it doesn’t and the effectis to lend a constant underpinning of melodic strength.

Everyone gets time to swing easy on the wrapupnumber, an extended take on Edison-Hendricks’“Centerpiece”. Both Peplowski and Thilo give outwith unhurried tenor sax sweetness on this one, Thilo especially with a warmth that for this listener recalledshades of the great Ben Webster.

Hey fellas, bring on Volume Two!

For more information, visit nagelheyer.com. Peplowski is atThe Kitano Feb. 27th-28th. See Calendar.

Flag Day, the latest from saxophonist Adam Kolker,exquisitely raises the standard of creative improvisation with its refreshingly cerebral musicalexplorations. Kolker is of the school that favors unhurried journeys through tunes. This allows themusicians to discover interesting musical nooks andcrannies, expand on them and in the process createnew music. Kolker wields an elegant instrument,whether it is his tenor, soprano, flute or clarinet, onthese eight tunes. And he and the rest of this quartetforcefully remind that through keen reflection, introspection and inspection jazz can be stylisticallypowerful without postbop frenetics in a kind of re-birth of the cool.

Both drummer Paul Motian and guitarist JohnAbercrombie are the masters of this craft that plays“yin” to the “yang” of the typical blowing session.

They appear here with former Andrew Hill bassistJohn Hebert and Kolker could not have picked better partners. It is surprising that someone has not thoughtto pair Abercrombie and Motian together more frequently because they click like a dream. Perhaps itis Abercrombie’s association with drummer JackDeJohnette or Motian’s own associations with BillEvans’ but the pianist’s legacy is evident.

Originals include “gNash”, which is a freeformish opener; the title cut soprano sax showcasecloser; the chamber-infused “Lies” that has Kolkerexposing the beauty of clarinet and flute; the bluesy“In Or Out” and the lightly swinging “Only One”.These contrast with deconstructions of Neil Young’s“Don’t Let It Bring You Down”, Monk’s “PlayedTwice” and Harold Arlen’s “Last Night When WeWere Young”. All of these tunes, including the originals, seem to have begun somewhere else, withroots in disparate places. Kolker’s tone as he spins delicate webs, Abercrombie’s inventive strumming,Motian’s insight and intuition along with Hebert’sphrasing bring them together into a cohesive soundthat is as open as it is musical.

For more information, visit sunnysiderecords.com

Jack Walrath not only displays tremendous trumpet playing, a rich and varied approach to composition and wonderful band, he also puts something into this fantastic CD that’s missing fromtoo much new jazz: a sense of fun and humor. That’snot to say that it isn’t sensitive and touching at times -“An Hour Blessed” is arguably as gorgeous as anything ever recorded.

However, what is a listener to make of a versionof Elvis Presley’s “Heartbreak Hotel”? Just the inclusion of a tune from the king of early rock ‘n’ rollcan make one chuckle, but since the tune is a blues,Walrath channels Louis Armstrong, Bubber Miley, HotLips Page and Freddie Hubbard as he lays down someserious playing, complete with plunger mute effects.At the end of his solo, the band moves into a twisted stop-time section (something akin to whatWalrath’s former boss Mingus would do in some of hispieces, harkening back to an older technique of jazz), adrum solo (Johnathan Blake) provides a bridge toanother twisted stop-time section that is a backgroundfor Boris Kozlov’s wonderful arco bass solo. PianistBill Mays, who is magnificent throughout, plays a leadthat also has one foot in the older jazz vocabulary, butmostly brings a modern harmonic sound and virtuosity that, again, playfully cuts an ironic pathacross The King’s hit.

On the original “He Was Such A Nice Quiet Boy!”Walrath and band even move into free jazz territory,reminding us again that the older jazzmen always saidthat this music is about telling a story. What thencould be the story behind the leader’s original “Deathis Just Around the Corner Cha Cha Cha”? The happy-sounding tune features great improvised solos from allmembers of the quartet and is certainly not a funeraldirge. “Impure Inspiration” is a Walrath blues in Fwhere, in the middle of an intense, astounding solo, he calmly quotes John Lewis’ “Afternoon in Paris”,Mays does some unaccompanied stride and Blake’s

solo should make him a drum god. When the bandplays Johnny Nash’s reggae-pop hit “I Can See ClearlyNow” the band plays dark, tense minor chords wherethe lyrics would be “sun shiny day”. Well, if you canlaugh at death you can cry on a sunny day. Musicalfood for thought with amazing jazz playing, thisrecording can’t be praised highly enough.

For more information, visit steeplechase.dk. Walrath is atNYC Baha’i Center Feb. 10th with Mike Longo andDouglass Street Music Collective Feb. 25th with CynthiaHilts. See Calendar.

32 February 2009 | ALLABOUTJAZZ-NEW YORK

Happy Together: Live at Birdland, Vol. 1 Ken Peplowski/Jesper Thilo (Nagel Heyer)

by Andy Vélez

Ballroom Jack Walrath (SteepleChase)

by Francis Lo Kee

Flag Day Adam Kolker (Sunnyside)

by Elliott Simon

Announcing the debut album of percussionist Daniel Sadownick,

"There Will Be A Day" on In Time Records.

It features original compositions and arrangements by this in-demand percussionist who has recorded with Michael Brecker, Nicholas Payton, Pat Martino, Christian McBride,

Dennis Chambers and Al Green.

The Album also features:Scott Colley - Bass Rob Bargad - Piano

Joe Magnarelli - Trumpet Michael Karn - Tenor SaxophoneDavid Binney - Alto Saxophone Daniel Freedman - Drums

Keve Wilson - Oboe Kenny Wollesen - Percussion

Available at:iTunes.com CD Baby.com Amazon.com EarBuzz.com CD Universe.com

IndieRhythm.com

please visit danielsadownick.com

34 February 2009 | ALLABOUTJAZZ-NEW YORK

IN PRINT Live from Jazz at Lincoln Center, NYCWillie Nelson/Wynton Marsalis (Eagle Eye)by George Kanzler

Willie Nelson has the final word on this DVD, heard overthe closing credits and he nails it: “You know labels wereinvented to sell the music. You had to name it before youcan sell it. But some music encompasses it all and what doyou call that? That’s what I like to play”.

Nelson and Wynton Marsalis were the perfect odd couple of 2008, the CD made of their concert at Jazz atLincoln Center a surprisingly satisfying and deservedlyacclaimed album. The heart of this DVD is that same

concert music, illuminated with rehearsal clips and reflections on the concertand on each other by the two principles. As the best such films do, it enhancesthe music. And it is very special music, a real slice of Americana that, as thequote above suggests, transcends market genres and easy labels. Marsaliscalls it blues, Nelson calls it jazz, but comments along the way suggest everything from country and folk to gospel and traditional New Orleans.

Call it what you will, the music is all perfectly calibrated to swing, whetherfleetly racing on “That’s All” or settling into a slow heartbeat on “Georgia OnMy Mind”. Marsalis’ responsibility for setting those apropos tempos is revealed in rehearsal shots that show him laying down the beat andrhythmic feel by clapping and scatting for the band. The trumpeter also comments on how “unpredictable” Nelson’s guitar solos are and we see himand other band members silently laughing as they watch and listen on stageto the bent notes and odd chords wrung from his battered, gouged guitar. Oneof the delights of this concert is Nelson and his harmonica player MickeyRaphael easing right in to the jazz improvising and saxophonist WalterBlanding and pianist Dan Nimmer joyously going with the flow as if theywere at a hip hoedown.

For more information, visit kayosproductions.com. Nelson and Marsalis are at RoseHall Feb. 9th-10th. See Calendar.

The Jazz Singers: The Ultimate GuideScott Yanow (Backbeat Books)by Suzanne Lorge

Gosh, there are a heck of a lot of jazz singers out there.More than 700 at least, according to Scott Yanow, whotakes on the daunting task of cataloguing them all. Jazzsinging doesn’t lend itself to ready analysis, as do, say, thefootball strategies that lead to a Super Bowl win. Reasonbeing, before you can say who the greatest jazz singers areyou have to define jazz singing and there’s the rub.

Yanow gives a nod to the problem and proceeds to offera working definition at the get-go: To be a jazz singer, first

and foremost one must have an interesting voice and contribute in some wayto the professional jazz lexicon. Vocal innovation is the key factor in jazzsinging, but not scatting necessarily and he points to Billie Holiday, FrankSinatra and Tony Bennett as candidates for inclusion and goes on to note, bycontrast, that great improvising does not necessarily a great jazz singer make:Chet Baker could be one heck of a scatter but wasn’t much of a singer. Still,Baker made the cut. Norah Jones, the jewel in the crown of Blue Note Records,did not. Yanow explains and it’s all very convincing.

These kinds of conversations run throughout the book and give us the second reason to read it: namely, to see who made it in and why. Yanow iscareful in his explanations and generous to his subjects, even as some of hisselections still beg the question, Why this one and not that one? But this is notan official ranking and Yanow is clear when the opinion is his.

The book is divided into six sections: the greats, today’s up-and-comers,singing instrumentalists, vocal groups, jazz singers on film and other bookson jazz singers. The introduction is full of interesting background informationbut could have done without the paragraphs on unskilled singers: How muchtime on Super Bowl Sunday do we spend complaining about the quarterbackwho fumbled during our high school’s Homecoming game?

For more information, visit backbeatbooks.com

ON DVD

Sunday, February 1Robin McKelle Blue Note 8, 10:30 pm $25

• Joey DeFrancesco Band with Larry CoryellIridium 8:30, 10:30 pm $35

Lou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30

• Gonzalo Rubalcaba Quintet with Yosvany Terry, Michael Rodriguez, Matt Brewer, Obed Calvaire

Jazz Standard 7:30, 9:30 pm $30Francisco Mela Quartet with Greg Osby, Sam Yahel, Matt Penman

Village Vanguard 9, 11 pm $30Thurston Moore/Mats Gustafsson; John Olson with Okkyung Lee, C.Spencer Yeh; Sunburned Hand of the Gene Moore; Tovah d-day

The Glasslands 9 pm $7Eivind Opsvik’s Overseas with Tony Malaby, Jacob Sacks, Kenny Wollesen 55Bar 9:30 pm

• Pete Robbins and Silent Z with Jesse Neuman, Mike Gamble, Thomas Morgan, Tyshawn Sorey

Cornelia Street Café 8:30 pm $10• Pamela Z Issue Project Room 8 pm $10• Yiddish Princess; Avi-Fox-Rosen Band

Puppet’s 7:30, 9 pm $6• Katherine Young & Co. with Peter Evans, Mike McCurdy,

Caley Monahon-Ward; Josh Sinton solo; Nate Wooley Quartet with Ivar Grydeland, Chris Riggs, Ben Hall

Douglass St. Music Coll. 8 pm $10• Bud Burridge Brooklyn Lyceum 9, 10:30 pm $10• Peter Leitch/Charles Davis

Walker’s 8 pm• Erika Matsuo with Carlton Holmes, Essiet Essiet, Willard Dyson,

Paulo Levi Blue Owl 8 pm $5• Alan Ferber Nonet + Strings

Saint Peter’s 5 pm• Mark Adamy Trio Middle Collegiate Church 6 pm• Yaala Ballin Smoke 6, 7 pm

Joe Giardullo’s Gravity Music Tribes Gallery 3 pm

• Metropolitan Klezmer City Winery 11 am $10• NYU Jazz Brunch Blue Note 12, 2:30 pm $24.50• Sachal Vasandani Trio with Paul Meyers, Neal Miner

North Square Lounge 12:30, 2 pm• John Colianni Quintet; David Coss and Trio;

Ryan Anselmi Quartet The Garage 12, 7, 11:30 pm

Monday, February 2Clifton Anderson Quintet with Stephen Scott, Eric Wyatt, Russel Blake, Steve Williams

Dizzy’s Club 7:30, 9:30 pm $20• Will Sellenraad Quartet with Abraham Burton, Kiyoshi Kitagawa,

Eric McPherson Blue Note 8, 10:30 pm $10• Sean Noonan’s Brewed by Noon with Aram Bajakian, Tim Dahl

Joe’s Pub 9:30 pm $15Mingus Dynasty Jazz Standard 7:30, 9:30 pm $25

• Terence Blanchard conducts the Juilliard Jazz Orchestra with Will Reardon-Anderson, Jordan Pettay, Pete Reardon-Anderson, Jeremy Viner, Adison Evans, Melvin Fowler, Matthew Jodrell, Randall Haywood, Chris Burbank, James Burton, Melissa Jean, Robert Edwards, Javier Nero, Kris Bowers, Thomas Guarna, Phil Kuehn, Lee Pearson Peter Jay Sharp Theater 8 pmJohn Bunch Trio with Bucky Pizzarelli, Jay Leonhart; Ari Hoenig Group with Gilad Hekselman, Johannes Weidenmueller

Smalls 7:30, 9, 10:30 pm 12 am $20• David Amram and Co. with Kevin Twigg, John de Witt,

Adam Amram, John Ventimiglia Cornelia Street Café 8:30 pm $10

• Jason Lindner’s Now vs. NowRose Live Music 8 pm

• Gary Morgan’s Panamericana with Jon Owens, John Chudoba, Chris Rogers, John Bailey, Alan Ferber, Mike Fahie, Chris Olness, Chris Komer, Amie Margoles, Norbert Stachel, Bruce Williamson, Ben Kono, Dave Riekenberg, Terry Goss, Cliff Korman, Bass, Andy Eulau, Drums, Renato Thoms, Tony deVivo

Cachaça 7:30, 9 pm $15• On Davis Solo Yippie Café 7:30 pm $10• Colin Stetson, Adam Roberts, Ryan Sawyer, Shahzad Ismaily

Zebulon 9 pm• Mike Gamble, Matt Vorzimer, Rashaan Carter, Logan Richardson

Bar 4 7 pm $5• Sachal Vasandani Trio Bar Next Door 8 pm $10• Dominic Lash, Magda Mayas, Peter Evans, Okkyung Lee,

Tom Blancarte, Louise Dam Eckardt JensenParis London West Nile 9:30 pm

• New School Presents: Andy Milne/Gregoire MaretSweet Rhythm 8, 10 pm $10

• Secret Signs: Stefan Bauer, Nate Radley, Art Kell, Christian FingerVoxPop 7 pm

• Jocelyn Medina Lola Is Soul 7:30 pm• Number 1; Nate Smith and Category Four; Kirk Schoenherr;

Danny Fox Spike Hill 8 pm• Master Class: Sean Smith Manhattan School 3 pm• Howard Williams Jazz Orchestra; Ben Cliness Trio

The Garage 7, 10:30 pm

Tuesday, February 3Benny Golson New Jazztet 80th Birthday Celebration with Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30Marshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob,Yasushi Nakamura Dizzy’s Club 11 pm $10Matthew Shipp Trio with Joe Morris, Whit Dickey

Jazz Standard 7:30, 9:30 pm $20Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30

• Songs and Spirituals: John Patitucci, Jon Cowherd, Rogerio Boccato West Side YMCA 7:30 pm $15

• The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Marcus Baylor and guest Mike Stern

Blue Note 8, 10:30 pm $35• Phil Markowitz Manhattan School 7:30 pm• Laurie Krauz and The Daryl Kojak Octet with Sean Conly,

Gene Lewin, ‘Sweet’ Sue Terry, Jamie Fox, Emily Bindiger, Margaret Dorn, Kathryn Raio

Iridium 8, 10 pm $25• Warren Chiasson Red Norvo Tribute

NYC Baha’i Center 8, 9:30 pm $15• Steve Reid Ensemble with Joe Rigby, Boris Netsvetaev,

Mamadou Sars, Dominic LashJoe’s Pub 9:30 pm $15

Josh Roseman’s Execution Quintet with Ambrose Akinmusire, Myron Walden, Peter Apfelbaum, Rudy Royston

Bowery Poetry Club 10 pm $10

36 February 2009 | ALLABOUTJAZZ-NEW YORK

CALENDAR

• The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Marcus Baylor and guest Mike Stern

Blue Note 8, 10:30 pm $35• Jane Monheit Feinstein’s 8:30 pm $88• Dmitri Kolesnik Trio Cleopatra’s Needle 7 pm• Nick Moran Trio; Ron Petrides Trio

The Garage 6, 10:30 pm

Friday, February 6Charli Persip and Supersound

York College Perf. Arts Ctr. 8 pm $20Eddie Palmieri La Perfecta II with Herman Olivera, Brian Lynch, Jimmy Bosch, Jose Claussell, Nelson Gonzalez, Vicente “Little Johnny” Rivero, Orlando Vega, Luques Curtis, Karen Joseph, Joe Fiedler, Ray Viera Rose Hall 8 pm $30-120Masada Sextet: John Zorn, Dave Douglas, Greg Cohen, Joey Baron, Uri Caine, Cyro Baptista

Abrons Arts Center 8 pm $25Helen Sung/Ron Carter Rubin Museum 7 pm $20Inner Diaspora: Mark Feldman, Erik Friedlander, Jerome Harris, Samir Chatterjee, Ned Rothenberg

Union Temple 8:30 pmLucian Ban’s Assymetry Quartet with Jorge Sylvester, Brad Jones, Gene Jackson Cornelia Street Café 9, 10:30 pm $10

• Lukas Ligeti Whitney Museum 7 pmMickey Bass and The New York Powerhouse Ensemble with George Cables, Eric Allen Creole 8 pm $20

• Images of Monk: Ted Rosenthal Quintet with Joel Frahm, Mike Rodriguez, Martin Wind, Quincy Davis

Dicapo Opera Theatre 8 pm $25Cindy Blackman’s Explorations with Antoine Roney, Zaccai Curtis, Rashaan Carter Jazz Standard 7:30, 9:30, 11:30 pm $30

• Dwayne Clemons with Josh Benko, Sacha Perry, Jim Wormworth; Seamus Blake Quintet with Dave Kikoski, Lage Lund, Bill Stewart, Matt Clohesy; Tim McCall Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20

• Mike Melvoin Trio with Jay Leonhart, Bill GoodwinThe Kitano 8, 10 pm $25

Denman Maroney, Jay Rozen, Jeremiah Cymerman, James Ilgenfritz Issue Project Room 8 pm $10Darcy James Argue’s Secret Society

Jazz Gallery 9, 10:30 pm $15Paul Carlon Octet Drom 8 pm $12

• Mary Foster Conklin with John DiMartino, Marco Panascia, Tim Horner Metropolitan Room 7:30 pm $20

• Willie Martinez Lenox Lounge 8:30, 10 pm 12 am $20• Nanni Assis, Cidinho Teixeira, David Finck

Knickerbocker Bar and Grill 9:45 pm $5• Diana Wayburn Quartet; Pascal Niggenkemper Group

5C Café 8 pm $7• Shelley Hirsch, Aki Onda, Ursula Scherrer; Magick Report

Issue Project Room 8 pm $10• Braden Palmer Trio; Randy Johnston Trio

Puppet’s 6, 9 pm $6-12• Collar City Createology: George Muscatello, Dean Sharp,

Michael Bisio Douglass St. Music Coll. 8:30 pm $10 • Scopa Trio: Brian Drye, Vinnie Sperrazza, Geoff Kraly;

Vinnie Sperrazza/Matt Blostein Quartet with Jesse Stacken, Geoff Kraly I-Beam 9, 10 pm $10

• Chris Crocco’s Fluid Trio Bar Next Door 9, 11:15 pm $10• Tunde Adebimpe/Ryan Sawyer; Kría Brekkan

The Stone 8 pm $10• David Freeman/Daniel Carter Duo

VoxPop 8 pm• Chase Experiment: Jackie Coleman, Marc Osterer, Aaron Rockers,

Cameron Summers, Mike Taylor, Brad Whiteley, Chris Conly, Adam Minkoff, Ian Carroll, Scott Patterson

Tea Lounge 9, 10:30 pm $5• Eidolon: Tucker Dulin, Andrew Lafkas, Kenny Wang, Jim Altieri,

Ann Adachi, Bryan Eubanks, Katie Young, Dave Ruder, Dave Kaden, Leif Sundstrom

Lutheran Church of the Messiah 8 pm $5Barry Harris Trio Iridium 8:30, 10:30 pm $30

• Reuben Wilson with Melvin Sparks, Jerry Weldon, Vince EctorSmoke 8, 10 , 11:30 pm $30

• Lewis Nash Quintet Birdland 8:30, 11 pm $30• Robin Aleman Symphony Space 9 pm

Benny Golson New Jazztet 80th Birthday Celebration with Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30Marshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob,Yasushi Nakamura Dizzy’s Club 11 pm $10Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $35

• The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Marcus Baylor and guest Mike Stern

Blue Note 8, 10:30 pm $35• Jane Monheit Feinstein’s 8, 10:30 pm $88• Craig Hartley Quartet Cleopatra’s Needle 8 pm• Hide Tanaka Trio; Kevin Dorn’s Traditional Jazz Collective

The Garage 6, 10:30 pm

• Brein’s Café: Georg Breinschmid, Frantisek Janoska, Roman Janoska Austrian Cultural Forum 7:30 pm

• Jane Monheit Feinstein’s 8:30 pm $88• Jesse Elder Group with Logan Richardson, Jeremy Viner,

Chris Tordini, Tyshawn Sorey, Zack Foley; Grant Stewart Quartet; Ken Fowser Quintet with Behn Gelice

Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20Nataliya Z Duo; Jeff “Tain” Watts

Puppet’s 6:30, 9 pm $6• James Ilgenfritz, Mike Pride, Jonathan Moritz, Chris Welcome

Le Grand Dakar 8:30 pm $8• Zach Layton and Brian Chase

The Stone 10 pm $10• Greta’s Bakery With Sandro Albert

Zinc Bar 9:30, 11 pm 12:30 am• Ken Hatfield, Hans Glawischnig, Jamie Baum

Fetch 7:30 pm• Jack Wilkins/Carl Barry Bella Luna 8 pm• Valery Ponomarev Big Band; Ai Murakami Trio

The Garage 7, 10:30 pm

Wednesday, February 4• John Scofield Trio and the Scohorns with Matt Penman,

Bill Stewart, Philip Grenadier, Frank Vacin, Tom OlinZankel Hall 8:30 pm $34-44

• Lewis Nash Quintet Birdland 8:30, 11 pm $30Joey Calderazzo Trio with Boris Kozlov, Jeff “Tain” Watts

Jazz Standard 7:30, 9:30 pm $20• Gino Sitson Quartet with Klaus Mueller, Lonnie Plaxico,

Willard Dyson The Kitano 8, 10 pm• Clark Gayton’s Reggae Jazz Tribute To Bob Marley

Zinc Bar 9:30, 11 pm 12:30 am• Carol Fredette with Helio Alves, David Finck, Kevin Winard,

Barry Danielian, Bob Malach, Roger SquiteroIridium 8:30, 10:30 pm $25

• Freddie Bryant Smoke 8, 10 , 11:30 pm $5Spike Wilner Solo; Joan Stiles with Joel Frahm, Matt Wilson; Joe Magnarelli Quartet Smalls 7:30, 9, 10:30 pm 12 am $20

• From Bacteria to Boys: Mike Pride, Darius Jones, Peter Bitenc, Alex Marcelo Issue Project Room 8 pm $10

• Robin Aleman Symphony Space 9 pm• Elektra Kurtis and Ensemble Elektra with Curtis Stewart,

Lefteris Bournias, Brad Jones, Kahlil Kwame BellCornelia Street Café 8:30 pm $10

• Fay Victor Ensemble with Anders Nilsson, Ken Filiano, Michael TA Thompson 55Bar 7 pm

• Sean Wayland Group with Mark Guiliana, Matt Clohesy, Aki Ishiguro 55Bar 10 pm $10Fire in July Brooklyn Lyceum 8, 9:30 pm $10

• JP Schlegelmilch Quartet Barbès 8 pm $10• James Keepnews’ Stalker with Todd Nicholson, Mike Golub

Yippie Café 8 pm $10• Bomb X: Robin Verheyen, Masa Yamamoto, Red Wierenga,

Nicolas Letman-Burtinovic, Ziv RavitzVoxPop 8 pm

• Arturo O’Farrill Solo; Lena Bloch Puppet’s 7, 9 pm $6-10

Benny Golson New Jazztet 80th Birthday Celebration with Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30Marshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob,Yasushi Nakamura Dizzy’s Club 11 pm $10Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30

• The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Marcus Baylor and guest Mike Stern

Blue Note 8, 10:30 pm $35• Jane Monheit Feinstein’s 8:30 pm $88• David White Quintet; Ryan Oliver Quartet

The Garage 6, 10:30 pm• Art Lillard’s Heavenly Jazz Band

Saint Peter’s 1 pm $5

Thursday, February 5Barry Harris Trio Iridium 8:30, 10:30 pm $30

• Reuben Wilson with Melvin Sparks, Jerry Weldon, Vince EctorSmoke 8, 10 , 11:30 pm $30

• Amy Cervini Quartet with Michael Cabe, Mark Lau, Ernesto Cervini55Bar 7 pm

• Steve Cardenas Quartet with Chris Cheek, Ben Allison, Matt Wilson 55Bar 10 pm

• Gabriel Alegria Afro Peruvian Sextet with Laurandrea Leguía, Yuri Juárez, Ramón De Bruyn, Hugo Alcázar, Freddy “Huevito” LobatónTribeca Perf. Arts Ctr. 8 pm $25-35The Dream of the Ants: Terrence McManus, Ellery Eskelin, Gerry Hemingway; Matt Bauder/Jason Ajemian; Architeuthis Walks on Land: Matt Bauder, Katherine Young, Amy Cimini Issue Project Room 8 pm $10

• John Merrill Trio with Brian Floody, Tom Pietrycha; Joe Martin Group with Chris Potter; Alex Hoffman

Smalls 7:30, 9, 10:30 pm 12 am $20• Chris Forsyth with Nate Wooley

The Stone 8 pm $10• Sam Newsome Sister’s Uptown Bookstore 7:30 pm $15• Amanda Baisinger and Kristin Andreassen with Mike Moreno,

Pete Rende, Peter Slavov, Jordan PerlsonCornelia Street Café 8:30 pm $10

• Tony Barba Quartet with George Garzone, Tony FalcoTea Lounge 9, 10:30 pm $5

Ben van Gelder Quartet with Kyle Wilson, Ben StreetJazz Gallery 9, 10:30 pm $10-15

Kyle Farrell/Jenna Bravatski Duo; Pete Robbins Group with Mario Pavone, Tyshawn Sorey

Le Grand Dakar 8 pm $8• Miho Nobuzane with Jorge Continantino, Itaiguara Brandao,

Adriano Santos The Kitano 8, 10 pm• Patrick Wolff Trio Bar Next Door 8 pm $10• Tyler Blanton Quartet; Jorge Anders Quartet

Puppet’s 6, 9 pm $6• Blaise Siwula, Claire DeBrunner, Sten Hostfalt

Yippie Café 8 pm $5• Lewis Nash Quintet Birdland 8:30, 11 pm $30

Joey Calderazzo Trio with Boris Kozlov, Jeff “Tain” WattsJazz Standard 7:30, 9:30 pm $20

• Robin Aleman Symphony Space 9 pmBenny Golson New Jazztet 80th Birthday Celebration with Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30Marshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob,Yasushi Nakamura Dizzy’s Club 11 pm $10Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30

REGGIE NICHOLSON P E R C U S S I O N C O N C E P T“ T I M B R E S U I T E ”

f e a t u r i n g

Wa r r e n S m i t h - p e r c u s s i o nD o n E a t o n - p e r c u s s i o nSalim Washington - percussion, woodwindsReggie Nicholson - drums, percussion

C D a v a i l a b l e a tD o w n t o w n M u s i c G a l l e r y342 Bowery @ East 3 Street, NYC mp3 available from CDbaby.com

• Arturo O’Farrill Solo; Ralph Hamperian’s Tuba D’AmorePuppet’s 7, 9 pm $6-10

• Robbie Lee Project Barbès 8 pm $10Paul Motian Trio with Chris Potter, Jason Moran

Village Vanguard 9, 11 pm $30Cassandra Wilson Blue Note 8, 10:30 pm $55

• Kenny Werner Trio with Johannes Weidenmueller, Ari HoenigJazz Standard 7:30, 9:30 pm $25

• Cinema Paradiso: Modern Romantic Film Music of Ennio Morricone, Johnny Mandel & Henry Mancini: Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30

• Denise Donatelli Quartet Dizzy’s Club 11 pm $10• Hilary Kole with guest John Pizzarelli

Birdland 8:30, 11 pm $30• The Invisible Trio with John Chin; Dave Kain Group

The Garage 6, 10:30 pm• Catherine Dupuis/Russ Kassoff

Saint Peter’s 1 pm $5

ALLABOUTJAZZ-NEW YORK | February 2009 37

Monday, February 9Willie Nelson and Wynton Marsalis with guest Norah Jones

Rose Hall 8 pm $157.50• Juilliard Jazz Ensemble with guest Steve Turre

Dizzy’s Club 7:30, 9:30 pm $15• Mingus Big Band Jazz Standard 7:30, 9:30 pm $25

Adam Rudolph Go: Organic OrchestraRoulette 8:30 pm $15

• Antonio Ciacca Quartet with Stacy Dillard, Dezron Douglas, Ulysses Owens Blue Note 8, 10:30 pm $10Steve Swell Trio with Ken Filiano, Andrew Drury

Yippie Café 7:30 pm $10• Curhachestra: Curtis Hasselbring, Ron Caswell, Brian Drye,

Tim Monaghan, Brandon SeabrookBarbès 7 pm $10

• Hector Del Curto’s Eternal Tango QuintetJoe’s Pub 7:30 pm $20

• Romain Collin Trio with Luques Curtis, Ferenc Nemeth; Ari Hoenig Trio with Jean-Michel Pilc, Francois Moutin

Smalls 7:30, 9, 10:30 pm 12 am $20• Salo: Josh Rutner, Ed Rosenberg, Andrew Smiley, Brady Miller,

Ben Gallina Rose Live Music 9 pm• Michael Coleman, Mike Gamble, Nate Brenner

Bar 4 7 pm $5• Shayna Steele Trio Bar Next Door 8 pm $10• New School Presents: Andy McKee Charles Mingus Ensemble with

Jack Ramsey, Brian Kesley, Darrell Smith, Justin Matthews, Richard Savage, Paolo Sapia, Montana Agte-Studier

Sweet Rhythm 8, 10 pm $10• Inter-oceanico; Miki Hirosi; Matt Snow Quintet; Popsicle Head

Spike Hill 7 pmRocco John Group Otto’s Shrunken Head 6 pm

• Howard Williams Jazz Orchestra; Michael O’Brien TrioThe Garage 7, 10:30 pm

Tuesday, February 10The Necks Le Poisson Rouge 7:30 pm $20Paul Motian Trio with Chris Potter, Jason Moran

Village Vanguard 9, 11 pm $30Cassandra Wilson Blue Note 8, 10:30 pm $55

• Kenny Werner Trio with Johannes Weidenmueller, Ari HoenigJazz Standard 7:30, 9:30 pm $25

• Cinema Paradiso: Modern Romantic Film Music of Ennio Morricone, Johnny Mandel & Henry Mancini: Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30

• Denise Donatelli Quartet Dizzy’s Club 11 pm $10• Hilary Kole with guest John Pizzarelli

Birdland 8:30, 11 pm $30• Marlene VerPlanck and Barry Levitt Trio

Iridium 8, 10 pm $25• Mike Longo New York State of the Art Jazz Ensemble with

Hilary Gardner NYC Baha’i Center 8, 9:30 pm $15• Matt Geraghty Project with Jonathan Kreisberg, Matt Shulman,

Satya Gummuluri, Adriano Santos, Sam Barsh; Nick Hempton Quartet with Art Hirahara, Marco Panascia, Dan Aran; Ken Fowser Quintet with Behn Gelice

Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20• Mossa Bildner’s Harvest Of My Tongue with Hill Greene,

Adam Morrison, Ras Moshe, Jorge Amorim and guest Barry Altschul The Living Theatre 8 pm $10

• Jason Lindner Now Vs. NowZinc Bar 9:30, 11 pm 12:30 am

• Brad Farberman Group The Creek 8 pm• Juan Pablo Carletti Trio with Ben Stapp, Kenny Warren

Le Grand Dakar 8:30 pm $8• Ryan Anselmi Quartet Puppet’s 9 pm $6

Willie Nelson and Wynton Marsalis with guest Norah JonesRose Hall 8 pm $157.50

• David Schumacher/JC Sanford Sound Assembly with Matt Wilson, Kermit Driscoll, Deanna Witkowski, Andy Green, Dan Willis, John O’Gallagher, Chris Bacas, Ben Kono, Kenny Berger, Jon Owens, Bud Burridge, John Bailey, Russ Johnson, Mark Patterson, Alan Ferber, Noah Bless, Mike Christianson

Bowery Poetry Club 10 pm $10• Jon Natchez/Kelly Pratt The Stone 8 pm $10• Jocelyn Medina Quartet with Jo Junghanss, Perry Wortman,

Bodek Janke Bella Sguardo 8:30 pm $8• Ken Hatfield, Hans Glawischnig, Steve Kroon

Fetch 7:30 pm• Jack Wilkins/Sheryl BaileyBella Luna 8 pm• Valery Ponomarev Big Band; Gasper Bertoncelj Trio

The Garage 7, 10:30 pm

Wednesday, February 11Text of Light: Alan Licht, Lee Ranaldo, DJ Olive, William Hooker

Issue Project Room 8 pm $10• Barbara King Iridium 8:30, 10:30 pm $25• In The Spirit of Mingus: Diane Moser and the New School Jazz

Composers Big Band with Marcelino Feliciano, Andy Eulau, Scott Neumann, Larry Maltz, Ed Xiques, Tom Colao, Rob Middleton, Marty Fogel, Barbara Cifelli, Erick Storckman, Ben Williams, Matt Haviland, Dennis Argul, Mike Spengler, Jim Cifelli, Steve Jankowski, Rob Henke

New School 8 pm • Jay Leonhart Solo; Adam Birnbaum Trio with Joe Sanders,

Rodney Green; Simona Premazzi and The Intruders with Stacy Dillard, Ryan Berg, Jason Brown

Smalls 7:30, 9, 10:30 pm 12 am $20• Maria Guida with James Weidman, Dean Johnson, Tony Moreno

The Kitano 8, 10 pm• Marion Cowings Symphony Space 9 pm• Sean Moran Group with Mike McGinnis, Reuben Radding,

Vinnie Sperrazza, Harris Eisenstadt Monkeytown 8 pm

• Christine Capdeville Zinc Bar 9:30, 11 pm 12:30 am• Michael Webster’s Leading Lines with Nadje Noordhuis,

Rob Mosher, Mike Fahie, Carl Maraghi, Jesse Lewis, Dan Loomis, Chris Higginbottom, Jesse Stacken

Brooklyn Lyceum 8, 9:30 pm $10• FLOW: Kim Bock, Soren Moller, Peter Retzlaff

Cornelia Street Café 8:30 pm $10• Jessica Medina with Mamiko Watanabe, Rob Duguay,

Vince “Kazi” McCoy and guestsDrom 7 pm $10

• Blaise Siwula/Sten Hostfalt Goodbye Blue Monday 11 pm

• Matthias Löscher 4tet VoxPop 8 pm• Adam Schneit Group with JP Schlegelmilch, Phil Rowan,

Max Goldman Tea Lounge 9, 10:30 pm $5

Saturday, February 7The Dreamers: Marc Ribot, Jamie Saft, Kenny Wollesen, Trevor Dunn, Joey Baron, Cyro Baptista, John Zorn

Abrons Arts Center 8 pm $25Connection Works Ensemble: Michel Gentile, Daniel Kelly, Rob Garcia and guests Bill McHenry, Chris Lightcap; Steve Coleman and the Five Elements with Jonathan Finlayson, Tim Albright, Jen Shyu, Miles Okazaki

Belarusian Church 8 pm $15• James Carter Organ Trio with Gerard Gibbs, Leonard King and

guest Miché Braden Miller Theatre 8 pm $25• Luiz Simas Trio with Itaiguara Brandao, Kenny Grohowski

Cornelia Street Café 9, 10:30 pm $10• TK Blue’s Birthday and Tribute to Randy Weston and Gigi Gryce

Sistas’ Place 9, 10:30 pm $20• Jason Lindner’s Now vs. Now

Jazz Gallery 9, 10:30 pm $15• Naranjana; Alex Blake Quartet

Puppet’s 6, 9 pm $6-12Chris Schlarb’s Twilight & Ghost Stories with Tom Abbs, Diane Cluck, G. Lucas Crane, Shannon Fields, Sebastian Krueger, Mick Rossi, Chad Taylor, Katherine Young and guests

The Stone 8, 10 pm $10• Grant Stewart Trio Bar Next Door 9, 11:15 pm $10

Harris Eisenstadt’s Mixed Company with Judith Berkson, Jeremiah Cymerman, Jacob Garchik, Tanya Kalmanovitch, Aryeh Kobrinsky, Dominic Lash, Sara Schoenbeck, Josh Sinton, Owen Stewart-Robertson, Mark Taylor, Jacob Wick, Katie Young

Douglass St. Music Coll. 8 pm $10• Welf Dorr, David Tunnel, Marc Constant, Sam Knight

Night of the Cookers 10 pm• Michael Vallarelli/Dwight Goodyear

5C Café 8 pm $7• Banana Puddin’ Jazz: Martha Redbone

Nuyorican Poets Café 9 pm $15Eddie Palmieri La Perfecta II with Herman Olivera, Brian Lynch, Jimmy Bosch, Jose Claussell, Nelson Gonzalez, Vicente “Little Johnny” Rivero, Orlando Vega, Luques Curtis, Karen Joseph, Joe Fiedler, Ray Viera Rose Hall 8 pm $30-120Mickey Bass and The New York Powerhouse Ensemble with George Cables, Eric Allen Creole 8, 10 pm $20Cindy Blackman’s Explorations with Antoine Roney, Zaccai Curtis, Rashaan Carter Jazz Standard 7:30, 9:30, 11:30 pm $30

• Warren Oree Arpeggio Jazz Ensemble; Seamus Blake Quintet with Dave Kikoski, Lage Lund, Bill Stewart, Matt Clohesy; Spencer Murphy Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20

• Mike Melvoin Trio with Jay Leonhart, Bill GoodwinThe Kitano 8, 10 pm $25

• Mary Foster Conklin with John DiMartino, Marco Panascia, Tim Horner Metropolitan Room 7:30 pm $20

• Willie Martinez Lenox Lounge 8:30, 10 pm 12 am $20• Nanni Assis, Cidinho Teixeira, David Finck

Knickerbocker Bar and Grill 9:45 pm $5Barry Harris Trio Iridium 8:30, 10:30 pm $30

• Reuben Wilson with Melvin Sparks, Jerry Weldon, Vince EctorSmoke 8, 10 , 11:30 pm $30

• Lewis Nash Quintet Birdland 8:30, 11 pm $30Benny Golson New Jazztet 80th Birthday Celebration with Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30Marshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob,Yasushi Nakamura Dizzy’s Club 11 pm $10Vanguard Jazz Orchestra Village Vanguard 9, 11 pm 12:30 am $35

• The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Marcus Baylor and guest Mike Stern

Blue Note 8, 10:30 pm $35• Jane Monheit Feinstein’s 8, 10:30 pm $88• Vladimir Cetkar with Milan Milanovic, Moto Fukushima,

Aaron Steele Blue Note 12:30 pm $8• Ken Simon Quartet Cleopatra’s Needle 8 pm• Laurent David Band Goodbye Blue Monday 10 pm• Ayana Lowe, Patrizia Scascitelli, Dave Colding, Lou Grassi

55Bar 6 pm• Larry Newcomb Trio; Fumi Tomita; Akiko Tsuruga Trio

The Garage 12, 6, 10:30 pm

Sunday, February 8Rashied Ali Quintet with Lawrence Clark, Josh Evans, Greg Murphy, Joris Teepe Jazz Standard 7:30, 9:30 pm $25Quinsin Nachoff Brooklyn Lyceum 9, 10:30 pm $10

• Sara Serpa Quintet with Andre Matos, Vardan Ovsepian, Tyshawn Sorey Cornelia Street Café 8:30 pm $10

• Synergy Sight and Sound: Amir Bey, Saco Yasuma, Ras Moshe, Dave Ross, Christopher Dean Sullivan, Lou Grassi

Sweet Rhythm 7:30, 9:30 pm $10• Pablo Aslan’s Avantango Joe’s Pub 7:30 pm $15• Cooper-Moore; Jason Ajemian’s Joy Mega with Matt Bauder,

Jacob Wick, Amy Cimini, Jessica Pavone, Mary Halvorson, Chad Taylor Zebulon 7, 9 pm

• Yoshie Fruchter’s Pitom Puppet’s 10 pm $10• Stone Arabia: Robyn Siwula, Mike Irwin, Dmitry Ishenko,

Brian Adler; Dominic Lash Trio with Jeremiah Cymerman, Harris Eisenstadt ABC No Rio 8 pm $5

• Peter Leitch/Harvie S Walker’s 8 pm• Akiko Pavolka and House of Illusions with Matt Pavolka,

Pete Rende, Bill Campbell Barbès 7 pm $10• Marty Isenberg Big Band; Steve Lugerner Sextet

Bowery Poetry Club 7 pm $5Barry Harris Trio Iridium 8:30, 10:30 pm $30Benny Golson New Jazztet 80th Birthday Celebration with Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Carl Allen Dizzy’s Club 7:30, 9:30 pm $30Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30

• The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Marcus Baylor and guest Mike Stern

Blue Note 8, 10:30 pm $35• Erica vonKleist’s No Exceptions

Saint Peter’s 5 pm• Christine Capdeville and Trio

Middle Collegiate Church 6 pm• Michelle Walker Smoke 6, 7 pm• Gabriel Alegria Afro Peruvian Sextet with Laurandrea Leguía,

Yuri Juárez, Ramón De Bruyn, Hugo Alcázar, Freddy “Huevito” LobatónFlushing Town Hall 2 pm $20

• Rachel Pastarnack Blue Note 12, 2:30 pm $24.50• Vicki Burns Trio with Paul Meyers, Neil Miner

North Square Lounge 12:30, 2 pm• Lou Caputo Quartet; David Coss and Trio; Bossa Brasil:

Maurício de Souza, Carl Viggiani, Leonardo CiogliaThe Garage 12, 7, 11:30 pm

F i n n i s h j a z z l e g e n d

H e i k k i S a r m a n t o i n c o n c e r t a t

S t . M a r k ' s C h u r c h F e b. 2 5 t h , 2 0 0 9

8 : 1 5 p m

w i t h g u e s t s :J e a n n i n e O t i s ( v o c a l s )W e i S h e u n g L i n ( b a s s )

S i e j i O c h a i ( d r u m s )

1 3 1 E . 1 0 t h S t . D o n a t i o n s a c c e p t e d

S p o n s o r e d b y t h e S t . M a r k ' s M u s i c F u n d

Special Valentine's Day ConcertFebruary 14th at 8 PM

A LOVE SUPREMEWords and music by John Coltrane

One of Coltrane's most profound and personal compositions, A Love Supreme is deeply probing

on both a musical and a spiritual level.

Roy Campbell Jr., trumpets and fluteLouie Belogenis, tenor saxophone

Beth Anne Hatton, vocalsAndrew Bemkey, pianoHilliard Greene, bass

Michael Wimberly, drumsAnd:

Jacqui Lewis, speaker

$15 suggested donation

Also join us for"Jazz on High" every Sunday at 6 PM.

2nd Avenue at 7th Streetwww.middlechurch.org

38 February 2009 | ALLABOUTJAZZ-NEW YORK

• Tim Zeismer Group; Blast off: Adam Shatz, Shane Endsley, Mike Gamble, Sam Levin Bar 4 7 pm $5

• Gato Loco: Stefan Zeniuk, Ari Folman-Cohen, Joe Exley, Clifton Hyde, Greg Stare Barbès 9:30 pm $10

• Sarah Lynch Trio Bar Next Door 8 pm $10• New School Presents: Bernard “Pretty” Purdie Rhythm and Blues

Ensemble with Mike Stein, Thana Pavelic, Brianna Thomas, Annette Lovtangen Sweet Rhythm 8, 10 pm $10

• Cirkestra; Rob Mosher; Galen Pittman Quartet; Innertextures Spike Hill 7 pm

• Howard Williams Jazz Orchestra; Kenny Shanker QuartetThe Garage 7, 10:30 pm

Tuesday, February 17Medeski Martin & Wood 92YTribeca 7 pm $35ESP Disk Live: Gunter Hampel; Giuseppi Logan

Bowery Poetry Club 10 pm $10• The Bad Plus: Ethan Iverson, Reid Anderson, David King and

guest Wendy Lewis Bowery Ballroom 8 pm $25• Terence Blanchard Quintet with Brice Winston, Fabian Almazan,

Derrick Hodge, Kendrick ScottVillage Vanguard 9, 11 pm $30

• David Sanborn Blue Note 8, 10:30 pm $55• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Emilio Solla NY Tango Project

Dizzy’s Club 11 pm $10Helen Sung Quartet with Seamus Blake, Ben Williams, Eric Harland Jazz Standard 7:30, 9:30 pm $20

• Barbara Rosene and her New YorkersIridium 8, 10 pm $25

• Chip White Ensemble NYC Baha’i Center 8, 9:30 pm $15• Tobias Gebb’s Trio West with Ron Blake, Ugonna Okegwo;

Grant Stewart Quartet; Ken Fowser Quintet with Behn GeliceSmalls 7:30, 9, 10:30 pm 12, 1:30 am $20

• Will Calhoun Band Zinc Bar 9:30, 11 pm 12:30 am• Roger Kleier El Pocho Loco Project

Roulette 8:30 pm $15• Andrew D’Angelo Living Health Big Band with Jim Black,

Matt Wilson, Jonathon Goldberger, Peter Evans, Josh Sinton, Eric Biondo, Kirk Knuffke, Chris Tordini, Brian Drye, Ryan Snow

Tea Lounge 9, 10:30 pm $5• Dom Minasi/Fay Victor; Dakar Trio

Le Grand Dakar 8:30 pm $8• Keith Ganz Quintet with Kate McGarry, Gary Versace, Sean Smith,

Dan Rieser 55Bar 10 pm• Nick Hallett; Ryan Ingebritsen with Andrew Barker

The Stone 8, 10 pm $10• Aaron Burnett Trio Puppet’s 9 pm $6• Ken Hatfield, Harvie S, Jamie Baum

Fetch 7:30 pmJack Wilkins/Bucky Pizzarelli

Bella Luna 8 pm• Lou Caputo’s Not So Big Band; Jason Ennis

The Garage 7, 10:30 pm

Wednesday, February 18Bucky Pizzarelli/Jack Wilkins

Jazz Gallery 8, 9:30 pm $20Randy Weston’s African Rhythms Quartet with TK Blue, Benny Powell, Alex Blake, Neil Clarke

Jazz Standard 7:30, 9:30 pm $25Medeski Martin & Wood Le Poisson Rouge 8 pm $35Ingrid Laubrock, Mary Halvorson, Tom Rainey

Issue Project Room 8 pm $10• Bobby Caldwell Big Band Birdland 8:30, 11 pm $30• Peter Zak with Paul Gill, Quincy Davis

Iridium 8:30, 10:30 pm $25• Pete Malinverni solo and with Devoe Street Baptist Church Choir

and Soul Voices Gospel ChoirWeill Hall 8 pm $35

• Terry Waldo Solo; Anat Cohen Group; Joe Magnarelli QuartetSmalls 7:30, 9, 10:30 pm 12 am $20

Landon Knoblock Trio with Joe Rehmer, Austin McMahonBarbès 8 pm $10

• JD Walter Quartet with Donald Edwards, Mark Kelley, Jim RidlZinc Bar 9:30, 11 pm 12:30 am

• Iris Ornig Quartet with Wycliffe Gordon, Klaus Mueller, Jerome Jennings The Kitano 8, 10 pm

• Dawn Clement Symphony Space 9 pm• Arturo O’Farrill Solo; John McNeil Group with Noah Preminger,

Mike McGuirk, Jochen RueckertPuppet’s 7, 9 pm $6

• Ecstatic Sunshine: Matt Papich/Dustin Wong; Andrea Parkins/ Jennifer Walshe The Stone 8, 10 pm $10

• Andrew D’Angelo Gay Disco Trio with Trevor Dunn, Jim BlackTea Lounge 9, 10:30 pm $5

• Jon Gordon Nonet Brooklyn Lyceum 8, 9:30 pm $10• Dan Pack Trio; Architeuthis Walks on Land; Matt Welch/

Jeremiah Cymerman Goodbye Blue Monday 9 pm• Terence Blanchard Quintet with Brice Winston, Fabian Almazan,

Derrick Hodge, Kendrick ScottVillage Vanguard 9, 11 pm $30

• David Sanborn Blue Note 8, 10:30 pm $55• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Emilio Solla NY Tango Project

Dizzy’s Club 11 pm $10Dick Hyman Saint Peter’s 1 pm $5

• Andrew Hadro Quartet; Austin Walker TrioThe Garage 6, 10:30 pm

Thursday, February 12Miles and Coltrane: 50th Anniversary of Kind of Blue and Giant Steps: Jimmy Cobb with Mulgrew Miller, Take 6; Ted Nash with Walter Blanding, Sherman Irby

Rose Hall 8 pm $3-120Heikki Sarmanto Salmagundi Club 7 pm

• Carolyn Leonhart and Wayne Escoffery Quartet with Dave Kikoski, Ed Howard, Jason Brown Smoke 8, 10 , 11:30 pm $30

• L’Image: Mike Manieri, Warren Bernhardt, David Spinozza, Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35

• Helio Alves Brazilian QuartetZinc Bar 9:30, 11 pm 12:30 am

• Omer Avital Ensemble with Omer Klein, Matan Chapnizka, Itamar Borochov, Hadar Noiberg, Chris Karlic, Ismail Lumanovski, Carmel Raz, Guy Figer, Amelia Hollander, Isabel Castellvi, Itamar Doari, Matt Kilmer Jazz Gallery 9, 10:30 pm $15Piano + 1: Jesse Stacken/Kirk Knuffke; Randy Ingram/Josh Sinton; Ethan Iverson/Bill McHenry

Douglass St. Music Coll. 8 pm $10Howard Alden/Anat CohenBargemusic 8 pm $35

• Ehud Asherie with Jon-Erik Kellso; Aruan Ortiz Quartet with Myron Walden, Matt Penman, Eric McPherson; Alex Hoffman

Smalls 7:30, 9, 10:30 pm 12 am $20• Charles Waters and Concertimento Orchestra; Ben Vida with

Matt Bauder, Jason AjemianThe Stone 8, 10 pm $10

• Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis BrownJazz Standard 7:30, 9:30 pm $25

Vic Juris Trio Bar Next Door 8 pm $10• Hiromi Kasuga Quartet with Mike DiRubbo, Marco Panascia,

Pete Van Nostrand The Kitano 8, 10 pm• Ryan Meagher’s Atroefy Nublu 8 pm $10• Tina Richerson Trio with Reuben Radding, Andrew Drury

Tea Lounge 9, 10:30 pm $5• Oran Etkin’s Kelenia with Balla Kouyate, Meckane Kouyate,

Joe Sanders Le Grand Dakar 8 pm• Igor Lumpert and Inner Textures with Jason Palmer, Chris Tordini,

Tommy Crane Inkwell Café 8 pm $5• Ronen Itzik Quartet Tapeo 29 8 pm• Laurent David Group Puppet’s 9 pm $6• Diane Birch Cornelia Street Café 8:30 pm $10• Marion Cowings Symphony Space 9 pm

Paul Motian Trio with Chris Potter, Jason MoranVillage Vanguard 9, 11 pm $30

Cassandra Wilson Blue Note 8, 10:30 pm $55• Cinema Paradiso: Modern Romantic Film Music of

Ennio Morricone, Johnny Mandel & Henry Mancini: Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30

• Denise Donatelli Quartet Dizzy’s Club 11 pm $10• Hilary Kole with guest John Pizzarelli

Birdland 8:30, 11 pm $30• David Berkman Trio Cleopatra’s Needle 7 pm• Harlem Speaks: Benny Golson

Jazz Museum of Harlem 6:30 pm• Champian Fulton Trio; Even Howard Trio

The Garage 6, 10:30 pm

Friday, February 13• Valentine Nights: Bill Charlap Trio with Peter Washington,

Kenny Washington and guests Freddy Cole, Houston PersonAllen Room 7:30, 9:30 pm $60

Ned Goold Trio; Slide Hampton/Jonathan Voltzok; Tim McCallSmalls 7:30, 9, 10:30 pm 12, 1:30 am $20

Mark Helias’ Open Loose with Tony Malaby, Nasheet WaitsCornelia Street Café 9, 10:30 pm $10

Mary Halvorson Trio with John Hebert, Ches SmithRoulette 8:30 pm $15

Russ Johnson/Frank Carlberg’s Friday the 13th with Noah Preminger, Matt Pavolka

Douglass St. Music Coll. 8:30 pm $10• Danny Mixon Trio Lenox Lounge 8:30, 10 pm 12 am $20• Randy Johnston Trio with Harvie S, Matt Wilson

The Kitano 8, 10 pm $25• Melba Joyce and Trio Creole 8, 10 pm $20• Aaron Weinstein/Russ Kassoff

Knickerbocker Bar and Grill 9:45 pm $5• Sofia Rei Koutsovitis Group with Dana Leong, Juancho Herrera,

Pedro Giraudo, Yayo SerkaJazz Gallery 9, 10:30 pm $15

• Oscar Noriega and Friends; Vinnie Sperrazza/Matt Blostein Quintet with Mike McGinnis, Jacob Sacks, Geoff Kraly

I-Beam 9, 10 pm $10• Tim Collins Trio Bar Next Door 9, 11:15 pm $10• WU LI: Mike Shobe, Adam Strum, Maxfield Gast, Ben Wright,

Ziv Ravitz Tea Lounge 9, 10:30 pm $5• Jon Davis Trio Puppet’s 9 pm $12

Miles and Coltrane: 50th Anniversary of Kind of Blue and Giant Steps: Jimmy Cobb with Mulgrew Miller, Take 6; Ted Nash with Walter Blanding, Sherman Irby

Rose Hall 8 pm $3-120• Carolyn Leonhart and Wayne Escoffery Quartet with Dave Kikoski,

Ed Howard, Jason Brown Smoke 8, 10 , 11:30 pm $30• L’Image: Mike Manieri, Warren Bernhardt, David Spinozza,

Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35• Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown

Jazz Standard 7:30, 9:30 pm $30• Marion Cowings Symphony Space 9 pm

Paul Motian Trio with Chris Potter, Jason MoranVillage Vanguard 9, 11 pm $35

Cassandra Wilson Blue Note 8, 10:30 pm $55• Cinema Paradiso: Modern Romantic Film Music of

Ennio Morricone, Johnny Mandel & Henry Mancini: Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Clarence Penn Dizzy’s Club 7:30, 9:30, 11:30 pm $30

• Denise Donatelli Quartet Dizzy’s Club 1 am $10• Hilary Kole with guest John Pizzarelli

Birdland 8:30, 11 pm $30• David Levin Quartet Cleopatra’s Needle 8 pm• Laurent David, Kevin Russell, Borra Janas and Friends

Goodbye Blue Monday 9 pm• Tomoko Miyata with Romero Lubambo, Helio Alves

Drom 6:30 pm $15• Brooks Hartell Trio; Dre Barnes Project

The Garage 6, 10:30 pm

Saturday, February 14Wynton Marsalis Quintet Jazz 966 8 pm $50-75

• John Zorn’s Valentine’s Day Improv Night with Shannon Fields, Lance Grabmiller, Jon Natchez, Matt Lavelle, Laura Ortman, Shayna Dulberger, Ikue Mori, Sylvie Courvoisier, Cyro Baptista and guests The Stone 8, 10 pm $20

• Onaje Allen Gumbs QuartetParlorJazz 9, 10:30 pm $30

A Love Supreme: Roy Campbell, Louie Belogenis, Andrew Bemkey, Hill Greene, Michael Wimberly, Beth Anne Hatton, Jacqueline Lewis Middle Collegiate Church 8 pm $15

• Tessa Souter with Jason Ennis, Gary Wang, Conor MehanCornelia Street Café 9, 10:30 pm $10

• Hot 8 Brass Band Kupferberg Center 8 pm $22 Ebony Brass Quintet Sistas’ Place 9, 10:30 pm $20

• Gretchen Parlato/Sachal VasandaniJazz Gallery 9, 10:30 pm $15

• Hendrik Meurkens Trio Bar Next Door 9, 11:15 pm $10• Skye Steele Quintet with Harel Shachal, Nir Felder, Josh Myers,

John Hadfield Tea Lounge 9, 10:30 pm $5• Brooklyn Repertory Ensemble

Saint Peter’s 7:30 pm• Scott Trixier Quintet Goodbye Blue Monday 9:45 pm• Valentine Nights: Bill Charlap Trio with Peter Washington,

Kenny Washington and guests Freddy Cole, Houston PersonAllen Room 7:30, 9:30 pm $60

• Chris Ward with Milan Milanovich, Francois Mouton, Steve Davis, Holly Laessig, Joe Beaty, Aki Ishiguro, Jim Robertson, Kenny Grohowski; Slide Hampton/Jonathan Voltzok; Spencer Murphy Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20

• Danny Mixon Trio Lenox Lounge 8:30, 10 pm 12 am $20• Randy Johnston Trio with Harvie S, Matt Wilson

The Kitano 8, 10 pm $25• Melba Joyce and Trio Creole 8, 10 pm $20• Aaron Weinstein/Russ Kassoff

Knickerbocker Bar and Grill 9:45 pm $5Miles and Coltrane: 50th Anniversary of Kind of Blue and Giant Steps: Jimmy Cobb with Mulgrew Miller, Take 6; Ted Nash with Walter Blanding, Sherman Irby

Rose Hall 8 pm $3-120• Carolyn Leonhart and Wayne Escoffery Quartet with Dave Kikoski,

Ed Howard, Jason Brown Smoke 8, 10 , 11:30 pm $30• L’Image: Mike Manieri, Warren Bernhardt, David Spinozza,

Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35• Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown

Jazz Standard 7:30, 9:30 pm $30Paul Motian Trio with Chris Potter, Jason Moran

Village Vanguard 9, 11 pm 12:30 am $35Cassandra Wilson Blue Note 8, 10:30 pm $55

• Cinema Paradiso: Modern Romantic Film Music of Ennio Morricone, Johnny Mandel & Henry Mancini: Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Clarence Penn Dizzy’s Club 7:30, 9:30, 11:30 pm $30

• Denise Donatelli Quartet Dizzy’s Club 1 am $10• Hilary Kole with guest John Pizzarelli

Birdland 8:30, 11 pm $30• Tori Gee Quartet Cleopatra’s Needle 8 pm• Valentines Day Jazz Love-Fest

Puppet’s 6 pm $6• Gypsy Jazz Caravan; David Coss and Trio;

Virginia Mayhew Quartet The Garage 12, 6, 10:30 pm

Sunday, February 15• Matt Lavelle with Lance Grabmiller, Laura Ortman, Dan Levin,

Shelley Burgon, Shayna Dulberger, Shannon Fields; Ashley Paul/Sakiko Mori The Stone 8, 10 pm $10

• Oren Neiman Quartet with Kenny Warren, Javier Moreno, Martin Urbach Cornelia Street Café 6 pmLucian Ban, Badal Roy, Sam Newsome

Cornelia Street Café 8:30 pm $10• Okkyung Lee/Thomas Herberer; Elliott Sharp, Adam Minkoff,

Ches Smith Rose Live Music 8:30, 10 pmJen Baker/Reuben Radding; killer BOB; Dave Scanlon; Max Jaffe, Rob Lundberg ABC No Rio 8 pm $5

• Peter Leitch/Ray DrummondWalker’s 8 pm

• Akiko Pavolka Brooklyn Lyceum 9, 10:30 pm $10• Evil Eye: Jonathan Moritz, Mike Pride, Ken Filiano; Bazingas:

Bryan Drye, Jon Goldberger, Kirk Knuffke, Ches Smith; Fulminate Trio: Anders Nilsson, Michael Evans, Ken Filiano

CoCo 9 pm $6 • L’Image: Mike Manieri, Warren Bernhardt, David Spinozza,

Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35• Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown

Jazz Standard 7:30, 9:30 pm $25Paul Motian Trio with Chris Potter, Jason Moran

Village Vanguard 9, 11 pm $30Cassandra Wilson Blue Note 8, 10:30 pm $55

• Cinema Paradiso: Modern Romantic Film Music of Ennio Morricone, Johnny Mandel & Henry Mancini: Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30Helen Sung Saint Peter’s 5 pmLew Soloff Trio Middle Collegiate Church 6 pm

• Patrizia Ferrara Smoke 6, 7 pmLiz Childs with Ed MacEachen, Dan Fabricatore, Anthony Pinciotti

55Bar 6 pm• Ayako Shirasaki Trio Flushing Town Hall 2 pm $20

Alex Kontorovich’s Deep MinorCity Winery 11 am $10

• Juilliard Jazz Brunch Blue Note 12, 2:30 pm $24.50• Roz Corral Trio with Jonathan Kreisberg, Boris Kozlov

North Square Lounge 12:30, 2 pm• Don Braden Master Class The Cellar 2 pm $15• Hayes Greenfield’s Jazz-A-Ma-Tazz

Bowery Poetry Club 12 pm $10• John Colianni Quintet; David Coss and Trio; Ryan Anselmi Quartet

The Garage 12, 7, 10:30 pm

Monday, February 16Ernestine Anderson Blue Note 8, 10:30 pm $30

• Dominick Farinacci Quintet with Joe LockeDizzy’s Club 7:30, 9:30 pm $15

• Mingus Orchestra Jazz Standard 7:30, 9:30 pm $25Adam Rudolph Go: Organic Orchestra

Roulette 8:30 pm $15Joan Stiles, Joel Frahm, Matt Wilson

Cachaça 7:30, 9 pm• Jacam Manricks Quartet with Jacob Sacks, Thomas Morgan,

Dan Weiss Cornelia Street Café 8:30 pm $10• Jill McCarron Trio with Tim Horner, Tom Kennedy;

Ari Hoenig Group with Tigran Hamasyan, Matt PenmanSmalls 7:30, 9, 10:30 pm 12 am $20

Adam Rudolph Go: Organic OrchestraRoulette 8:30 pm $15

• Rachael Price Blue Note 8, 10:30 pm $10• Jocelyn Medina Quartet with Sandro Albert, Aidan Carroll,

Bodek Janke Zinc Bar 7 pm• Ben Waltzer Trio with Chris Lightcap, Gerald Cleaver;

Ari Hoenig Group with Jonathan Kreisberg, Will Vinson, Danton Boller Smalls 7:30, 9, 10:30 pm 12 am $20Darius Jones, Chris Welcome, Adam Lane, Mike Pride

Yippie Café 7:30 pm $10• Gilad Hekselman Trio with Sam Yahel, Marcus Gilmore

Fat Cat 8:30 pm• Mark Giuliana’s Thing; Kami Quintet

Rose Live Music 9 pm• Tony Barba, Ari Folman-Cohen, Conor Elmes; Pete Robbins,

Dan Levin, Jeff Davis Bar 4 7 pm $5• Sofia Koutsovitis Trio Bar Next Door 8 pm $10• New School Presents: Melanie Charles Quintet

Sweet Rhythm 8, 10 pm $10• Telmo Fernandez; Adam Larson Project; Vesuvius Takes a Nap;

Alper Yilmaz Project Spike Hill 7 pm• Howard Williams Jazz Orchestra; Iris Ornig Quartet

The Garage 7, 10:30 pm

Tuesday, February 24• New Voices of Blue Note - A 70th Anniversary Celebration:

Aaron Parks Quartet with Mike Moreno, Matt Pennman, Kendrick Scott Jazz Standard 7:30, 9:30 pm $25

• Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Noriko Ueda/Tomoko Ueda Trio

Dizzy’s Club 11 pm $10Ed Simon Trio with Ben Street, Adam Cruz

Village Vanguard 9, 11 pm $30• Julian Yeo Retro-Jazz Band

Iridium 8, 10 pm $25• Marlene and Billy VerPlanck with Tedd Firth Trio

NYC Baha’i Center 8, 9:30 pm $15• Jerry Costanzo Nonet with Andy Farber, Dave Glasser, Dan Block,

Brian Parechi, Wayne Goodman, Isaac Ben Ayala, Jennifer Vincent, Stefan Schatz; Ralph Lalama’s Bopjuice with Pat O’Leary, Clifford Barbaro; Ken Fowser Quintet with Behn Gelice Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20

• Edmar Castaneda/Mark Guiliana Zinc Bar 9:30, 11 pm 12:30 am

• Music Now Large Unit Brecht Forum 8, 9 pm $10• Brad Farberman Group; Amanda Monaco Group

The Creek 8 pm• Rob Sudduth Trio with Trevor Dunn, Tommy Crane

Le Grand Dakar 8:30 pm $8• Stan Edwards Quartet Puppet’s 9 pm $6• Peter Evans, Dave Reminick, Cory Smythe, Nathan Davis; Tuple:

Rachael Elliott/Lynn HilemanThe Stone 8, 10 pm $10

• Kaoru Azuma with Scott Reeves, Mike Holober, Jesse Forest, Rob Morse, Paolo Orlandi Cornelia Street Café 8:30 pm $10

• Ken Hatfield, Gene Torres, Butch CampbellFetch 7:30 pm

• Jack Wilkins/Harvie S Bella Luna 8 pm• Kami Quintet; Tim Kuhl Goodbye Blue Monday 9 pm

Rocco John Group Otto’s Shrunken Head 6 pm• David White Jazz Orchestra; Will and Peter Anderson

The Garage 7, 10:30 pm• Master Class: Lew Soloff Manhattan School 3 pm

Wednesday, February 25Gary Peacock Trio with Marc Copland, Bill Stewart

Birdland 8:30, 11 pm $30Heikki Sarmanto with Jeannine Otis, Wei Sheung Lin, Sieji Ochai

St. Mark’s Church 8:15 pm• Linda Presgrave with Todd Herbert, Stan Chovnick, Harvie S,

Allison Miller Iridium 8:30, 10:30 pm $25Rossano Sportiello Solo; Anthony Wonsey Trio; Dmitry Baevsky Quartet with Jeb Patton, David Wang, Joe Strasser Smalls 7:30, 9, 10:30 pm 12 am $20Cleve Pozar Free Funk Trio with Darius Jones, Lee Marvin

Issue Project Room 8 pm $10• Jody Sandhaus/Pete Malinverni

Symphony Space 9 pm• Richard Chartier; Miguel Frasconi

The Stone 8, 10 pm $10• Exposed Blues Duo; Radio I-Ching: Andy Haas, Don Fiorino,

Dee Pop; The French Exit; Pete Robbins GroupCake Shop 8 pm

• Tessa Souter Quartet with Jason Ennis, Gary Wang, Conor MeehanThe Kitano 8, 10 pm

• Arturo O’Farrill Solo; John McNeil Group with Noah Preminger, Mike McGuirk, Jochen Rueckert

Puppet’s 7, 9 pm $6Mike Baggetta Group with Jason Rigby, Eivind Opsvik, George Schuller Tea Lounge 9, 10:30 pm $5

• Cynthia Hilts’ Lyric Fury with Jack Walrath, Lily White, Lisa Parrott, Debra Weisz, Martha Colby, Ratzo Harris, Jun Saito Douglass St. Music Coll. 8 pm $10

• White Rocket: Greg Felton, Sean Carpio, Jacob WickBarbès 8 pm $10

• Jason Colby’s New Brooklyn QuartetBrooklyn Lyceum 8, 9:30 pm $10

• Bill Stevens Quintet with Charlie Gushee, Elliot Honig, Paul Pricer, Eric Peters Drom 7 pm $10

• Diane Hoffman/Cathy HarleyCupping Room 8 pm

• Flotilla; Dave Deporis; Ish MarquezGoodbye Blue Monday 9 pm

• Sten Hostfalt Trio with Marko Djordjevic The Annex 10 pm $10

• New Voices of Blue Note - A 70th Anniversary Celebration: Aaron Parks Quartet with Mike Moreno, Matt Pennman, Kendrick Scott Jazz Standard 7:30, 9:30 pm $25

• Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Noriko Ueda/Tomoko Ueda Trio

Dizzy’s Club 11 pm $10• Ed Simon Trio with Ben Street, Adam Cruz

Village Vanguard 9, 11 pm $30• Edmar Castaneda/Mark Guiliana

Zinc Bar 9:30, 11 pm 12:30 am• The Invisible Trio with John Chin; John David Simon Trio

The Garage 6, 10:30 pm

ALLABOUTJAZZ-NEW YORK | February 2009 39

Thursday, February 19André Previn/David Finck Zankel Hall 8:30 pm $34-44The Best of Blue Note Records: Hard Bop and Beyond with Dianne Reeves, Joe Lovano and Jazz at Lincoln Center Orchestra with Wynton Marsalis Rose Hall 8 pm $30-120Highlights In Jazz 36th Anniversary: Dick Hyman, Wycliffe Gordon, Jon-Erik Kellso, Anat Cohen, Kevin Dorn, David Ostwald’s Gully Low Jazz Band with Joe Wilder

Tribeca Perf. Arts Center 8 pm $35• Stanley Jordan Iridium 8:30, 10:30 pm $35

Medeski Martin & Wood City Winery 9 pm $35Charlie Hunter Trio Sullivan Hall 8:30 pm $20

• A Tribute to Tadd Dameron: Eric Alexander, Richard Wyands, Nat Reeves, Joe Farnsworth

Smoke 8, 10 , 11:30 pm $30Sam Bardfeld’s Up Jumped The Devil with Anthony Coleman, Doug Wamble, Sean ConlyBarbès 8 pm $10

• Ehud Asherie with Stepko Gut; Jonathan Kreisberg Quintet with Will Vinson, Matt Penman, Ari Hoenig; Zaid Nasser

Smalls 7:30, 9, 10:30 pm 12 am $20Cosmologic: Jason Robinson, Michael Dessen, Nate Hubbard, Scott Walton; Reuben Radding/Jen Baker Duo

Le Grand Dakar 8 pm $8• David Gibson Quartet with Julius Tolentino, Jared Gold,

McClenty Hunter The Kitano 8, 10 pmSumi Tonooka Trio with Rufus Reid, Johnathan Blake

Bargemusic 8 pm $35Jesse Stacken Trio Roulette 8:30 pm $15

• Alan Ferber Nonet with Strings with Scott Wendholt, Jon Gordon, John Ellis, Douglas Yates, Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber, Zach Brock, Olivia De Prato, Corrina Albright, Jody Redhage, Maria Jeffers

Tea Lounge 9, 10:30 pm $5• Mike, Ruthy and Cady Wire with Mike Merenda,

Ruth Ungar Merenda, Sam Riley, Nila K Leigh, Mike Nolan, Nick Cisik Cornelia Street Café 8:30 pm $10

• Gilad Hekselman Trio with Joe Martin, Marcus GilmoreCachaça 7:30, 9 pm

• Tim Green Quartet with Warren Wolf, Aaron Parks, Matt Brewer, Obed Calvaire Jazz Gallery 9, 10:30 pm $10-15

• Albey Balgochian, Lisle Ellis, Francois Grillot, Lola Danza 5C Café 8 pm $8

• Nick Hempton Band Zinc Bar 9:30, 11 pm 12:30 am• Sam Barsh, Mark Guiliana, Ned Ferm

Rose Live Music 9 pm• Byron Westbrook; Gene Park/Ryan Smith

The Stone 8, 10 pm $10• Sharon LaMotte, Bill Gerhardt, Francois Moutin, Jeff Brillinger

Ido Sushi 7 pm• Jim Hershman Trio Bar Next Door 8 pm $10• DC Mason Trio Goodbye Blue Monday 9 pm• Matt Parker Quartet Puppet’s 9 pm $6

Randy Weston’s African Rhythms Quartet with TK Blue, Benny Powell, Alex Blake, Neil Clarke

Jazz Standard 7:30, 9:30 pm $25• Bobby Caldwell Big Band Birdland 8:30, 11 pm $30• Dawn Clement Symphony Space 9 pm• Terence Blanchard Quintet with Brice Winston, Fabian Almazan,

Derrick Hodge, Kendrick ScottVillage Vanguard 9, 11 pm $30

• David Sanborn Blue Note 8, 10:30 pm $55• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Emilio Solla NY Tango Project

Dizzy’s Club 11 pm $10• Ray Parker Trio Cleopatra’s Needle 7 pm• Nick Moran Trio; Joseph Perez Quartet

The Garage 6, 10:30 pm

Friday, February 20Chico Hamilton with Cary DeNigris, Paul Ramsey, Evan Schwam, Eddie Barbash, Jeremy Carlstedt

Rubin Museum 7 pm $20Qbico U-Nite XIII: Arthur Doyle; Acid Birds: Andrew Barker, Charles Waters, Jaime Fennelly; Muruga/Perry Robinson Duo with guest Badal Roy; Direct Current: Daniel Carter, Dave Nuss, Atiba Kwabena-Wilson Issue Project Room 8 pm $25Dave Burrell Whitney Museum 7 pmCharles Davis Quartet Creole 8, 10 pm $20Steve Nelson Quartet The Kitano 8, 10 pm $25John McNeil Group Cornelia Street Café 9, 10:30 pm $10Drew Gress’ 7 Black Butterflies with Tim Berne, Ralph Alessi, Craig Taborn, Tom Rainey Jazz Gallery 9, 10:30 pm $15Ensemble Hellacious: JD Parran, Peter Zummo, Kevin Norton

Roulette 8:30 pm $15• Rufus Cappadocia BAMCafé 9 pm

Chromatic Mysteries: Marshall Allen, Elliot Levin, Michael Gibbons, Ed Ricart, Scott Verrastro; Paul Flaherty, Randall Colbourne, Steve Swell

Webster Hall Studios 7 pm $10• Bill Wares Vibes Trio with Ayanna Williams

Puppet’s 9 pm $12• Dwayne Clemons with Josh Benko, Sacha Perry, Jim Wormworth;

Richie Vitale Quintet with Frank Basile, Keith Saunders, Paul Gill, Clifford Barbaro; Tim McCall

Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20• James Weidman/Harvie S Knickerbocker Bar and Grill 9:45 pm $5• Will Vinson Trio Bar Next Door 9, 11:15 pm $10• Dave Scott with Billy Mintz; Matt Blostein and Friends

I-Beam 9, 10 pm $10• The Four Runner: Robin Verheyen, Masa Yamamoto,

Red Wierenga, Nicolas Letman-Burtinovic, Steve DavisVoxPop 8 pm

• Alyson Williams Lenox Lounge 8:30, 10 pm 12 am $20The Best of Blue Note Records: Hard Bop and Beyond with Dianne Reeves, Joe Lovano and Jazz at Lincoln Center Orchestra with Wynton Marsalis Rose Hall 8 pm $30-120

• Stanley Jordan Iridium 8:30, 10:30 pm $35• A Tribute to Tadd Dameron: Eric Alexander, Richard Wyands,

Nat Reeves, Joe FarnsworthSmoke 8, 10 , 11:30 pm $30

• Sharon LaMotte, Bill Gerhardt, Francois Moutin, Jeff BrillingerIdo Sushi 7 pm

Randy Weston’s African Rhythms Quartet with TK Blue, Benny Powell, Alex Blake, Neil Clarke

Jazz Standard 7:30, 9:30, 11:30 pm $30• Bobby Caldwell Big Band Birdland 8:30, 11 pm $30• Dawn Clement Symphony Space 9 pm• Terence Blanchard Quintet with Brice Winston, Fabian Almazan,

Derrick Hodge, Kendrick ScottVillage Vanguard 9, 11 pm $35

• David Sanborn Blue Note 8, 10:30 pm $55• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Emilio Solla NY Tango Project

Dizzy’s Club 11 pm $10• Joe Sucato Quartet Cleopatra’s Needle 8 pm• David White Quintet; Kevin Dorn’s Traditional Jazz Collective

The Garage 6, 10:30 pm

Saturday, February 21Joey Baron Roulette 8:30 pm $15Cedar Walton Trio and Octet

Kumble Theater 8 pm $15-50Wycliffe Gordon’s In The Cross

Miller Theatre 8 pm $25• Butch Morris Issue Project Room 8 pm $10• Carla Cook Sistas’ Place 9, 10:30 pm $20• With a Song in My Heart: John Pizzarelli Salutes Richard Rodgers

with Jessica Molaskey Allen Room 10:30 pm $60• Gabriel Alegria Afro Peruvian Sextet with Laurandrea Leguía,

Yuri Juárez, Ramón De Bruyn, Hugo Alcázar, Freddy “Huevito” LobatónBAMCafé 9 pm

• Mardi Gras Jam: Leo Nocentelli, Trombone Shorty, Donald Harrison, Andy Hess and guests

BB King’s 8 pm $25• MSM Mingus Ensemble led by Steve Slagle with Remy Le Boeuf,

Samuel Ryder, Jonathan Barnes, Craig Davis, Ruben Samana, Will Clark Manhattan School 7:30 pm

• Marcus Gilmore Group Jazz Gallery 9, 10:30 pm $15• Jeremy Udden’s Plainville with Pete Rende, Brandon Seabrook,

Eivind Opsvik, RJ Miller Cornelia Street Café 9, 10:30 pm $10• Brooklyn Qawwali Party Barbès 10 pm $10• Tristan Perich; Christopher Willits

The Stone 8, 10 pm $10 Lage Lund Trio Bar Next Door 9, 11:15 pm $10

• Secret Orchestra 5C Café 8 pm $8• Argentine Jazz; Buenos Aires Vanguard

Puppet’s 6, 9 pm $6-12Charles Davis Quartet Creole 8, 10 pm $20Steve Nelson Quartet The Kitano 8, 10 pm $25

• Roy Dunlap with Marcus Parsley, Alex Mincek, Jeff Hanley, Bill Campbell, Doug Wamble; Richie Vitale Quintet with Frank Basile, Keith Saunders, Paul Gill, Clifford Barbaro; Spencer Murphy Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20

• James Weidman/Harvie S Knickerbocker Bar and Grill 9:45 pm $5• Alyson Williams Lenox Lounge 8:30, 10 pm 12 am $20

The Best of Blue Note Records: Hard Bop and Beyond with Dianne Reeves, Joe Lovano and Jazz at Lincoln Center Orchestra with Wynton Marsalis Rose Hall 8 pm $30-120

• Stanley Jordan Iridium 8:30, 10:30 pm $35• A Tribute to Tadd Dameron: Eric Alexander, Richard Wyands,

Nat Reeves, Joe FarnsworthSmoke 8, 10 , 11:30 pm $30

Randy Weston’s African Rhythms Quartet with TK Blue, Benny Powell, Alex Blake, Neil Clarke

Jazz Standard 7:30, 9:30, 11:30 pm $30• Bobby Caldwell Big Band Birdland 8:30, 11 pm $30• Terence Blanchard Quintet with Brice Winston, Fabian Almazan,

Derrick Hodge, Kendrick ScottVillage Vanguard 9, 11 pm 12:30 am $35

• David Sanborn Blue Note 8, 10:30 pm $55• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Emilio Solla NY Tango Project

Dizzy’s Club 11 pm $10• Bruce Harris Quartet Cleopatra’s Needle 8 pm• Paradigm Jazz Refrain Goodbye Blue Monday 8 pm• Victor Magnani Quartet with Kris Kaiser, George Coleman, Jr.

The Cellar 9 pm• Larry Newcomb Trio; Mark Marino Trio

The Garage 12, 6 pm

Sunday, February 22• Morton Subotnick Roulette 8:30 pm $15• The Downtown Horns: Roy Campbell, Daniel Carter, Sabir Mateen

Alain Kirili’s Loft 7 pm $10• Alfred Brown; Scott Mou The Stone 8, 10 pm $10• Frank Basile Brooklyn Lyceum 9, 10:30 pm $10• Ben Holmes Trio with Dan Loomis, Vinnie Sperrazza

Barbès 7 pm $10• Matt Silberman with Rob Hecht, Sascha Groschang, Travis Reuter,

Chris Tordini, Alex Wyatt; Travis Reuter with Andrew Carrico, Alex Hills, Danny Sherr Rose Live Music 8:30 pm

• Peter Leitch/Sean Smith Walker’s 8 pm• Diane Hoffman with Don Militello, Bim Strasberg, Rudy Petschauer

Lola Is Soul 7:30 pm• Stanley Jordan Iridium 8:30, 10:30 pm $35

Randy Weston’s African Rhythms Quartet with TK Blue, Benny Powell, Alex Blake, Neil Clarke

Jazz Standard 7:30, 9:30 pm $25• Terence Blanchard Quintet with Brice Winston, Fabian Almazan,

Derrick Hodge, Kendrick ScottVillage Vanguard 9, 11 pm $30

• David Sanborn Blue Note 8, 10:30 pm $55• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Rev. Michael Cobbler and Friends

Saint Peter’s 5 pm• Sheera Ben-David, Adam Ben-David, Mat Fieldes, Damien Bassman

Middle Collegiate Church 6 pm• Perez Smoke 6, 7 pm

Dead Cat Bounce Bowery Poetry Club 6 pmAdam Lane’s Full Throttle Orchestra with David Bindman, Avram Fefer, Matt Bauder, Nate Wooley, Taylor Ho Bynum, Reut Regev, Igal Foni HVG Lounge 5 pm

• Michael Winograd City Winery 11 am $10• Roz Corral Trio with James Shipp, Matt Clohesy

North Square Lounge 12:30, 2 pm• Mingus Summit: Finalists of the Northeastern High School Big

Band Competition, MSM Jazz Orchestra with Justin DiCioccio and guests; Mingus Dynasty with Boris Kozlov, Vincent Herring, Conrad Herwig, Justin Faulkner

Manhattan School 10 am• Eve Silber Trio; David Coss and Trio; Ariel del a Portilla Trio

The Garage 12, 7, 11:30 pm

Monday, February 23• Purchase Jazz Orchestra with guest Jimmy Greene

Dizzy’s Club 7:30, 9:30 pm $15• Mingus Dynasty Jazz Standard 7:30, 9:30 pm $25

Thursday, February 26Thelonious Monk at Town Hall 50th Anniversary Celebration: Charles Tolliver OrchestraTown Hall 8 pm $25-60

• New Voices of Blue Note - A 70th Anniversary Celebration: Lionel Loueke Trio with Massimo Biolcati, Ferenc Nemeth and guest Gregoire Maret Jazz Standard 7:30, 9:30 pm $25Ron Carter, Mike LeDonne, Joe Farnsworth

Smoke 8, 10 , 11:30 pm $30• Pucho and His Latin Soul Brothers

Iridium 8:30, 10:30 pm $30• Dual Identity: Rudresh Mahanthappa, Steve Lehman,

Liberty Ellman, Matt Brewer, Damion ReidJazz Gallery 9, 10:30 pm $15

Taylor Ho Bynum with John Hebert, Gerald CleaverTea Lounge 9, 10:30 pm $5

• Jeff Newell’s New-Trad Quartet with Nate Mayland, Ron Caswell, Brian Woodruff Bargemusic 8 pm $35Shoko Nagai/Satoshi Takeishi

Roulette 8:30 pm $15Scott Dubois Quartet with Loren Stillman, Eivind Opsvik, Jeff Davis Cornelia Street Café 8:30 pm $10

• Spike Wilner Trio with Ugonna Okegwo, Eric McPhersonThe Kitano 8, 10 pm

• Ehud Asherie with Harry Allen; Gerald Clayton Trio with Joe Sanders, Justin Brown; Zaid Nasser

Smalls 7:30, 9, 10:30 pm 12 am $20• Alexis Cuadrado Trio Bar Next Door 8 pm $10

Gary Peacock Trio with Marc Copland, Bill StewartBirdland 8:30, 11 pm $30

• Jody Sandhaus/Pete MalinverniSymphony Space 9 pm

• Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Noriko Ueda/Tomoko Ueda Trio

Dizzy’s Club 11 pm $10Ed Simon Trio with Ben Street, Adam Cruz

Village Vanguard 9, 11 pm $30• Dan Furman Trio Cleopatra’s Needle 7 pm• Harlem Speaks: Wendy Oxenhorn

Jazz Museum of Harlem 6:30 pm• Rick Stone Trio; Alex Hoffman

The Garage 6, 10:30 pm

Friday, February 27Thelonious Monk at Town Hall 50th Anniversary Celebration: Jason Moran’s The Big Bandwagon

Town Hall 8 pm $25-60ODE: Larry Ochs, Trevor Dunn, Lisle Ellis with guest Michael Sarin

Roulette 8:30 pm $15James Spaulding and The Swing Expression

Creole 8, 10 pm $20Ken Peplowski Quartet with Don Friedman, David Finck, Alvin Atkinson The Kitano 8, 10 pm $25

• Winard Harper Lenox Lounge 8:30, 10 pm 12 am $20 • William Parker; James Ilgenfritz Group with Denman Maroney,

Jay Rozen, Sara Schoenbeck, Jay Rosen and guest Steve Dalachinsky Issue Project Room 8 pm $15

• William Ash Trio; John Fedchock NY Sextet with Scott Wendholt, Allen Farnham, Ugonna Okegwo, Dave Ratajczak; Tim McCall

Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20• James Shipp’s Nos Novo with Jo Lawry, Steve Cardenas,

Rogerio Boccato Cornelia Street Café 9, 10:30 pm $10• Overcast; Arturo O’Farrill Quartet

Puppet’s 6, 9 pm $6-12• Shane Endsley and Friends; Vinnie Sperrazza/Matt Blostein

Quintet with Tony Malaby, Jacob Sacks, Dave AmbrosioI-Beam 9, 10 pm $10

• Sherisse Rogers’ Uprising with Erica vonKleist, Dave Riekenberg, Mike Webster, Dave Richards, Nathan Warner, Ingrid Jensen, Nadje Noordhuis, James de la Garza, Mike Boscarino, John Yao, Nate Mayland, Max Seigel, Jesse Stacken, Jesse Lewis, Ike Sturm, Obed Calvaire Jazz Gallery 9, 10:30 pm $15

• Victor Lin/David Wong Knickerbocker Bar and Grill 9:45 pm $5• Jared Gold with Julius Tollentino, Avi Rothbard, Colby Inzer

NCGV 9, 10:30 pm• Bryn Roberts Trio Bar Next Door 9, 11:15 pm $10• The Four Runner: Robin Verheyen, Masa Yamamoto,

Red Wierenga, Nicolas Letman-Burtinovic, Steve DavisVoxPop 8 pm

• Dan Pugach Trio with Shai Maestro, Mickey VarshaiTillie’s 8 pm $5

• Billy White Trio 5C Café 8 pm $7• New Voices of Blue Note - A 70th Anniversary Celebration:

Lionel Loueke Trio with Massimo Biolcati, Ferenc Nemeth and guest Gregoire Maret Jazz Standard 7:30, 9:30, 11:30 pm $30Ron Carter, Mike LeDonne, Joe Farnsworth

Smoke 8, 10 , 11:30 pm $30• Pucho and His Latin Soul Brothers

Iridium 8:30, 10:30 pm $30Gary Peacock Trio with Marc Copland, Bill Stewart

Birdland 8:30, 11 pm $30• Jody Sandhaus/Pete Malinverni

Symphony Space 9 pm• Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25• Matt Geraghty with Satya Gummuluri, Jonathan Kreisberg,

Adriano Santos Blue Note 12:30 am $8• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart,

Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30• Noriko Ueda/Tomoko Ueda Trio

Dizzy’s Club 11 pm $10Ed Simon Trio with Ben Street, Adam Cruz

Village Vanguard 9, 11 pm $35• Jason Marshall Quartet Cleopatra’s Needle 8 pm• Candace DeBartolo Quartet; Gerald Hayes Trio

The Garage 6, 10:30 pm

Saturday, February 28New Voices of Blue Note - A 70th Anniversary Celebration: Robert Glasper Trio with Vicente Archer, Chris Dave

Jazz Standard 7:30, 9:30, 11:30 pm $30Ned Rothenberg and Mivos Quartet with Olivia De Prato, Joshua Modney, Victor Lowrie, Isabel Castellvi

Brecht Forum 9 pm $10• Barbara King Sistas’ Place 9, 10:30 pm $20• Ben Monder Trio Bar Next Door 9, 11:15 pm $10• Zeena Parkins/Ikue Mori’s Phantom Orchard; Phantom Limb:

Jaime Fennelly, Chris Forsyth, Nate WooleyIssue Project Room 8 pm $10

40 February 2009 | ALLABOUTJAZZ-NEW YORK

• Kerry Politzer and George Colligan Trios with Josh Ginsberg, Jeff Hirshfield Cornelia Street Café 9, 10:30 pm $10

• Sam Sadigursky’s The Words Project; Gregg Kallor Duo, Frank Carlberg Quintet with Christine Correa, Chris Cheek, John Hebert, Michael Sarin; Gabriel Kahane; Jody Redhage

Greenwich House Music School 7 pm $20• Welf Dorr with Mike Irwin, Kevin Moehringer, Joe Keady,

Keviv Raczka Tea Lounge 9, 10:30 pm $5Dom Minasi String Quartet5C Café 8 pm $8James Spaulding and The Swing Expression

Creole 8, 10 pm $20Ken Peplowski Quartet with Don Friedman, David Finck, Alvin Atkinson The Kitano 8, 10 pm $25

• Winard Harper Lenox Lounge 8:30, 10 pm 12 am $20• Jacob Warren Trio with Will Terrill, Ryan Berg; John Fedchock

NY Sextet with Scott Wendholt, Allen Farnham, Ugonna Okegwo, Dave Ratajczak; Spencer Murphy

Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20• Arturo O’Farrill Quartet Puppet’s 9 pm $12• Sherisse Rogers’ Uprising with Erica vonKleist, Dave Riekenberg,

Mike Webster, Dave Richards, Nathan Warner, Ingrid Jensen, Nadje Noordhuis, James de la Garza, Mike Boscarino, John Yao, Nate Mayland, Max Seigel, Jesse Stacken, Jesse Lewis, Ike Sturm, Obed Calvaire Jazz Gallery 9, 10:30 pm $15

• Victor Lin/David Wong Knickerbocker Bar and Grill 9:45 pm $5Ron Carter, Mike LeDonne, Joe Farnsworth

Smoke 8, 10 , 11:30 pm $30• Pucho and His Latin Soul Brothers

Iridium 8:30, 10:30 pm $30Gary Peacock Trio with Marc Copland, Bill Stewart

Birdland 8:30, 11 pm $30• Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25• Yohimbe Bros: Vernon Reid, DJ Logic, Maya Azucena,

Taylor McFerrin, Leon Gruenbaum, Jared Michael Nickerson, Don McKenzie Blue Note 12:30 am $8

• Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30

• Noriko Ueda/Tomoko Ueda TrioDizzy’s Club 11 pm $10

Ed Simon Trio with Ben Street, Adam CruzVillage Vanguard 9, 11 pm 12:30 am $35

• Don Slatoff Quartet Cleopatra’s Needle 8 pm• Harry Lime: Adam Minkoff, Nick Oddy, Peter Lalish,

Nick Anderson, Scott Chasolen, Matt Thomas, Kevin Moehringer, Ben Syversen Bowery Poetry Club 6 pm

• Even Schwam Quartet; Champian Fulton Trio; Tim Price and Ryan Anselmi’s Tenor Madness

The Garage 12, 6, 10:30 pm

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

• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am• Dave Allen Group Push Café 8 pm• Carter-Davis Ensemble Judi’s 8 pm• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm• Pete Davenport Jam Session Annabelle’s 9 pm• Eddy Davis New Orleans Jazz Band The Carlyle 8:45 pm $75-100• Jesse Elder Destino’s 7:30 pm (ALSO TUE, WED, FRI)• John Farnsworth Jam Smoke 8, 9:30 pm $8• Vince Giordano’s Nighthawks Sofia’s 8 pm• Harlem Renaissance Orchestra Swing 46 8:30 pm• Patience Higgins Lenox Lounge 9:30 pm $5• Jack Jeffers Big Band Minton’s 9, 10:30 pm 12 am $10• JFA Jazz Jam Local 802 7 pm• Bill Wurtzel Duo Plum 6:30 pm (ALSO WED)• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30• Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm (ALSO TUE)

TUESDAYS• David Berger & The Sultans of Swing Birdland 8:30, 11 pm $25• Sedric Choukroun Seppi’s 8:30 pm• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN)• Joel Frahm Bar Next Door 8 pm $10• George Gee Make Believe Ballroom Orchestra Swing 46 8:30 pm• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT)• Sandy Jordan and Larry Luger Trio Notaro 8 pm• Kats in Black Hats Zip Code Restaurant & Lounge 7 pm• Annie Ross The Metropolitan Room 9:30 pm $25• Dred Scott Trio Rockwood Music Hall 12 am• Slavic Soul Party Barbès 9 pm $10• Diego Voglino Jam Royale 10:30 pm• Bill Wurtzel Duo Café du Soleil 7 pm

WEDNESDAYS• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm• Frank Lacy St. Nick’s Pub 10 pm• Rick Bogart Trio Seppi’s 8:30 pm (ALSO THUR-SAT)• Eddy Davis Dixieland The National Underground 9 pm• Felix and the Cats Swing 46 8:30 pm• Rick Germanson Ruth’s Chris Steakhouse 6 pm (ALSO THU-SAT)• Patience Higgins Sugar Hill Quartet Minton’s 9, 10:30 pm 12 am $10• Shan Kenner Trio Jam Tamboril 8 pm• Jonathan Kreisberg Bar Next Door 8 pm $10• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALO FRI)• Nathan & Max Lucas Organ Trio Lenox Lounge 8 pm• Jeremy Manasia Solo Roth’s Westside Steakhouse 6 pm• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM)• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $10• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm

THURSDAYS• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)• Avram Fefer Trio Le Pere Pinard 9 pm• Gerald Hayes and the Qualified Gents Minton’s 9, 10:30 pm 12 am $10• Barbara Rosene Times Square Brewery 8 pm• Sugartones Brass Band Jacques-Imo’s 8 pm• Eric Wyatt Late Night Session Sweet Rhythm 11:30 pm $10• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)

FRIDAYS• Steve Blanco Trio Domaine Wine Bar 9 pm (ALSO SAT)• George Braith Jam University of the Streets 10 pm (ALSO SAT)• Bill Saxton and Friends Bill’s Place 10 pm 12 am $15• Donald Smith St. Nick’s Pub 10 pm

SATURDAYS• Ted Hefko Quartet Antique Garage 12:30 pm• Wayne Roberts Duo City Crab 12 pm (ALSO SUN)• Skye Jazz Trio Jack 8:30 pm• Ryoichi Zakota Buona Sera 7 pm

SUNDAYS• Rick Bogart Trio Seppi’s 3 pm• Toru Dodo Jam Cleopatra’s Needle 8 pm• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm• Lafayette Harris Trio Lenox Lounge 7 pm• Satoshi Inoue Duo Roth’s Steakhouse 6 pm• Bob Kindred Grouo Café Loup 12:30 pm• Spike Wilner Group; Alex Stein Jam Smalls 10:30 pm 1:30 am $20• Lapis Luna Trio Bocca 7 pm• Peter Mazza Bar Next Door 8 pm $10• Chico O’Farrill’s AfroCuban Jazz Big Band Birdland 9, 11 pm $25• TC III St. Nick’s Pub 10:30 pm• Cidinho Teixeira Zinc Bar 10, 11:30 1 am• Chris Washburne’s SYOTOS Band Smoke 8, 10, 11:30 pm $8

ALLABOUTJAZZ-NEW YORK | February 2009 41

• 5C Café 68 Avenue C (212-477-5993) Subway: F, V to Second Avenue 5ccc.com

• 55Bar 55 Christopher Street (212-929-9883) Subway: 1 to Christopher Street 55bar.com

• 92YTribeca 200 Hudson Street (212-601-1000) Subway: 1, A, C, E to Canal Street 92ndstreety.com

• ABC No Rio 156 Rivington Street (212-254-3697) Subway: F to Second Avenue, J,M,Z to Delancey Street abcnorio.org

• Abrons Art Center 466 Grand Street Subway: F to Grand Street henrystreet.org/arts

• Alain Kirili’s Loft 17 White Street (212-226-0343) Subway: 1 to Franklin

• 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 jalc.org

• Annabelle’s 44 Beard Street (718-643-1500) Subway: G to Smith - 9 Streets annabelles-nyc.com

• The Annex 152 Orchard Street (212-673-3410) Subway: F, V to Second Avenue

• Antique Garage 41 Mercer Street (212-219-1019) Subway: N, Q, R, W to Canal Street

• Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1 to Christopher Street arthurstavernnyc.com

• Austrian Cultural Forum 11 East 52nd Street at Madison Avenue (212-319-5300) Subway: 6 to 51st Street acfny.org

• BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square bbkingblues.com

• The Backroom 485 Dean Street, Brooklyn (718-622-7035) Subway: 1, 2 to Bergen Street freddysbackroom.com

• BAMCafé 30 Lafayette Avenue (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue bam.org

• Bar 4 15th Street and 7th Avenue, Brooklyn (718-832-9800) Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue bar4.net

• Bar Next Door 129 MacDougal Street (212-529-5945) Subway: A, C, E, F, V to W. 4th Street lalanternacaffe.com

• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 7th Avenue barbesbrooklyn.com

• Bargemusic Fulton Ferry Landing (718-624-4061)Subway: F to York Street bargemusic.org

• Belarusian Church 401 Atlantic Avenue at Bond Street Subway: 4 to Nevins Street

• Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street• Bello Sguardo 410 Amsterdam Subway: 1 to 79th Street• Birdland 315 W. 44th Street (212-581-3080)

Subway: A, C, E, F, V to 42nd Street birdlandjazz.com• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)

Subway: A, B, C, D, E, F, V to W. 4th Street bluenotejazz.com• The Blue Owl 196 Second Avenue Subway: L to First Avenue• Bocca 39 East 19th Street

(212-387-1200) Subway: 4, 5, 6, L, N, R, Q, W to Union Square• Bowery Ballroom 6 Delancey Street

(212-533-2111) Subway: F to Delancey Street• Bowery Poetry Club 308 Bowery (212-614-0505) Subway:

F to Second Avenue; 6 to Bleecker Street bowerypoetry.com• Brecht Forum 451 West Street (212-242-4201)

Subway: A, C, E, L, 1, 2, 3 to 14th Street brechtforum.org• Brooklyn Lyceum 227 4th Avenue (718-857-4816)

Subway: R to Union Street brooklynlyceum.com• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn

Subway: F to Seventh Avenue, N, R to Union Street bqcm.org• Buona Sera 12th Street and University Place

Subway: 4, 5, 6, L, N, R, Q, W to Union Square• Cachaça 35 W.8th Street (at McDougal) (212-388-9099)

Subway: A, B, C, D, E, F, V to W. 4th Street cachacajazz.com• Café Carlyle 35 East 76th Street (212-744-1600)

Subway: 6 to 77th Street thecarlyle.com• Café du Soleil 2723 Broadway at 104 Streets

(212-316-5000) Subway: 1 to 103rd Street• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues

(212-255-4746) Subway: F to 14th Street• 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• Cake Shop 152 Ludlow Street

(212-253-0036) Subway: F, V to Second Avenue cake-shop.com• The Cellar 304 Manor Road, Staten Island

(718-887-1405) Subway: 1 to South Ferry musentcent.com• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484)

Subway: C to Clinton-Washington Avenues bistrolola.com• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250)

Subway: C to Lafayette Avenue chezoskar.com• City Crab Park Avenue South at 19th Street (212-529-3800)

Subway: 6 to 23rd Street• City Winery 155 Varick Street

(212-608-0555) Subway: 1 to Houston Street citywinery.com• Cleopatra’s Needle 2485 Broadway (212-769-6969)

Subway: 1, 2, 3 to 96th Street cleopatrasneedleny.com• Cornelia Street Café 29 Cornelia Street (212-989-9319)

Subway: A, B, C, D, E, F, V to W. 4th Street corneliastreetcafé.com

• The Creek 10-93 Jackson Avenue, Queens (718-706-8783) Subway: 7 to Vernon-Jackson Boulevard

• Creole 2167 3rd Avenue at 118th Street (212-876-8838) Subway: 6 th 116th Street creolenyc.com

• Cupping Room 359 West Broadway between Broome and Grand Street (212-925-2898) Subway: A, C, E to Canal Street

• Destino 891 First Avenue at 50th Street(212-751-0700) Subway: 6 to 50th Street destinony.com

• Dicapo Opera Theatre 184 East 76th Street at Lexington Avenue Subway: 6 to 77th Street

• Dizzy’s Club Coca Cola Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle jazzatlincolncenter.org

• Domaine Wine Bar 50-04 Vernon BoulevardSubway: 7 to Vernon Boulevard-Jackson Avenue

• Douglass Street Music Collective 295 Douglass Street (between 3rd and 4th Avenues), Brooklyn Subway: R to Union Street

• Drom NYC 85 Avenue A(212-777-1157) Subway: F to Second Avenue dromnyc.com

• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: C, E to Spring Street

• Fat Cat 75 Christopher Street at 7th Avenue (212-675-7369) Subway: 1 to Christopher Street/Sheridan Square fatcatjazz.com

• Feinstein's 540 Park Avenue (212-339-4095) Subway: 6 to 77th Street feinsteinsattheregency.com

• Fetch 1649 Third Avenue between 92nd and 93rd Streets(212-289-2700) Subway: 6 to 96th Street

• Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-463-7700) Subway: 7 to Main Street flushingtownhall.org

• The Garage 99 Seventh Avenue South (212-645-0600) Subway: 1 to Christopher Street garagerest.com

• The Glasslands 289 Kent AvenueSubway: L to Bedford Avenue glasslands.com

• Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: J, M train to Myrtle Avenue goodbye-blue-monday.com

• Greenwich House Music School 46 Barrow Street (212-242-4770) Subway: 1 to Christopher Street

• HVG Lounge 183rd and Pinehurst Avenue (212-923-7800 ext. 1314) Subway: A to 181st Street

• Havana Central 22 East 17th Street (Bewteen Broadway & 5th) (212-414-4999) Subway: 4, 5, 6, L, N, R, Q, W to Union Square

• I-Beam 168 7th Street between Second and Third Avenues Subway: F to 4th Avenue ibeammusic.com

• Ido Sushi 29 Seventh Ave South at Bedford Street(212-691-7177) Subway: 1 to Christopher Street

• Il Campanello Restaurant 136 West 31st Street (212-695-6111) Subway: A, C, E to 34th Street

• Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: 5 to Sterling Street plgarts.org

• Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: 1,2 to 50th Street iridiumjazzclub.com

• Issue Project Roon 232 Third Street (at the corner Third Avenue)Subway: M to Union Street issueprojectroom.org

• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street• Jacques-Imo’s 366 Columbus Avenue at 77th Street (212-799-0150)

Subway: C to 81st Street jacquesimosnyc.com• Jazz 966 966 Fulton Street (718-638-6910)

Subway: C to Clinton Street illbrew.com/Jazz966.htm• Jazz Gallery 290 Hudson Street (212-242-1063) Subway: C, E, to

Spring Street; 1, 2 to Houston Street jazzgallery.org• Jazz Museum in Harlem 104 E.126th Street between Park and

Lexington Avenues (212-348-8300) Subway: 6 to 125th Street jazzmuseuminharlem.org

• Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-576-2232) Subway: 6 to 28th Street jazzstandard.net

• Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place joespub.com

• Judi’s 2308 Adam C. Powell Jr. Boulevard (212-690-0353) Subway: 2, 3, B, C train to 135th Street

• Jules Bistro 60 St Marks Place (212-477-5560) Subway: 6 to Astor Place julesbistro.com

• The K-Lounge 30 West 52nd Street Subway: E to Lexington Avenue/53 Street

• The Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: 4, 5, 6 to Grand Central kitano.com

• Knickerbocker Bar & Grill 33 University Place (212-228-8490) Subway: N, R to 8th Street-NYU knickerbockerbarandgrill.com

• Kupferberg Center 65-30 Kissena Boulevard, Flushing (718-793-8080) Subway: E to 71 - Continental Avs - Forest Hills

• Kumble Theater I University Plaza (718-488-1051) Subway: B, M, Q, R to Dekalb Avenue brooklyn.liu.edu/kumbletheater

• Le Grand Dakar 285 Grand Avenue (718-398-8900) Subway: G to Classon Avenue granddakar.com

• Le Poisson Rouge 158 Bleecker Street (212-796-0741)Subway: A, B, C, D, E, F, V to W. 4th Street lepoissonrouge.com

• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-427-0253) Subway: 2, 3 to 125th Street lenoxlounge.com

• The Living Theatre 21 Clinton Street below Houston Street Subway: F to Second Avenue livingtheatre.org

• Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-245-4802) Subway: C to 50th Street jazzfoundation.org

• Lola is Soul 15 Watts Street (212-675-6700) Subway: A to Canal Street lolaissoul.com

• Lutheran Church of the Messiah 129 Russell Street Subway: G to Nassau Avenue

• Manhattan School of Music 120 Claremont Avenue (212-749-2802, ext. 4428) Subway: 1 to 116th Street msmnyc.edu

• Metropolitan Room 34 West 22nd Street (212-206-0440) Subway: N, R to 23rd Street metropolitanroom.com

• Middle Collegiate Church 50 E. 7th Street (212-477-0666) Subway: 6 to Astor Place middlechurch.org

• Miller Theater 2960 Broadway and 116th Street (212-854-7799) Subway: 1 to 116th Street-Columbia University millertheater.com

• Minton’s Playhouse 208 West 118th Street at St. Nicholas Avenue and Adam Clayton Powell Jr. Blvd-7th Avenue (212-864-8346) Subway: 2 to 118th Street uptownatmintons.com

• Monkeytown 58 N. 3rd Street between Kent and Wythe Subway: L Train to Bedford Avenue

• The National Underground 159 E. Houston (212-475-0611)Subway: F, V to Second Avenue

• NCGV 269 Bleecker Street (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street

• New School 66 W. 12th Street (212-229-5896) Subway: F, V to 14th Street jazz.newschool.edu

• Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle ninostuscany.com

• North Square Lounge 103 Waverly Place (212-254-1200) Subway: A, B, C, E, F, V to West 4th Street northsquarejazz.com

• Notaro Second Avenue between 34th & 35th Streets(212-686-3400) Subway: 6 to 33rd Street

• Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925) Subway: F, V to Second Avenue nublu.net

• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-505-8183) Subway: F, V to Second Avenue nuyorican.org

• NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: 4, 5, 6, N, R to 14th Street-Union Square bahainyc.org

• Otto's Shrunken Head 538 E 14th Street between Avenues A and B (212-228-2240) Subway: L to First Avenue

• Paris London West Nile 285 Kent Avenue #2Subway: L to Bedford Avenue shinkoyo.com/parislondon

• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street parlorentertainment.com

• ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981) Subway: G to Clinton-Washington parlorjazz.com

• Peter Jay Sharp Theater 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street juilliard.edu

• Plum 4009 Broadway at 168th Street (212-781-3333)Subway: A, 1 to 168th Street

• Puppets Jazz Bar 481 5th Avenue, Brooklyn (718-499-2622) Subway: F to 7th Avenue puppetsjazz.com

• Push 294 Third Avenue Subway: 6 to 23rd Street• Rockwood Music Hall 196 Allen Street (212-477-4155)

Subway: F, V to Second Avenue 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 jalc.org• Rose Live Music 345 Grand Street between Havemeyer and Marcy

(718-599-0069) Subway: L to Lorimer Street liveatrose.com• Roth’s Westside Steakhouse 93rd Street at Columbus Avenue

Subway: B to 96th Street• Roulette 20 Greene Street (between Canal and Grand Streets)

(212-219-8242) Subway: 1 to Franklin Street roulette.org• Royale 506 5th Avenue

(718-840-0089) Subway: F to 4th Avenue royalebrooklyn.com• Rubin Museum 150 West 17th Street

(212-620-5000) Subway: A, C, E to 14th Street rmanyc.org• St. Marks Church 2nd Avenue and 10th Street

(212- 674-6377) Subway: 6 to Astor Place• St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street

(212-283-9728) Subway: A, C, B, D to 145th Street• Saint Peter’s Church 619 Lexington Avenue at 54th Street

(212-935-2200) Subway: 6 to 51st Street saintpeters.org• Salmagundi Club 47 Fifth Avenue (212-255-7740)

Subway: 4, 5, 6, N, R to 14th Street-Union Square salmagundi.org• Seppi’s 123 W. 56th Street (212-708-7444)

Subway: F to 57th Street• Showman’s 375 West 125th Street (212-864-8941)

Subway: 1 to 125th Street • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn

(718-398-1766) Subway: A to Nostrand Avenue sistasplace.org• Sister’s Uptown Bookstore 1942 Amsterdam Avenue at 156th Street

(212-862-3680) Subway: 1 to 157th Street• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)

Subway: 1,2,3,9 to 14th Street smallsjazzclub.com• Smoke 2751 Broadway between 105th and 106th Streets

(212-864-6662) Subway: 1 to 103rd Street smokejazz.com• Sofia’s 221 W. 46th Street Subway: B, D, F, V to 42nd Street• Spike Hill 184 Bedford Avenue Subway: L to Bedford spikehill.com• Stain Bar 766 Grand Street, Brooklyn (718-387-7840)

Subway: L to Grand Street stainbar.com• The Stone Avenue C and 2nd Street

Subway: F, V to Second Avenue thestonenyc.com• Sullivan Hall 214 Sullivan Street (212-634-0427)

Subway: A, B, C, D, E, F, V to W. 4th Street sullivanhallnyc.com• Sweet Rhythm 88 Seventh Avenue South (212-255-3626)

Subway: 1 to Christopher Street sweetrhythmny.com• Swing 46 349 W. 46th Street (646-322-4051)

Subway: A, C, E to 42nd Street swing46.com• Symphony Space 2537 Broadway at 95th Street (212-864-5400)

Subway: 1, 2, 3, 9 to 96th Street symphonyspace.org• Tamboril 527 Myrtle Avenue (718-622-5130)

Subway: G to Classon Avenue• Tapeo 29 29 Clinton Street (212-979-0002) Subway: F to Delancey• Tea Lounge 837 Union Street, Brooklyn (718-789-2762)

Subway: N, R to Union Street tealoungeNY.com• Tillie’s 248 DeKalb Avenue (718-783-6140)

Subway: B, D, F, Q, N to DeKalb• Town Hall 123 W. 43rd Street (212-997-1003)

Subway: 1, 2, 3, 7 to 42nd Street-Times Square the-townhall-nyc.org

• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street tribecapac.org

• Tribes Gallery 285 E. 3rd Street (212-674-8262) Subway: F, V to Second Avenue tribes.org

• Union Temple 17 Eastern Parkway, Brooklyn(718-638-7600) Subway: 4 to Franklin Avenue

• University of the Streets 130 East 7th Street (212-254-9300) Subway: 6 to Astor Place

• Village Vanguard 178 Seventh Avenue South at 11th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street villagevanguard.com

• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens(718-721-3010) Subway: N to Ditmars Blvd-Astoria

• VoxPop 1022 Cortelyou Road, Brooklyn Subway: Q to Cortelyou/East 16th voxpopnet.net

• 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 Waltz-Astoria.com

• Webster Hall Studios 125 E. 11th Street (212-353-1600) Subway: 6 to 14th Street-Union Square

• Weill Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue (212-247-7800) Subway: N, R to 57th Street carnegiehall.org

• West Bank Café 407 W. 42nd Street (212-695-6909) Subway: A, C, E to 42nd Street westbankcafe.com

• West Side YMCA 5 W. 63rd Street (212-875-4100) Subway: A, C, E, B, D to 59th Street/Columbus Circle

• Whitney Museum 1845 Madison Avenue at 75th Street (800-944-8639) Subway: 6 to 77th Street whitney.org

• Yippie Café 9 Bleeker Street between Elisabeth and Bowery Subway: 6 to Bleeker Street

• York College Performing Arts Center 94-20 Guy R. Brewer Blvd., Queens Subway: E to Jamaica Center york.cuny.edu

• Zankel Hall 881 Seventh Avenue at 57th Street (212-247-7800) Subway: N, Q, R, W to 57th Street carnegiehall.org

• Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934)Subway: L to Bedford Avenue zebuloncafeconcert.com

• Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, C, E, F, V, Grand Street Shuttle to W. 4th Street zincbar.com

• Zip Code Restaurant & Lounge 2207 Adam Clayton Powell Jr Blvd. (212-281-3180) Subway: D to 125th Street

CLUB DIRECTORY

42 February 2009 | ALLABOUTJAZZ-NEW YORK

(INTERVIEW CONTINUED FROM PAGE 6)

CP: To play music starting from the bebop era and intowhatever the music is now and hopefully somethinginto the future. You hear the band now you’ll hear alittle bit of fusion, you’ll hear AfroLatin, you’ll hear awhole lot of bebop of course. That’s really the musicaldirection of the band. Another reason I wanted to keepthe band together, and I don’t mean to be racist or anything, was because here’s a band led by a man ofcolor so other musicians of color can aspire to. Mostbig bands are led by white people and then they havebasically white people in their bands. I had a reallygreat talk once about this with Mel Lewis - we werereally good friends - we talked about that whole situation and he said if you’re a white band leader youknow more white musicians than musicians of color.

AAJ-NY: But your band seems to be pretty integrated.

CP: And that’s what I wanted. At one time I was thinking of naming the band just Culture. I like diversity. I don’t want it all people of color, I don’twant it all white, I don’t want it all Asian, I don’t wantit all women, I don’t want it all men. I want a little bitof everything.

AAJ-NY: On the new album, band members have contributed quite a few of the charts.

CP: That’s the other thing. As the band grows we’rebeing more self-contained as more members are bringing music into the band. The last arrangement webrought into the book numbers 136.

AAJ-NY: What is your input as to how the charts aredeveloped?

CP: I let the composer write the way they want. Thenwhen they bring it in to the band I may reshape it tosome degree, without hurting the composer’s ideas.That way the band can have some kind of identity.

AAJ-NY: You don’t take that many drum solos, especially for a leader-drummer.

CP: No, I don’t want to do that. I want to play with theband, I want to be on the team. It’s like a football team.You have to have a lot of stars, a running back and atight end and wide receivers and a blocking back andthey all handle the ball. I like to have a lot of soloists.I don’t wanna solo on every tune. To me a lot of drumsolos get boring after a while. I want it to be music. Iwent through that you know, the period of the longdrum solo, but I passed that, I kinda don’t like thatanymore. All due respect to the great drummers whoare still playing great solos today but I don’t want todo that, I want to try to make music. I like to solo, butI like it to be rhythmic and musical. K

For more information, visit myspace.com/charlipersip.com.For the complete interview, visit allaboutjazz.com. Persip’sSupersound is at York College Performing Arts Center Feb.6th. See Calendar.

Recommended Listening: • Dizzy Gillespie - At Newport (Verve, 1957) • Charles Persip - And the Jazz Statesmen

(Bethlehem, 1960)• Pat Martino - Baiyina (The Clear Evidence)

(Prestige-OJC, 1968)• Charli Persip & Superband - No Dummies Allowed

(Soul Note, 1987)• Randy Weston/Melba Liston - Volcano Blues

(Gitanes/Antilles - Verve, 1993) • Charli Persip & Supersound -

Intrinsic Evolution (s/r, 2007)

(LABEL CONTINUED FROM PAGE 8)

For Elias, being a part of the Blue Note tradition“has been an incredible experience and a great honor.”She says she feels “a responsibility to uphold the continuity” of the label. “I have always had so muchrespect for the quality” of the music Blue Note makes,she said. Elias grew up listening to Blue Note albums,which were very difficult to acquire in her nativeBrazil in the ‘70s. “My father would come back fromtrips to the US with stacks of Blue Note records I hadrequested,” she said. “I had Herbie, Wynton Kelly, alot of Bud Powell. I would devour Blue Note recordings of Bud Powell and Monk.”

Lovano also grew up listening to classic Blue Noterecords, courtesy of his father, Cleveland saxophonistTony “Big T” Lovano. “The records that stood out?Some of the Art Blakey and the Jazz Messengers: Liveat Birdland and Live at Café Bohemia. Jimmy Smith, TheSermon. Blue Train …The history of Blue Note speaksfor itself. It’s documented in such an honest and beautiful way. The legacy of the label will live forever.Just mention the names and the sound comes through:Jackie McLean, you hear it; Jimmy Smith, you hear it.”

Blue Note’s legendary catalogue remains a vitalrevenue stream for the label, but Lundvall also recognizes how essential it is for jazz itself and for theculture at large to keep such historic recordings beforethe public.

“From the time we restarted the label, its greatcatalogue has been the profitable safety net throughout the years,” Lundvall said. “It’s also important to keep important music available, not justfor fans but for young musicians coming up. Theyhave to grasp the past in order to write the future.”

Blue Note has also enjoyed considerable commercial success in recent years with crossoverartists, notably Norah Jones, as well as veterans likeVan Morrison, Al Green and Anita Baker, who haveextended the label’s reach beyond a strictly jazz audience.

“Our crossover artists have been very importantin terms of sales and in terms of doing quality projectsin other adult music realms,” said Lundvall. “The firsttime I heard Norah, I was knocked out by her sound,her phrasing and her unique delivery. I didn’t see dollar signs. In fact, we thought the first album wouldbe a great success if it sold 100,000 copies or so.”

It went on to sell more than 20 million copiesworldwide, by far the best-seller in Blue Note historyand one of the biggest-selling albums ever.

So what does the future hold for the longest-running label in jazz? Despite the recession, the challenge new technology poses for the music industryand the never-ending questions about how jazz cansurvive, Lundvall is optimistic.

“Methods of delivery and marketing may havechanged, but it begins and ends with the music,” hesaid. “We are in bad economic times in general and inthe music industry in particular. But there is no shortage of great music and no shortage of fresh newvoices emerging. Jazz will be just fine, thank you!” K

For more information, visit bluenote.com. Artists performing this month include Dianne Reeves, Joe Lovanoand Wynton Marsalis at Rose Hall Feb. 19th-21st as part of“The Best of Blue Note Records: Hard Bop and Beyond” andAaron Parks (Feb. 24th-25th), Lionel Loueke (Feb 26th-27th) and Robert Glasper (Feb. 28th) at Jazz Standard aspart of “New Voices of Blue Note - A 70th AnniversaryCelebration”. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 43

ON THIS DAY

The saxophonist Art Pepper beganhis career as a leader in 1952, after along stint with Stan Kenton, with aseries of California recordings. Themusic for this two-disc set was takenfrom the early and late sets of aPepper gig at Hollywood’s Surf Cluband features the also recently-on-hisown pianist Hampton Hawes alongwith a rhythm section of JoeMondragon and Larry Bunker (alsoon vibes). The music is a mix of standard material and Pepper originals, a valuable early documentof a troubled legend.

The second Miles Davis Quintet wasprolifically recorded, both in the studio and live. By this LincolnCenter concert, the lineup had stabilized with George Coleman,Herbie Hancock, Ron Carter andTony Williams completing the group(but turned out to be Coleman’s lastgig with the group, replaced first bySam Rivers and then permanently byWayne Shorter). This album is thecompanion piece to My FunnyValentine, containing all the fasternumbers while the other is strictlyballads.

Part of the 35-LP Jazz a Confrontoseries released by the Italian labelHoro, Volume 8 brought together twoimportant figures in the Italian avantgarde - recently departed alto saxophonist Mario Schiano andpianist Giorgio Gaslini - to co-lead aseptet of similarly progressive Italianmusicians. Gaslini contributes twooriginals to the session (“CantoRitrovato” and “Unita”) and Schianoone (“Life Saver”), with tenor saxophonists Toni Formichella andMaurizio Giammarco filling out the adventurous program.

Though drummer Barry Altschul hasbeen an important figure in avantgarde circles since mid ‘60s work withPaul Bley and membership in the collective Circle, he has not recordedtoo much as a leader. For this date,Altschul brings in a geographicallydiverse group, he and bassist MarkHelias from the United States andfrontline players John Surman andEnrico Rava from England and Italyrespectively. Altschul wrote four ofthe six pieces here, the other two“Jitterbug Waltz” and trombonist RayAnderson’s “Tap-a-jack”.

Known as The Mighty Burner,organist Charles Earland was one ofthe many talented and energetic players to come out of the ‘60s soul-jazz movement. After getting his startwith Lou Donaldson, Earland recorded regularly as a leader. Thisalbum was one of his last before hisdeath at 58 of heart failure. Joininghim for this eclectic program of material from Horace Silver, HerbieHancock, Joe Sample and the soulworld are young guns James Rotondi,Eric Alexander, Bob DeVos and GregRockingham.

by Andrey Henkin

Complete Surf Club SessionsArt Pepper (Xanadu-Jazz Factory)

February 12th, 1952

‘Four’ & MoreMiles Davis (Columbia)

February 12th, 1964

Jazz a ConfrontoSchiano/Gaslini (Horo)

February 12th, 1974

IrinaBarry Altschul (Soul Note)

February 12th, 1983

Blowing the Blues AwayCharles Earland (HighNote)

February 12th, 1997

BIRTHDAYSFebruary 1†James P.Johnson

1894-1955†Tricky Sam Nanton

1904-46Sadao Watanabe b.1933February 2†Andrew Brown 1900-60†Emanual Paul 1904-88†Joe Mondragon 1920-87†Sonny Stitt 1924-82Mimi Perrin b.1926†Stan Getz 1927-91James Blood Ulmer

b.1942February 3†Lil Hardin Armstrong

1898-1971†Dolly Dawn 1919-2002Snooky Young b.1919†Chico Alvarez 1920-92John Handy b.1933Leroy Williams b.1937Bob Stewart b.1945February 4†Manny Klein 1908-96†Artie Bernstein 1909-64†Harold “Duke” DeJean

1909-2002†Jutta Hipp 1925-2003†Wally Cirillo 1927-77†Tony Fruscella 1927-69†Wade Legge 1934-63†John Stubblefield

1945-2005February 4†Roxelle Claxton 1913-95†Gene Schroeder 1915-75Bill Mays b.1944

February 6†George Brunis 1902-74†Ernie Royal 1921-83†Conrad Gozzo 1922-64Sammy Nestico b.1924†Bernie Glow 1926-82†Don Fagerquist 1927-74Tom McIntosh b.1927Nelson Boyd b.1928February 7†Eubie Blake 1883-1983†Wilbur Sweatman

1892-1961†Ray Crawford 1924-97†Ray Alexander

1925-2002†King Curtis 1934-71February 8†Lonnie Johnson

1889-1970Buddy Morrow b.1919†Pony Poindexter 1926-88Eddie Locke b.1930February 9†Walter Page 1900-57†Peanuts Holland 1910-79†Joe Dodge 1922-2004February 10†Walter “Foots” Thomas

1907-81†Chick Webb 1909-39†Larry Adler 1914-2001†Sir Roland Hanna

1932-2002†Walter Perkins

1932-2004Rahn Burton b.1934Rufus Reid b.1944“Butch” Morris b.1947

February 11†Claude Jones 1901-62†Bob Casey 1909-86†Matt Dennis 1914-2002Martin Drew b.1944February 12†Paul Bascomb 1912-86†Tex Beneke 1914-2000†Ernst Landl 1914-83Leroy Harris b.1916†Bernie Privin 1919-99†Hans Koller 1921-2003†Art Mardigan 1923-77†Mel Powell 1923-98February 13†Wingy Manone 1900-82†Les Hite 1903-62†Lennie Hayton 1908-71†Wardell Gray 1921-55Ron Jefferson b.1926Keith Nichols b.1945February 14†Perry Bradford

1893-1970Jack Lesberg b.1920Elliot Lawrence b.1925February 15†Harold Arlen 1905-86†Walter Fuller 1910-2003Nathan Davis b.1937Henry Threadgill b.1944Kirk Lightsey b.1937†Edward Vesala 1945-99February 16†Machito 1912-84†Bill Doggett 1916-96†Charlie Fowlkes 1916-80Howard Riley b.1943

February 17†Wallace Bishop 1906-86†Charlie Spivak 1906-82†Harry Dial 1907-1987†Alec Wilder 1907-80Buddy DeFranco b.1923Buddy Jones b.1924February 18†Emil Barnes 1892-1970†De De Pierce 1904-73Hazy Osterwald b.1922†Frank Butler 1928-84†Billy Butler 1928-91February 19†Johnny Dunn 1897-1937Fred Van Hove b.1937Ron Mathewson b.1944David Murray b.1955February 20†Jimmy Yancey 1894-1951†Fred Robinson 1901-84†Oscar Aleman 1909-80Frank Isola b.1925†Bobby Jaspar 1926-63Nancy Wilson b.1937Lew Soloff b.1944Anthony Davis b.1951Leroy Jones b.1958Iain Ballamy b.1964February 21†Al Sears 1910-90†Tommy Stevenson

1914-44†Tadd Dameron 1917-65Eddie Higgins b.1932†Nina Simone 1933-2003Graham Collier b.1937Herb Robertson b.1951Warren Vaché b.1951

February 22†James Reese Europe

1881-1919†Bob Ysaguirre 1897-1982†Joe Tarto 1902-86†Rex Stewart 1907-67†Claude “Fiddler”

Williams 1908-2004†Buddy Tate 1914-2001Joe Wilder b.1922Dave Bailey b.1926Whitey Mitchell b.1932Roman Dylag b.1938Marc Charig b.1944Harvey Mason b.1947Joe La Barbera b.1948February 23†Cie Frazier 1904-85†Sterling Bose 1906-58†John Benson Brooks

1917-99†Money Johnson 1918-78†Harry Lim 1919-90†Hall Overton 1920-72†Johnny Carisi 1922-92†Richard Boone 1930-99Les Condon b.1930February 24†Jimmy Bertrand 1900-60†Johnny Miller 1915-88†Eddie Chamblee 1920-99†Ralph Pena 1927-69Andrzej Kurylewicz

b.1932Michel Legrand b.1932†David “Fathead”

Newman 1933-2009Steve Berrios b.1945Vladimir Chekasin b.1947Bob Magnusson b.1947Maggie Nicols b.1948

February 25†Tiny Parham 1900-43†Ray Perry 1915-50Fred Katz b.1919†Rene Thomas 1927-75†Sandy Brown 1929-75Tommy Newsom b.1929†Ake Persson 1932-75February 26†Chauncey Haughton

1909-89Dave Pell b.1925†Chris Anderson

1926-2008†Hagood Hardy 1937-97Trevor Watts b.1939Yosuke Yamashita b.1942February 27†Leo Watson 1898-1950†Mildred Bailey 1907-51†Abe Most 1920-2002†Dexter Gordon 1923-90†Chuck Wayne 1923-97John B. Williams b.1941February 28Edmund Cohanier b.1905†Louis Metcalf 1905-81†Lee Castle 1915-90Svend Asmussen b.1916†Bill Douglass 1923-94†Donald Garrett 1932-89†Willie Bobo 1934-83Charles Gayle b.1939Pierre Dørge b.1946Leap Year Babies†Jimmy Dorsey 1904-56†Paul Rutherford

1940-2007 Richie Cole b.1948

CHARLES GAYLEFebruary 28th, 1939

He went from the subway platforms ofNew York to the recording studios ofSilkheart Records inSweden, releasing a trioof albums in the late‘80s that caught theattention of FMP,Knitting Factory andClean Feed, for whomhe later recorded. Anintriguing and controversial character,the saxophonist hasplayed with CecilTaylor, and WilliamParker and Rashied Aliwith whom he recorded.

-CS

WARREN BROWNThe trombonist started outplaying in his brother LesBrown’s band, but soonmoved to music’s businessside, finding hits like “Girlfrom Ipanema” and“Strangers in the Night”. At92 he died Sep. 15th.

PAGE CAVANAUGHHe accompanied Sinatra atthe Waldorf Astoria, playedon radio shows and inmovies and developed awhispered style of singingwith his trio in the ‘40s. At 86the pianist died Dec. 19th.

BUDDY CHARLESAs a child, he sat under hismother’s piano. Later, hemade his way through theChicago club circuit, settlingin at Acorn on Oak in 1972,for 18 years. The pianist was81 when he died Dec. 18th.

OMAR CLAYA member of Max Roach’spercussion group M’Boom,the St. Louis-born drummershared the stage with SarahVaughan, Charles Mingusand Horace Silver before hisdeath Dec. 4th at age 73.

KENNY COXA collector of records, radiointerviews, books and publications dealing withDetroit, the pianist performed with WesMontgomery, RahsaanRoland Kirk and Etta Jones.At 68 he died Dec. 19th.

GEORGE DAVISBefore becoming a top NewOrleans session guitarist, heplayed with Art Neville. In1966 he formed his labelParlo and in 1970 joinedSarah Vaughan and DukeEllington in New York. At 70,Davis died Sep. 10th.

GAYLE DIXONAs founder of JazzbowsMusic, she published andrecorded the string music ofblack composers. The violinist also shared the stagewith Archie Shepp, CarmenMcRae and TerenceBlanchard before her deathNov. 23rd, at 61.

RAY ELLISHe played sax in dance bandsin the ‘40s before joiningColumbia as an arranger. Hiswork included BillieHoliday’s final two albums.Ellis passed away Oct. 27th atage 85.

JIMMY GOURLEYAfter relocating to France inthe ‘50s, the guitarist helpedpromote bebop, recordingwith Lee Konitz, Zoot Simsand Clifford Brown. Gourleywas 82 years old when hepassed away Dec. 7th.

FREDDIE HUBBARDAt 20 he moved to New York,began playing with SonnyRollins and signed with BlueNote. He joined Art Blakey’sJazz Messengers in 1961 andrecorded with Coltrane in1965. At 70 Hubbard diedDec. 29th.

PRINCE LASHAThe multi-instrumentalistgrew up in Fort Worth, playing with OrnetteColeman before heading toCalifornia, hooking up withSonny Simmons and recording The Cry. Lasha was79 when he died Dec. 12th.

FRANCES LYNNEAt age 5, she started hercareer on a Texas radio show.In the ‘40s, she sang withDave Brubeck and PaulDesmond before touring withGene Krupa. Lynne was 82when she died Dec. 4th.

AUGUSTO MANCINELLIIn the ‘80s he worked withGil Evans in Rome andrecorded with Enrico Rava.Later came his own albums.The Italian guitarist passedaway Jul. 20th, aged 54.

DAVID “FATHEAD” NEWMAN

Before immersing himself inthe New York scene, playingwith Lee Morgan, KennyDorham and Billy Higgins,the saxophonist spent 12years touring and recordingwith Ray Charles. At age 75,he died Jan. 20th.

JOE ROMANOAt 17 the saxophonist sat inat a Rochester club withCharlie Parker. He recordedwith Woody Herman in 1957and later worked with BuddyRich, Chuck Israels and StanKenton. Romano died Nov.26th, aged 76.

TOMMY SAMPSON“Scotland’s King of Swing”led one of the most celebrated big bands inEurope during and afterWWII. A trumpet player, helater started a vocal quartetand arranged for the BBC. At90, Sampson died Oct. 20th.

LOUIS “STUDS’ TERKELHe played Mahalia Jackson’searly recordings on his radioshow The Wax Museum in the‘40s at the start of a longcareer as a host and author.The Chicago icon passedaway Oct. 31st, aged 96.

LAWRENCE WHEATLEYThe DC composer and pianistled jam sessions for over fourdecades, but was againstrecording his playing,though he did appear on a1955 record with GeneAmmons. At 73 Wheatleypassed away Oct. 19th.

IN MEMORIAM by Celeste Sunderland

http://www.monkattownhall.org