MAY 2017—ISSUE 181 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.

COM

LOUIS
HAYES
SERENADING
SILVER

DRUMM
ER
ISSUE

WHIT DAN DENNIS SONNY

DICKEY WEISS CHAMBERS PAYNE
 Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East MAY 2017—ISSUE 181
Croton-on-Hudson, NY 10520
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Phone/Fax: 212-568-9628 New York@Night 4
Laurence Donohue-Greene:
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Interview : Whit Dickey 6 by clifford allen
Andrey Henkin:
[email protected] Artist Feature : Dan Weiss 7 by ken waxman
General Inquiries:
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Advertising:
On The Cover : Louis Hayes 8 by russ musto
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Calendar:
Encore : Dennis Chambers 10 by john pietaro
[email protected]
VOXNews:
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Lest We Forget : Sonny Payne 10 by alex henderson

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Staff Writers
In Memoriam 12
David R. Adler, Clifford Allen,
Duck Baker, Fred Bouchard,
Stuart Broomer, Thomas Conrad,
Festival Report 13
Ken Dryden, Donald Elfman,
Philip Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
CD Reviews 14
Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo,
Suzanne Lorge, Mark Keresman,
Marc Medwin, Ken Micallef,
Miscellany 38
Russ Musto, John Pietaro,
Joel Roberts, John Sharpe,
Elliott Simon, Andrew Vélez,
Event Calendar 40
Ken Waxman, Scott Yanow

Contributing Writers
Robert Bush, Kevin Canfield,
Brian Charette, Laurel Gross, We beg your indulgence for a moment of self-congratulation. With this issue we celebrate our
George Kanzler, Marilyn Lester, Eric Wendell 15th anniversary: nearly 3,000 features, over 1,200 concerts covered; and approaching 10,000
albums reviewed. There is always room for improvement but we have never wavered in our
Contributing Photographers
Peter Gannushkin, Tom Greenland, support of local and international jazz communities.
Ton Mijs, Alan Nahigian,
Robert I. Sutherland-Cohen, Jack Vartoogian But on to the next 15 years. We start with a typically diverse roundup of features under the
auspices of this Drummer Issue: elder statesman Louis Hayes (On The Cover) has played with
Fact-checker just about everyone in the Blue Note fold; now he finally gets to have his name in big letters
Nate Dorward next to the logo and will celebrate at Dizzy’s Club, just in time for his 80th birthday. Whit
Dickey (Interview) has been a stalwart on the avant garde scene for decades and veteran of the
Vision Festival, where he will celebrate his new AUM Fidelity release. Dan Weiss (Artist
Feature) is one of the leading lights of young drummers and presents a variety of projects
during a week at The Stone. And Dennis Chambers (Encore) and Sonny Payne (Lest We
Forget) represent two bookends of jazz history and will both “appear” at Jazz at Lincoln
Center, the former playing at The Appel Room with John Scofield and the latter remembered
as part of a Count Basie/Duke Ellington tribute at Rose Theater. And our CD Reviews are

nycjazzrecord.com front-loaded (pgs. 14-20) with new and archival releases from behind the kit.

On The Cover: Louis Hayes (© Jack Vartoogian/FrontRowPhotos)

Corrections: In last month’s What’s News, the forthcoming Thelonious Monk album
Les Liaisons Dangereuses 1960 is being released by Sam Records/Saga.

All rights reserved. Reproduction without permission strictly prohibited.

All material copyrights property of the authors.

2 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 W W W. B LU E N OT E JA Z Z . CO M
MAY 2017
KEYON
HARROLD
& FRIENDS
FT SPECIAL GUESTS
BLUE NOTE
RESIDENCY
RON CARTER MAY 16 - 17
80TH BIRTHDAY
CELEBRATION
FT BILL FRISELL • BENNY GOLSON
ROY HARGROVE • DONALD HARRISON CHUCHO VALDÉS MANHATTAN
KENNY BARRON • LENNY WHITE QUARTET
THE
TRANSFER LARRY HARLOW
HOUSTON PERSON • WALLACE RONEY
RUSSELL MALONE • JAVON JACKSON 75TH BIRTHDAY
45TH ANNIVERSARY & THE LATIN STANTON
RENEE ROSNES CELEBRATION CELEBRATION LEGENDS MOORE
MAY 2 - 7 MAY 9 - 14 MAY 18 - 21 MAY 25 - 28 MAY 23 - 24
THE DIZZY GILLESPIE™ AFRO CUBAN EXPERIENCE - BLUE NOTE RESIDENCY MAY 1 & 15
NYU ORCHESTRA PLAYS BRECKER BROS. FT RANDY BRECKER & ADA ROVATTI MAY 8
INSPIRED: CELEBRATING JIM HALL W/ ABERCROMBIE, BERNSTEIN, MICIC & LUND MAY 22
MCCOY TYNER MAY 30 & 31
SPECIAL SUNDAY JAZZ BRUNCH
$ 35 INCLUDES BRUNCH, MUSIC & COCKTAIL
LATE NIGHTS
MARCUS GILMORE & FRIENDS - BLUE NOTE LATE NIGHT WEEKEND TAKEOVER MAY 5 & 6 • DECORA LIVE AT THE BLUE NOTE MAY 12
CHRIS MCCLENNEY RESIDENCY LIVE AT BLUE NOTE MAY 13 • PHONY PPL - LATE NIGHT WEEKEND TAKEOVER MAY 19 & 20 • TBA MAY 26 & 27
l3l WEST 3RD STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM
@bluenotenyc TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM
TERMS, CONDITIONS AND RESTRICTIONS APPLY

TUE MAY 23

DAVID KIKOSKI TRIO JUSTIN

JOE MARTIN
FAULKNER
WED MAY 24

“VENUE OF THE YEAR” 2016 -NYCJR H“TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY”- NY MAGAZINE GIL GUTIERREZ
´ ROBERT STERN
DAVID RODRIGUEZ
THU-FRI MAY 25-26

THE gil evans project

TUE-SUN MAY 2-7

FRED HERSCH duo series SAT-SUN MAY 27-28

THE gil evans project

FRED HERSCH WITH
TUE MAY 2 FRI MAY 5

donnyWEDMCcaslin
MAY 3
steve wilson
SAT MAY 6
PRESENTS MILES AHEAD 60TH ANNIVERSARY
FEATURED SOLOISTS
5/27 Dave Pietro (7:30PM ONLY) Scott Wendholt (9:30PM ONLY)
gilad hekselman
THU MAY 4
stefon harris
SUN MAY 7
5/28 Mike Rodriguez (7:30PM ONLY) Donny McCaslin (9:30PM ONLY)
CONDUCTOR & DIRECTED BY RYAN TRUESDELL
jo Lawry chris potter MON MAY 29HCLOSED FOR MEMORIAL DAY
TUE MAY 30
TUE-SUN MAY 9-14

THE BAD PLUS helen sung:sung words

WITH

INGRID JENSEN - JOHN ELLIS - BORIS KOZLOV - KENDRICK SCOTT

WITH GUEST VOCALISTS Christie Dashiell - Carolyn Leonhart - Vuyo Sotashe
REID ANDERSON - ETHAN IVERSON - DAVE KING SUNG WITH WORDS BY HELEN SUNG AND THE HELEN SUNG GROUP HAS BEEN MADE POSSIBLE WITH SUPPORT FROM
CHAMBER MUSIC AMERICA’S 2014 NEW JAZZ WORKS: COMMISSIONING AND ENSEMBLE DEVELOPMENT PROGRAM
TUE-WED MAY 16-17 FUNDED THROUGH THE GENEROSITY OF THE DORIS DUKE CHARITABLE FOUNDATION.

ANAT COHEN &trio BRASILEIRO

DUDU MAIA - DOUGLAS LORA - ALEXANDRE LORA glenn zaleski trio CRAIG
WED MAY 31
RUFUS REID
WEINRIB
THU-SUN MAY 18-21 HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH

REGINA CARTER: SIMPLY ELLA

MON MAY 1, 8, 15 & 22

BRANDON McCUNE - MARVIN SEWELL - CHRIS LIGHTCAP - ALVESTER GARNETT

JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA SEASON FINALE MAY 21 [RETURNING IN OCTOBER]-DIRECTED BY DAVID O’ROURKE
MINGUS BIG BAND
 NEW YORK @ NIGHT
Clarinetist Jeremiah Cymerman has been a regular Sequestered in Brooklyn’s Prospect-Lefferts Gardens
participant and instigator in new improvised music neighborhood, the Owl Music Parlor (yet another jazz
circles for several years and already had a fruitful venue deserving wider recognition) hosted a first-time
residency at The Stone in 2014. For Cymerman’s second performance by multi-instrumentalist Peter
residency, he made the condensed single-set layout Apfelbaum, percussionist Cyro Baptista and tuba
work well, bringing in guest musicians for short soli, player Marcus Rojas (Apr. 1st). There was a tentative
which served as a leaping-off point for ensemble setlist and tunes were played, but the real focus seemed
music. Apr. 14th led off with Brandon Seabrook playing to be on exploring emergent soundscapes, each
a stirring improvisation owing a lot in its focus to the musician adding a variety of percussive effects.
diddley-bow of Cooper-Moore (with whom the Apfelbaum often set the melodic guidelines on tenor
guitarist has been working) and deft volleys between saxophone or melodica, Rojas approximated a bassist’s
electricity and muted unamplified wood and strings. role with low-range vamps (though he was just as
You’re going to want Catapulting forward, Cymerman was joined by pianist likely to treat his horn as a drum or megaphone) while
Matt Mitchell and drummer Chris Corsano across a Baptista juggled an uncanny array of traditional as
more than one. two-part improvisation and one shorter piece. None of well as homemade percussion implements, working
Never before available to the public, this collection the musicians had played together before and the like a Foley artist who creates just the right atmosphere
was developed collaboratively with drummers on results were an unexpected fireworks warehouse for each unfolding scene. On “Anarrie” he slapped his
the cutting edge of “America’s Original Art Form,” explosion, led by the jubilant and aggressive interplay “Cyrimba” (a marimba made of PVC piping) with flip-
including Jeff Ballard, Greg Hutchinson, Joe McCarthy between piano and drums. Mitchell is no stranger to flop sandals; on Dafnis Prieto’s “Trio Absolute” he
and Lewis Nash. For full specs, go to VicFirth.com/MJC. free music though he’s more frequently heard playing looped his own fast chattering through the PA; other
postbop-informed angular ruminations. Curled times he shook a massive knot of multi-colored
string-breaking impulsions mated with Corsano’s medicine containers, bowed a waterphone (looking
limber, selected drive (drawing blood from the like a birdcage with broken bars) or made his friction-
percussionist’s knuckles), occasionally and pointedly drums yowl like monkeys. The second set, even more
giving way to dusky ululations and warped, pedal- engrossing, featured Apfelbaum’s deft simultaneous
actuated reed skirls. Having more in common with piano/organ playing. During one section you’d swear
heady German free improvisation than post-Millennial the trio’s instruments were actually talking; during
avant garde, a reunion of these musicians couldn’t another Rojas let his wild side out, uttering bestial
come soon enough. —Clifford Allen wails as he tried to crawl the wall. —Tom Greenland
Peter Gannushkin/DOWNTOWNMUSIC.NET

Tom Greenland/Midnight Son Music

Chris Corsano @ The Stone Cyro Baptista @ Owl Music Parlor

Minutemen guitarist/vocalist D. Boon and bassist 21 years old and still going strong, Sistas’ Place in
Barre Phillips never got a chance to play together Brooklyn’s Bedford-Stuyvesant neighborhood is one of
before the former ’s tragic 1985 death, but a vision of those jazz ‘clubhouses’, a home-away-from-home
what that may have sounded like was made available where artists and fans gather to celebrate their music.
at Cornelia Street Underground (Apr. 12th), where a On Apr. 8th, Neil Clarke paid tribute to fellow
trio of guitarist Brandon Seabrook, bassist Henry conguero Mongo Santamaria (on what would have
Fraser and cellist Daniel Levin took the stage. Across been his 100th birthday, plus a day) with a quintet
two sets and ten cuts, the trio grappled with woody comprised of alto saxophonist/flutist Cleave Guyton,
sonorities and deft movement, shot through with trumpeter Eddie Allen, vibraphonist Bryan Carrott
Seabrook’s tinny, blurred strum and electric volleys. and electric bassist Donald Nicks. Most of the night
Thematically the music (set to be recorded and released Clarke played with bare hands on the conga (or bongo)
in 2018) pits condensed sawtooth leaps against heaving skins (although his middle three fingers were taped for
arco, Fraser ’s supple, massive and exacting approach protection), accenting rhythmic phrase-ends on two
a curious foil for the grainier and more percussive small cymbals, which gave the music a floating,
Levin. The guitarist would often defer to the cellist and ethereal quality. The two setlists—“Happy Now”,
bassist for initial solos and interwoven duets, flinging “Dirty Willie”, “Body and Soul”, “Black Orchid”, “Afro
chordal impulsions and craggy intervals at them as Blue”; then “Come Candela”, “Cuidado”, “Tenderly”,
a hardbop drummer might feed a horn player “Bembé Blue”, “Watermelon Man”—combined tunes
ratcheting fills. Despite the amount of information Santamaria had written or was known for with some of
bandied about by three amplified string players egging his favorite covers. Guyton, Allen and Carrott all have
one another on with expanded technique, the music strong soloing styles, so it was exciting to hear crowd
was predicated on clarity as well as speed with a responses to their most inspired passages, compelling
minimum of blending or distortion. At one point, them to go further, creating a feedback loop between
Levin augmented his instrument by crumpling paper stage and house. Clarke supplied the most
with his bow and percussively clattering his music transformative moments with solos that, minus
stand amid high-pitched and muted attacks, adding affectation or histrionics, revealed deep feeling for the
visual flair to an already rapt experience. To borrow music. Ultimately, it was this that most moved us, what
©2017 Vic Firth Company from writer Michael Azerrad, in some circles “this emcee Ahmed Abdullah identified as the spirit of
chamber trio could be your life.” (CA) “resilience, resistance and resurgence”. (TG)

4 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 W H AT ’ S N E W S
O n my 91st birthday I hope to be able to eat solid Drummer Marcus Gilmore has, at the age of 30,
food, much less be mobile, charming and playing piano already amassed a lengthy list of sideman credits—
like someone 50 years younger. Well, we all can’t be including noteworthy tenures with Steve Coleman,
Randy Weston, who celebrated his second year as Vijay Iyer and Gonzalo Rubalcaba—which testify to
a nonagenarian at Jazz Standard (Apr. 6th). It was also his prodigious talent. At The Jazz Gallery (Apr. 7th), it The 2017 Guggenheim Fellows have been announced. The
a CD release party for The African Nubian Suite, was his experience more than his youth that was relevant recipients are vocalist Shelley Hirsch and drummer Jeff
“Tain” Watts. For more information, visit gf.org.
a continuation of his decades-long illumination of evident, as he led a band of similarly open-minded
what was once called the “Dark Continent”. Joining players through audaciously original music. The set The Bad Plus have announced that original pianist Ethan
Weston was his long-standing quintet of saxophonist/ began with a solo drum prelude as attentive to tone Iverson is leaving the band after 17 years, to be replaced by
flutist TK Blue, bassist Alex Blake, drummer Lewis and texture as polyrhythmic subtlety. Avoiding Orrin Evans.
Nash and percussionist Neil Clarke, the latter three metronomic constraints, he conversed freely with
providing a highly percussive groove. The show began David Virelles’ sonic laptop explorations and ominous Guitarist Bill Frisell has composed a score for a staging of
with a long and unusual take on Weston’s most famous piano lines, out of which the melody of the pair ’s Hunter S. Thompson’s story “The Kentucky Derby is Decadent
tune “Hi-Fly”, introduced by a fractured piano solo. “Local Harvest” slowly emerged over a martial and Depraved”, to be performed at Town Hall May 5th. For
The closing piece was 23 minutes of “Blue Moses”, the drumbeat. This signaled the rhythmic entrance of more information, visit thetownhall.org/event/the-kentucky-
title track from Weston’s 1972 CTI album; it too had Rahsaan Carter ’s vamping bass, accented by Joel Ross’ derby-is-decadent-and-depraved.
a long prelude and its exotic theme was delineated by ringing vibraphone and Morgan Guerin’s EWI squalls.
A Night at the Old Marketplace, a theatrical concert by director-
soprano saxophone (Blue sounding much like the late The result was a potent blend of cacophony and producer Alexandra Aron, composer Frank London and
Joe Farrell), Clarke later engaging the audience in a melodicism that hearkened to both Weather Report playwright Glen Berger will take place at Museum of Jewish
call-and-response section, and ended with Blake and Bobby Hutcherson’s Dialogue. A solo drum Heritage May 4th and 6th. For more information, visit nytf.org.
unaccompanied. In between Weston invited up two interlude redolent of Tony Williams in its inventive
guests to assist on Melba Liston’s arrangement of his creativity introduced “Corazon”, a melodic swinger Sweetee, a musical based on the true story of Reverend Daniel
“The Call” (from the 1975 Arista-Freedom LP Blues To featuring Guerin’s bold tenor. Vocalist Melodious Fly Jenkins, who put together a proto-jazz band of homeless
Africa): trumpeter Cecil Bridgewater and conguero joined the group to sing her words to the drummer ’s children in 19th century South Carolina, written by Gail Krieger,
Candido Camero. The latter is, amazingly, four years “Rise”, a soulful excursion with Carter on bass guitar, directed by Patricia Birch and music-directed by Doug Katsaros
older than Weston and, if unsteady on his feet, still which recalled the spirit of Doug and Jean Carn in its will run at Ford Foundation Studio Theatre May 21st-Jun. 18th.
For more information, visit sweeteethemusical.com.
a rhythmic wonder. Weston gave over much of the uplifting tone. “Marshele Joel”, a funky outing,
17 minutes to a Candido feature, one elder in deep appealing in its lyricism, brought things to a satisfying The Essentially Ellington High School Jazz Band Competition
admiration of another. —Andrey Henkin close. —Russ Musto will take place at Jazz at Lincoln Center’s Rose Hall May
11th-13th. For more information, visit academy.jazz.org/ee.
© R.I. Sutherland-Cohen / jazzexpressions.org

Nate Wooley, C. Spencer Yeh and the late Pauline Oliveros are
among the musicians whose work will be featured at the Rubin
© 2017 Jack Vartoogian/FrontRowPhotos

Museum’s World Is Sound Exhibit, opening Jun. 16th. For

more information, visit rubinmuseum.org.

The 17th Annual CUNY Jazz Festival will take place at Aaron
Davis Hall May 4th-5th. In addition to evening performances
(see Event Calendar), daytime events will include masterclasses
and performances by ensembles from City College of New York,
Hunter College, Queens College, Lehman College, York College
and The College of Staten Island. For more information, visit
jazz.ccnysites.cuny.edu.

As part of its commencement at Alice Tully Hall on May 19th,

The Juillard School will confer an honorary doctorate upon
pianist Dick Hyman. The ceremony will be streamed live at
live.juilliard.edu.
Candido Camero @ Jazz Standard Marcus Gilmore @ The Jazz Gallery
Bria Skonberg has won the 2017 Juno Award for Vocal Jazz
Album of the Year for her Sony Music Masterworks/OKeh
It is difficult to think of bassists more representative of This year ’s SFJAZZ Collective spring tour found the release Bria.
their debut decades than Ron Carter (‘60s) and Stanley allstar octet performing a repertoire split between
Clarke (‘70s). They share a backstory as jazz newly commissioned pieces alongside original Donny McCaslin has won the Paul Acket Award 2017, awarded
wunderkinder and between them have over 3,000 arrangements of compositions out of the Miles Davis by North Sea Jazz Festival “to an artist deserving wider
appearances on record (including a couple of shared songbook. In concert at the Miller Theater (Apr. 1st) recognition for their extraordinary musicianship.” For more
sessions). As part of his week at Blue Note, Clarke (65) the band opened their set with pianist Ed Simon’s information, visit northseajazz.com.
invited Carter (just shy of 80) for a modified bass duet, exotically rhythmic outing “Feel A Groove”. Tenor
Wynton Marsalis, Jon Batiste and members of the Jazz at
adding longtime Carter guitarist Russell Malone (Apr. saxophonist David Sánchez’ barril drum and Robin
Lincoln Center Orchestra released two tracks exclusively for
1st). It is an odd pairing on paper, given that Carter has Eubanks’ chekere teamed up with drummer Obed the Spotify Singles series, “2 Degrees East, 3 Degrees West”
always been a model of restraint while Clarke was one Calvaire to buoy solos by alto saxophonist Miguel and “Django”, live outtakes of pieces on Jazz at Lincoln Center
of the original fusionistas. And since the history of Zenón and the composer. Eubanks’ take on “Tutu” Orchestra’s The Music of John Lewis, now available on Blue
bass duets is largely populated by free improvisers, began with the frontline blowing a harmonic figure Engine Records. For more information, visit spotify.com.
it was unclear to at least one member of the sold-out nodding to Davis’ Birth of the Cool, after which the
house what would be on offer. The results were far rhythm section settled into a funky fusion groove, A book release event for The Art of Conduction, a workbook on
closer to Bill Lee’s The New York Bass Violin Choir (of Simon on keyboards, for solos by Eubanks and Sean the methodology of Lawrence Douglas “Butch” Morris, will take
which Carter was a member) than Barre Phillips’ Jones’ muted trumpet. Matt Penman’s “Your Turn” place at Karma Gallery May 1st with a screening of the film Black
For All It Is. The trio played jazz standards about as gave the horn section a workout along with his bass February, a reading by poet Allan Graubard and performances.
standardly as could be, Clarke ever deferential to his and Warren Wolf’s vibraphone. The latter ’s “In The
The Litchfield Jazz Camp has announced a new program
elder, evinced by his sticking to upright for most of the Heat Of The Night” closed out the show’s first half in designed specifically for children age 8-11, with or without prior
evening. There were opportunities to compare and a deep blue mode. Jones’ straightahead arrangement of playing experience. The program will take place in New Milford, CT
contrast approaches, particularly during rounds of “So What” and Calvaire’s electrifying orchestration of Jul. 10th-14th. For more information, visit litchfieldjazzfest.com.
trades, yet the standout moment came during a Carter “Bitches Brew” paid tribute to two different sides of
solo piece, where he quoted Bach’s Cello Suite No. 1 Miles to open the show’s second section, with Simon The application process is now open for the Australian Art
to remind the audience of his classical training. on piano and electric keyboards, respectively. Sánchez’ Orchestra’s 2017 Creative Music Intensive. Applicants may be
Malone’s presence was anodyne except that he took “Canto # 1” combined the ethereal atmospherics of “In international musicians and applications are due by May 5th.
lick-heavy solos of as many choruses as the featured A Silent Way” with tipico AfroCaribbean rhythms, For more information, visit aao.com.au.
players instead of sticking to chordal accompaniment. before the band closed back in the land of Miles with
Submit news to [email protected]
This meeting would have been far more interesting if it Zenón’s interpretation of “Nardis” and Penman’s
had been Uptown Conversation-era Ron Carter. (AH) arrangement of “Milestones”. (RM)

THE NEW YORK CITY JAZZ RECORD | MAY 2017 5

 I NTERVIEW

WHIT
WD: It’s becoming that way and it took a while. Just
before I started working with Matt again, I got to where
I could hear how time was related to what I was doing
and I developed my concept further. Since working
with Milford I could hear the heartbeat in the music,
but I also knew where the “one” was and understood

DICKEY
how that fit in with the space-time continuum. That
has allowed me to leave time-playing when I want to
leave it. It’s something I discover every day and I get
more keyed into the drumset, which allows me to
incorporate what I hear with my body. Sometimes the
hi-hat is the starting point, with the heel and the toe,
and the sound of the sock cymbal is connected to that.
ALAN NAHIGIAN

(CONTINUED ON PAGE 46)

by clifford allen
Drummer Whit Dickey has been a singular force on the WD: I did. There was an aesthetic that I was going for.
New York and international free music stages for the better It was basically that instead of playing time, I’d play in
part of three decades, blending an airy, shapely suspension the space-time continuum, which is more of an African
of time with precision and swing. On the heels of his latest concept melded with the jazz tradition. I was not really
disc as a leader, Vessel in Orbit (AUM Fidelity) with able to achieve the technique I needed to get there, so
pianist Matthew Shipp and violist Mat Maneri, Dickey when I graduated and went to the New England
returns to the Vision Festival this month. Born in 1954, Conservatory, I took ear training through the Third
Dickey studied with percussionist Milford Graves and Stream Music Department. That’s where I began
trumpeter Bill Dixon at Bennington College and with working with Ran Blake; I was learning how to
pianist Ran Blake at the New England Conservatory, transcribe and understand chords and beginning to
eventually cutting his teeth as the drummer in saxophonist understand Monk so when I did my final concert I had
David S. Ware’s planet-realigning quartet at the outset of a better ear and could write music.
the ‘90s, cementing his spot in contemporary improvisation.
TNYCJR: I thought of your playing as almost
The New York City Jazz Record: I’d like to start with suspended or hanging in space and time, but it’s
the basics—how you got started and where you got almost like a curtain of sound and rhythm.
started and move from there.
WD: That’s what I’ve always wanted it to sound like.
Whit Dickey: I didn’t really grow up in a family that I wanted decay—when you hit something and you hear
was geared towards music. My mom was a singer so an imprint that decays in a continuous fashion.
she liked music, but I was not expected to be a musician. Translating that to the tradition has been my life’s work
I was expected to follow my father ’s footsteps into and when I started working with Matthew Shipp, he
banking. I was born in New York City but I grew up in geared his music toward what I did. We worked together
Bennington, Vermont and was always really into the very well and Matt and I co-produced a recording called
music of the ‘60s. I gravitated towards music as a place Circular Temple (Quinton, 1990). That record was
to get away. My first jazz record was something that successful and was reissued by Henry Rollins’ Infinite
I bought at K-Mart while I was away at prep school, Zero label. When that album came out, David S. Ware
Miles’ Bitches Brew, and that opened my head up. was looking for a drummer for his quartet and Matt
I liked it so much that I began to follow the work of the suggested me. Ware agreed to employ me after hearing
people who played on the record and try to buy it. That quartet did five records together. With David it
whatever albums they made. I got into the whole was fine for a while but he wanted me to hit on some of
fusion thing, buying a lot of Miles and John McLaughlin the melodies he was writing and I was having trouble
albums and I would go to see music live. doing that. I did a couple of tours with him and we
Later I started getting into jazz a bit more deeply weren’t getting a ton of work but it was an amazing
through people associated with Bennington College; band and I felt like I was doing okay. It was becoming
they had jazz records in their library and I picked out more of an issue as I tried to work my concept into what
records like Coltrane’s Meditations, which I didn’t he wanted and I had to leave the band in 1996. I learned
know what to make of when I first heard it. By that a lot playing with David and [bassist] William Parker,
time I was getting into Cecil Taylor and the Art who were and are giants.
Ensemble of Chicago. What inspired me to start really
playing was listening to Cecil. He really moved me TNYCJR: I always really enjoyed the records you did
because the music was so far away from any of my together. What I hear you doing now may be a bit
expectations. It was an oasis—I started playing the kit cleaner and that naturally happens over time, but I dug
but I couldn’t get very far and realized that I needed to those dates.
get in contact with people who were playing that
music. I was reading in CODA Magazine about black WD: There’s some very good stuff but I think I let my
music and they advertised the Creative Music Studio head get a little too much into it, as David was trying
in Woodstock. I went there without really knowing to get me to hit on his melodies. When I left David
what I was doing, but I paid my tuition and they let me I began to write more of my own music and did an
in. I contributed not so much with the drums but with album called Transonic [with alto saxophonist Rob
my voice and I learned how to study a bit better. When Brown and bassist Chris Lightcap]. I left New York and
I left Bennington I was very insecure about doing a moved upstate; I was off the scene for a while and
project of my own music. I had started transcribing wanted to live somewhere quiet. I was looking for an
Sonny Rollins solos like “Blue 7” off of cassettes and opportunity to ground what I was doing melodically
they let me finish with that as my final project rather a bit more. I started studying the basics of bebop and
than doing my own music. At the time I didn’t feel like applying what I learned from Milford to that music.
I could get people together to do my own thing.
TNYCJR: That would be the cleanness that I’ve heard
TNYCJR: It sounds like you at least had a concept. more recently.

6 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 ARTIST FE ATURE

DAN
For more information, visit danweiss.net. Weiss is at The
Stone May 2nd-7th, Cornelia Street Underground May 10th
with Quinsin Nachoff and May 13th as a leader, JACK May
12th, Winter Garden May 19th, Bar Lunàtico May 22nd with
Oscar Noriega and Weill Recital Hall May 31st. See Calendar.

WEISS
Recommended Listening:
• Dan Weiss—Tintal Drumset Solo (Chhandayan 2005)
photo courtesy of the artist

• Rudresh Mahanthappa—Codebook (Pi, 2006)

• David Binney—Cities and Desire (Criss Cross, 2006)
• Dan Weiss Trio—Timshel (Sunnyside, 2008)
• Rudresh Mahanthappa’s Indo-Pak Coalition—
Apti (Innova, 2008)
• Dan Weiss—Fourteen (Pi, 2012)

by ken waxman
“Music transcends it all,” boldly states drummer Dan of his time, Weiss would like more exposure for his
Weiss. “I play with musicians from the States, Europe, own groups, which include a trio with pianist Jacob
India, etc. I’ll play with musicians from Mars if we’re Sacks and bassists Eivind Opsvik or Thomas Morgan,
on the same page. I don’t think about where people are plus larger ensembles, whose Pi CDs, Fourteen and
from. It’s only about the music for me, nothing else. Sixteen, have titles reflecting the number of players.
Not color, not background, not anything.” Although Both discs include through-composed material.
there are no reports of collaborations with space aliens “I definitely didn’t want to compose for a standard big
in the list of musicians Weiss will be playing with band and I didn’t want to compose for a strictly
during his six-day residency at The Stone early this classical situation,” he explains of their genesis. “So
month, a cross-section of terrestrial artists with whom I basically split the difference to write compositions
he works frequently are featured, including that fall somewhere in the middle. There’s a lot of
saxophonists David Binney, Rudresh Mahanthappa, attention paid to the composition and form. The large
Tim Berne and Ellery Eskelin, pianists Jacob Sacks, ensembles contain a unique team of instruments
Craig Taborn and Matt Mitchell and bassists Mike including voices, harp, horns, organ, percussion and
Formanek and Trevor Dunn. The list is a testament to a standard rhythm section. On a couple of the pieces
his versatility. there’s very little improv in the traditional sense, but
Weiss, 40, who grew up in Tenafly, N.J. and has since the musicians are all incredible improvisers it
lived in Brooklyn for many years, explains that his would be a shame not to utilize their skills. So there’s
influences include drummers in the jazz tradition improvising in some form or another on most every
“from Baby Dodds and Papa Jo Jones up to all the piece.
amazing drummers playing today, as well as rock “I’ve written with non-conventional forms ever
drummers, soul drummers, funk drummers, tabla since I can remember. I like to blur the lines between
drummers, African drummers, metal drummers, punk composition and improvisation to create more unity
drummers, Brazilian drummers. I’m always listening within the given piece. So all my compositions,
to music and trying to search for things I don’t know whether they’re written for trio or large group, employ
about. I like to study and learn.” this tool. I love through-composed music of different
This learning has included the serious study of the genres and that can’t help but influence me. Lately I’ve
tabla and Indian classical music since he was 19 with been composing parts on the drum set and writing
Pandit Samir Chatterjee, who will perform a tabla duet around those. I’m also messing around with electric
with Weiss one night at The Stone. And while Weiss bass to feel closer to the next batch of music I write.”
says “the center of my world has been the drums” If all this isn’t enough, Weiss’ study of tabla and
since his parents bought him his first kit at six years Indian classical music has led him to record CDs
old, because before that “I was beating up on everything playing traditional sounds on the full drum set.
I could get my hands onto”, he has also studied piano, “The tabla’s rhythms and sounds have influenced my
vibraphone, electric bass and Hindustani vocal music. approach to playing. But along with those specific
Weiss says he decided on the drums “when I heard things, other factors are at work,” he notes. “The
John Bonham. When I heard Tony Williams on Nefertiti rigorous discipline that’s needed to maintain the
that completely sealed the deal.” At 14, discovering instruments is something that influences me, as has the
Clifford Brown and Max Roach at Basin Street and John approach to accompaniment. Through studies with my
Coltrane’s First Meditations was what drew him to teacher I’ve felt first-hand how music has enormous
improvised music. power to transform oneself.” Another way Weiss helps
Growing up in a household where Led Zeppelin, others transform themselves through music is by
Jimi Hendrix, Cream and Steely Dan were constantly teaching, which he has done privately for the past 20
being played by his father, a hobby guitarist, Weiss years. He often gives drum clinics and markets videos
was soon dueting with dad. In high school his first aimed at drummers or anyone who wants to broaden
regular gigs were in local restaurants and coffee shops. their rhythmic perspective.
Then while attending the Manhattan School of Music, Always busy, he’ll soon record a new Indo-Pak
where his major was jazz drumming and his minor Coalition recording with Mahanthappa and guitarist
classical composition, he began working with many of Rez Abbasi; a session with Sacks’ quintet featuring
the musicians he knows today, including membership Eskelin, saxophonist Tony Malaby and Formanek; and
in Berne’s trio and Mitchell’s quartet. Binney he met a Mitchell CD on which he plays tabla. As a leader his
after college and for the past 16 years the two have had next so-called trio CD will include Sacks with both
been gigging regularly at the 55Bar. Mahanthappa too Morgan and Opsvik and he’s in the process of
is a long-time collaborator. As for Chris Potter: composing music for a 2018 release with Taborn and
“I first met Chris when I was in college in 1997. Then I Mitchell on synthesizers, piano and electronics, Ben
reconnected with him through Binney in 2004. I just Monder on guitar and Dunn playing electric and
came back from Russia playing with Chris’ quartet,” acoustic bass.
the drummer adds. However, there are still no extraterrestrial sessions
Although sideman work takes up about 75 percent scheduled. v

THE NEW YORK CITY JAZZ RECORD | MAY 2017 7

 ON THE COVER

LOUIS HAYES

© Jack Vartoogian/FrontRowPhotos
SERENADING SILVER
by russ musto
“I’m ready,” Louis Hayes says with characteristic Kenny Barron and bassist Herbie Lewis filling out the Porter, who delivers a sterling performance singing the
positivity, anxious to discuss his newest recording, rhythm section). Since leaving Peterson in the early lyric to Silver ’s “Song For My Father”. Douglas, who
Serenade for Horace, a tribute to the late Horace Silver. ‘70s, Hayes worked regularly as a bandleader, most co-produced the album (with Hayes and Blue Note’s
“People had asked me about doing some things for notably with his quintet with fellow Silver alumni Don Was) declares, “Some of the best playing, some of
Horace before and I didn’t do them at that time because trumpeter Woody Shaw and saxophonist Junior Cook. the best musical experiences that I’ve had to date,
it just didn’t feel right.” A visit with an ailing Silver During the past decade Hayes has worked most happened those two days in the studio with Louis,
prompted Hayes’ change of heart. “Horace gave me frequently with his Cannonball Legacy Band, the Abraham, Steve, David Bryant and Josh Evans. It was
the wonderful feeling of coming to his home during repertoire culled from his years with Adderley. He just a beautiful thing, man. Louis sounded like he was
the time when he was not well at all and we spoke says, “When I put the band together I got [alto 25 years old. Seriously! I mean he’s one of the only
about quite a few things,” he recalls. “Louis, you’re a saxophonist] Vincent Herring, because not only could drummers that I know that can make something that
part of my history,” the pianist told his longtime Vincent play on a high level, but he also worked with he did already, make something that’s been done
drummer and that got him thinking. Hayes remembers, Nat [Adderley] for at least nine or ten years. So that’s already, make it new again. All of the music of Horace’s
“Once Lou Donaldson and his wife were there; the why I got Vincent. And Vincent got [trumpeter] Jeremy that we recorded, it just sounds fresh...if you get a
three of us were there with Horace’s first wife. She [Pelt] and we took it from there.” Herring lauds his group of musicians together that all have a good
gave me the good feeling that she would like me to do friend, noting, “Louis Hayes is pure inspiration. Once feeling about each other you can expect nothing but
this. She named the CD Serenade for Horace. Horace’s on the bandstand you feel like you are playing with grandeur.”
son Gregory, he also sanctioned it.” family. Louis has the ability to relate to everyone and Hayes is positively upbeat about being back on
Silver is crucial to Hayes’ history. It was he who make them feel like they’re a part of a musical family. Blue Note. “I decided that I wanted to definitely do it
summoned the teenage drummer, making a name in He has an understated spiritual nature that comes on Blue Note,” he proclaims. “Maxine Gordon [the
his native Detroit playing with Yusef Lateef and Kenny through in the way he speaks and plays.” date’s executive producer and Dexter Gordon’s widow]
Burrell, to come to New York City and join his newly These feelings are echoed by the latest addition to and myself, we talked about some other labels, but that
formed quintet, which was to make its Blue Note Cannonball Legacy “family”, Jazz Communicators wasn’t going to work out. I wanted to go with Blue
recording debut in 1956 with 6 Pieces of Silver. The band bassist Dezron Douglas: “His time is so almost perfect Note because when I recorded with Horace it was
with Donald Byrd (trumpet), Hank Mobley (tenor that if you can’t hang, you’ll stick out within the first always on Blue Note. So I wanted to do it with Blue
saxophone) and Doug Watkins (bass) was essentially four bars and it’s up to you to make yourself better. It’s Note and I’m very glad that I did. The way it started off
the Jazz Messengers, Hayes given the daunting task of up to you to hang.” He continues, “I just got back from with Don Was was just a great feeling. It was very
taking over the drum chair occupied by Art Blakey. He a tour with Louis in February. Jeremy Pelt hooked up comfortable and the feeling of the CD and the
humbly remembers his early days with Silver saying, 18 days straight of one-nighters all over Europe; compositions that we chose and the order that Don Was
“I was 19 when I got there. I could play pretty well, but a quartet with Jeremy, Danny Grissett, Louis and me. chose, the order that the music is in, it works just fine.”
I wasn’t consistent like I needed to be. With Horace And Lou—for somebody who’s about to be 80 years Hayes, who turns 80 this month, is equally effusive
I had an opportunity to be in a band and grow. He gave old—he was schooling us. He was the first down for about the band from the record that he’ll be bringing
me the opportunity just to be myself and grow because every lobby call, no matter what time it was. We were into Dizzy’s Club to celebrate the album’s release. He
I was dealing with him and I was also recording and on a plane every day, trains going through different says, “I can’t compare them to Joe Henderson or
making music with some of the greatest artists that countries, dealing with immigration and every night Freddie… It’s different, but they have the same fire
were on the scene here in New York at that time.” Louis hit hard. He hit harder and harder every night.” and they can play on a high level very well. I’m very,
Hayes finished out the ‘50s making five more Jazz Communicators vibraphonist Steve Nelson very comfortable playing, making this art form with
records for Blue Note with Silver in addition to remembers upon joining Mulgrew Miller ’s Wingspan these people. To be accepted by these young people
recording with a host of other greats, including Lateef, that the late pianist insisted that the first thing the and to make this history with these people from this
Burrell, Jackie McLean, Clifford Jordan, Curtis Fuller, band’s drummers do was check out Hayes’ ride cymbal era, it’s a great wonderful privilege because a lot of
Sonny Clark, John Coltrane, Wes Montgomery and playing. Nelson, like Douglas, is an important guys that I came up with are not here anymore and
finally Cannonball Adderley, who lured him away to component in the 21st Century reincarnation of the they didn’t have the opportunity to make this history
join his newly formed quintet. Hayes would spend the Jazz Communicators. Hayes explains, “I always with these younger musicians. So I’ve had the
first half of the ‘60s with Adderley, before leaving to admired Steve’s playing and with the Communicators opportunity to do it with them, the older guys, and
join the Oscar Peterson Trio. He remembers, this was the sound that I wanted. I didn’t want the now I’m doing it with these wonderful musicians at
“Appearing and playing and making music with same sound with trumpet and saxophone all the time. this time in my life. I’m glad that my body is working
Horace and Cannon, I basically approached it the same So with Steve being there it gave the band a unique and I’m healthy enough to do this. It’s a great thing. It
way. With Cannon I didn’t change, I just had more sound that we can approach the art form with and go feels good.” v
experience. I had been on the scene for about three in some directions and get some feelings that are
years, so I had grown. I had more experience by the different... With Abraham [Burton] and Steve it worked For more information, visit louishayes.net. Hayes is at
time I was with Cannon, so I was able to handle things out. The feeling and the sound, it works out much Dizzy’s Club May 29th-31st. See Calendar.
on a more consistent level. With Oscar, that was a better... I even like the way it looks. This is the direction
different approach because it was a trio and naturally I want to go in. And then with Horace, playing his Recommended Listening:
Oscar played on such a high level. Dealing with the music, the same thing. When I was with Horace • Horace Silver—Finger Poppin’ (Blue Note, 1959)
trio I couldn’t play the same way as when I was playing naturally it was trumpet and saxophone and rhythm • Cannonball Adderley—Nippon Soul
with the group. I had to really pay attention to Oscar section. With Horace’s music, with his music it works (Riverside-OJC, 1963)
Peterson and listen to him.” so wonderful, but I didn’t want that same sound.” • Freddie Hubbard—The Hub of Hubbard
Hayes led his own groups when not on the road The band on Serenade for Horace features the Jazz (MPS, 1969)
with Peterson. He had been performing and recording Communicators, which includes pianist David Bryant, • Louis Hayes—Light and Lovely (SteepleChase, 1989)
regularly with Freddie Hubbard and Joe Henderson, a longtime compatriot of Douglas and Burton, plus • Louis Hayes and the Cannonball Legacy Band—
so in 1967 he recruited the pair to fill the frontline of a pair of guests, trumpeter Josh Evans, who fills out Maximum Firepower (Savant, 2006)
his newly formed Jazz Communicators (with pianist the frontline on half of the date, and vocalist Gregory • Louis Hayes—Serenade for Horace (Blue Note, 2016)

8 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 He’s available now! Call Steve’s cell at 630-865-6849.

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www.maxwelldrums.com
 ENCORE

DENNIS
American Federation of Musicians. Visiting jazz clubs led to career opportunities including work with a hero
in this period, he came to know many area musicians from his youth, John McLaughlin. “I used to listen to
and soon after was being referred to touring artists those Mahavishnu [Orchestra] records with Billy

CHAMBERS
who came into town. “I played with Harold Melvin, [Cobham] and I never thought in a million years I’d be
The Spinners, Eddie Kendricks and others. Most union playing with McLaughlin. I was in his organ trio with
drummers were jazz musicians and couldn’t feel this Joey DeFrancesco.” Another memorable gig for the
[soul] music, so I started to get the calls.” During drummer was the lengthy tour with Steely Dan, which
led to the celebrated concert album Alive in America.
by john pietaro
summers, he also toured with bands. However, Mama
Chambers refused to let him go out on the road during Bandleaders Donald Fagen and Walter Becker invited
the school year, having the foresight to refuse an offer him to cut their later studio recording as well, but other
The singular career path of Dennis Chambers began in even from James Brown. commitments for Chambers made it impossible.
pre-school, was nurtured on R&B, cultivated in funk When he was 18, however, Chambers joined “I loved touring with them. Every night we opened
and came to fruition within fusion. He can boast a half- superstar band Parliament-Funkadelic. “George with ‘Aja’!” he reminisced.
century onstage, thus his drumming serves as a latent Clinton originally hired me to play with the off-shoot Chambers was also the drummer in Santana for
setting stone in the bedrock of the industry. Brides of Funkenstein, but he really dug the way a dozen years. “It was great to play with two other
“Sorry it’s been hard to catch up with me,” I played, so brought me into the full band.” The star percussionists. The band was so based in percussion
Chambers explained from a Memphis hotel room. status of Clinton had the drummer playing major that we really got to get into it every night,” he offered.
“On the road, I really can’t settle long enough to talk. venues and embarking on world tours. During the Along the way, there were dates with the Brecker
And we’re about to leave this city later today,” he early ‘80s, he also began doing sessions for Sugar Hill Brothers, George Duke, Bob Berg, Tower of Power,
added, laughing. The drummer spends much of his Records, the premier hip-hop label. “No, I wasn’t on Mike Stern and Chuck Berry (“He was a crazy old
time touring with some of the most relevant names in ‘Rapper ’s Delight’, but many people credit me with bird!”), among a growing list of other luminaries.
the music today. Finishing out a string of gigs over that record.” He was, however, an important part of Many of his professional associations have led to
months with Victor Wooten and Bob Francheschini, the development of the genre. friendships and Chambers is frequently called back
May remains a busy birthday month for Chambers—he During the mid ‘80s, Chambers joined the then- into service, in some cases over the course of decades.
turns 57 on the 9th—starting with performances at Jazz popular light-jazz act Special EFX. He represented the Which brings us back to the performances this month
at Lincoln Center ’s The Appel Room. band well during performances but was replaced by as part “John Scofield Retrospective: Quiet and Loud
Chambers was born a musician. His mother, Dave Weckl for records. The frustration of this Jazz”. Chambers is looking forward to the reunion of
Audrey Chambers, was a vocalist with Motown arrangement led him to accept an offer from John the original Scofield quartet with bassist Gary Granger
pedigree, a former studio backup singer. She returned Scofield in 1986; this raised him to first-call status and pianist Jim Beard, along with a bevy of other name
home to Baltimore as a local hero and led a popular among jazz and fusion drummers. “We met up with artists. v
R&B outfit, which rehearsed in the home. Chambers Miles [Davis] on the road and John played him a tape
became enamored with the drums as a toddler. “The of our record,” Chambers recalled. “Miles asked who For more information, visit dennischambers.com. Chambers
only thing that made me sit still was when I got to the drummer was and then called me up. I didn’t think is at The Appel Room May 5th-6th with John Scofield. See
watch the band’s drummer play,” he explained. At age it was really him. I thought it was a joke, so I hung up! Calendar.
three Chambers was given a toy drumset, but within Miles called back and yells, ‘You damned black
a year had moved on to the real thing, a small kit with motherfucker! Why’d you hang up on me?!’ (laughs). Recommended Listening:
a bass drum reformatted from a floor tom. Through He wanted me to join the band, but I didn’t want to • John Scofield—Pick Hits Live (Gramavision, 1987)
sheer absorption he rapidly developed skills and a feel push his nephew Vince Wilburn, Jr. out. That gig meant • Gary Thomas—By Any Means Necessary
that astonished the adults in his presence. the world to Vince so I couldn’t do that. Joe Zawinul (JMT-Winter&Winter, 1989)
By 1965, at just six years old, Chambers was hired called me around the same time and wanted me to join • Barbara Dennerlein—Take Off! (Verve, 1995)
by a band called Fingertips. The unique attraction of Weather Update. But Peter Erskine was another friend • John McLaughlin—The Heart of Things: Live in Paris
the little boy behind the drums saw the band playing and I don’t take gigs from friends.” (Verve, 1998)
its repertoire of R&B covers to wider audiences. When Chambers’ reputation as an honorable man, • Niacin—Time Crunch (Magna Carta, 2001)
he was 12, Chambers recognized the need to join the alongside his formidable talents as a drummer, have • Dennis Chambers—Outbreak (EFA/ESC, 2002)

LEST WE F ORGE T

SONNY
Hawkins’ orchestra from 1950-53, he joined the Basie played in James’ band extensively in the late ‘60s-70s.
orchestra in 1954 and was featured on a long list of He regrettably never recorded an album as a leader,
Basie albums in the ‘50s-60s, including sessions for although he did lead his own trio briefly around 1966

PAYNE
Verve and Roulette. Payne worked with traditional before being hired by James, a major admirer of Basie
pop icon Frank Sinatra when, in the ‘60s, the singer who was delighted to have Payne as a sideman.
joined forces with Basie’s orchestra (Payne appeared The ‘70s found Payne reuniting with Basie in 1973-
on the 1962 date Sinatra-Basie: An Historic Musical First, 74 and touring Europe with tenor saxophonist Illinois
Jacquet in addition to his work with James during that
by alex henderson
which featured arrangements by Neal Hefti).
Payne played alongside a stellar cast of period. Sadly, Payne was only 52 when he died of
instrumentalists in the Basie band, including pneumonia in Los Angeles on Jan. 29th, 1979 (James
A passionate and hard-swinging drummer, Percival trumpeters Snooky Young, Thad Jones and Joe generously paid all of his hospital bills as well as his
“Sonny” Payne is best remembered for his years with Newman, tenor saxophonists Frank Foster and Frank funeral expenses). v
the big bands of pianist Count Basie and trumpeter Wess, alto saxophonist/clarinetist Marshal Royal,
Harry James. Though Payne, born in New York City on baritone saxophonist Charlie Fowlkes, trombonists A tribute to Count Basie and Duke Ellington’s The Count Meets
May 4th, 1926, was the same age as many bebop and Benny Powell and Al Grey, guitarist Freddie Green and the Duke, by Wynton Marsalis, Vincent Gardner and Rodney
cool jazz musicians, Swing was his primary focus. bassist Buddy Catlett. And Basie’s orchestra also Whitaker is at Rose Theater May 19th-20th. See Calendar.
Payne had a jazz-friendly upbringing: his father united him with top-notch vocalists such as Joe
Chris Columbus, a.k.a. Crazy Chris Columbo (Jun. Williams and Jimmy Rushing. Recommended Listening:
17th, 1902—Aug, 20th, 2002) was also a drummer and Payne occasionally dabbled in bop or cool in the • Count Basie Orchestra—The Complete Atomic Basie
associated with Wild Bill Davis. The native New Yorker ‘50s-60s, appearing on albums by singers Ella (Roulette, 1957)
was in his teens when he studied with drummer Fitzgerald, Sarah Vaughan and Chris Connor and • Lambert, Hendricks & Ross—Sing a Song of Basie
Vic Berton and he developed a reputation as a Swing joining pianist Bud Powell (the quintessential bop (Impulse!, 1957)
musician thanks to his work as a sideman for trumpeter pianist) at New York City’s Birdland in 1953. And • Ray Charles—Genius + Soul = Jazz (Impulse, 1960)
Hot Lips Page, guitarist Tiny Grimes and alto Payne even ventured into early rock ‘n’ roll when he • Duke Ellington and Count Basie Orchestras—
saxophonist Earl Bostic in the ‘40s. Payne also played appeared on some Chuck Berry sessions for Chess First Time! (The Count Meets the Duke)
in the band that tenor saxophonist Paul Bascomb and Records. Payne also embraced rock ‘n’ roll material on (Columbia, 1961)
his brother, trumpeter Wilbur “Dud” Bascomb, co-led Basie’s Beatle Bag, Count’s unlikely yet thoroughly • Count Basie—And the Kansas City 7 (Impulse, 1962)
during that period. enjoyable 1966 tribute to The Fab Four. • Harry James—Live in London
After Payne’s stint with trumpeter Erskine After parting company with Basie in 1966, Payne (Sounds Great/Jasmine, 1971)

10 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 L ABEL SPOTLIGHT

WHALING CITY SOUND

Weiss’ goals are straight forward: “We try to be doing an acid-jazz version of ‘Impressions’ and I asked
first-class in four areas: composition, performance, him to open and close it with a solo. He liked that idea
recording and packaging. We want them all to be and thanked me for it.” Other artists praise Weiss for
his rapport with them. NEA Jazz Master saxophonist
by ken dryden
equally strong and I view the competition as Sony,
Blue Note and Verve.” Dave Liebman, who has recorded for numerous labels,
The traditional business model for record labels said, “Neal Weiss is definitely one of the most generous
Like the old joke “How do you get a million dollars was to find talent, sometimes help put musicians and enthusiastic producers out there. Everyone at
with a jazz club? Start with two million,” running an together, choose repertoire and book the studio, though Whaling City Sound from Ginny Shea, who does PR,
independent jazz record label is not for those without it has changed in the digital era. Weiss does a little of and David Arruda, who is a top CD designer, is
deep pockets or afraid of high risk. But Neal Weiss, everything, though most CDs are already complete by committed to the music.” Saxophonist Greg Abate,
founder of Whaling City Sound, has built an impressive the time he hears from an artist. “They’re already who has made several CDs for Weiss, shared his views:
roster of artists, including saxophonist Dave Liebman, mastered and someone will come to me. If I want it, “Neal is a consummate professional, ethical
drummer Gerry Gibbs and others who have made we’ll try to work out a deal.” It’s not surprising that businessman and a patron of the arts. He’s a generous,
acclaimed CDs for the label over the past 18 years. Weiss is bombarded with CDs seeking his investment. non-biased person whose word is his bond. I am
Like many jazz label founders, Weiss was a big fan Most Whaling City Sound CDs are by artists he fortunate to be on his label. Neal has nurtured a great
of the music early on. He explained, “It started back in admires, though he occasionally takes referrals from record label and has been so accommodating. He does
high school with the love of the music. My dream was them. “I recall getting a CD from Rale Micic called a lot of promotion and allows me the freedom to do
to be an A&R man and I also looked at becoming Night Music. I never heard of him but I was absolutely what I want to do. When he makes suggestions about
a recording engineer. I grew up near New York City, so convinced that I could say no in good conscience and it my music, he will say, ‘I can ask but you don’t have to
I considered going to the RCA Institute. I became a big wouldn’t be a problem. I put it on as I went to sleep say yes.’” Guitarist John Stein, who has issued ten CDs
jazz fan through my older brother and collected and the first track killed me [laughs]!... Even in the on the label, agrees: “The record business is not great
records. At the end of the last century, I began a career times when I’m prepared to walk away, sometimes now. It has changed from the old days, when you had
in the fiber optic business. There was a big boom in I can’t. Right now I’m overwhelmed, scheduled into a hit record, everybody made money. I’m just an artist
1999 and I thought that I was going to be wealthy. It next year and figure out where the funds are coming who is trying to document my art. There aren’t that
frustrated me that the people I’d go to hear weren’t from. I’m trying to figure out how to make better sense many good people. They lie to you or don’t say what
available on CD in general, so I talked to some local of this economic enterprise.” they’re going to do. If you’re naïve, you can be taken
musicians. I started a label with some of them, When needed, Weiss doesn’t hesitate to take an advantage of. Neal is as honest as the day is long. He’s
a vocalist named Marcelle Gauvin and piano player/ active role on a record date. “I’ve only done two or sincere and doesn’t bullshit you. He is who he says he
arranger John Harrison. We agreed that the first CD three vanity projects, where I chose the band and music is. That’s a pleasure in this business.”
would be Marcelle’s, produced by John. It was called and told people what to do. There are a few that are in One of the biggest successes for Whaling City
Faces of Love. It was a very good CD that stands up to between where I’m in the studio and make suggestions Sound has been drummer Gerry Gibbs. Weiss said,
this day. I managed to continue through the ups and about material or an arrangement. For example, the “Gerry is unusual. He has a remarkable ability to
downs of the fiber-optic industry; we had collapses in late Joe Beck did one called Trio 7 with [bassist] Santi produce products and projects down to minute detail.
2001 and 2008.” Debriano and [drummer] Thierry Arpino. He was (CONTINUED ON PAGE 46)

Night Music Expansions Live Tones Road to Forever Weather or Not

Rale Micic The Dave Liebman Group John Stein Greg Abate Gerry Gibbs & Thrasher People

VOX NEWS

Heart Melodies
when the musical ground is shifting under your feet. arranger and conductor. On One More for the Road,
Horn will officially launch the album at Dizzy’s Club Curtis Stigers’ ninth release for Concord Records and
(May 15th). his first with the Danish Radio Big Band, the singer/
instrumentalist set out to capture the ambiance of the
by suzanne lorge
Author Langston Hughes published The Dream
Keeper and Other Poems in 1932 as a book of children’s Sinatra album, if not Sinatra’s exact phrasing and
short verses. His words linger only briefly in the ear sonority. Even so, Stigers’ performance easily conjures
Dallas-born singer Jazzmeia Horn’s debut album is before they punch you in the gut: “…Bring me all up images on an earlier era. He explains that despite
finally here. Horn first gained national attention when your/Heart melodies/That I may wrap them/In a blue having his own vocal style and a personal
she won the Sarah Vaughan Competition in 2013, cloud-cloth/Away from the too-rough fingers/Of the understanding of these tunes, “there’s no way that
shortly after graduating from The New School’s vocal world.” On The Dream Keeper (Mode Avant) producer/ some Sinatra doesn’t get in there…Certain phrasings
jazz program, but before winning the Thelonious Monk guitarist Larry Simon brings together vocalist Eric that he used worked so well with the arrangements
Competition in 2015. It’s been a long but worthwhile Mingus, son of Charles, with pianist David Amram in that I couldn’t not use them.” A point well taken.
wait. With A Social Call (Prestige), Horn stands prepped recollection of an earlier context for Hughes’ poetry: Stigers hosts a CD release run at Birdland (May
to step into jazz stardom. Several decades ago, Charles Mingus, Hughes and 9th-13th).
The title refers not to an afternoon tea but to a Amram helped start the nascent jazz poetry scene in On This and That (Arbors), Portland-based singer
demand for change. Horn uses carefully chosen tunes, Harlem. Today the musical setting is different— Rebecca Kilgore chose to make 4 of the 15 tracks Billy
whip-smart arrangements and strong words to a digital recording of spoken word over improvised Strayhorn tunes—all gorgeous melodies that singers
challenge the societal status quo; her highly polished, jazz-blues—but Hughes’ words still reverberate rarely cover. One of them, “Lotus Blossom”, was even
golden voice is the weapon of choice. Her appeal (in meaningfully in the listener ’s psyche. Most of the one of Duke Ellington’s favorite songs. It’s
both meanings of the word) is hard to resist. tracks feature Mingus and Amram as a duo, with a mystery as to why these vocal gems remain relatively
Beyond Horn’s fine instrument, she has a good ear Mingus speaking the text over Amram’s improvisations; obscure. What’s no mystery, though, is Kilgore’s
for odd intervals, as on “The Peacocks”, a challenging on some tracks guitar, woodwinds and percussion join expertise with a standard. She recorded this bright,
Jimmy Rowles tune not so often heard with vocals in but it’s Hughes’ words that ring the loudest, even satisfying album in Germany last year with pianist
(lyrics by Norma Winstone). Her improvs range from when spoken softly. Bernd Lhotzky. Superb.
confident bebop scatting (“Moanin” and “I Remember 50 years ago Frank Sinatra recorded Sinatra at the A knockout cast will offer up a tribute to Abbey
You”) and out and free (“Medley”) to soul-driven R&B Sands, a live album that set a high bar for crooners Lincoln at the Apollo Theater (May 6th) as part of the
(“Up Above My Head” and “I’m Going Down”). evermore: the foremost pop singer in the world, his Women of the World (WOW) Festival. Dee Dee
Throughout all of these vocal transitions Horn remains biggest hits, the Count Basie Band, the Copa Room at Bridgewater, Dianne Reeves and Esperanza Spalding
deeply connected to her material—a tough thing to do the Sands Hotel in Las Vegas and Quincy Jones as all on the same stage at the same time. Wow, indeed. v

THE NEW YORK CITY JAZZ RECORD | MAY 2017 11

 I N ME MORIA M

MISHA MENGELBERG
ARTHUR BLYTHE (Jul. 5th, 1940—
Mar. 27th, 2017) The alto saxophonist
who had releases on India Navigation,
Adelphi and CBS/Columbia in the ‘70s-
by andrey henkin 80s and Enja, In+Out, Konnex, CIMP,
Intuition and Savant in the ‘90s-00s
began his recording career in the late
‘60s with Horace Tapscott (as “Black Arthur”) and
continued with Azar Lawrence, Charles Tyler, Julius
Hemphill, Steve Reid, Gil Evans, Chico Hamilton,
Lester Bowie, Barry Altschul, Jack DeJohnette, McCoy
Tyner, The Leaders, World Saxophone Quartet and
Chico Freeman. Blythe died Mar. 27th at 76.

BUCK HILL (Feb. 13th, 1927—Mar.

20th, 2017) The tenor saxophonist
recorded for SteepleChase from 1978-81
and Muse in the ‘80s and worked with
Charlie Byrd, the Washington Jazz
Ensemble and, in the ‘90s, Shirley Horn.
TON MIJS

Hill died Mar. 20th at 90.

EKKEHARD JOST (Jan. 22nd, 1938—

Misha Mengelberg, the Dutch pianist and composer Mar. 23rd, 2017) The German
who was among the last musicians to work with Eric saxophonist and professor of music at
Dolphy, co-founded the Instant Composers Pool and Justus-Liebig-Universität Gießen was
had his own voluminous discography, died Mar. 3rd at part of the free jazz collective Grumpff
81 after a long battle with dementia and not having (alongside Johannes Oehlmann, Jürgen
performed in public since 2013. Bock, Manfred Becker, Michael Schläper
Mengelberg was born to Dutch parents in Kiev, and Wenzel Sadlo), released one album for View and
Ukraine on Jun. 5th, 1935, part of a lineage of famed many for his own Fish Music between 1988-2016. Jost
Dutch conductors. His family moved back to Holland died Mar. 23rd at 79.
when Mengelberg was three and he took up piano
lessons at five. In a 2005 interview with our own TOMMY LIPUMA (Jul. 5th, 1936—Mar.
Clifford Allen, Mengelberg, an iconoclast even as a 13th, 2017) The credits for the A&M,
child, remembered that, “my father had a little piano Blue Thumb, Warner Bros. and Verve
in his room and for the next 12 years that became the producer included Gabor Szabo, Phil
thing that was most important to me... I wanted to play Upchurch, Paul Humphrey, George
my own music and, at age five, I did not want to play Benson, Yellowjackets, Bob James, Miles
Bach’s Magdalena, but Misha’s little pieces and I did.” Davis, Joe Sample, Jimmy Scott, Diana
As a teenager, Mengelberg heard jazz and was Krall, Danilo Pérez, Eric Reed, McCoy Tyner, Shirley
particularly taken by the music of Thelonious Monk, Horn and others, yielding many Grammy nominations
remarking that “I liked Monk from the beginning and and wins for albums done with Benson (“This
it interfered with trying to master the boogie-woogie Masquerade”, Warner Bros., 1976) and Krall (Live In
piano style. Boogie-woogie was the first thing I wanted Paris, Verve, 2002). LiPuma died Mar. 13th at 80.
to do and I wanted to know how to play the blues.
I learned later that they were not quite the same thing.” DAVE VALENTIN (Apr. 29th, 1952—
Mengelberg’s other musical totem was Monk’s Mar. 8th, 2017) The flutist had a number
contemporary Herbie Nichols: “The way he was doing of late ‘70s-early ‘90s releases for GRP,
things you would think Monk would be doing them, followed by new millennium albums
but with one big difference—the way Monk was doing for HighNote, all to go along with over
it, he was making musical statues, with Nichols I had 100 appearances as a sideman since the
the feeling he was interested in movement. These are mid ‘70s with Jay Hoggard, Dave
two aspects of what I would like to do.” Grusin, Teo Macero, Chris Connor, Bill O’Connell,
In 1964 Mengelberg would make his most Steve Turre, Eliane Elias, Hilton Ruiz, Tito Puente and
important connection in drummer Han Bennink, the others. Valentin died Mar. 8th at 64.
latter part of the former ’s quartet that played at the

HARMONIC
Newport Jazz Festival in 1966 and backed up Dolphy
in 1964 for what was later released as Last Date.
Mengelberg, Bennink and reed player Willem Breuker
formed the Instant Composers Pool in 1967, a collective EXPLORATIONS
BY BILL STEVENS
I
of free improvisers who also worked with international
players and self-released (often with handmade covers) Featuring:
Bill Stevens - Trumpet / Braden Smith - Tenor
a number of seminal albums of European avant garde Hyuna Park - Piano / Luca Rosenfeld - Bass / Gary Fogel - Drums
jazz. Out of this came the ICP Orchestra, playing pieces
by Mengelberg, Monk, Nichols and others (it is still Saturday, May 6, 2017
active, with Guus Janssen taking over the piano chair). 8 pm, 2 sets, $15 cover charge
Apart from the ICP, Mengelberg released albums over
The Treehouse
833 Broadway (SW corner at 13th Street)
the years for Varajazz, Artone, FMP, BVHaast, Soul Buzz Suite #6, Elevator to 3rd Floor
Note, Avant, hatART, Songlines, Tzadik and Psi.
The term “instant composing” implies a structural
way of thinking about improvising, the ICP Orchestra
thus different from other European free jazz ensembles.
As Mengelberg explained to Allen, “a piece may work
as a starting point for an improvisation, or a point to
go at the end of an improvisation, not something that
one should think about while improvising. It developed
from a point that I started to give up composition.” v

12 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 F ESTI VAL REPORT

ARTACTS CREATE FESTIVAL

by ken waxman by clifford allen

© R.I. Sutherland-Cohen / jazzexpressions.org

Peter Gannushkin/DOWNTOWNMUSIC.NET

DAN TEPFER TRIO

ELEVEN CAGES
SSC 1442 - IN STORES 6/2/17
@THE JAZZ GALLERY
Kaja Draksler Wadada Leo Smith May 24 & 25
St. Johann in Tirol, one of Austria’s ski resorts, also The relationship between sound and silence, or space
attracts music fans during the annual Artacts Festival and the material that occupies space, seems rather
(Mar. 10th-12th). Attendees could be forgiven for being simple and obvious and the idea of basing a two-day
smug; while warm weather limited optimal ski music festival around applying this concept creatively
conditions, their experience was elevated without using could be a tall order. Trumpeter Wadada Leo Smith has
chair lifts. Case in point was the DEK trio, which opened generated a body of work around the relationship of
the festival at the comfortable rustic Alte Gerberei individuals/ensembles in silent/active space since his
performance space. While American tenor saxophonist/ early days with Chicago’s Association for the
clarinetist Ken Vandermark is wedded to jazz, Austrian Advancement of Creative Musicians, where he began
drummer Didi Kern is involved with rock and Graz- formulating his approach to solo and group music
based pianist Elisabeth Harnik at home in notated music, with figures like pianist Muhal Richard Abrams,
these contradictions gave the performance its bite. Kern’s reedplayer Anthony Braxton and violinist Leroy
paddled beat lent veracity to Vandermark’s bar-walking Jenkins. In 1973 he self-published a text, Notes (8 Pieces)
honking while Harnik’s pastoral patterning added Source a New World Music: Creative Music, detailing his
emotion to abstract altissimo clarinet twists. philosophy of improvisation and ensemble structure,
Different sorts of swing came from groups that placing sound in direct relation to spiritual beings in
ended that night’s performances. Lotto: Polish the world. By this time, Smith had landed in New
percussionist Paweł Szpura and guitarist Łukasz Haven, Connecticut after a European sojourn with the HARRIET TUBMAN
Rychlicki with Australian bassist Mike Majkowski
worked a groove equally influenced by minimalism and
Creative Construction Company (Braxton, Jenkins,
Smith, drummer Steve McCall) and brief foray into
ARAMINTA
metal. Driven by the bassist’s repetitive mordant pattern, New York. Later in the decade, Smith co-founded the SSC 1459 - IN STORES NOW
the single selection began barely audible, worked up to AACM-inspired Creative Musicians Improvisers
a crescendo of buzzing guitar lines and drum crashes and Forum (CMIF), along with vibraphonist-pianist Bobby @LE POISSON ROUGE
dwindled to reductionism. Lotto’s antithesis was the Naughton, bassist Wes Brown, reedplayer Dwight May 31
Norwegian Cortex band of trumpeter Thomas Johansson, Andrews and percussionist Gerry Hemingway.
tenor saxophonist Kristoffer Berre Alberts, bassist Ola Based in New Haven, CMIF presented concerts
Høyer and drummer Gard Nilssen. The set was divided and recordings of new music and offered community
among freebop originals, which showcased Alberts’ education platforms into the early ‘80s. Teaching at the
sharp but not biting reed extensions; cup-mute whinnying University of New Haven and Bard College, Smith
and strident obbligati from Johansson; and Høyer’s bass spent over two decades at CalArts before recently
strategies moving from slap to slinky, often mated to returning to music full-time. Smith is again based in
Nilssen’s clean beats. New Haven and has placed himself into the heart of
The following afternoon at the ornate St. Nikolaus- the local creative arts community, although the last few
Kirche, British vocalist Phil Minton used body English, decades have seen his music across both coasts become
hand gestures and mouth motions to shepherd a an international or globally-minded dialogue. It is in
16-member choir of non-professionals into a memorable this climate that the CREATE Festival was inducted
instance of non-idiomatic singing. Despite the location, (Apr. 8th-9th) at Firehouse 12 and featured Smith’s
levity trumped liturgy, although there were a few music for various ensembles as well as afternoon
instances in which a variation of Latin could have been lecture-demonstrations on process and scoring
vocalized among repetitive mouth clicks, pants, screams, methods. Each night culminated in performances of
yodels, quacks, throat-clearing and deliberate laughter. music from the recently-composed suite America’s
There were echoes of calypso, plainsong and gospel as
the powerhouse performance moved to its own rhythm.
National Parks, played by the Golden Quintet with
bassist John Lindberg, pianist Anthony Davis,
GLENN ZALESKI
Saturday evening began with a solo recital by drummer Pheeroan akLaff and cellist Ashley Walters. FELLOWSHIP
Slovenian pianist Kaja Draksler. Gracefully gliding Despite changes in Smith’s music and life—he’s SSC 1478 - IN STORES NOW
through changes in tempo, pitch and emphasis, her now drinking coffee!—there was a significant amount
playing was embedded with romantic suggestions. of continuity on display throughout CREATE. His @JAZZ STANDARD
Infrequently octave-leaping or vibrating pedals for ensembles pivot on long playing relationships—Davis
additional strength, she ricocheted plastic balls along the and akLaff have been collaborators since the ‘70s and
May 31
piano’s speaking length or smacked internal strings with the revival of the trio New Dalta Akhri with Naughton
a soft mallet for variety. Two bands subsequently and Andrews shows Smith at his most rugged—but he
displayed contradictory interpretations of improvised also convened entirely new playing situations. In New iTunes.com/DanTepfer
iTunes.com/HarrietTubman
music. Bauer Fehler, Roter Fehler was French alto Dalta Akhri the vibraphonist’s approach is to strive for iTunes.com/GlennZaleski
www.sunn ysiderecords.com
(CONTINUED ON PAGE 47) (CONTINUED ON PAGE 47)

THE NEW YORK CITY JAZZ RECORD | MAY 2017 13

 CD REVIEWS
unison and close harmony lines from two saxophones, is here) Smith conjures worlds and gets an evocative
in this case the tenors of Chris Speed and Brandon sound like a distorted whistle. “Roots (Johnny Dyani)”
Wozniak. Their choral playing dominates the opener, is all bass at first: lovely bending arco melodies over a
“Delta Kreme”, a through-composed tune with an drone and some pretty single-note lines, then a four-
extended, Tristano-like long-line melody, King’s brush- note ostinato. Fielder plays melodies galore before his
led rhythm section suggesting Lennie meets California solo midway through, referencing the bassline. The
rock. There’s also a Tristano meets Ornette vibe to bass does not return.
“That Isn’t Even Worth Selling”, a swinger despite The track listing itself tells you something about
a gnarly theme featuring a strong bass (pizzicato) solo what they were up to: three improvisations, one set of
Malamute from Chris Morrissey and incisive contributions from variations and two titled tunes. Without playing a
Jim Black (Intakt) the two tenors. Guitarist Erik Fratzke’s “You Should Be groove per se, the musicians get into one with a mutual
by Ken Waxman Watching (Art) Films” begins as a neo-bop tune then feeling of forward motion.
adds stop-starts, acceleration-deceleration and EFX
Malamute, the new album from drummer Jim Black guitar, all with a wit suggestive of Raymond Scott’s For more information, visit balancepointacoustics.com
named for a large breed of Alaskan dog, is a listening not-so-art film cartoon music.
experience akin to approaching a large, tied-up canine King proves to be an imaginative composer.
you’re not certain is friendly or ferocious. Most of the “Parallel Sister Track” juggles time planes—faster
players in this group—keyboard player Elias rhythm, slower theme—over a continuing ostinato
Stemeseder, electric bassist Chris Tordini and especially long-riff carried by Morrissey as both tenors solo, in
the leader—have been involved with some of NYC’s turn, over a thrashing, kinetic King. His most
most exploratory musical situations while Icelandic idiosyncratic piece is “Blue Candy”, referring to the
tenor saxophonist Óskar Guðjónsson is more of a speed/amphetamine pills truckers are rumored to use;
songster, with a Nordic style midway between melody heartbeat-like ticking and ascending guitar chords
and melancholy. alternate with faster passages featuring solos from the
Not one of the CD’s 13 tracks is longer than six saxophones and Fratzke. Chiming guitar and a pop-
minutes, with most in the three-minute range. rock backbeat power “Glamour Shot”, Speed’s clarinet
Although crossbreeding can produce as attractive blending with Wozniak’s tenor in the melody, the latter
a dog as a labradoodle and artists as disparate as Duke turning up the heat with a driving solo. A rocking two-
Ellington and The Ramones have dealt memorably beat feel fuels “Don’t Be Suspect Of A Gift”, a short riff
with miniature forms, this particular litter of tunes theme broken up by saxophone and guitar obbligati
suffers from the lack of energy you would expect from before Speed’s tenor cascades through arpeggios over
an older pooch rather than a puppy. Since nearly all the King’s tumult, which continues as Fratzke revs up the
tunes have titles related to canine life, from “Chase rock feel with pedal-to-the-metal guitar soloing. It all
Rabbit” and “Stray” to “Pugged” and “No Leash”, it’s ends whimsically, with a short a cappella saxophone
tempting to treat Malamute as the result of obedience coda and final hearty laugh, probably King’s.
training overboard.
The first tracks meander among sampler echoes, For more information, visit sunnysiderecords.com. King is at
downbeat drumming and slurred sax tones until “Into Jazz Standard May 9th-14th with The Bad Plus. See Calendar.
the Pool”’s sudden keyboard splashes, drum
ratamacues and staccato tongue stretches, propelled
with the enthusiasm of a dog shaking himself after
a long nap. Later tracks such as “Just Turned Two” and
“Full Dish” are even better: the fomer attains a rock-
like groove via Black’s backbeat, Morse-code-like
pumps from Stemeseder and wide vibrations from
Guðjónsson while the latter puts vitamins in the kibble
since the cool contrast of the saxophonist’s straight-
line theme-elaboration with the drummer ’s jagged
pumps sets up a contrapuntal challenge that imbues
Song for Chico
this track with more emotional heft.
Alvin Fielder/Damon Smith (Balance Point Acoustics)
It’s this overall lack of passion which makes by Anders Griffen
Malamute a poor candidate for adoption. Perhaps next
time out, the old dogs here will learn new (and livelier) Prospective listeners may be circumspect approaching
tricks. The pedigree is certainly obvious. a set consisting entirely of duets between an upright
bass and drum set but, in these capable hands, any
For more information, visit intaktrec.ch. Black is at Roulette such misgivings quickly dissolve as the first
May 6th with John Zorn. See Calendar. improvisation unfolds. Each musician has an array of
vocabulary from which to draw: drummer Alvin
Fielder is articulate and has a lot of traditional sounds
to mix into the adventurous stew while bassist Damon
Smith is both consistently ‘out’ and inviting.
Fielder takes a solo during “Improvisation 1” in
which one may hear hints of melodies like “Salt
Peanuts” or “Rhythm-A-Ning”; more likely the
drummer happened to play so many ideas that certain The New book by MacArthur Awarded
Dafnis Prieto
cells are reminiscent of familiar tunes, like seeing
images in clouds. “Improvisation 2” embarks with an
active, almost frantic, bow accompanied by round
Surrounded by the Night
Dave King Trucking Company (Sunnyside)
drum tones. Smith then switches between pizzicato, “A World of Rhythmic Possibilities”
by George Kanzler arco and percussive sounds as the musicians keep An Analytical and Instructional Book
Drummer Dave King, best known for his work in
moving, changing from one theme to the next. Smith
moves in and out of the proceedings, sometimes
for Drummers, Percussionists,
The Bad Plus, reveals a more exuberant, even sneakily, other times more abruptly. The percussion on and Lovers of Rhythm
frolicsome, side with his Trucking Company, a quintet the title track, the shortest piece, and “Improvisation
exhibiting a wide range of inspirations and sensibilities, 3” is especially beautiful. One may sometimes wonder Now Available at
dafnisonmusic.com
from ‘80s English pop-rock and arena rock to Lennie where the sound is coming from or how it is produced
Tristano, postbop and early Ornette Coleman. with metal, wood and mallets. With scratched tones
Tristano’s influence echoes in this quintet’s use of (generally not a compliment to arco performance as it

14 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 production and electronic treatments. On “Skip Step”, will determine prospective buyers’ interest in this
drums have a hip-hop flavor and one may forget that release is whether or not they enjoy long drum solos.
this is a ‘jazz’ album until the hooky horn melody The title track was originally the first entire side of the
comes in. The track is minimal and hypnotic with LP release, of which 17 minutes are Butler, and the
swirling vocal samples provided by Michael Mayo, closing “Urbane” also features a drum solo of nearly
carefully layered percussion tracks and a very subtle seven minutes. It should be stressed that these are
odd-timed bar at the end of the phrase. The stark superb solos that have everything to do with musical
bridge has nice chord changes flowing very smoothly drumming and nothing to do with pyrotechnical
back into the original melody. A surprise ring- display, but some will wish we could have heard more
In Search Of A Dream modulated coda with just a hint of a saxophone solo from the others, especially Montrose, whose style had
Alphonse Mouzon (MPS) from Jaleel Shaw ends the tune. The pretty piano evolved considerably from his Cool-School days and
by Alex Henderson ostinato that starts “Retold” is predicated by a vocal who sits out on one of the three remaining tracks.
track, “Mom: Postcards from Detroit /Floyd/ Salem”,
The jazz world lost a fine drummer last year when, at a wonderful contrast to the entrance of the gorgeous For more information, visit elemental-music.com
68, Alphonse Mouzon died from cardiac arrest after 9/4 melody. Pianist Kris Bowers plays a lovely, tuneful
having battled a rare form of cancer. Not all of the solo, thoughtful and minimal as he works a riff at the
albums Mouzon left behind were great; some of the
forgettable “smooth jazz” discs he recorded in the ‘80s-
end to bring the melody back in perfectly.
The austere melody of “Disenchantment: The
UNEARTHED GEM
90s wasted his considerable talents. But when Mouzon Weight” has almost a Joni Mitchell-like delivery by
had quality material, he could be stunning. Amma Whatt, Bowers providing a lush string
The ‘70s were a very productive time for Mouzon, arrangement as Smith churns a delicate march on the
who made his mark playing electric fusion with snare. The last chorus opens up nicely with a strong
Weather Report and Larry Coryell’s Eleventh House backbeat with just a hint of double time, a resonant
and acoustic postbop with pianist McCoy Tyner. One saxophone solo with dissonant harmony and a
of the best fusion albums he recorded as a leader was surprising pizzicato string section. “Spiracles” starts
1977’s In Search Of A Dream, recently reissued on CD. with a huge bass drum and down-tempo groove, Smith
Selections like “The Ram and the Scorpio”, “The Light” also adding some nice mallet work on vibraphone. An Brooklyn 1967, May 24th (feat. Enrico Rava)
and “The Unknown Journey” (all Mouzon especially nice moment is on the second statement of Randy Kaye Quintet (Philology)
compositions) successfully blend the muscle of rock the melody when Smith pulls back on the beat just by Clifford Allen
and funk with the improvisatory freedom of jazz. slightly to keep the tempo steady with a delicious rub.
Apart from Mouzon’s tunes, the album features pieces Guest guitarist Adam Rogers plays a beautiful solo, There is quite a bit of music from the decade of
contributed by bassist Miroslav Vitous (“The Light”), weaving in and out of the changes with aplomb. underground experimentation in New York between
guitarist Philip Catherine (“Electric Moon”) and This is a very thoughtfully conceived album with 1965 and 1975 yet to uncover. Not only were some of
keyboardist Joachim Kühn (“Shoreline”). spare melodies supported by deft harmony and great the more well-known artists that pushed the music
Given that most fusion heavyweights came from performances. Definitely one of the strongest new jazz forward contributing to this environment, but also
strong jazz backgrounds, the genre was an expansion albums of the year. a coterie of players who have remained unknown to
of jazz, not a bastardization. An improvisatory outlook even the most obsessed of the jazz-historical
prevails throughout In Search Of A Dream, from the For more information, visit ropeadope.com cognoscenti. A few months before the death of free
contemplative “Shoreline” and probing “Electric music’s spiritual godfather, John Coltrane, a quintet
Moon” to the good-natured title track. Mouzon’s led by drummer Randy Kaye (1947-2008) convened
soloists have plenty of room to stretch out, including for rehearsals in Brooklyn and lower Manhattan.
Vitous (his bandmate from Weather Report) on electric Kaye had already worked with Duke Ellington and
bass, Catherine and Bob Malach on tenor saxophone. clarinetists Tony Scott and Perry Robinson and
“Nightmare” is a Mouzon original with a slightly would go on to work with vibraphonist Bobby
Middle Eastern flavor while the most lighthearted Naughton, clarinetist Jimmy Giuffre, vocalist Sheila
offering is “Nothing But a Party”, which has a festive Jordan and even Jimi Hendrix. Four days after his
mood somewhere between Hancock’s Headhunters 20th birthday, Kaye brought together in his Brooklyn
and ‘70s funk of Kool & the Gang and Tower of Power. living room bassist Steve Tintweiss, reedplayer Joel
Mouzon was not easily pigeonholed. In addition Peskin, English pianist Peter Lemer and Italian
The Stepper
to playing a variety of jazz, he worked with everyone trumpeter Enrico Rava to rehearse a program of six
Frank Butler (Xanadu-Elemental Music)
from salsa star Willie Colón to R&B/pop singer Roberta by Duck Baker originals, yielding this two-CD set.
Flack. In Search Of A Dream demonstrates that when it Splashy but subtle, Kaye’s metronomic pulse
came to fusion, he was one of the masters. Liners here describe Frank Butler as a forgotten figure surges and subdivides, his ride cymbal cutting
and one must suppose that this is now true, though he through extraordinarily present horn brays and
For more information, visit mps-music.com certainly was recognized within the jazz world as one linking up beautifully with Tintweiss’ rock-solid
of the great, original drummers of his generation, and rubbery pizzicato on the opening “Apricot
especially on the left coast. Butler came of age in Lady”. Rava immediately peals out of modal knots
Kansas City in the ‘40s, but by the decade’s end had into bristling shouts, taking the reins and dovetailing
moved to L.A., where he quickly made a name for with the husky keen of Peskin’s tenor (the
himself. Between the mid ’50s-mid ’60s, he enhanced saxophonist is truly obscure and apparently made it
memorable recordings by Art Pepper, Miles Davis in the studio world in California, foregoing the
(Seven Steps to Heaven), Hampton Hawes and, most scrappy existence of many New York jazz musicians).
memorably, the Curtis Counce group and several of its Lemer is occasionally difficult to hear, his
members (Harold Land, Carl Perkins, Elmo Hope). ambiguous, glancing chordal patterns maintaining
Butler was known primarily for his sensitivity as an the pieces’ obliqueness and swirling temporal
accompanist, but his features with Counce (“A Fifth shades, telescoping in brittle rivulets along with
Postcards from Everywhere
For Frank” and “The Butler Did It”) gained wide Kaye’s brushy incisions and the booming tug of
Nate Smith Kinfolk (Ropeadope/Water Baby Music)
by Brian Charette notice, especially for the way he switched from using pizzicato on the title piece.
his sticks to his hands, a device since picked up by For an informal apartment session, ringing
In the liner notes of his new album, Nate Smith many contemporary drummers. telephone and all, this recording is amazingly
describes the songs as “Snapshots...postcards from the Butler’s battles with substance abuse ultimately present and the band is on fire, echoing the words of
winding journey.” The very in-demand drummer is no contributed to his leaving the scene for several years, trumpeter Bill Dixon that “wherever you are is your
stranger to the road and credits the different vistas but the title of this, his long-overdue 1977 debut as Carnegie Hall.” This release is an astounding set of
from his extensive traveling as inspiration for Postcards leader, is a subtle reference to his recovery (by way of melodic free music now thankfully available 50
from Everywhere. All of the pieces are written or 12-steps programs). He is joined by three veterans of the years after the tapes rolled.
co-written by Smith, who has a highly developed West Coast scene: tenor saxophonist Jack Montrose,
melodic and harmonic sense. pianist Dolo Coker and bassist Monty Budwig, though For more information, visit philologyjazz.it
Many of the selections are short with involved the focus is, for once, very much on Butler himself. What

THE NEW YORK CITY JAZZ RECORD | MAY 2017 15

 G LO B E U N I T Y: S W E D E N regardless of context. The only thing certain about a
performance or recording is that it will be a surprise
(and often a good one).
This acoustic trio set has darn near got everything
a most flexible-minded jazz fan may need.
“Supertyphoon” is an exhilarating bit of postbop
driven by Bennink’s coiled-spring, Gene Krupa-like
tom-tom laden swing. “Comacina Dreamin’” has
Fusion Machine a somewhat modal, oddly meditative clarinet melody
Jari Haapalainen Trio (Moserobie Music) Aigu - Grave from Joachim Badenhorst while Bennink rumbles like
Gathering an approaching thunderstorm. “De Sprong O
Johan Birgenius (Imogena) Sunny Murray Quintet (Marge)
by John Sharpe Romantiek Der Hazen” is a slightly sultry Ellington-
Sektion 3-7
Neuköllner Modelle (Umlaut) like ballad by Bennink’s longtime foil Misha
by Tom Greenland Even if he had done nothing else, drummer Sunny Mengelberg, wherein Badenhorst’s bass clarinet takes
Murray’s place in the annals of jazz history would be on a romantically musing hue, evoking the deep/
Swedish musicians have been actively developing secure. At the start of the ‘60s he broke new ground in breathy-toned elegance of tenor saxophonist Ben
the sounds of jazz. Releases by drummers/ showing how the drummer could abandon his Webster with a touch of Gerry Mulligan suavity.
co-leaders provide a sample of their stylistic range. traditional time-keeping duties and, more importantly, “Waterzooi” is a midtempo free jazz piece, which
Jari Haapalainen, when not on guitar in what he could do instead. With avant garde icons Cecil maintains a volatile mood and forward motion thanks
The Bear Quintet, reveals his jazzier side playing Taylor and Albert Ayler his aim seemed to be to release to driving yet never overbearing drumming and
drums and composing for JH3, his group with the soloist from the restraints of time. This he did by cavernous bass clarinet. This album concludes with
electric bassist Daniel Bingert and tenor saxophonist assembling waves of shifting pulses rather than any the ebullient, New Orleans-accented “Adelante 2”,
Per “Texas” Johansson. Fusion Machine, the trio’s identifiable rhythms, typically comprising an Bennink cranking out rolling, percolating N’awlins
debut, contains a baker ’s dozen tracks, most about asymmetrical staccato fusillade on snare and toms, rhythms like Ed Blackwell reborn and joyful bass
two minutes long, for a total time of less than a half continuous but irregular strokes on the hi-hat and clarinet phrases carrying hints of North African and
hour. The tunes, often based on pentatonic minor cymbals and sporadic bass-drum bombs. Caribbean melodies. For those of you into standards,
riffs, sometimes doubled or harmonized, are Although that approach remained intact when there’s a jolly, abstract take on “My Melancholy Baby”,
redeemed from primitivism by the winding, long- Murray waxed Aigu - Grave for the French Marge Simon Toldam’s lyrical piano embodying some stride-
limbed quality of the melodic phrases; by deft, imprint in 1979, the delivery had mellowed such that and Erroll Garner-like passages. While the trio
refreshing transitions to new sections of contrasting he no longer dominated the session. So well have deconstructs it, they do so with affection.
material; and by hard-edged but playful delivery. In Murray’s innovations been assimilated that far from For those into free-er sounds who prefer them with
this sense the album surpasses its Spartan texture seeming revolutionary, the style is in danger of being humor, concision and resolutely based in the jazz
and short duration, making a strong impact with overlooked on what is an unashamedly swinging set of verities—and fans of Bennink (who should be seen
admirable efficiency. small-group jazz. That’s perhaps best heard on “Tree live!)—this is a keeper.
Drummer Johan Birgenius steps out as a leader Tops” where no one appears responsible for a steady
on Gathering, an apt title for the coterie of Gothenburg- beat, although the piece undeniably kicks on, borne by For more information, visit hanbennink.com
based musicians: tenor saxophonist Lisen Rylander bassist Alan Silva’s sometimes walking sometimes free
Löve, keyboard player Henrik Magnusson and bassist pizzicato (the bassist and drummer would go on to
Olli Rantala, with soprano saxophonist Björn
Cedergren and guitarist Viktor Olofsson guesting on
work with Taylor in 1980) and pianist Bobby Few’s
glinting commentary, which impart all the momentum
Nick Fraser
several tracks. Birgenius’ themes are catchy and fun: that is needed. May 31:
“Strawberry”, in 5/4, is so lissome it creates the By this time Murray was a composer of sufficient Nick Fraser
illusion of an even-metered tune; Klezmer-like note that his tunes, often covered by his contemporaries, (druMs, coMpositioNs)
“Morocco” contains clever rhythmic hooks; provided fertile launching points for ensemble
toNy Malaby
“Bucharest” derives its atmosphere from moody interaction. That was certainly the case for the
(saxophoNes)
chords and synthesizer pads; and “Aftonsång” could Coltrane-influenced Richard Raux, whose motif-driven
keNNy WarreN
(truMpet)
serve as an independent movie soundtrack. Rylander tenor saxophone excursions add a melodic and quietly braNdoN lopez
Löve has the most distinctive solo voice, especially impassioned lead voice to the date. On Murray’s (bass)
on “Chicago”, where her tone takes a gnarly turn. arrangement of Coltrane’s “Expression”, Silva rye bar, 10:30pM,
This music is far from radical, but its intelligence and maintains a constant upper-register counterpoint to 247 s 1st st, brooklyN
conviviality give it a decided lift. the saxophonist, offering an alternative focus in the
Sektion 3-7 is the second and final installation of swirling stasis. The expressive interplay between tenor JuNe 20:
Neuköllner Modelle, a multi-generational project and careening bow work also forms the centerpiece of Nick Fraser
conceived by the Swedish bassist Joel Grip and “Pyramide” while Raux and Few’s unison allow
(druMs, coMpositioNs),
drummer Sven-Åke Johansson: the former Murray and Silva to go freeform to great effect on
toNy Malaby
(saxophoNes),
deliberately playing at ballad tempos, as slowly as “Spanish Fly”. kris davis
possible throughout, the latter purposefully fast and (piaNo)
busy, both doing their best to ‘swing’. The original For more information, visit futuramarge.free.fr korzo, 8:30pM,
trio with tenor saxophonist Bertrand Denzler is 667 5th ave, brooklyN
augmented by pianist Alexander von Schlippenbach
for this two-disc set recorded live at Berlin’s
Sowieso. Grip’s playing is noticeably understated,
almost subliminal, over the five improvised pieces
while Johansson looms at the forefront, beating out
incessant tattoos rattling like automatic rifle fire
across a war field. Denzler is prominent too,
eschewing edgy skronking for a warm but dense
fusillade of notes, his lines waxing and waning amid
the mutating textures. Schlippenbach, piano panned
Adelante
to either side of the mix, opens “Sektion 5” in
Han Bennink Trio (ICP)
a pensive mood, marches in lockstep with Johansson by Mark Keresman
on “Sektion 6”, quotes from Thelonious Monk tunes
on the epic “Sektion 7” and elsewhere follows his Dutch drummer Han Bennink is one of the wonders of
own compass, wherever it may point. the musical world: he’s got brilliant technique to spare;
played with everyone from Dexter Gordon to Dutch
For more information, visit moserobie.com, imogena.se post-punk combo The Ex; been a mainstay in Europe’s
and umlautrecords.com avant jazz scene since the mid ‘60s; and performs with NickFraserthedruMMer.coM
an absurdist flair and seemingly boundless enthusiasm NickFraserthedruMMer.baNdcaMp.coM

16 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 Giuffre groups but with a stronger emphasis on rhythm solo. Gross only sounds like the dedicatee when his
and is a little more aggressive. Each member wrote intervallic leaps come down hard and land in Piket’s
compositions with Darche contributing the bulk. B3 groove.
Blaser ’s contribution is his farewell to Albert Of course, there are drum moments that could
Mangelsdorff, “Missing Mark Suetterlyn”, a slow, come only from Mintz. The three-minute solo intro to
slightly bittersweet melody nicely meshing fluid tenor “Shmear” contains his mysterious, proprietary drum
with plunger-muted trombone (the piece was originally symbolism and also shows how his intensity can sneak
recorded on Blaser ’s Spring Rain without a second up on you, insidiously. But the lasting impression of
Super Petite
horn). The pair engage in nice foghorn-like harmonies this recording is its scope, richness and depth.
Claudia Quintet (Cuneiform)
Mix of Sun and Clouds over Boisseau’s introductory bass solo on Hollenbeck’s
JASS (YOLK Music) “Ansia Da Separazione” while Boisseau’s “Lony Ay For more information, visit thirteenthnoterecords.com.
by Robert Iannapollo Utca” has an almost static motion, horns sharing the Mintz is at Cornelia Street Underground May 8th with
melody line, the composer adding Charlie Haden-like Lena Bloch, Artichoke Basille May 15th and Hari NYC May
J ohn Hollenbeck, drummer/composer/bandleader/ arpeggiated figures and strange percussive sounds in 26th. See Calendar.
arranger, is as inventive a musician as they come and the background.
all four descriptors apply equally to him. As Like the Claudia Quintet, there’s always something
a bandleader, he’s led some of the most interesting
groups of the last two decades, ranging from the
to listen to with JASS and all members work as a unit.
This is a band hopefully in it for the long haul.
IN PRINT
Refuge Trio to his Large Ensemble. Hollenbeck’s
arranging skills are in evidence with all of his bands, For more information, visit cuneiformrecords.com and
even the smaller units. He’s a composer not afraid to yolkrecords.com
let his players engage, giving his soloists a wide range
to be themselves.
Hollenbeck’s most successful group is the Claudia
Quintet. They’ve even acquired a modicum of
mainstream success and it’s easy to see why. With an
attractive frontline mix of vibraphone (Matt Moran),
accordion (Red Wierenga) and clarinet (Chris Speed),
things stay buoyant and the rhythm section of A World of Rhythmic Possibilities
Dafnis Prieto (Dafnison Music)
Hollenbeck and bassist Drew Gress keep it afloat by
by Tom Greenland
constantly shifting the tempo and rhythms. There’s
always something to listen to with this band.
Ugly Beautiful
Dafnis Prieto has the requisite experience, chops
Super Petite is their eighth album, recorded, as the and, above all, passion to write a definitive drum
Billy Mintz (Thirteenth Note)
liners bizarrely state, on the birthdays of rapper Chuck by Thomas Conrad method. He did. Described as his “dream book”,
D. and percussionist Nana Vasconcelos. The title refers A World of Rhythmic Possibilities reveals much about
to the fact all of the pieces are six minutes or less except Billy Mintz, one of the great unsung drummers of Prieto’s technical and creative approaches to music.
for “Rose Colored Rhythm”. That track needs its eight- jazz, is a minimalist who trusts the Zen of his Interlaced with personal reflections on
plus minutes to work its way through the complex instrument. Sometimes he plays below the room noise imagining music, holistic listening, changing
web. The tune most emblematic of the album title is (thereby imposing silence on his audience). Even those traditions, spirituality and the like, the central focus
“Pure Poem”, a high-speed energy stomp clocking in who think they know his work will be startled by the is on the development of four-limb rhythmic
at less than two minutes. variety, the sheer amount of ‘stuff’, on Ugly Beautiful. patterns for trap drums. Beginning with the claves
Wierenga (first heard on the last album, the first In Mintz’ 50-year career, it is his third album as a (son and rumba) and cáscara, Prieto devotes a
major change in personnel since the group’s inception) leader. It reveals an intuitive composer and a fearless chapter to exploring their relationship through
has settled in comfortably and his instrument gives the ensemble conceptualist. various permutations, including accenting, reversal,
music one of its most unique calling cards. Super Petite One of Mintz’ many categories of interest is rare: displacement and rhythmic inserts. Another chapter
shows that Hollenbeck and company are still firing on quiet avant garde. The opening track of this two-CD is based on the elegantly organized patterns found
all cylinders after eight albums, a pretty amazing feat. set is “Angels”. It sounds more like “Devils”. Two in George Lawrence Stone’s classic primer Stick
JASS (an acronym of the quartet members’ first tenor saxophonists, John Gross and Tony Malaby, Control for the Snare Drummer, only Prieto couldn’t
names and an early spelling variant of jazz) is a more moan muted discords. Bassist Hilliard Greene bows read English when he started using it and so ended
recent addition to Hollenbeck’s arsenal of groups. a constant solemn hum. Roberta Piket scatters up breaking most of the ‘rules’ Stone had laid down
Redoubtable Swiss trombonist Samuel Blaser shares occasional piano thoughts off to the side. Drums emit in the front, instead creating his own method for
the frontline with French saxophonist Alban Darche. cryptic code and softly spark. When free jazz goes arranging (and rearranging) Stone’s patterns on the
The rhythm section is rounded out by French bassist quiet, it is possible to hear that it is not truly free, but snare, toms and kick drum while maintaining basic
Sébastien Boisseau. is instead a path to new form. Gross and Malaby patterns on hi-hat and bell or cymbal; drummers
Mix of Sun and Clouds is their second release. The eventually come upon hair-raising harmonic will learn to superimpose and modulate rhythmic
music has the flavor of later Lee Konitz or Jimmy relationships and surreal melodies. cells over clave and cáscara, plus straight eight,
Examples of additional Mintz genres: “Vietnam” swing and 6/8 bell patterns in varying subdivisions.
(the first song he ever wrote, at 18) is direct and lovely Later Prieto applies a similar approach (and gets
as a hymn, played fervently without improvisation by similar mileage from) a short drum break played by
Malaby. “Dit” (in two takes), “Shmear” and “Relent” Max Roach. Another section unpacks and develops
are ‘unquiet’ free jazz. “Relent”, especially, is a the Songo style invented by Los Van Van’s Changuito
commanding anthem from the edge. The two tenors and others. After a chapter of exercises for improving
raise living hell and Piket, usually a poised, refined motion control and independence in either hand
player, goes wild with them on Hammond B3 organ, (especially the weaker one) and on bass drum, the
with animal rasps and human cries. “Flight” is an last chapter examines “elastic” beats and rhythmic
orderly, even elegant 32-bar piece with a notated “illusions”, where concurrent opposing pulses vie
traditional three-horn saxophone soli section (Anton for a performer/listener ’s attention, similar to how
Denner joins on alto). “Cannonball” is a nasty funk one perceives a Rubin goblet. Prieto demonstrates
tribute to Adderley, unlike anything else here, except almost all examples and techniques on 300-plus

LOU CAPUTO NOT SO BIG BAND

1 BATTery PArk PLAzA - jULy 6, 1 Pm
for its eerie horn voicings. “Love and Beauty” is ten
minutes of haunting free lyricism by Piket, into which
the saxophones are only allowed toward the end.
audio tracks, 33 with video, so you can see exactly
what each hand and foot is doing.
The book is not intended to be a technical
SIr D’S LOUNGe - jULy 24Th, 9 Pm The luxury of two CDs allows Mintz to do things compendium but rather inspire trap drummers to
See LOU CAPUTO WITh rONNy WhyTe, like follow up “Flight” with an alternate ballad version. develop their own patterns and playing styles.
CeLeBrATING “ShADeS OF WhyTe”
BIrDLAND - mAy 18Th, 6 Pm Malaby and Piket slow “Flight (Ballad)” until it almost
jAzz AT kITANO - jUNe 17Th, 8 & 10 Pm stops. It is “Flight” evaporated into mist. On Disc 2, For more information, visit dafnisonmusic.com. Prieto is
SAINT PeTer’S ChUrCh - jUNe 21ST, 1 Pm
Mintz throws in the unedited nine-minute version of at The Jazz Gallery May 17th-18th. See Calendar.
LOUCAPUTO.COm “Cannonball” and restores an entire ferocious Gross

THE NEW YORK CITY JAZZ RECORD | MAY 2017 17

 banging on reverberating surfaces. Since then drum favoring brushes as Per Gade’s guitar limns the
ensembles have become more sophisticated and melody and solos along with Presencer. “I Should
inventive. Active from 1970-92, Max Roach’s M’Boom Care” is cast as a gentle bossa featuring Steen Nikolaj
was the most notable all-percussion ensemble in jazz Hansen’s trombone. Capping off the album is
and improvised music. Taking sticks—and brushes— “Molasses”, a hard-swinging Joe Newman shuffle from
into his own hands, Swiss percussionist Pierre Favre the Woody Herman book, featuring the band’s regular
made an international variation on that theme with drummer and bassist in tandem with Watts and his
Singing Drums (ECM, 1984), featuring Brazilian Nana longtime bassist partner David Green. The highlight of
Vasconcelos, American Paul Motian and fellow Swiss the solo rounds is Vincent Nilson’s wah-wah trombone
Blue, Vol. 2 Fredy Studer. NOW is the most recent, now all-Swiss, chorus. This album should help bring new listeners to
Jeff “Tain” Watts (Dark Key Music) iteration of this ensemble, with Chris Jaeger, Markus one of the world’s best jazz big bands, courtesy of one
by Terrell Holmes Lauterburg and Valeria Zangger filling the other stools. of rock’s great drummers.
Although Zangger has a notated music background
J eff “Tain” Watts, drummer par excellence, enhances his while Jaeger and Lauterburg are experienced For more information, visit impulse-label.com
legacy with Blue, Vol. 2, which builds on and expands improvisers working in earlier Favre percussion
the themes and genres of the excellent first volume. ensembles, no fissure is apparent on the 12 tracks. And
Watts composed and arranged all of the songs and his
core band of guitarist Paul Bollenback, pianist James
despite Favre composing the major statements, this is
primarily group music, with the rhythmically complex
ON SCREEN
Francies, bassist Orlando le Fleming and tenor results both sonorous and percussive. On “Tramping”,
saxophonist Troy Roberts swing with aplomb. for instance, the friction created by slamming four bass
Watts’ writing and playing sample various genres drums in unison could reference troops marching.
but, as the title suggests, everything flows from the “Dance of the Feline” sounds more equine than feline
blues. Opener “Chicken Ballet” combines earthy blues with pops, plinks and rolls resembling hoof beats, the
with high-energy hardbop and includes one of Watts’ excitement level crescendoing in an intense dead-heat
composing trademarks, as faithful as a Hitchcock finish. Wood block and cymbal accents break up wire
cameo: switching between two different time signatures brush gymnastics on “Brushes Flock”, but the timing
at various times, like a car accelerating and decelerating. and adroitness resemble tap dancers’ art.
Alto saxophone superstar Steve Coleman joins This newest chapter in Favre’s on-going percussion
Watts and bassist Robert Hurst in a formidable trio on discussion, combining the rugged intensity of African Michael Carvin: No Excuses
Oscar Sanders (Malcolm Entertainment)
the funky “uh-UH!!”, the balance and timing among polyrhythms, boldness of theatrical underscoring and
by Anders Griffen
these vets defining textbook jazz. The warm, relaxed exquisite between-the-beat sophistication of jazz, will
“Cleo” is also a trio track, this time with bassist interest more than drummers. Who says you can’t This film captures master drummer Michael
Dwayne Dolphin and guitarist (and fellow Tonight follow the beat of a different drum? Carvin’s Experience (tenor saxophonist Keith Loftis;
Show alum) Kevin Eubanks meshing beautifully. pianist Yayoi Ikawa; bassist Jansen Cinco) live and
Harmonica sensation Grégoire Maret stars on For more information, visit intaktrec.ch in the studio as they are working toward the Flash
“14E”, with its undulating, evocative rhythm while Forward album (Motéma, 2014; Carvin’s first album
Russell Malone’s honey-smooth guitar and Dayna as a leader in almost a decade). The viewer hears
Stephens’ impassioned tenor saxophone energize from the musicians and others about the concept
Watts’ majestic arrangement of the traditional song and process. Carvin also guides a tour around New
“Water”. In addition to all of the brand-name talent, York City, reminiscing about various venues, many
Watts showcases some exciting young players: pianist of which no longer exist.
Osmany Paredes and bassist Yunior Terry Cabrera After some introductory material, the band is
work out fiercely on the ostinato-driven burner “Sons presented outdoors at Marcus Garvey Park before
of the Jitney Man”, spurred on by Stephens’ tenor and an enthusiastic crowd. The live sound is somewhat
Watts’ typically ferocious and sophisticated drumming. dispersed, but the music comes through and there’s
This quartet also throws down on the dynamic and a bit more presence when the camera follows them
Meets The Danish Radio Big Band
hilariously titled “Blakzilla vs. Yo’Mothra”. into the studio. “You Stepped Out of a Dream” is a
Charlie Watts (Impulse!)
Watts has always been a fine composer but his talent by George Kanzler highlight as Carvin leads the band through his
as a lyricist shouldn’t be overlooked. Vocalist Sy Smith arrangements of classic material and it’s great to
infuses the infectious “Lenalane” with a vocalese style Best known as a founding member of The Rolling hear his younger charges’ feelings about his
and lighthearted mischief. Watts can also lay down a Stones, drummer Charlie Watts is also a fervent professionalism and influence. Album producer
serious love ballad, Kurt Elling lending his earnest voice advocate of jazz whose lifelong side projects have Camille Gainer Jones adds valuable insight.
to “You’re Mine and I Want You”, confessing his love included a tribute album to another Charlie: Parker. The tour of Manhattan performance venues is
amid the tender piano of Manuel Valera. “Waltz for When Gerard Presencer, who has played in some of fabulous. Starting at Carnegie Hall, Carvin recalls
Marvin” is a contemporary journey through the inner Watts’ jazz bands, learned that Watts had spent time in performing there with Dizzy Gillespie. Across the
city blues, a bridge linking Marvin Gaye’s pain and Denmark back in the early ‘60s, he invited him to come street is CAMI Hall, where he featured his students
prophecy from What’s Going On to the current social and play with the Danish Radio Big Band that Presencer in an end-of-year showcase. We also visit The Village
scene, expressed through the bemused but effective conducts. The result was recorded during a concert at Vanguard, “where it all started”, as well as the
singing of Frank McComb. With Blue, Vol. 2 Watts has the Danish Radio Concert Hall in October 2010. former locations of Sweet Basil, The Village Gate,
added another impressive chapter to his oeuvre. One of the least flamboyant drummers in rock, The Lush Life, Tin Palace, The Baby Grand, Sutton’s,
Watts is just as self-effacing and rhythmically important Lenox Lounge and Boomer ’s, where [saxophonist]
For more information, visit tainish.com as a big band jazz drummer. His only solo here occurs Sonny Carrington asked if his young daughter could
on the segue from Parts 1 to 2 of his and Jim Keltner ’s sit-in (fans of the music know her today as drummer
“Elvin Suite”, 40-plus seconds that revs up the tempo Terri Lyne Carrington). Carvin reminisces about
and feel from the ballad stroll of “Part 1” to the Elvin engagements with Illinois Jacquet, James Moody,
Jones-like shuffle that powers “Part 2”, Watts Benny Carter and Abbey Lincoln, among others.
propelling Uffe Markussen’s roiling tenor saxophone There are some digital effects used throughout
solo. Presencer, who arranged six of the seven tracks, the film that may divide viewers: distracting or
reimagines three Stones classics. “(Satis) Faction” rides innocuous? In any case, the story is strong and by
the slow surf of an AfroSamba with electric bass joining the end, one feels the collaboration between the
the rhythm section, Presencer playing the familiar musician and filmmaker. This project came about as
melody on flugelhorn and Lars Møller ’s tenor taking it a result of Carvin’s participation in Sanders’
up and out. Hammond organ enhances an R’n’B previous jazz documentary, Billy Bang: Long Over
NOW
backbeat on “You Can’t Always Get What You Want”, Due, and is another inspired undertaking.
Pierre Favre DrumSights (Intakt)
by Ken Waxman Presencer again stating the melody and sharing solo
space with Pernille Bevort’s bright soprano. The big For more information, visit malcolmentertainment.com.
Undoubtedly the first all-percussion group was band’s detailed command of dynamics, tones and Carvin is at The Cell May 20th. See Calendar.
formed when our distant ancestors began collectively timbres turns “Paint It Black” technicolor, Watts

18 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 “Communion” is a hellish wall of sustained tones and
intense distortion, the instruments (O’Malley and
Benevento) almost becoming a tortured choir until the
voices of The Rose Ensemble reenter, balm-like, before
a thunderous apocalyptic conclusion.
Previte and company willfully (and not delicately)
harness gnarly metal and European pre- and post-
classical forms, forgoing swing and theme/solos/
theme context. This is a fusion album to be sure, but
Mass a fusion more audacious and seemingly more
Bobby Previte (RareNoise) incongruous than one of jazz, rock, and funk. It’s
by Mark Keresman somewhat bewildering, albeit in an endearingly
mischievous manner. If one seriously relishes both
Protean drummer Bobby Previte has the finesse of a jazz genres, one should investigate/invest.
musician and amiable wildness of a rocker. Mass is his
most ambitious work thus far. Using “Missa Sancti For more information, visit rarenoisereccords.com. Previte
Jacobi” by Guillaume Dufay (1397-1474), a late Medieval/ is at Cornelia Street Underground May 21st with Jane Ira
early Renaissance-era classical composer, as a basis, his Bloom. See Calendar.
ensemble intersperses liturgical choral music with
slamming old-school metal riff-ology. The jazz content is
improvisation in some of the (brief) soloing and the
harmonic sophistication Previte brings to the table.
“Offering” juxtaposes a dense, almost monolithic
choral line with simple yet effecting pounding drums
and serrated, brutally terse, clipped riff-ing guitars
(Mike Gamble and Stephen O’Malley, Reed Mathis on
electric bass), strongly redolent of Black Sabbath
guitarist Tony Iommi. “Sanctus” pairs the aching
purity of voices, courtesy of The Rose Ensemble
Goodbye Red Rose!
conducted by Jordan Sramek, with the eerily siren-like
Tony Marsh/Chefa Alonso (Emanem)
electric guitar feedback (O’Malley and Don by Ken Waxman
McGreevy)—as the piece evolves, there is a luxuriant
layer of organ (Marco Benevento) recalling the music Drummer Tony Marsh made his mark on many facets
of 20th century French composer Olivier Messiaen and of British jazz, one of those journeyman players who,
Hammond B3 of late Deep Purple organ player Jon like character actors in classic films, appears in many
Lord, which grows ever more harrowing and dissonant. scenes but never receives top billing. Starting in the
‘70s, Marsh who died five years ago at 72, established
himself in contemporary settings with figures like
saxophonist Don Weller and bandleader Mike
Westbrook, only to invest his final years embedded in
free music with the London Improvisers Orchestra
(LIO) and groups featuring saxophonists like Paul
Dunmall and Evan Parker and younger innovators.
One of the latter was the now-Madrid-based soprano
saxophonist Chefa Alonso. Goodbye Red Rose!, souvenir
of her four-year British sojourn, is an almost 69-minute
CD recorded in three different spaces, which
illuminates how the duo evolved over a one-year
period. By “Huesa (not Wesker)” the final track, the
erstwhile LIO members have become such simpatico
improvisers they’re like an old married couple
finishing one another ’s sentences.
It becomes obvious from the beginning that Marsh
is actually the more reserved player. As Alonso’s tone
snarls and nips at the theme, the drummer ’s surges are
rhythmic yet unruffled, even when he hits the bass
drum. Six months along, staccato bites and flutter
tonguing mark the saxophonist throwing off ideas
with the intensity of a lightning shower and gradually
extending her solos. Tracks such as “Flimflam one
(Flimflam Uno)” and “Frusleria Tres (FlimFlam three)”
show Marsh’s repetitive drum pops and cymbal sizzles
tactfully holding the line so squirming reed wiggles
don’t shatter into incoherence.
Capping it all is “Huesa (not Wesker)”, recorded
a further five months later, where the saxophonist’s
pinched vibrations don’t prevent the pair from hitting
a groove of shimmering intensity one-third of the way
through and maintaining it until the finale. Layering
his beats as if placing mortar among bricks, Marsh’s
spot-on plops ingeniously slow down the tune so that
the result adds complexity to the groove.
Besides bidding farewell to one of London’s free
music spaces, Goodbye Red Rose! serves as a fitting
send-off for the drummer, some of whose best playing
was done near the end of his life.

For more information, visit emanemdisc.com

THE NEW YORK CITY JAZZ RECORD | MAY 2017 19

 B OXED SE T into a singular expression of form and creativity
with the narrative strength of a fine horn solo. There
Quartet concept, which incorporated a string quartet,
appear on albums made in November 1983 and
is a concentrated logic, a marshaling of resources January 1985. The former, Live at Vielharmonie
with economy as he employs each component of his Munich, employs the Swedenborg String Quartet
kit as if it is another chord or note in his solo line. along with an alternative version of the quartet,
Each of his solos throughout this collection is unique, Dayne Armstrong replacing Pope and Phil Bowler on
from the variations on swing, “Reflections”, which electric upright bass. Only two pieces are essayed,
open the first album, 1979’s Pictures In A Frame, to Roach’s tribute to trumpeter Booker Little, “A Little
the volcanic extended solos, many seeming to meld Booker”, and Bridgewater ’s homage to Charlie
into the accompaniment of horn solos, on 1984’s Parker, “Bird Says”. Both reappear, in brighter, more
Scott Free, comprised of a single composition by concise versions, on 1985’s Easy Winners, the first
Bridgewater. The latter also has an example of a recording featuring The Uptown String Quartet led
Volume 2: The Complete Remastered Recordings on setting Roach had been doing since his bebop days, by the drummer ’s daughter, violist Maxine Roach.
Black Saint & Soul Note a bass-drums duet, here on bassist Calvin Hill’s There’s a rich texture and flowing continuity to the
Max Roach (Black Saint/Soul Note - CAMJazz) warmly humorous “Back to Basics”. interaction between the strings and jazz quartet here,
by George Kanzler Eight of the nine tracks on that first album especially on “A Little Booker” and Pope’s ballad
showcase member compositions, including a Hill “Sis”, which utilizes the lush string textures without
Although remembered today mostly as a bebop waltz. Roach was the first jazz leader to make waltz- descending into bathos. And “Bird Says” stands out
pioneer who, along with Kenny Clarke, freed the kit time a fully integrated part of the hardbop sound. as this string quartet nails the rhythmic spirit as well
from its strict time-keeping role to become an equal The leader also plays piano and sings on his “Ode as the musical content of the Bird quotes in the
of frontline instruments and as the co-leader, with From A Black Picture Show”, an example of his ensemble passages. The CD concludes with the Scott
trumpeter Clifford Brown, of one of the greatest theatrical bent given full scope on this collection’s Joplin title tune, arranged for the strings alone by
hardbop bands, Max Roach remained a questing, last album, 1984’s It’s Christmas Again, consisting Maxine Roach in a tip of the bow to ragtime.
groundbreaking jazz musician throughout a career entirely of two long poems by the black jurist-poet Into the ‘80s-90s, through his own 60s and 70s,
of over six decades. And though trumpeters Brown Bruce Wright, recited by Roach over backgrounds Roach would continue to lead his redoubtable
and Dizzy Gillespie are usually those first associated from the quartet augmented by reedplayers Lee quartet, as well as the Double Quartet and M’Boom,
with Roach, his longest association with a trumpeter Konitz and Tony Scott and guitarist Tommaso Lama, the all-percussion ensemble he first assembled in the
was with Cecil Bridgewater, who was a member, as well as bird and electronic soundscapes. In the late ‘70s. I remember him bringing break dancers
along with tenor saxophonist Odean Pope, of his Light, a studio album recorded in the summer of with the quartet to a gig in New Jersey in the ‘90s, for
longest lived group, the Max Roach Quartet. That 1982, finds the quartet reminiscing about the bebop he never tired of experimenting and exploring new
quartet is at the heart of these six CDs. era. After the long, rubato opening title song by ways of presenting his music. He also engaged in
Yet they embrace a wide range of Roach’s Roach, it features two tunes each from Thelonious numerous solo and duet concerts, the latter with both
interests and exemplify many of his frontier-breaking Monk and Tadd Dameron, plus Oscar Pettiford’s bebop veterans and notables of the jazz avant garde.
musical achievements. Chief among them was his “Tricotism” and Roach’s “Henry Street Blues”.
elevation of the drum solo from a virtuosic display The first two examples of Roach’s Double For more information, visit camjazz.com

20 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 sorrowful “Please Rest My Soul” in which he and funks it up AfroCuban style with Carillo and baritone
Warfield achieve a magical blend and his solo is almost saxophonist Ronnie Cuber, guitarist David Spinozza,
conversational in nature. “The Owl Local” is a more electric bassist Marcus Miller and drummer Bernard
leisurely interpretation of “The Owl Express”, Stafford “Pretty” Purdie on “Sabiduria/Wisdom”. Violin and
still delivering a sizzling solo while Hays’ economical vibraphone join forces on “La Cancha”, with de la Fe
Forgive and Forget feature is equally engaging. This is an enjoyable session and Joe Locke swinging some straightahead Latin jazz,
Terell Stafford (HHM) and fine addition to Stafford’s discography. then alto saxophonist Donald Harrison steps into the
Clockwise: The Music of Cedar Walton The trumpeter is a featured soloist on the Ben solo spotlight on the soulful “Augustine Parish”, after
Ben Markley Big Band (featuring Terell Stafford) Markley Big Band’s Clockwise: The Music of Cedar which Palmieri closes out the first half of the disc
(OA2) Walton. The leader ’s creative charts show how much unaccompanied on “Life”, a melancholic, classically-
Luck Be A Lady (A Tribute to Frank) Walton’s music belongs in a big band’s repertoire. In tinged opus punctuated with anguished vocal cries.
Terell Stafford and Dick Oatts with the swinging “Cedar ’s Blues”, Stafford takes his time Locke is featured again on “Samba Du Suenho”,
The Temple University Studio Orchestra (BCM+D) building momentum in his solo, giving a virtual master an easy groove recalling Palmieri’s collaborations with
by Ken Dryden class, followed by Will Swindler ’s whimsical alto. The Cal Tjader as well as the soft sounds of Sérgio Mendes’
breezy AfroCuban piece “Fiesta Español” works even Brazil 66. “Spinal Volt” is classic Palmieri orchestra
A veteran of over a quarter-century playing jazz, better with a big band, with stimulating solos by the with horns wailing winding progressions over
trumpeter Terell Stafford’s credentials are well- leader on piano, trombonist Paul McKee and trumpeter churning percussion and the maestro himself stepping
established from his stints with Bobby Watson, Greg Gisbert, who rivals Stafford for solo honors out with an engaging solo, demonstrating mastery of
Vanguard Jazz Orchestra, Dizzy Gillespie All-Star among the section members. “Bolivia” is Walton’s both the AfroCuban and jazz idioms. The cadences of
Band, Kenny Barron and many others. He has most widely known composition and Barkley’s section the barrios of New York and New Orleans come
developed a sound both expressive and nuanced, writing is a nice complement. “Black” is a fitting together on “The Uprising”, a tour de force fusion of
which saxophonist Herb Harris sought for Forgive and conclusion, with exciting playing by Stafford and mambo and second line rhythms, with Big Chief
Forget, an album of originals he wrote and arranged for Gisbert, tenor saxophonist Peter Sommer delivering an Donald Harrison singing a traditional NOLA Black
Stafford and a band of tenor saxophonist Tim Warfield, explosive improvisation as a segue between them. Indian chant before engaging in explosive saxophone
pianist Kevin Hays, bassist Greg Williams and Stafford and alto saxophonist Dick Oatts are exchanges with Cuber, whose massive sound is
drummer Rodney Green. It’s always a challenge when accompanied by the Temple University Studio showcased on the funky “Coast To Coast” that follows.
a band that is put together tackles new material, but Orchestra for Luck Be A Lady (A Tribute To Frank). Locke is featured one more time, along with Curtis,
Harris’ lively charts stimulate the creativity of the Stafford, the Director of Jazz Studies at the university, Carillo, Rivero and Quintero, on “Locked In”, an
players. Sassy, spacious trumpet and robust tenor in and Oatts, who is on faculty, are the soloists, with the energetic mambo tribute to the dedicatee. The date’s
“No, No, No (That Ain’t The Way It Go)” infuse this 67-piece orchestra, conducted by Andreas Delts, closer “Jibarito Y Su Son” begins ethereally with bata
jazz waltz with a hip air, fueled by the rhythm section’s playing a suite of standards arranged by Michael drums over atmospheric synthesizer sounds, before
inventive groove. Stafford’s muted horn is showcased Abene, the charts constantly shifting the focus between Palmieri and his rhythm section get down on an earthy
in the gentle title ballad while playful “The Owl various sections of the orchestra and the soloists. guajira, taking the music back to its roots.
Express” is reminiscent of the repertoire that the Abene’s inventive score provides a stimulating
trumpeter played as a member of Bobby Watson & backdrop for Stafford and Oatts while the students do For more information, visit ropeadope.com. Palmieri is at
Horizon. Stafford’s lyricism is at its peak in the justice in their supporting roles. The payoff comes in Subrosa May 1st, 15th and 29th. See Calendar.
the intense workout of the title track, as the students
excel in navigating the demanding arrangement and
R
• Willem Breuker Kollektief—
the two soloists are both in fine form. The one quibble
with this release is the very brief total time, low even
Out of the Box (BVHAAST)
by LP standards at just over 26 minutes. In this age e • Giacomo Gates—What Time Is It? (Savant)
• Theo Hill—Promethean (Posi-Tone)
where younger jazz fans choose to download single
tracks, this CD may get lost in the shuffle, though it is c • Jazzmeia Horn—A Social Call (Prestige)
an excellent snapshot of Temple University’s first-rate
music program.
o • Anne Mette Iversen—
Ternion Quartet (BJU Records)
m • Gregory Lewis Organ Monk—
For more information, visit cdbaby.com/cd/terellstafford,
originarts.com and temple.edu/boyer/about/BCMDRecords.asp. m The Breathe Suite (s/r)
• Eve Risser/Benjamin Duboc/
Stafford is at Dizzy’s Club May 1st. See Calendar.
e Edward Perraud—En Corps Generation

May 2nd n (Dark Tree)

• Tomasz Stanko New York Quartet—

Warren Smith and d December Avenue (ECM)

e • The Necks—Unfold (Ideological Organ)

the Composer’s d
• Jürg Wickihalder/Barry Guy/Lucas Niggli—
Beyond (Intakt)
Workshop Orchestra Laurence Donohue-Greene, Managing Editor

n • David Amram—Classic American Film

May 9th Sabiduria (Wisdom)
e Scores (1956-2016) (Moochin’ About)

Corina Bartra
Eddie Palmieri (Ropeadope) • Jaimie Branch—Fly or Die
by Russ Musto w (International Anthem)

and the Peruvian The latest effort by Eddie Palmieri has the 80-year-old • Dave Brubeck Quartet—Zurich 1964 (Swiss

r
NEA Jazz Master pianist playing host to an impressive Radio Days Jazz Series 42) (TCB)

Jazz Ensemble roster of guest artists on a dozen new originals inventively • Chicago Edge Ensemble—
mixing mambos and montunos with jazz and funk.
Opener “Cuerdas y Tumbao” features virtuoso
e Decaying Orbit (Varanid Music)
• Marco Colonna/Agustí Fernández—
violinist Alfredo de la Fe burning it up on top of the l Birth of Shapes (s/r)
New York Baha’i Center fiery rhythms laid down by Palmieri and his regular
e • DEK Trio—Burning Below Zero (Trost)
53 E. 11th Street bandmates: bassist Luques Curtis, bongocero Anthony • Sam Newsome—Sopranoville (s/r)
(between University Place and Broadway) Carrillo, conguero Little Johnny Rivero and timbalero
Luisito Quintero. On “Wise Bata Blues” the group
a • Melvin Sparks—Live at Nectar’s (One Note)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
expands with trumpeters Jonathan Powell and s • Günter “Baby” Sommer—Le Piccole Cose
(Live at Theater Gütersloh) (Intuition)
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night
Jonathan Walsh and saxophonists Louis Fouché and
Jeremy Powell, along with drummer Obed Calvaire e • Velkro—Too Lazy To Panic (Clean Feed)
and the bata ensemble of Carrillo, Camilo Molino and
Xavier Rivera who open and close the piece. Palmieri
s Andrey Henkin, Editorial Director

22 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 Stylistic curveballs aside, at its core this band provides. Each in their own way is unafraid of pushing
tends to function in a jazz-like way. The music’s at the edges of jazz but neither is beholden to such
melodic character is strong; Opsvik favors unison efforts. They share a forward-looking traditionalism,
pairings of tenor and piano, or tenor and bowed bass, a passion for past masters, without wanting to go back
against lopsided rhythmic feels and strange, beauteous in time. But what perhaps defines the duo most is the
harmonies. There’s mystery, zaniness, trance-inducing warmth and fullness of their playing. The natural voices
noise-rock (“First Challenge on the Road”) or of Takase’s piano and Murray’s tenor saxophone and
surprising shifts from twisted funk to rubato sound- bass clarinet are pushed to capacity without being
collage (“I’m up This Step”). Then there are touches of allowed to break. There are passages on their new album
Overseas V genius like “Extraterrestrial Tantrum”, a bit of softly where it’s staggering how much music—not noise, not
Eivind Opsvik (Loyal Label) pulsing electronica, with long obsessive-sounding sound, but in-the-pocket melody and harmony—two
by David R. Adler drone notes from tenor and guitar and a semi-classical people can make.
piano entrance that changes the color of the piece Their only other album together is 1993’s Blue Monk,
In roughly 15 years with his Overseas project, bassist entirely. With Opsvik and crew you won’t likely where they matched four of Thelonious Monk’s tunes
Eivind Opsvik has developed about the strongest band anticipate what’s next. with some of their own and a few standards. They use
identity for which an artist can hope. The lineup has a different strategy here, playing four of Takase’s pieces
shifted somewhat but remained remarkably steady, with For more information, visit loyallabel.com. Opsvik is at The and three of Murray’s alongside Monk’s “Let’s Cool
Jacob Sacks (keyboards), Tony Malaby (tenor saxophone), Stone May 2nd with Dan Weiss, Greenwich House Music One”, strategically positioned in the first half of the
Brandon Seabrook (guitar) and Kenny Wollesen (drums). School May 6th with Harris Eisenstadt and Weill Recital program. Murray states the bouncing theme on bass
Seabrook first appeared on Overseas IV and returns Hall May 31st. See Calendar. clarinet before Takase provides a slow stride
playing a dual role: hazy and skronky atmospherics one accompaniment. It’s a few joyful moments in an album
moment (“Shoppers and Pickpockets”), taut and snappy that isn’t melodramatic but for the most part has more
groove elements the next (“Izo” and “Brraps!”). serious concerns. Takase dedicates pieces to Murray
On previous outings Sacks has played some rather (“Blues for David”) and—in one of the album’s most
exotic keyboards, including harpsichord, celeste and gorgeous melodies—to her recently departed mother.
Farfisa organ along with the more common Wurlitzer. Murray references his own “Stressology” and “A Long
Now he is more streamlined and his presence on piano March to Freedom”, as well as the dedicatee of an
is more continuous, offsetting Seabrook’s twangy and Aleksandr Pushkin poem. It’s not a dark album but
amplified sonic unrest. Though Sacks also plays the certainly isn’t frivolous.
RMI Rock-Si-Chord organ, it’s enfolded in the mix in It would be best at this point in time to refrain from
a way not always immediately apparent. Opsvik too thinking about all the records we could have had from
Cherry - Sakura
brings other sounds into play with analog bass synth; this duo over the past 23 years and just be glad that, at
Aki Takase/David Murray (Intakt)
he and Wollesen use Oberheim and Rhythm Ace drum by Kurt Gottschalk last, we have another.
machines that heighten the warped dance aesthetic.
One is at a loss to categorize a piece like “Brraps!” but It’s hard to ask for much more than what the duo of For more information, visit intaktrec.ch. Murray is at Village
“experimental chamber-disco” might be close. pianist Aki Takase and reed player David Murray Vanguard May 2nd-7th. See Calendar.

Ivo Perelman / Matthew Shipp Duo

Le Poisson Rouge - May 7 9:30 pm
Ivo Perelman Quartet
with Matthew Shipp, Michael Bisio, Whit Dickey
Vision Festival - June 3rd 8:30 pm

THE NEW YORK CITY JAZZ RECORD | MAY 2017 23

 accompanists one by one. The standard “Little Girl The album takes off with a floating 12/8 groove for
Blue” is a beautiful duet with piano. “Driva Man” was “Talkin’ to the Sun”. Rodney Jordan‘s high-position
one of Lincoln’s powerful performances on the We bass strumming underscores “Another World”,
Insist! Freedom Now Suite (Candid, 1960) with Max a highlight with great texture, with Kevin Bales
Roach. The voice and percussion duet has quite a rendering a muted piano string solo. Percussionist
different feeling here, the “crack of the whip” not as Marlon Patton produces a range of tones throughout
heavy and the message without the same urgency. In the album—what’s that? A rain stick? Scraps of metal?
the original album notes, A. Philip Randolph is quoted “The River” flows, revisiting the textural approach and
Love Having You Around
regarding “America’s unfinished revolution”. The some free improvisation with guest Kebbi Williams on
Abbey Lincoln (HighNote)
Aminata Moseka: An Abbey Lincoln Tribute revolution was in a different place in 1980, but still alto saxophone. “Learning How to Listen” is a great
Virginia Schenck (s/r) unfinished. “Throw It Away” is probably best known as song with a rubato opening developing into a swinging
by Anders Griffen the haunting opener on A Turtle’s Dream (Verve, 1994); affair. “Caged Bird” offers a reading of Maya Angelou’s
each version has its own mood but this one has its own poem as well as the Abbey Lincoln song. The former is
The atmosphere is hushed with anticipation. The vitality. “Africa” is based on a D minor vamp on a rendered freely and could have benefited from a more
rhythm section grooves, vamping over the first eight dotted rhythm and rises to fever pitch before the end. unified concept. As they transition to grooving sweetly
bars of “Talkin’ to the Sun”. Abbey Lincoln’s entrance The same vamp accompanies the “Closing Remarks” on the latter, Schenck makes some great bird sounds
is apparent from the audience applause. Unhurried, during which Lincoln introduces the band and finally and Bales nearly echoes “A Child Is Born”. The liner
she starts to scat around the melody and the song is says, “My name is Anna Marie Wooldridge.” notes erroneously state: “Schenck offers both the
alive. These March 1980 sets from The Keystone Korner Abbey Lincoln was born on Aug. 6th, 1930 in original Maya Angelou poem and Lincoln’s song,
are a treasure. This was during something of a musical Chicago. Lyricist Bob Russell, her manager for a time, which displays how Lincoln adapted Angelou’s words
resurgence as the ‘70s consisted of more acting as well suggested the name Abbey Lincoln. In the liner notes to suit the needs of her music.” Actually, the phrase
as teaching and study. In 1980 the powerful Lincoln for Virginia Schenck’s tribute Aminata Moseka, Thomas “I Know Why the Caged Bird Sings”, which would
returns, at once more refined and more versatile. Cunniffe recognizes that Lincoln was later given the become the title of Angelou’s first book, comes from the
The title track is one of a few Stevie Wonder songs name “Aminata by Ahmed Sékou Touré of Guinea and Dunbar poem “Sympathy” and Lincoln suggested the
part of Lincoln’s repertoire. She plays with repeating Moseka by the Minister of Information of Zaire”, but book title to Angelou. So, neither is Angelou’s poem
various phrases, exploring rhythms and the consonance doesn’t mention Toure was the President of Guinea at “the original” nor does Lincoln adapt her words. They
or dissonance of the final note with pianist Phil Wright. that time. He also said that these names were given on are contemporaries riffing on the same idea. “Bird
Approaching the halfway mark Lincoln directs the “two separate trips to the continent”, but they seem to Alone”, with its straight 8 groove and “Throw It Away”
band to swing in 4. Bassist James Leary (Art Washington have been a single 1975 trip made with Miriam Makeba. are great songs with hints of ‘smooth’, but on this
on two tracks) and drummer Doug Sides round out the Aminata Moseka is a remarkable album, owing record as a whole, they don’t rely merely on craft, they
trio, which, except for that funk number, swings especially to the cohesiveness of the unit. The playful are driven by a vital spirit. This is an inspired project.
straightahead in support. Paul Laurence Dunbar’s ensemble is committed to the music and to one another.
poem “When Malindy Sings” was put to music by Lincoln’s influence is perceptible, particularly in some of For more information, visit jazzdepot.com and virginiaschenck.
Oscar Brown, Jr. and recorded by Abbey Lincoln on Schenck’s rhythms, but she doesn’t imitate her dedicatee. com. A Lincoln tribute is at Apollo Theater May 6th with Dee
Straight Ahead (Candid, 1960). Here it is full of fire and Schenck’s uniqueness is immediately apparent and it’s Dee Bridgewater, Dianne Reeves, Esperanza Spalding and
a vehicle for individual solos and Lincoln calls on the great to hear original reiterations of these songs. Terri Lyne Carrington. See Calendar.

M AY 1 M AY 1 1 –1 4

University of wyoming jazz jUilliard jazz orchestra:

ensemble with terell stafford mUsic of dUke ellington

M AY 2 FLIP SIDE SESSIONS M AY 1 5

7:30pm ehUd asherie trio: songs jazzmeia horn

of the harlem piano giants “a social call” album release
9:30pm mara rosenbloom trio celebration

M AY 3 – 6 M AY 1 6 –2 1

the cookers bill charlap trio

M AY 7 M AY 2 2

akiko tsUrUga trio chris cheek berklee qUintet

“so cute, so bad” album release
celebration M AY 2 3 –2 8

bill charlap trio

M AY 8 *– 9

jeff hamilton trio M AY 2 9 – 3 1

*monday nights with wbgo loUis hayes: serenade for
horace silver
M AY 1 0 blue note cd release party and
essentially ellington alUmni band 80th birthday celebration

swing by tonight set times

7:30pm & 9:30pm jazz.org / dizzys
Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

24 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 Upcoming JAZZ to enjoy at NJPAC!

An Evening with Crosscurrents

Diana Krall Zakir Hussain, Dave Holland,
Friday, June 16 at 8pm Shankar Mahadevan and more!
Multiple GRAMMY® Award-winning jazz Sunday, November 5 at 7pm
pianist and world-renowned singer This one-of-a-kind concert melds the music
Diana Krall returns to NJPAC. of India with the energy of jazz.

John McLaughlin & Jimmy Herring Arts Education

Meeting of the Spirits Jazz and R&B Intensive
Friday, November 10 at 8pm June 27–30
Music of the Mahavishnu Orchestra, Students explore the creativity and vibrancy
performed by two guitar virtuosos. of Latin, classic jazz and R&B at NJPAC.
Sign Up Today njpac.org/summer
[email protected] • 973.353.7058
For tickets & full schedule visit njpac.org or
call 1.888.GO.NJPAC Groups 973.297.5804
NEW JERSEY PERFORMING ARTS CENTER
One Center Street, Newark, NJ

9.5x12_NYCJazzRecord_may_njpac_2016.indd 1 4/24/17 10:36 AM

 gobbets and finally a pinched repeated pattern. This and roiling tandem drummers, distantly echoes Miles
tempts Courvoisier, who cracks a reiterated note at the Davis’ Bitches Brew era even down to the drifting
same tempo while Corsano adds correspondingly slowly unfurling echoplexed trumpet lines, but turns
spiky percussion. Gradually the consonance unravels overly murky before Smythe’s valedictory musings.
and the threesome embark on the next leg of their On Shelter, Wooley is part of a quartet with
Salt Task journey. Not every passage is so amenable to analysis, reedplayer Ken Vandermark, Dutch bassist/guitarist
Chris Corsano/Sylvie Courvoisier/Nate Wooley but the next move is always a surprise. Courvoisier Jasper Stadhouders and Australian drummer Steve
(Relative Pitch) often creates the underpinning structure around which Heather. Wooley favors the more conventional style
Argonautica a sense of shared purpose develops. Nowhere is that recognizable from his jazzy quintet recordings, albeit
Nate Wooley (Firehouse 12) more obvious than in the concluding “Stalled Talks” one that possesses an experimental edge. Though
Shelter where she alternates an interior string shimmer with everyone contributes to the band’s book, meaning they
Steve Heather/Jasper Stadhouders/ sequences of clipped notes, establishing the template traverse a wide stylistic range, there is already a
Ken Vandermark/Nate Wooley (Audiographic) for similarly satisfying polarized exchanges. cohesive group identity discernible. Wooley’s “Burnt
by John Sharpe Trumpet, piano and drums are the tools of choice Njal” begins with trumpet mutters and raspberries in
on Argonautica as well, but this time Wooley doubles inventive consort with tappy cymbals and squeaky
N ate Wooley stands among the most resourceful the complement. Intended as a tribute to his mentor, noisebox. Martial cadences buoy understated almost
trumpeters on the scene. No wait. Make that most trumpeter Ron Miles, the sextet tackles the single songlike trumpet, presaging a quicksilver twisting
resourceful musicians. Because his ambit stretches way 43-minute title epic, which intersperses written twosome with clarinet. Wooley has forged a fertile
beyond exploring what he can do with his instrument, material throughout a loosely woven sonic tapestry. partnership with Vandermark and such face-offs
into what music can be and how it is done. His concepts Alongside Miles and Wooley are drummers Rudy feature prominently among the best moments. Another
range from solo recitals to 19-strong ensembles by way Royston and Devin Gray and pianists Cory Smythe exciting parley stands out on Wooley’s “Bartleby”,
of small jazz groups with a twist and a slew of fully and Jozef Dumoulin. And it is the latter, a specialist on following a wonderful solo trumpet prologue and a
improvised meetings both at home and abroad. The the Fender Rhodes and electronics, whose distinctive series of fast unison phrases. Other highpoints include
three discs at hand show almost limitless possibilities. sound, which in its fuzz and rumble sometimes Vandermark’s opening “F-1”, which showcases Wooley
Salt Task finds Wooley with familiar accomplices emulates an electric bass although at others something in two discrete settings, first belaying tightly coiled
in drummer Chris Corsano and pianist Sylvie more nebulous, lies at the core of the date. Miles offers figures and liquid squeals over a pounding baritone-
Courvoisier. Collectively they birth four spontaneous a lyrical unaccompanied introduction, which recalls fuelled riff, then whooshing texturally over scratchy
navigations covering a huge dynamic range. Traditional his work with guitarist Bill Frisell, blending bass and crisp drums, and Heather’s gently processional
roles are there to be ignored and at times the imperceptibly into the first thematic section. Further “Of Use”, which brings out brief and incongruously
instruments are used as much for their potential as spots emerge for new music whizz Smythe and the wayward solos from across the band. Hopefully this is
sound generators as for their inherent tonal properties. leader himself. Another highlight comes with the a unit that enjoys an extended existence.
Each member of the trio drops in and out, meaning delightful call-and-response section for the paired
they examine all the possible combinations. The brass, diverging when Wooley’s staccato bursts For more information, visit relativepitchrecords.com,
lengthy title cut perfectly illustrates the give and take. contrast against Miles’ sustains, only to converge once firehouse12records.com and audiographicrecords.com. Wooley is at
At one point, a trumpet/drum duet narrows down to more, buttressed by erratic Fender subversion. The Greenwich House Music School May 6th with Harris Eisenstadt,
Wooley moving from hiccupped blurts to disjointed final section, built around Dumoulin’s driving vamp Issue Project Room May 16th and The Stone May 20th. See Calendar.

ANTHONY
COLEMAN
THE STONE RESIDENCY wITH:
MARTY EHRLICH / KIM CASS / JT LEwIS / JAMES BRANDON LEwIS
BRIAN CHASE / SIMON HANES / CONNOR BAKER
RON ANDERSON / ALExANDRIA SMITH / SARAH HugHES
JOHN ZORN / OKKYuNg LEE

MAY 23-28, 2017

AvE C, 2ND ST. NYC, 8:30 pM, $20 pER SET
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26 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 including “I Wonder Why”.
But Stigers’ main mentor in his home area of Boise,
Idaho was legendary soul-jazz pianist Gene Harris and
jazz was what the young Stigers really wanted to play.
His formative years began with playing clarinet and
then saxophone. With a fascinating voice that mixes
traces of Mose Allison and Willie Nelson with hints of
Tony Bennett, Stigers blends a rough-edged warmth
with crisp, delicate enunciation and an occasional easy
The Great Un-American Songbook, Volumes I & II San Jose Suite way with scatting.
Ed Palermo Big Band (Cuneiform) Etienne Charles (Culture Shock Music) Last year marked the 50th anniversary of the
by Mark Keresman by Joel Roberts release of Frank Sinatra’s live album, Sinatra at the
Sands with the Count Basie Orchestra, arranged and
The Ed Palermo Big Band (EPBB) has existed in one The latest release from trumpeter and educator conducted by Quincy Jones. Now daringly here comes
form or another for over three decades. Saxophonist Etienne Charles is a 10-part suite connecting the Stigers with One More For The Road, a live recording
and arranger-to-be Ed Palermo was inspired by The musical traditions of three communities sharing the with the Danish Radio Big Band saluting that classic
Beatles, Edgar Winter and Frank Zappa from the rock name San Jose in his native Trinidad, Costa Rica and 1966 set. All but two of the songs included were on that
side of the street and Cannonball Adderley, John northern California. It’s an ambitious project exploring set. The result is a solidly hot swinging session that
Coltrane and Charles Tolliver from the jazz side. EPBB how indigenous peoples throughout the Americas manages to celebrate the great singer and band while
became well-known for its interpretations of material have used music as a form of resistance and sustenance totally eschewing even a hint of shallow imitation.
from Zappa’s massive book of compositions—further, when confronted with conquest and colonialism. Using mostly original classic orchestrations of Nelson
Palermo internalized Zappa’s satirical, earnestly The album covers a lot of ground geographically Riddle and Billy May, the classically trained Danish
irreverent approach…bringing us, Dear Reader, to The and musically, intertwining elements of reggae and musicians make a remarkably easy fit into the world of
Great Un-American Songbook Volumes I & II. calypso with Latin jazz, postbop and free improv as a knockout big band.
Palermo is of the generation of jazz players that it travels from the Caribbean to Central America to Unfortunately the musicians are not identified but
proudly acknowledges the impact of non-jazz Silicon Valley and across centuries of history. But note must be made of the empathetic pianist backing
inspirations. As if to drive that point home—and Charles and his superb sextet (saxophonist Brian Stigers up, notably on the title track. Here and
perhaps vex what some hepcats refer to as the “jazz Hogans, guitarist Alex Wintz, pianist Victor Gould, throughout the singing has the spirit of Sinatra’s
police” with their pronounced devotion to The Great bassist Ben Williams and drummer John Davis) handle swinging heat and his ability to reach into the heart of
American Songbook—his latest opus pays tribute to the diverse musical settings seamlessly. a song. Like Sinatra, Stigers has an easy manner with
popular songs (mostly) from the ‘60s-70s British rock The festive opener, “Boruca”, pays tribute to Costa an audience and he is a great storyteller. He just also
canon. Songs by King Crimson, The Nice, Jethro Tull, Rica’s Boruca people, evoking an annual celebration of may deservedly have the breakout album of his career
Cream, Traffic and, of course, those Beatles get the big the community’s resilience after battling Spanish with this one.
band treatment in a manner evoking the great post- conquistadors. “Revolt” is one of the album’s most
Swing Era jazz orchestras of Count Basie, Woody dramatic movements, drawing on propulsive For more information, visit concordmusicgroup.com.
Herman, Thad Jones/Mel Lewis and Gil Evans— percussion and stormy saxophone and guitar solos to Stigers is at Birdland May 9th-13th. See Calendar.
majestic, intricately and briskly arranged and swinging commemorate an 1837 revolt by Africans in Trinidad.
mightily. (Also worth noting: the ‘70s big bands of “Muwekma”, meanwhile, is a moody modal-jazz piece
Herman and Evans included judicious rock influences
and the latter even did an all Jimi Hendrix album.)
based on a Native American chant and features a
particularly poignant trumpet solo. Academy Records
& CDs
The tone of the original “Eleanor Rigby” is that of The suite’s closing movement, “Speed City”,
whimsical melancholy, but Palermo gives this version focused on San Jose, California, shifts somewhat
a muscular yet muted melodramatic grandeur with abruptly to a funk and hip-hop vibe as it recalls the
a sardonic sense of swing besides. Cream’s city’s Civil Rights battles of the ‘60s. It’s an effective
“As You Said” gets an Ellingtonian sweep with its means, however, of capturing the mood of the era,
vivid, pronounced arrangement for brass and courtly with heavy drum, bass and Fender Rhodes grooves
rise-and-fall reading of the melody; it also has a Gallic
tinge thanks to the elegant solo violin of Katie Jacoby.
playing behind enlightening spoken-word
contributions from Dr. Harry Edwards, one of the
Cash for new and used
On the other hand, King Crimson’s “Lark’s Tongues in
Aspic, Part 2” was always ominous and here is even
movement’s leaders.
For all the weighty issues Charles deals with here,
compact discs,vinyl
more so, Palermo adding dramatic soundtrack-like the music never comes off as pedantic or preachy. It records, blu-rays and
heft to the lurching, menacing theme, contrasting it
with quieter, sparser passages featuring the sweetly
retains a sense of beauty and joyousness that speaks to
the fortitude and endurance of the people and dvds.
mournful swirl of violin. traditions it honors.
There are a few vocal tracks, including Arthur
Brown’s “Fire” by Zappa alumnus Napoleon Murphy
Brock, who applies a soulful croon while retaining
For more information, visit etiennecharles.com. Charles is
at Zankel Hall May 9th. See Calendar.
We buy and sell all
some of the original’s over-the-top theatricality. Jethro
Tull’s “Beggar ’s Farm” begins with a wry, bittersweet
genres of music.
lilting melody; enter guitarist Bruce McDaniel’s droll, All sizes of collections
welcome.
Harry Connick-like vocals before growing into a bluesy
romp with darting ensemble work worthy of Basie,
then erupting into genial bebop highlighting tasty
trumpet and saxophone soloing/trade-offs over
percussive acoustic piano. The pick-to-click highlight
of this set is a medley of Miles Davis’ “Nardis” and For large collections,
George Harrison’s bitter “Don’t Bother Me”—this
beautifully alternates an absorbing wistful melody
please call to set up an
with the wail of violin and driving, clipped passages
for horns, tossing in Latin-flavored cadences for good
One More For The Road (with Danish Radio Big Band)
Curtis Stigers (Concord) appointment.
by Andrew Vélez
measure.
If you like your jazz serious or hate rock music, After a brief flirtation with pop and rock when he
this is not for you. If you enjoy classic rock and big
band jazz served up with a sense of fun, make a splash
made his recording debut in 1991, blue-eyed soul
singer, tenor saxophonist, guitarist and songwriter Open 7 days a week 11-7
here (and wait up for the bonus track). Curtis Stigers turned seriously to jazz. That he could
have had a successful pop career was evinced by his 12 W. 18th Street NY, NY 10011
For more information, visit cuneiformrecords.com. Palermo performances with Elton John, Prince and Joe Cocker 212-242-3000
is at Iridium May 8th. See Calendar. among others as well as his worldwide hit singles

THE NEW YORK CITY JAZZ RECORD | MAY 2017 27

 The Treasury Shows, Vol. 23
Duke Ellington (Storyville-D.E.T.S.)
An Intimate Piano Session
Duke Ellington (Storyville)
by Duck Baker

O ver the past 15 years or so, Storyville has been

issuing a series of double-CD sets drawn from ‘40s
radio broadcasts by Duke Ellington on the D.E.T.S.
imprint. These were made for the U.S. Treasury
department to promote the sale of war bonds and one
of the features of these releases is the chance to hear
Ellington pitch the bonds. More interestingly, from our
point of view, is the fact that the band was great, sound
quality is generally excellent and each broadcast
contains some unusual items, whether pop songs the
band didn’t record, pieces they performed infrequently
or interesting or particularly outstanding renditions of
the more familiar numbers.
The first CD here starts with solo piano versions of
three familiar standbys, then proceeds to a duo with
bassist Oscar Pettiford on “Solitude”. Among the less
familiar items we may note “Solid Old Man”, “Rugged
Romeo” and “The Suburbanite”. And almost no one
will recognize the title “Cynthia’s In Love”, a pop song
of the time delivered here by Kay Davis and never
recorded commercially (a decision few will lament).
Disc Two starts with “My Honey’s Lovin’ Arms”,
a 1922 hit that wound up in the band book for a while
in the mid ‘40s. Highlights include the very hot but
little-remembered “Swamp Fire” and a medley of
WC Handy songs that shows up on a few other
broadcasts of the era. Like others in this amazing
series, Volume 23 contains lots of great music. Diehard
Ellington fans will almost never run out of ‘new’ things
to discover and savor.
An Intimate Piano Session is mostly from 1972. It is
particularly interesting because there are not that
many records that feature Ellington the pianist on his
own, though this is not strictly a solo flight; vocalists
Anita Moore and Tony Watkins are also heard, on a

Saturday, M total of five tracks. Ellington’s enormous influence on

Greenwich ay 20, 2017

subsequent pianists is particularly interesting when
we consider how little of his energy went into

19 Doubling Country Clu developing his instrumental voice as an improviser.

Road, Green b Instead he seems to treat piano solos as orchestral

Cocktails D wi
pieces that happen to feature only one instrument. The

inner Concech
mood here tends towards reflective (“A Single Petal of

rt
a Rose”) and even autobiographical (“My Mother, My
6:30pm to 1 Father And Love”). Recently composed pieces sit
0:30pm comfortably among classics from earlier eras and the
overall program holds together beautifully. It’s
amazing that this powerful music has never been
3)
a z z (501c nd issued before. Acting as a centerpiece is “New World
tryJ serves, a n of
Coun
A-Comin’,” the long, episodic solo premiered at
Back rates, pre h traditio g Carnegie Hall in 1943, which Ellington returned to
celeb nds the ricic, bringin es and many times over the years. It’s hard not to think of the
expa ica’s mus audienc s to James P. Johnson of “Yamecraw” here, but also of many
Amer erts to newn program who followed in Ellington’s wake, like Randy Weston
conc c educatio ildren. or Abdullah Ibrahim.
musi rserved ch d ticket
s We also get, as bonus tracks, three tunes recorded
un d e a n
tion r
as encores at a 1969 concert that feature a quartet with
r e i n forma 61.3111 o tryjazz.org Wild Bill Davis (organ), Victor Gaskin (bass) and Rufus
m o 3 . 5 u n
For e call 20 backco k and Jones (drums), which lighten the mood and are great
pleas l jeanette@n Faceboo fun in their own right.
emai k us out o jazz.org
Chec ckcountry For more information, visit storyvillerecords.com. Ellington
at Ba tributes are at Jazz Museum in Harlem May 6th with David
Durrah, Dizzy’s Club May 10th with the Essentially
Ellington Alumni Band and May 11th-14th with Juilliard
Jazz Orchestra. See Calendar.

28 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 chords over a clattering beat and the snare drum sounds Voice and Sing”, over just piano, with Bobby Timmons’
like the rim of a hubcap being struck with a metal rod. “Moanin’”, delivered with a soul-jazz chart for sextet
In the piece’s final quarter, the piano drops into half (the aforementioned musicians and trombonist Frank
time as the drums skitter and rattle, the effect like Lacy); the other combining an Abbey Lincoln/Dianne
something out of Aphex Twin or Squarepusher. Reeves-inspired “Afro Blue” with “Wade in the Water”,
Three is not all futuristic warping of the piano trio bridged by her socially conscious original “Eye See
format, though; the group goes old school as often as You”. The sextet also backs her with soul-jazz versions
they push forward. “Smile” is a gently dancing number of two R&B hits, “People Make the World Go Round”
that recalls Bill Evans while “Hexed” is a ballad so and “I’m Going Down”. It all adds up to a versatile,
Kites Over Havana delicate it’s barely there and “Onwards” slowly evolves sparking debut from a singer fulfilling her promise as
Vitral Saxophone Quartet (Paquito-Sunnyside) from mournful to martial. The groove that opens the a jazz diva.
by Eric Wendell album is heard twice more, varying each time, on
“Community” Parts 1 and 2; on the final recurrence, it’s For more information, visit concordmusicgroup.com. This
In the realm of chamber music, string and brass quartets diced into abstraction, taking the simple melody apart project is at Dizzy’s Club May 15th. See Calendar.
are a well-established tradition, which allow the melodic as Young repeatedly changes the beat in small but
colors of their instrumentation to weave a deeply meaningful ways. “Blues for Rhineland” lives up to its
satisfying harmonic tapestry. Much like their musical
brethren, The Vitral Saxophone Quartet (Oscar Gongora:
title, as piano trails unflappably along—reminiscent of
genteel old-schoolers like Red Garland when hewhen he
LESLIE PINTCHIK TRIO
soprano; Román Filiú: alto; Alejandro Rios: alto and re-emerged in the early ‘70s, after a decade off the Thursday, May 11th
tenor; Raul Cordies: baritone) is a prime example of the scene—atop a swinging beat that occasionally hints it Sets at 8:00 PM and 10:00 PM
beauty that four saxophones can produce. Kites Over could get aggressive. On the final track, “Waking Life”,
Havana is a gorgeous entry into the canon. Frei overdubs piano and Fender Rhodes and his solo on
Jazz at Kitano
66 Park Avenue @ 38th Street, NYC (212) 885-7119
The album succeeds in capturing the different the electric keyboard is some of the most heartfelt and
emotional cores of the Cuban city, from lively opener beautiful playing heard on the entire album. “...a composer of emotional depth and effortless
“Wapango” and romantic hues of “Berceuse” to the Piano trios can become wallpaper music more lyricism...” DownBeat.com
somber delicacy of “Latino Americano”. Kites Over easily than almost any other configuration in jazz, so it’s
Havana is released under the banner of “Paquito D’Rivera good to hear a group recognizing and exploring the Leslie Pintchik - piano
Presents”, with the Cuban-born master clarinetist/ possibilities available to them. Scott Hardy - bass
saxophonist acting as a mentor of sorts to the quartet. Michael Sarin - drums
He contributed “Kites” to the proceedings, a fine For more information, visit amptrio.com. This project is at Latest CD
example of the quartet’s aesthetic, one which is both Scholes Street Studio May 13th. See Calendar. TRUE NORTH
playful and deeply intuitive, attributable to D’Rivera’s available now at
compositional skills and the quartet’s innate Amazon and iTunes
understanding of each other’s styles. Additionally,
D’Rivera’s guest performance on “Afro” adds a different www.lesliepintchik.com
spice as his soprano saxophone flutters above the
quartet, resulting in a stronger harmonic front. The
quartet is at its best when it hits the more romantic
resonance that the saxophone can achieve: “Tan Tango”
bursts with a Gershwin-esque urgency while “La Nana”
juxtaposes several emotional textures, resulting in an
almost cinematic arc. The latter also features a solo from
A Social Call
Filiú, whose tone is both sonorous and beautiful.
Jazzmeia Horn (Prestige)
Kites Over Havana displays a group that by George Kanzler
understands the nuance of the saxophone and how it
has a place in modern chamber music. Whether or not Winner of the last Thelonious Monk Competition for
the quartet continues to compose Cuban-inspired vocalists (2015), Jazzmeia Horn’s debut’s title recalls
music is neither here nor there as long as they continue one of Betty Carter ’s signature songs, Gigi Gryce-Jon
to release music as stunning as this. Hendricks’ “Social Call”. The song is one of a trio of
tracks paying enthusiastic homage to Carter ’s style,
For more information, visit sunnysiderecords.com. Paquito right down to reproducing aspects of her versions. But
D’Rivera is at American Museum of Natural History May Horn does Carter with such obvious glee and verve
13th. See Calendar. that the song, plus “Tight” and “I Remember You”,
resonate as appreciations of both Carter and Horn’s
love of jazz artistry. This is especially apparent on the
exuberant trades of fours between a brightly scatting
Horn and tenor saxophonist Stacy Dillard on “Tight”,
as both dig into the exchanges with relish.
A Social Call would be impressive if Horn was
merely staking her place as a disciple of Carter, but it is
much more. “East of the Sun” references Sarah
Vaughan’s version, beginning with just vocals and Ben
Williams’ bass, the rhythm section, with pianist Victor
Gould and drummer Jerome Jennings, joining in for
Three
a second go-around of the song. Horn proves she’s
AMP Trio (s/r)
by Phil Freeman listened well to Vaughan, particularly her coy tone, but
after a Gould solo she appears with her own swooping,
AMP Trio is a group that knows what year it is. Their sustained note variations, rather than returning to the
pieces demonstrate as keen an awareness of R&B and Vaughan template. The most impressive jazz song on
electronic music as of jazz. Bassist Perrin Grace and the CD is “The Peacocks”, the harmonically
drummer Matt Young join Addison Frei, who doubles sophisticated ballad by Jimmy Rowles with Norma
on piano and Fender Rhodes. Young in particular is no Winstone’s pensive, melancholy lyrics. Horn delivers
mere backing musician; he challenges Frei regularly, a mesmerizing interpretation, enhancing the long
throwing concussive tom hits at him on the first full- melodic line with a sumptuously legato vocal over just
length piece “Narhet”. (The album’s first track, “Intro: piano, Josh Evans adding a trumpet solo and joining in
Community”, slinks slowly in, sounding like a groove the coda. Horn also indulges her church roots on a
from a long-past-midnight D’Angelo gig.) On “N.T. contemporary gospel song, “Up Above My Head”, and
Bag”, Frei unspools long rippling lines and heavy two medleys, one combining the spiritual “Lift Every

30 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 Yeager ’s “Harlem Hoedown” is a perfect delineate the measure of each of the 11 “cages”, with
illustration of how new energies can be put into clean starts and finishes and with judicious
familiar contexts. The composer initiates a bluesy experimenting within the tracks.
theme, a solid groove into and out of which the band Tepfer stretches his metaphor to include two love-
adds color, particularly trumpeter Jason Palmer who themed songs many will recognize, his reasoning that
soars with hot abandon on a solo that thrives on the love is a kind of cage of its own. While his spirited
groove but leaps into one freer and looser. interpretation of the by-now ‘classic’ “Single Ladies”
Anick offers two originals. First is the tango-like (Beyoncé co-written) is enjoyable and the Gershwins’
“Bird’s-Eye View”, sinuous, sexy and redolent of the “I Loves You Porgy” is stunning, it’s the originality
Life Cycle composer ’s gypsy roots, with space for smart and and unexpectedness of his own pieces that speak most
Alex Wintz (Culture Shock Music) passionate playing by guest alto saxophonist Clay eloquently within the context of this project.
by Elliott Simon Lyons, while “Well Red”, a tribute to Joshua Redman,
is a showcase for Anick (on mandolin) and Palmer. The For more information, visit sunnysiderecords.com. This
L ife Cycle begins with “Action/Reaction”, a fairly other Yeager originals are diverse in their coloring. project is at The Jazz Gallery May 24th-25th. See Calendar.
traditional boppish introduction to electric guitarist “Sweet Pea” is a gorgeous tribute to Billy Strayhorn,

Marlene VerPlanck
Alex Wintz and his bandmates. Lucas Pino with violin and piano recalling the pairing of the
demonstrates that his tenor saxophone can keep pace dedicatee and Ellington, while opener “Achi” is an
with Wintz’ quick clean runs, pianist Victor Gould appealing dance inspired by Israeli rhythms. “La
displays his inventive comping and soloing skills Segunda” makes use of the Argentine chacarera, Anick
Sunday, May 14, The only
while bassist Ben Williams solos and cooks with finding a groove with mandolin as the solo instrument. 5-star singer
Blue Note Brunch,
drummer Jimmy Macbride. The tune accomplishes its Several striking cover versions grace the album. on DownBeat’s
131 W. 3rd Street Best of 2016 list
purpose as do the requisite standards that seem to George Harrison’s “Something” is initially hymnal but 11:30am and 1:30pm
appear on all debut recordings. Here they are a classy soon jumps into dance rhythms while Miles Davis’
Friday, May 19,
uptempo take on Gus Arnheim-Charles N. Daniels- “All Blues”, a duet for the Jasons, celebrates the simple
Jazz @ Kitano,
Harry Tobias’ “Sweet and Lovely” and a fine rendition elegance of the original. Finally, there’s “Turbulent 38th @ Park Avenue
of the Victor Young-Ned Washington-Bing Crosby Plover”, by Polish violinist Zbigniew Seifert, which 8:00pm and 10:00pm
ballad “I Don’t Stand a Ghost of a Chance With You”. attains power from the smoking tenor saxophone of
But once these introductions and formalities are out of guest George Garzone.
the way Wintz’ unusual combination of artistry and These players are not fettered by genre or fashion,
creativity takes over. Instead they engagingly offer new routes for a
Juilliard and Berklee trained, Wintz’ technical fascinating journey.
ability is unquestionable but his facility with differing
genres and rhythmical approaches are what give his For more information, visit innercirclemusic.com. This
debut its distinctiveness. Such is the case on a title project is at Blue Note May 21st. See Calendar.
track that includes Pino’s most soulful playing and
defines the approach. Wintz’ inventive runs are
marleneverplanck.com
exceptional and join with sophisticated rhythms and
shifting dynamics from Macbride, Gould and bassist
Dave Baron, who appears on six of these nine cuts.
“Seeing Distance” explores a catchy riff from various
perspectives in the context of a complex rhythmic
underpinning while “The Low Country” is a
delightfully slow bluesy trip navigated in turn by
fleshy guitar chords and deep-throated bass.
Pino offers up a bop-informed riff Wintz and Baron
Eleven Cages
dismember to create the friendly squabble of “Taking
Dan Tepfer (Sunnyside)
Sides” before the blue chill of “Shared Stories” by Laurel Gross
elegantly washes over the listener. The session closer,
starkly different from the rest of the program, perhaps P ianist Dan Tepfer has imagined and realized some
points to what may be a more cerebral and self-defining very arresting and compelling music for his new
direction. Here, Wintz is at the center of a guitar/bass/ album. Varied in mood and dynamics, adventurous
drum trio, dramatically creating a post-rock vibe that and unpredictable, Tepfer ’s nine originals, plus
permeates a trip down an ominous “Locust Ave”. personal takes on two well-known songs, explore what
their creator refers to as “cages”, a metaphor for
For more information, visit alexwintzmusic.com. This discovering what feeling of freedom can be achieved
project is at Smalls May 17th and Bar Next Door May 20th. within the confines of limitations selected for each of
See Calendar. his experiments.
The endeavor never wanders but jumps right out
of the gate with energy and focus. “Roadrunner”
amiably plays off what at first seems a fairly standard
sort of rock riff to produce some surprising cross- Jenna Mammina & Rolf Sturm
rhythms. Tepfer switches the mood and tone entirely
with his second track, the contemplative “Minor Fall”, Celebrating their new CD:
in which drummer Nate Wood follows the highly
lyrical piano introduction by offering shimmering
“Begin To Dance”
cymbal effects and bassist Thomas Morgan’s pizzicato
contributes to the almost transporting effect of the May 14th 7-8PM $10
whole. Other engaging tracks give play to a traditional Rockwood Music Hall (Stage 3)
United
North-Indian form called “tihai” (“Hindi Hex”) and
Jason Anick/Jason Yeager (Inner Circle Music)
use of 4 beats stretched over 5 and also 7 (“547”). 185 Orchard Street / (212) 477-4155
by Donald Elfman
While Tepfer ’s explanation for what he’s up to
J ason Anick and Jason Yeager collaborate on a project (stated in his liner notes) may at first sound
that puts them into different contexts from that which philosophical or even a bit elusive, the music he and
they are accustomed. The former is known for his his able bandmates produce in their “cages” is
gypsy jazz playing in the Rhythm Future Quartet while eminently likeable and feels entirely organic, definitely
the latter has gained acclaim in postbop and “Third not a mere intellectual exercise. Rather, it all seems WATERSTREETMUSIC.ORG
Stream” music. United finds them exploring
compositional formats and improvisational sources.
very human and natural. What’s beautiful too is how
clearly and carefully Tepfer and his collaborators
JENNA-ROLF.COM

THE NEW YORK CITY JAZZ RECORD | MAY 2017 31

 IN THE STEAMY SOUTH OF THE 1930’s
NOTHING COMES EASY BUT DREAMS ARE BIG
Unleashed
Limited Premiere Engagement May 21 – June 18 Tiger Trio (Rogue Art)
An Air of Unreality
Judson Trio (Rogue Art)
by Robert Bush

Referring to the Tiger Trio, flutist Nicole Mitchell,

bassist Joëlle Léandre and pianist Myra Melford, as a
model of chemistry may just be the understatement of
the year. Each player brings their considerable forces to
the table on Unleashed, recorded in Paris last year. Only
one tune exceeds six minutes and the other nine are
considerably shorter. As a result the date seems to fly by.
Melford opens “Lightening” with nervous jangling,
layered over the deep resonant sound of bowed bass
while Mitchell wanders from flutter to growl. All seem
to chart ancillary courses, with Melford conjuring giant
waves of kinetic mayhem. Léandre’s gritty pizzicato
dominates the unfolding drama of “Freezing Rain”, a
blistering duet with Melford. The bassist has a huge
sound, but the pianist isn’t exactly a shrinking violet
and has access to a seemingly infinite melodic
vocabulary, spurred by cycles of ebullient motion.
Mitchell’s startling command of multiphonics pulls at
L
MUUSSIICCAA L
the edges of “Dust Storm”, straining against Melford’s
WM
AA NNEEW jabs and Léandre’s slaps and buzzes. “Bright Sunshine”
sounds like three independent conversations with
tangential overlaps. “Heavy Hail” is a Léandre/
Mitchell duet balancing somberly beautiful alto flute
engaging with plucked bass while “Threatening
Clouds” serves mostly as a Melford calling card of
tightly controlled clustered violence offset by swirling
flute and bass. All heck breaks loose on “Thick Fog”, a
yelping duet between Mitchell and Melford toggling
through a compendium of extended techniques. Which
brings us to the tour de force and aptly-named
“Hurricane”, a roiling vortex of piano brutality made
even more potent by the ebullient contributions of flute
An outcast minister leads a young street singer and arco bass, veering into rollicking gospel at the drop
and a ragtag band of orphans as they struggle of a dime. This is ‘energy music’ of the highest level.
On the opposite end of the energy spectrum is
to make music and find their place in the world An Air of Unreality, a live date with Léandre, violist Mat
Maneri and drummer Gerald Cleaver. This music could
amid the bigotry and poverty of the 1930’s south. serve as the soundtrack to a post-apocalyptic world.
“Unreal” begins with the slightest exchange of
minimal gestures: a pull from Léandre’s bow, a scrape
across Maneri’s strings, followed by rumbling skins
Book, Music, and Lyrics by GAIL KRIEGEL and cymbal rolls. The string players create waves of
tension through dissonance while Cleaver navigates
Directed and Choreographed by PATRICIA BIRCH with texture. Léandre’s pizzicato can be quite vicious,
as if she is trying to strangle her instrument. Maneri
makes the most of a long soliloquy, integrating dark
matter and pregnant pauses over gradually intensifying
Ticketcentral.com • 212 279-4200 accompaniment. Cleaver is nothing short of marvelous;
it’s hard to imagine any other drummer managing in
this context without overwhelming his associates. The
disc concludes with “Unreal I” and “Unreal II”, the
FORD FOUNDATION STUDIO THEATRE AT THE former featuring tentative conversations between the
threesome, characterized by Maneri’s somber arco and
PERSHING SQUARE SIGNATURE CENTER the probing pluck of Léandre, which sounds as big as
a tree in old growth forest, connected by Cleaver ’s
480 W. 42nd STREET (BETWEEN 9th and 10th AVENUES) cymbal washes and skittish traps. Maneri dials up the
intensity on the closer while maintaining the bleak
landscape. But even in such an austere environment
there is something inherently regal in the beauty
WWW.SWEETEETHEMUSICAL.COM Léandre can conjure with her bow, leading to a
considerably more lively and optimistic summation.
@SWEETEETHEMUSICAL
For more information, visit roguart.com. Joëlle Léandre is at
Zürcher Gallery May 29th and Judson Memorial Church
May 30th as part of the Vision Festival. See Calendar.

SWEETEE.NYCJazz Record.6.5x12.indd 1 4/21/17 4:48 PM

32 MAY 2017 | THE NEW YORK CITY JAZZ RECORD
 20th century. Hughes defiantly stood as the leading pushing each selection to a logical end with graceful
figure of the Harlem Renaissance, wrapping his high puffs and melodic slurs. Like a muzzle on a canine, his
art around African American vernacular and jazz balanced, rubato playing doesn’t stop the saxophonist’s
traditions and writing revolutionary journalism in the expression, instead focusing it appropriately.
pages of black liberation newspaper The Crisis and With wistful clarinet playing backing him up on
Communist Party magazine New Masses. The biting “Poppy Cock” and elsewhere, Bauer proves capable of
edge of radicalism would not be lost on his poetry, constructing a solo out of split tones, growl and
a point leapt upon by the opportunistic members of the irregular rasps but his obstreperous tendencies are the
House Un-American Activities Committee as the chill equivalent to a surgeon’s scalpel compared to his
Been Up So Long It Looks Down To Me of the Cold War raked over the nation. partner ’s battering ram. This ability to change sonic
The Microscopic Septet (Cuneiform) On The Dream Keeper, Eric Mingus pays homage, directions swiftly is why Bauer was such a valuable
by Tom Greenland reciting powerful works of the poet. This son of jazz foil to Brötzmann and many other musicians.
royalty is a gifted vocalist and poet in his own right, so
After its long absence from the scene during the ‘90s, his emotive impressions are indeed visceral. Much of For more information, visit trost.at
The Microscopic Septet has had a second surge since the recitation is set against the compelling improvisations
2006, with a pair of reissues and four new albums. The of pianist David Amram, who hung out with the Beats
latest, the title an inversion of Richard Fariña’s cult and collaborated with both Hughes and Jack Kerouac.
classic novel of the counterculture, is also an inversion But the other major musical voice here is guitarist Larry
of the blues aesthetic, a celebration of sorrow and hard Simon, whose resumé runs from John Zorn and Lester
times through the joy of musical expression. But don’t Bowie to poets David Pinsky and Ed Sanders.
expect a traditional reading of the blues because these The album opens with Hughes’ most famous early
veterans haven’t lost their sense of mischief. work, “The Weary Blues”, as a Mingus/Amram duet.
Co-composers Phillip Johnston (soprano saxophone) The pair aren’t just performing this piece; they are
and Joel Forrester (piano) write wonderful tunes that pulling the bluest strains through fingers, tongue and
have been the template for and the master key to the teeth. The title track follows, featuring an expanded
Micros’ success, each full of invention and personality, version of Simon’s band Groove Bacteria, comprised of
leaving plenty of space for the four-saxophone soprano saxophonist Catherine Sikora, Native
frontline—Johnston plus Don Davis (alto), Mike Hashim American flutist Cynthia Chatis, alto saxophonist Don
(tenor) and Dave Sewelson (baritone)—to glide through Davis (doubling on contra alto clarinet), organist Scip
loosely synchronized soli sections, react in spontaneous Gallant, bassist Chris Stambaugh, drummer Mike
counterpoint and make singular individual statements. Barron and percussionists Shawn Russell and Frank
Running a range of influences from Swing bands (“Cat Laurino. Quite effectively, the listener moves through a
Toys”, “Don’t Mind If I Do”, “I’ve Got a Right to Cry”), sound journey with duos of voice/piano or voice/
Duke Ellington/Billy Strayhorn songbook (“12 Angry guitar alternating with aspects of the large ensemble.
Birds”, “Silent Night”), bebop (“PJ in the 60s”, Standout moments are hard to identify as the
“Quizzical”), Thelonious Monk (“After You, Joel”) and statements are consistently stellar, but Sikora’s straining
Oliver Nelson (“Simple-Minded Blues”), the soloists laments on the title track reel one in immediately. Her
add the finishing touches of iconoclasm to insure that horn is similarly heard in “Democracy”, part of a triple
these tradition-based pastiches are au courant. entente with Davis and Chatis, casting an almost
Since Johnston now lives in Australia, their electronic, tearing sustain about Mingus’ voice. Listen
occasional shows tend to attract a bevy of veteran fans carefully to the power of Hughes’ words and the
and curious neophytes. Smalls was packed for their inherently terrible timeliness they bear.
record release party (Apr. 2nd) when they rolled out all
13 of the new charts plus surprises like “Little Bobby” For more information, visit moderecords.com
(Radcliffe), a tribute to the blues guitarist sitting stage- May 5 & 6
side; “Lobster in the Limelight”, a catchy calypso;
“Night Train Express”, a backbeat shuffle; “Lobster
Christian Sands
Leaps In”, set to a “Hit the Road, Jack” vamp; and Quartet
a brand new chart by Johnston, “Paris Blues”, never
before played. The arrangements reached new heights
of excitement, with consistently fine soloing all around,
especially by the ever irreverent Sewelson (some of his
May 12 & 13
solos began with loud belches…or even ruder sounds); Ravi Coltrane
by Forrester, who mixed a keen compositional sense Quartet
with a wandering imagination, painting himself into
and then out of corners again and again; and by Davis, Blue City
Johannes Bauer/Peter Brötzmann (Trost)
who showed his soulful side on “Simple-Minded
by Ken Waxman
Blues”. But the real glue was the lock-up between May 19
Hofstra and Dworkin, producing swing that had the Of all Post-War European trombonists, Johannes
Vadym
whole jazz congregation rocking in their pews. Bauer, who died a year ago this month at 62, was the
first actually born into free jazz. Growing up in East Neselovskyi
For more information, visit cuneiformrecords.com Germany (GDR) where free music was tolerated more
than elsewhere in the Soviet Bloc, his apprenticeship
was in improvised music and continued when he May 20
became a Berlin-based professional at 25. Bauer first
worked with saxophone avatar Peter Brötzmann in Chris Cheek
1981 and continued the partnership on-and-off for the Berklee Quartet
rest of his life. Blue City, recorded in Osaka in 1997,
“found in one of my chaos-boxes by chance,” notes the
saxophonist, aptly confirms why the affiliation worked.
Throughout the six selections Bauer and Brötzmann May 27
are yin and yang, combining disparate reed and brass
output into a humanistic whole.
Ralph Peterson
The Dream Keeper
The elder ’s reputation as a disrupter is evident on Aggregate Prime
Langston Hughes (Mode Avant)
by John Pietaro “Name that Thing”, the nearly-29 minute blowout that
begins the set. Brötzmann uses a combination of
Langston Hughes, who died 50 years ago this month, glossolalia and snarling explosions to garnish every
was one of the most relevant American poets of the texture while Bauer ’s playing is chromatic, resolutely

THE NEW YORK CITY JAZZ RECORD | MAY 2017 33

 broadcast just two years before Ra’s death. He had
already suffered a stroke in November 1990 that
prevented him from singing and talking, though it
appears here he had been regaining the use of his left
hand. It’s a 17-member band, including the usual
prominent ones: saxophonists Gilmore and Marshall
Allen (who turns 93 this month!), Tyson, Ray and
trombonist Tyrone Hill, along with a large complement
The Space Age Is Here To Stay
of percussionists and additional brass and reeds. The
Sun Ra and His Interplanetary Vocal Arkestra
Parisian Concert, Volume 2 (Modern Harmonic) two sets, totaling 108 minutes spread over two CDs,
Archie Shepp Quartet (Impro) At Inter-Media Arts include traditional big band fare associated with the
by Marilyn Lester Sun Ra and His Arkestra (Modern Harmonic) Fletcher Henderson, Duke Ellington and Woody
by Stuart Broomer Herman bands as well as the usual space anthems “Love
W hen tenor saxophonist Archie Shepp was coming in Outer Space”, “Space Is the Place” and “We Travel the
up it was the birth of bebop, a jazz innovation that had In the ‘50s-60s, Sun Ra’s primary outlet was his own Spaceways”. “Springtime Again” and “Opus in
a far-reaching effect on the young musician; it would El Saturn label, releases pressed in small numbers and Springtime” provide a unique seasonal emphasis.
lead him later to work with the likes of John Coltrane sold at performances in hand-decorated sleeves, There’s a certain irony there, for this is an autumnal
and absorb the new ideas and thematic constructions occasionally supplemented by individual releases on band. Annotator Howard Mandel speculates that this
being created. This experience then brought Shepp to jazz labels like Transition and Delmark. As his fame is Tyson’s last recording. There’s a two-CD set, Live at
postbop and avant garde explorations. In his youth, grew he continued to produce his own records along the Hackney Empire (Leo), recorded six months earlier
Shepp’s early studies were focused on piano, clarinet with releases on labels ranging from the majors (A&M) in October 1990, just before Sun Ra’s stroke, that has
and the alto saxophone, but he found his voice in the to European avant garde imprints like Black Saint and much of the same Swing Era charts and space songs,
tenor, influenced by the greats Ben Webster and Leo. The releases have continued since his 1993 death; along with more expansively exploratory music and
Coleman Hawkins. Shepp’s trail of genius from his he now features prominently in releases from Modern Sun Ra still vocal for those seeking the band at a late
early days to the present reflects these inputs and Harmonic, including these very different recordings, peak. Given that, there’s still real power here, from
much more. Now, turning 80 on May 24th, he shows one a compilation, the other a late-career concert. Ra’s keyboards and Tyson’s voice to Allen’s corrosive
little signs of slowing down. To commemorate the The Space Age Is Here To Stay is a collection of solo on “Prelude to a Kiss”, the vocals of T.C. Carney
occasion Parisian Concert, Volume 2 showcases Shepp various Sun Ra ensembles from 1958-85, including (a fine fit for the band, in his two appearances stretching
during a period of synthesis of influences. By the time tracks from records as well as previously unreleased from Billy Eckstine crooning to the yodeling of Leon
of this 1977 performance, Shepp had developed his performances. Assembled in one place, the vocal pieces Thomas), some brilliant splintering upper-register
passion for Afrocentric rhythms and found a political are remarkable for their range. Even with the omission trumpet from Ray and terrific ensemble readings of the
voice. The six tracks combine intense, bold and gritty of the near-pop fare that he explored on singles, you Swing Era material. Sun Ra and the Arkestra possessed
improvisation with soulful and tuneful expositions of get pop standards and jazz classics, Ra’s diatribes a resilience that’s kept it going to this day and there’s
a melodic nature. Shepp’s quartet of Siegfried Kessler exploring issues of consciousness and bondage (“The plenty of that apparent at Inter-Media Arts.
(piano), Cameron Brown (bass) and Clifford Jarvis Antique Blacks”) and, most remarkable of all, the
(drums) is a no-nonsense group playing tightly in “space” songs, those exhortations in melody to escape For more information, visit modernharmonic.com
a synergistic groove. the limitations of Earth. Throughout there’s Ra’s ability
The opening track is Shepp’s “U-Jamma”, an avant to capture the longing for unity of place, whether it’s
garde extravaganza reminiscent of his earlier “The the return home or the promise of elsewhere. One of
Magic of Ju-ju” in its African themes and atonal power. the earliest songs here is a relatively conventional
Shepp cleanly hits the notes in the rapid-fire creativity modern jazz performance of Al Jolson’s “Back in Your
of his level changes, his playing almost guttural at Own Backyard” sung by Hattie Randolph in 1958. At
times but always purposeful and distinct in its the opposite pole is the declaration of the interplanetary
intention. His “Baimbu” is a slower, more melodic visitor of “Along Came Ra”: “I am Ra, the living
number, delivered with feeling and reflective of his simplicity of an Angel visiting Planet Earth.”
admiration of and work with Coltrane. It’s fitting, The layers of irony, parody, nostalgia, harangue
then, that Coltrane’s “Straight Street” is part of the and mystical initiation coalesce into a compound art
program, played with an urgency and improvisation of that combines the idea of necessary action and the
free-form lines derivative of Coltrane but at the same community embedded in call-and-response chants that
time entirely equal to the composer ’s concept. These are the antitheses of alienation and diaspora, making
three numbers are cerebral pieces, with the kind of complaint and fantasy a ritual of reintegration. It’s
composition and execution that caught the jazz world’s intensely musical in “Enlightenment”—John Gilmore
attention and eventually led Shepp to his professorial singing with all the inflections and placement that
career at the University of Massachusetts-Amherst and distinguish his tenor playing, his lines repeated by
later (additionally) at the State University of New York June Tyson. Sun Ra, Gilmore and Michael Ray can
at Buffalo. chant “The Truth about Planet Earth is a bad truth”
Shepp studied drama as a young man and his until that grim truth sounds like a party. “Nuclear
work is informed by that theatrical training, as well as War” is similarly playful but also wildly funny. Sun
by his very early experience playing in a Latin band, Ra’s “1984” turns Orwell’s dystopia into rhythmic
where he expanded his rhythmic knowledge. Both of schoolyard taunt (“I’m big brother ’s little brother…If
these influences contribute to the soulfulness of Duke you ain’t nice to me, I’m gonna tell my big brother on
Ellington’s “Sophisticated Lady” and the bluesy, laid- you.”) The band plays wittily on its cultish identity on
back “What Would It Be Without You” by Cal Massey. a previously unreleased version of the comically
Both interpretations find Shepp playing in menacing “The Forest of No Return” from Disney’s
straightahead mode, yet never without the new ideas Babes in Toyland. Other highlights include a superb
by which he put his stamp on the works. An unissued extended version of “Space Is the Place” and an exotic
bonus track, Shepp’s “Un Pot D’Eau Trop Chaud” and unreleased “Moorish Nights” from 1968 featuring
(translated as a “pot of too hot water”) is the longest Tyson in her first year with the band.
piece on the CD, running for a little over 19 minutes. There are no credits for instrumentalists here but
“Un Pot D’Eau Trop Chaud” is also a pot of there are brilliant moments from the sidemen, like
complexities, Shepp’s work a departure from his usual Hobart Dotson’s gloriously romantic trumpet obbligato
raspiness of attack and propensity towards vibrato; the on “‘Round Midnight” and Pat Patrick’s brisk and
approach is delightful and remains entirely masterful soulful baritone on “Walking on the Moon”. This might
in phrasing, showcasing, in ways large and small, the be a compilation, but it’s a delightful one; for the
sum of influences that affected Shepp up to the time of initiated, it’s a convenient place to hear a lot of related
this recording. music; for the newcomer, it’s a fine introduction.
At Inter-Media Arts comes from an April 1991
For more information, visit futuramarge.free.fr Huntington, New York performance recorded for radio

34 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 with fresh ideas within the classic style. for that famous saxophone section, all of the
Nancy Valentine, a New York-based jazz singer arrangements are by Allen. The pieces come from
who spent a period living in L.A., has a powerful voice, several decades, mixing standards, show tunes, jazz
displays a very wide range close to Sarah Vaughan, classics and the leader ’s inspired originals.
scats with creativity and puts plenty of feeling and His whimsical, sauntering composition “The One
Satin Doll (A Tribute to Billy Strayhorn) understanding into the lyrics that she interprets. She For You”, co-written with pianist/lyricist/vocalist
Peter Madsen (Playscape) clearly loves the music of Billy Strayhorn and has been Judy Carmichael, could easily have been written as
Plays Ellington and Strayhorn studying his compositions for quite a few years. a theme for a ‘60s film or sitcom. Allen’s sublime
Alessio Menconi Trio (abeat) Valentine was first introduced to Strayhorn’s setting of Burton Lane-E.Y. Harburg’s “How Are
Lovesome (Nancy Valentine Sings the Music music by pianist John di Martino, who showed her Things in Glocca Morra?” (from Finian’s Rainbow)
of Billy Strayhorn) “A Flower Is A Lovesome Thing”, which inspired the focuses on the lush harmonizing of the section. Allen’s
Nancy Valentine (Jazz Garden) title track of this tribute album. Rather than focus on “Blues In The Morning” is a peppy swinger that would
by Scott Yanow Strayhorn’s best-known works, she interprets seven of have been at home in Count Basie’s playbook, buoyed
his superior obscurities, two of his songs that became by the contrast between the saxophonists’ solos. The
During his life, Billy Strayhorn, who died 50 years ago standards and three others, which, due to new lyrics, easygoing bossa nova “I Can See Forever” is another
this month from cancer at 51, was a bit of an invisible are retitled. Nine of the songs have Strayhorn’s own Allen-Carmichael collaboration, though the harder
man. One of the top composers and arrangers of the lyrics, reminding us that his often-overlooked ability sound of Alexander, its featured soloist, gives this
20th century, Strayhorn spent much of his career in the as a lyricist was one of the main reasons that Ellington mellow ballad a bit of fire.
shadow of his main employer Duke Ellington. While originally hired him in 1939. Much of the material, Leslie Bricusse-Anthony Newley’s title track
Ellington always acknowledged that Strayhorn some of which could be called art songs, is not too easy (from Willy Wonka & the Chocolate Factory) became a
composed his theme “Take The ‘A’ Train”, some to perform but Valentine sounds relaxed and handles part of popular culture via Sammy Davis, Jr.’s 1972
Strayhorn songs (including “Satin Doll”) were often the occasional wide interval jumps effortlessly. recording and it remains relevant today, showcasing
credited by others to Ellington since it was he that had Utilizing three overlapping allstar groups and the the warm unison blend of the saxophones and
made them famous. A gay black man, Strayhorn kept arrangements of di Martino and Tamir Hendelman, economical, swinging solos by Sportiello and the
a low profile throughout his life and his these renditions of music often at least 70 years old leader. Allen’s composition “So There” is an intricate
accomplishments were not fully recognized until sound modern and fresh. Tenor saxophonist Harry bop workout for the saxophonists, with numerous
decades after his death. Can one think of a single full- Allen is a major asset throughout, there are solos from challenging twists, though they make it seem effortless.
length tribute album made during his lifetime? trumpeters Joe Magnarelli (in fine form) and Dominick With this outstanding release Harry Allen has
The three CDs covered here are very different Farinacci and two from cornet player Warren Vaché shown a respect for past greats while creating fresh
types of tributes. Particularly intriguing is Satin Doll, (unfortunately muted) plus statements on “You’re The music likely to stand the test of time just as well.
a set of ten Billy Strayhorn compositions performed as One” from alto saxophonist Dick Oatts and baritone
duets by pianist Peter Madsen and guitarist Oliver saxophonist Gary Smulyan. For more information, visit arborsrecords.com. Allen is at
Rath. Rather than interpret the Strayhorn standards But the main reason for this set’s success is due to Tribeca Performing Arts Center May 4th as part of
the same way as virtually everyone else, Madsen and the singer. Whether it is a swinger such as “You Better Highlights in Jazz, Jazz at Kitano May 12th as a leader and
Rath often use the melodies as frames of reference. Know It” (her scatting, rather than being anticlimactic May 13th with Nancy Marano and Blue Note May 14th
They modernize and reharmonize the songs and, after the horn solos, adds to the excitement) and with Marlene VerPlanck. See Calendar.
in some cases, launch into a one-chord vamp or sound “U.M.M.G. (Upper Manhattan Medical Group)”,
explorations only connected with the piece in a very a charming Brazilian version of “Oo! You Make Me
abstract manner. For example, the title track includes Tingle”, dramatic version of “Blood Count” (retitled
the melody but the tone colors generated during the “My Flame Burns Blue”) or heartfelt rendition of Abby Whiteside Foundation presents:
interplay let one know that there is a lot more to this “Lotus Blossom (Thank You For Everything)”,
satin doll than one expects. “Passion Flower” starts out
as an out-of-tempo guitar solo before becoming a 5/4
Valentine does Billy Strayhorn’s music justice
throughout Lovesome. Jacob Sacks
Yoon Sun Choi
romp worthy of Keith Jarrett. While “Day Dream” and
“A Flower Is A Lovesome Thing” are a little more For more information, visit playscape-recordings.com,
straightforward, “Take The ‘A’ Train” has Rath playing abeatrecords.com and nancyvalentinejazz.com
avant-blues slide guitar. A rambunctious “Johnny
Come Lately” more or less keeps the original chord
changes while utilizing a witty two-beat feel hinting at
Dan Weiss
stride piano. “Blood Count” is quite melancholy,
“Chelsea Bridge” is taken uptempo in 7/4 time and
“Isfahan” is also played at a faster pace than usual.
Eivind Opsvik
Only the closing “Lotus Blossom”, Strayhorn’s most
beautiful melody, played tastefully by Madsen solo, is
performed in a manner similar to Ellington.
Alessio Menconi’s Plays Ellington and Strayhorn is
quite worthy on its own terms. The three Italians
The Candy Men
(guitarist Menconi, organ player Alberto Gurrisi and Harry Allen’s All Star New York Saxophone Band
drummer Alessandro Minetto) sometimes hint at (Arbors)
earlier soul jazz players such as Grant Green and by Ken Dryden
Jimmy Smith and Menconi in his liner notes recalls the
early inspiration of a Wes Montgomery organ trio A mainstream tenor saxophonist equally well versed
album from 1959. However, the players display their in swing and bop repertoire, Harry Allen has developed
own musical personality within this context and the a popular following during a career spanning nearly
music avoids being predictable. three decades. Allen has recorded prolifically for
The trio performs three Duke Ellington songs a number of labels but his latest Arbors release gave
(if one counts “Caravan”, which was mostly composed him the opportunity to write charts showcasing some

@
by Juan Tizol), one by Mercer Ellington (“Things Ain’t of his favorite fellow New York-based saxophonists,
What They Used To Be”, mistakenly credited to his with as much emphasis on tight, lively unison lines as
father) and five by Strayhorn. The music swings, the
highlights including a cooking rendition of “U.M.M.G.
(Upper Manhattan Medical Group)”, blazing “It Don’t
individual solos. Fellow tenors Eric Alexander and
Grant Stewart join Allen, along with the in-demand
baritone saxophonist Gary Smulyan, frequent Allen
Carnegie Hall
Weill Recital Hall
Mean A Thing”, tasteful renditions of “Lush Life” and collaborators pianist Rossano Sportiello and bassist
“Sophisticated Lady”, “Day Dream” (taken in 5/4 Joel Forbes, plus drummer Kevin Kanner.
time) and a lowdown “Things Ain’t What They Used The sound of this band is inspired in part by the Wednesday, May 31st - 8pm
To Be”. While it is true that most of Menconi’s set could late ‘40s scores written for Woody Herman’s “Four tickets available at:
have been played in a similar fashion in the ‘60s, the Brothers”, though aside from Al Cohn’s scoring of the www.carnegiehall.org www.abbywhitesidefoundation.org
musicians do not copy their predecessors and come up Jimmy Giuffre composition of the same name written

THE NEW YORK CITY JAZZ RECORD | MAY 2017 35

 resulted in Mitchell playing in Rush’s trio Yuganaut at elegant, stripped-down trio treatment with just violin,
the 2009 Edgefest in Ann Arbor and booking time in piano and bass. Cook’s powerful vocals are featured to
a studio, the results of which are only now being fine effect on a persuasive reading of “Undecided”
released. With bassist Tom Abbs quintupling on violin, while Carter and Sewell team up for an intimate vocal-
cello, tuba and didgeridoo and drummer Geoff Mann guitar duo rendition of “Judy”, a tune that Fitzgerald
secreting a cornet and banjo behind his kit, they are sang at her 1934 debut at Harlem’s Apollo Theater.
capable of a breadth of rich textures. This clearly works Best of all are a pair of no-nonsense blues,
well for Mitchell, whose Art Ensemble of Chicago left “I’ll Never Be Free” and “I’ll Chase the Blues Away”,
an indelible impression on the jazz tradition during its which give Carter a chance to show that for all her
Visiting Texture decades-long heyday. The quartet follows in the Art technical prowess and sophistication, like Fitzgerald,
Trio 3 (Intakt) Ensemble mold of impressionistic improvisation and she can still cut loose with the best of them.
by Russ Musto small, isolated sonic events but without trying to
mimic the occasional comedic and the theatrical For more information, visit okeh-records.com. This project
The preceding decade of Trio 3’s 25-year recorded aspects of the older group’s work. is at Jazz Standard May 18th-21st. See Calendar.
history has found the cooperative avant garde The centerpiece of (if there is a center, which of
ensemble of alto saxophonist Oliver Lake, bassist course there is not) is Mitchell’s “Card Pieces”, three
Reggie Workman and drummer Andrew Cyrille
augmented by a series a free-thinking pianists,
abstract meditations following instruction-based
composition strategies he has long employed. Each of
IN PRINT
including Irène Schweizer, Geri Allen, Jason Moran the Yuganauts contributes a piece as well. Abbs’ slow
and Vijay Iyer. On Visiting Texture the group returns to march “Double Helix” opens the album; the strong lines
its original pianoless configuration and the resulting of the Rush title ballad, the longest track at 11 minutes,
music, free of harmonic strictures, puts into sharper are gently carried along by his electric keys; and Mann’s
focus the individual voices, each of which go well “Son Worship” closes the disc with dual saxophone and
beyond their instrument’s traditional role and sonance. synth melodies over dissonant clawhammer banjo. The
The date opens with a pair of Lake compositions, fact that the three improvised tracks mesh so well with
“Bumper” and “Bonu”. Typically soulful and steeped the structured ones demonstrates how comfortable the
in the blues, each exhibits a narrative quality directed foursome was together.
by the vacillating tempo and dynamics of Workman There are opportunities to hear Mitchell at his hard
and Cyrille’s rhythmic and tonal underpinning, as best, playing at once forcefully and thoughtfully like no Jazz and Cocktails:
Rethinking Race and the Sound of Film Noir
Lake’s vocalic horn leaps between upper-register one else can. That is reason enough to make an effort to
Jans B. Wager (University of Texas Press)
shrieks and lower-register squalls. The collectively hear this disc, although it’s hardly the only one. by Kevin Canfield
improvised “Composite” is an episodic excursion,
accenting the members’ ability to complement one For more information, visit nessarecords.com. Mitchell is at By turns austere and propulsive, Miles Davis’ score
another, reacting in the moment as they traverse a Roulette May 25th. See Calendar. for Elevator to the Gallows is among the most famous
variety of tones and textures. Cyrille’s “Epic Man” is in movie history, but the project merits only passing
the drummer ’s dedication to his bassist bandmate who mention in his 1989 autobiography; “Everyone
rises to the occasion, demonstrating both virtuoso loved what I did with the music on that film,” he
bowed extended technique and powerful pizzicato. says in Miles. But how did such a memorable union
Lake’s “Stick” is a seesawing melody rising over of sound and storyline come together? On this,
the freewheeling rhythms of Workman and Cyrille as Davis and director Louis Malle differed. Malle called
the saxophonist launches into a tonally powerful it “completely improvised”. Davis, on the other
improvisation bisected by a warm bass interlude. The hand, said he “would look at the rushes of the film
band pays homage to free jazz founding father Ornette and get musical ideas to write down.” Ultimately,
Coleman with an emotional reading of his beautiful Jans B. Wager suggests in Jazz and Cocktails:
ballad “A Girl Named Rainbow” while Cyrille Rethinking Race and the Sound of Film Noir, it doesn’t
Ella: Accentuate the Positive
demonstrates his indebtedness to bebop pioneer Max matter who you believe. What’s important is that
Regina Carter (Okeh)
Roach on “7 For Max”, a solo drum recital in 7/8 time. by Joel Roberts the protean trumpeter turned a fleeting collaboration
The disc closes out with Workman’s title track, an into something much bigger. “For Davis,” she
intervallic triptych showcasing each member in V irtuoso violinist Regina Carter ’s new album is a writes, “Elevator inspired the modal jazz experiments
separate sections punctuated by the composer ’s celebration of the music of Ella Fitzgerald, in honor of that would occupy him for the next decade.”
chiming auxiliary percussion. the legendary singer ’s 100th birthday. But rather than Wager ’s new book—its title is borrowed from a
a rote recitation of Fitzgerald’s biggest hits or a rehash line in Billy Strayhorn’s “Lush Life”—is an
For more information, visit intaktrec.ch. This band is at of popular favorites from the Great American intelligent study of the nexus between jazz and film
Judson Memorial Church May 30th as part of the Vision Songbook, Carter delves deeper into Fitzgerald’s vast noir. In a rich chapter about the music in Otto
Festival. See Calendar. catalogue and digs up some less-familiar and Preminger ’s Anatomy of a Murder, Wager explores
downright obscure material. And instead of predictable how the movie’s evocative score, written by Duke
swing arrangements, the nine tunes included here are Ellington and Strayhorn, serves as “a detached but
given a variety of funk, R&B and soul settings, explicit commentary on the ambivalent morality
reflecting the diverse musical styles Fitzgerald offered by the film.” Although Elevator, Anatomy
performed in over the years. and other '50s film noirs were “made primarily by
Arguably the preeminent jazz violinist of her whites for a substantially white audience,” Wager
generation, Carter has also covered a wide swath of writes, the work of African American musicians
musical terrain during her career, from classical and “implicitly embedded black activism into the
hip-hop to the African folk music she explored on primarily white output of Hollywood.” This was
2010’s acclaimed Reverse Thread. The Detroit native is particularly true of Robert Wise’s Odds Against
joined here by her regular rhythm section of bassist Tomorrow, which features a score by pianist John
Four Ways
Chris Lightcap and drummer Alvester Garnett, along Lewis of the Modern Jazz Quartet. “Unlike most
Roscoe Mitchell (with Yuganaut) (Nessa)
by Kurt Gottschalk with pianist Xavier Davis and guitarist Marvin Sewell. classic noirs,” Wager says, “Odds provides a rare
Also appearing are bassist Ben Williams, pianist Mike and tender glimpse into African American family
The underrated pianist Stephen Rush is at the center Wofford and singers Charenée Wade, Miche Braden life.”
of this great little record, although saying so suggests and Carla Cook. Wager, an accomplished film historian, laments
b) that the record has a center and a) that Rush is The album opens with a gospel-tinged take on the that “the heyday of true jazz soundtracks passed”
merely a pianist. He’s heard here playing MicroMoog, Harold-Arlen-Johnny Mercer title tune with soaring by the '60s. But, as she demonstrates in Jazz and
Fender Rhodes, trombone, euphonium, double ocarina, violin tempered by Braden’s gritty vocals. “Crying in Cocktails, it was an era that yielded plenty of timeless
slide whistle, melodica, recorder and balloon—and, as the Chapel” has a ‘50s street-corner doo-wop feel while creative collaborations.
it happens, no piano. He has, however, played piano “Dedicated to You”, an ancient Saul Chaplin-Sammy
with Roscoe Mitchell’s Note Factory and they have Cahn ballad recorded by everyone from Billy Eckstine For more information, visit utpress.untexas.edu
recorded each other ’s compositions, a relationship that to John Coltrane and Johnny Hartman, is given an

36 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 is able to move fluidly between all three with a suavity of Reggie Workman’s unforgettable contributions to
and ease rarely heard on the “licorice stick”. John Coltrane’s groups of 1961. He pulls and slaps his
Rosa Dos Ventos is Cohen’s second collaboration fingers against the strings while Scodanibbio strikes
with Trio Brasileiro, consisting of Dudu Maia (10-string them with the edge of the bow, before morphing into
bandolim, a mandolin-like instrument with a dobro sonorous indigo strokes. Both men conjure the sound
style resonator), Douglas Lora (7-string guitar) and of other instruments and a variety of organic and
Alexandre Lora (percussion). The group specializes in inorganic beings—in the space of barely a minute, one
choro music, a precursor of samba and bossa nova with can hear bongos, banjos, women crying and a leviathan
a simpler, often more straightforward, driving rhythm. moaning, all ratcheting up to an ecstatic crescendo that
Fellowship This album, developed during a week the group and soon fell to squeaks and whispers. At times, the sense
Glenn Zaleski (Sunnyside) Cohen lived together in Brasilia, uses the foundation of of bleak, foreboding textures can be overwhelming, as
by Phil Freeman choro to explore a wider range of musical styles, all in in the third improvisation, where agitated voices create
compositions written by the four. Cohen is often a swell of undulating dissonance.
This is pianist Glenn Zaleski’s second Sunnyside subsumed into the totality of the music, her clarinet Everything comes to a head on the fourth piece,
album as a leader and, as on 2015’s My Ideal, he is playing along with one of the strings or spinning where a mad, scrambling pizzicato races and splinters
joined by bassist Dezron Douglas and drummer Craig counterpoint to the catchy, repetitive melodies and the soundstage until a solid groove emerges—one that
Weinrib. That album was entirely comprised of riffs. Those, as well as the spritely, bouncing rhythms, even flirts at the edges of the blues—revealing the
standards to new pieces by his contemporaries. Having dominate in a program of a dozen tunes, only two glorious sound of fingers pulling steel strings into
presumably proven his worth by tackling the familiar, slipping over the five-minute mark. There is an ebony for waves of layered rhythms.
Zaleski is asserting his own identity as a composer this infectious spirit to the many fast numbers but the most
time out—seven of Fellowship’s nine tracks are from his striking tracks are the title song, by Douglas Lora, with For more information, visit aumfidelity.com. Parker is at Judson
pen, with Duke Pearson’s “Is That So?” and John its yearning clarinet cries and dramatic structure, and Memorial Church May 29th with Cooper-Moore and May 31st
Coltrane’s “Central Park West” the only exceptions. the closer, “Lulubia” (lullaby in Portuguese), with Charles Gayle, both as part of Vision Festival. See Calendar.
The album begins aggressively: a few sharp figures hypnotically entrancing with a slowly revolving
from Zaleski, then a hard-charging bass-and-drums circular form clarinet sails over in rising arpeggios.
groove. When Zaleski returns, he stabs the keys like Outra Coisa celebrates the music of one of Brazil’s
they’re sticking, occasional bursts of lyricism and the 20th Century’s, best songwriters, Moacir
interrupting the clatter. “Is That So?” is immediately Santos. In an intimate duo setting with seven-string
discernible from the two pieces to come before it; an guitarist Marcello Gonçalves, Cohen’s clarinet playing
older, more lyrical and romantic style of swing that really stands out as extraordinary. Santos’ strong,
these young guys either can’t or won’t write for memorable melodies—many paradoxically lacking
themselves. But Zaleski tamps down the aggression distinctive titles in favor of being labeled “Coisas”
and settles into the loping rhythm, as Weinrib mostly (things in Portuguese) with a number—resonate in
stays on track, only occasionally breaking things up Gonçalves’ beautifully crafted, comprehensive
Wake Up Call
with subtle interjections. “Central Park West” is arrangements, reductions of the original large-
David Weiss & Point of Departure (Ropeadope)
handled even more tenderly; the first two minutes are ensemble scores. Often employing his guitar like an by Ken Dryden
Zaleski alone, piano sounding like tuned water glasses orchestra, he feeds and supports Cohen for adventurous
struck with metal spoons. Weinrib’s brushwork is so clarinet flights. The clarinet ranges high and low Since David Weiss formed Point of Departure in 2006,
sedate it’s like he’s learning his way around the kit as effortlessly, from the sultry chalumeau tones of the the trumpeter has sought to explore music less frequently
he goes, but Douglas has a massive, booming bass ballad “Oduduá” to the jaunty swing of “Maracatucuté”, performed while seeking young players with open
sound that threatens to drown out everyone else. a tour-de-force for Cohen’s altissimo playing. minds. The fourth release shows a band in transition with
The album’s middle stretch, three originals and the sole constants being Weiss, bassist Matt Clohesy and
a minute-long bass interlude, make the best case for For more information, visit anzicrecords.com. Cohen and Trio drummer Kush Abadey. Guitarist Nir Felder and tenor
this trio. They have an affinity for subtly Latin-based Brasiliero are at Jazz Standard May 16th-17th. See Calendar. saxophonist JD Allen make their final appearance in one
grooves and the melodies possess an exuberance not session while the other features newer members,
taught in the academy. When Weinrib erupts in the including guitarists Ben Eunson and Travis Reuter.
final minutes of “Lifetime”, it’s the kind of power The prologue features the newer group, opening
move that will bring a club audience to rapt attention. with Mahavishnu Orchestra’s “Sanctuary”. The band
Many piano trios leave listeners wondering when the quickly becomes a force in an emotional treatment of
horn player is coming onstage. Not these three. the ominous air, backed by Eunson’s eerie guitar. The
next three tracks are labeled “Unfinished Business”,
For more information, visit sunnysiderecords.com. This featuring the earlier band. Wayne Shorter ’s “Two
project is at Jazz Standard May 31st. See Calendar. Faced” features expressive trumpet and Allen’s soft,
spacious tenor in a driving fusion setting fueled by the
free-spirited rhythm section. Next are two works
Bass Duo
written by the late trumpeter Charles Moore, active in
William Parker/Stefano Scodanibbio (AUM Fidelity)
by Robert Bush the Contemporary Jazz Quintet during the ‘70s:
“Multidirection” follows an unpredictable path as its
This album represents a true meeting of kindred melodic twists make for engaging interplay, segueing
spirits, even though ostensibly the worlds of bassists directly into “Noh Word”, starting out mellow but
William Parker and Stefano Scodanibbio could not be becoming a lively showcase for Felder ’s effusive guitar.
further apart. Parker has been an avant jazz lynchpin The remaining performances all feature the new
Rosa Dos Ventos for hundreds since the mid ‘70’s while Scodanibbio sextet. The band dives into Joe Henderson’s “Gazelle”
Anat Cohen & Trio Brasiliero (Anzic) with full force, with energetic solos by tenor
comes from the contemporary classical tradition. Yet
Outra Coisa
each is a masterful improviser and it is actually quite saxophonist Myron Walden, Weiss and Eunson. Kenny
Anat Cohen & Marcello Gonçalves (Anzic)
by George Kanzler difficult to tell the two men apart, such is the level of Cox, also a member of the Contemporary Jazz Quintet
empathy in this intimate exchange, recorded live at the in the ‘70s, penned “Sojourn”, an extended workout
These albums, both featuring Brazilian musicians, Teatro San Giorgio in Udine, Italy in June 2008, four where Walden’s searing tenor is backed by the
musical forms and rhythms, are a showcase for the years before Scodanibbio’s untimely passing at 55. contrasting lines of the two guitarists. The late Tony
clarinet artistry of Anat Cohen. The 30-something The disc begins with slow draws of the bow from Williams, one of his era’s greatest drummers, remains
Israeli-born reed player is one of very few clarinetists both players, eking out, alternately, full-bodied tones to be properly recognized as a composer. Weiss’
in jazz history to have mastered the complete range of or eerie ponticello and almost immediately, the give insightful reworking of “Pee Wee” and intricate setting
the instrument. Early and Swing Era clarinetists, as and take is exquisite. At one point Parker veers into of “The Mystic Knights of the Sea” may stimulate
well as bebop practitioners, played largely in the pizzicato with a dark, low-end gravity while further examinations of Williams’ composing.
upper, altissimo and top of the middle, clarion, range Scodanibbio sounds as if he has assaulted a hornets’
of the instrument. And the lower, chalumeau, range nest with his bow. Scodanibbio taps all over the surface For more information, visit ropeadope.com. Weiss is at
was notably explored by Jimmy Giuffre. Each has a of his instrument to begin the second improvisation Dizzy’s Club May 3rd-6th with The Cookers, Smalls May
differing, distinct tonal and timbral sound, yet Cohen while Parker adapts a deep resonant pluck reminiscent 12th-13th and Fat Cat May 18th and 26th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MAY 2017 37

 M ISCELLANY
ON THIS DAY
by Andrey Henkin

Jazz at Massey Hall At Birdhouse Electric Byrd Burnt Offering Mars Song
The Quintet (Debut) The Jazztet (Argo) Donald Byrd (Blue Note) Lyons/Cyrille (Black Saint) Parker/Namtchylak (Victo)
May 15th, 1953 May 15th, 1961 May 15th, 1970 May 15th, 1982 May 15th, 1996
Whether this is, as it has been dubbed, The Jazztet, co-founded by trumpeter Donald Byrd’s Blue Note discography Saxophonist Jimmy Lyons and This album is the only recorded
“The Greatest Jazz Concert Ever” (in Art Farmer and saxophonist Benny of 1959-76 was a microcosm of jazz drummer Andrew Cyrille worked meeting between free-improvising
Toronto), is left up to individual taste. Golson in 1959, doesn’t get as much history, the trumpeter experimenting with pianist Cecil Taylor from 1964-80 saxophone legend Evan Parker and
Certainly the lineup is non-pareil, acclaim as the Miles Davis Quintet or with almost every genre in turn across in groups ranging from big band to Tuvan throat singer Sainkho
a revisiting of the Dizzy Gillespie- John Coltrane Quartet. It was a solid 24 releases. This session was the trio. Cyrille also played on Lyons’ Namtchylak. The album documents a
Charlie Parker band of the ‘40s (the hardbop band that went through beginning of Byrd’s fusion/jazz-funk Other Afternoons (BYG-Actuel, 1969) concert from Toronto and features five
latter appearing, due to contractual several lineup changes (reuniting in period, though not as overtly as later while Lyons was on Cyrille’s Nuba improvisations ranging in length
issues, as Charlie Chan) with the ‘80s and then again in the ‘90s); offerings like Ethiopian Nights or Black (Black Saint, 1979). As a duo, they had from 5:36 to 20:55. In all of Parker’s
drummer Max Roach, Charles Mingus this iteration is with Tom McIntosh Byrd. It features a horn-heavy frontline two releases for Black Saint of which voluminous discography he has not
in the bass chair and Roach’s former (trombone), Cedar Walton (piano), of Jerry Dodgion, Frank Foster, Lew this live recording from Allentown, worked with vocalists that often and
employer Bud Powell at the piano. Tommy Williams (bass) and Albert Tabackin, Pepper Adams and Bill PA is the second (Something in Return certainly not one in the Tuvan
The original version on Mingus/ Heath (drums), playing music by the Campbell and Airto Moreira’s is from 1981). Cyrille wrote the tradition, making for a fascinating
Roach’s Debut imprint had the sound leaders, McIntosh, Monk and Jimmy percussion for three Byrd originals 15-minute “Popp-A” and 10-minute pairing, especially considering the
fixed by overdubbing new basslines Van Heusen-Eddie DeLange live at and Moreira’s “Xibaba”, which adds “Exotique” while Lyons penned the often-vocalic quality of Parker’s
though later reissues are unedited. the Chicago club. Hermeto Pascoal’s flute. nearly 24-minute title track. circular breathing.

BIRTHDAYS
May 1 May 6 May 11 May 16 May 22 May 27
Ira Sullivan b.1931 †Freddy Randall 1921-99 †King Oliver 1885-1938 †Woody Herman 1913-87 †Sun Ra 1914-93 †Albert Nicholas 1900-73
†Shirley Horn 1934-2005 †Denny Wright 1924-92 †JC Higginbotham 1906-73 †Eddie Bert 1922-2012 †Elek Bacsik 1926-1993 †Earl “Jock” Carruthers 1910-71
Carlos Ward b.1940 Isla Eckinger b.1939 †Oscar Valdambrini 1924-97 †Betty Carter 1930-98 Giuseppi Logan b.1935 †Bud Shank 1926-2009
James Newton b.1953 Paul Dunmall b.1953 †John Coppola 1929-2015 Billy Cobham b.1944 †Dick Berk 1939-2014 Ramsey Lewis b.1935
Kevin Hays b.1968 Dick Garcia b.1931 †Rufus Jones 1936-90
Ambrose Akinmusire b.1982 May 7 †Freddie Roach 1931-80 May 17 May 23 †Niels-Henning Ørsted
†Yank Porter 1895-1944 Carla Bley b.1938 †Paul Quinichette 1916-83 †Artie Shaw 1910-2004 Pedersen 1946-2005
May 2 †Pete Jacobs 1899-1952 Ralph Humphrey b.1944 †Dewey Redman 1931-2006 †Rosemary Clooney 1928-2002 Gonzalo Rubalcaba b.1963
†Pat Smyth 1923-83 †Leon Abbey 1900-75 Mikkel Ploug b.1978 †David Izenzon 1932-79 †Les Spann 1932-89
†Richard “Groove” Holmes †Edward Inge 1906-88 †Jackie McLean 1932-2006 Daniel Humair b.1938 May 28
1931-91 †Herbie Steward 1926-2003 May 12 Roy Nathanson b.1951 Marvin Stamm b.1939 †Andy Kirk 1898-1992 WARREN SMITH
†Eddy Louiss 1941-2015 †Arthur Blythe 1940-2017 †Marshal Royal 1912-95 Michiel Braam b.1964 Don Moye b.1946 †Al Tinney 1921-2002 May 14th, 1938
Mickey Bass b.1943 David Haney b.1955 †Don DeMichael 1928-82 Richie Beirach b.1947 †Russ Freeman 1926-2002
Keith Ganz b.1972 Michael Formanek b.1958 Gary Peacock b.1935 May 18 Ken Peplowski b.1959 Alfred Patterson b.1937 As he approaches his 80th
Klaus Doldinger b.1936 †Joe Turner 1911-85 Darcy James Argue b.1975 Claudio Roditi b.1946 birthday next year, Warren
May 3 May 8 Trevor Tompkins b.1941 †Kai Winding 1922-83 Smith continues to be
†John Lewis 1920-2001 †Red Nichols 1905-65 Jim McNeely b.1949 May 24 May 29 among the most diversified
†Jimmy Cleveland 1926-2008 †Mary Lou Williams 1910-81 May 13 Weasel Walter b.1972 †Frank Signorelli 1901-75 Freddie Redd b.1927 drummer/percussionists in
Jymie Merritt b.1926 †Jerry Rusch 1943-2003 †Maxine Sullivan 1911-87 †Herbie Fields 1919-58 †Hilton Ruiz 1952-2006 jazz history. In 1962-63, he
Johnny Fischer b.1930 Keith Jarrett b.1945 †Gil Evans 1912-88 May 19 Max Bennett b.1928 Jim Snidero b.1958 recorded with both Ken
John Alexander b.1948 Jon-Erik Kellso b.1964 †Red Garland 1923-84 Cecil McBee b.1935 †Gianni Basso 1931-2009 Lafayette Harris, Jr. b.1963 McIntyre and Michel
Larry Ochs b.1949 Meinrad Kneer b.1970 Creed Taylor b.1929 Sonny Fortune b.1939 Michael White b.1933 Wycliffe Gordon b.1967 Legrand. In 1965 he was
Guillermo E. Brown b.1974 †Erick Moseholm 1930-2012 Henry Butler b.1949 Archie Shepp b.1937 Sean Jones b.1978 with Jimmy Smith then
Matt Bauder b.1976 May 9 John Engels b.1935 Michael Blake b.1964 †Charles Earland 1941-99 guested with folk-rockers
Alexander Hawkins b.1981 †George Simon 1912-2001 Francesco Cafiso b.1989 May 30 Pearls Before Swine in 1967.
†Dick Morrissey 1940-2000 May 14 May 20 †Sidney DeParis 1905-67 Smith has worked with
May 4 Dennis Chambers b.1959 †Sidney Bechet 1897-1959 †Tommy Gumina 1931-2013 May 25 †Benny Goodman 1909-86 Rahsaan Roland Kirk,
†Sonny Payne 1926-79 Ricardo Gallo b.1978 †Zutty Singleton 1898-1975 †Louis Smith 1931-2016 Marshall Allen b.1924 †Pee Wee Erwin 1913-81 Herbie Mann, Count Basie,
†Maynard Ferguson †Skip Martin 1916-76 †Bob Florence 1932-2008 †Miles Davis 1926-91 †Shake Keane 1927-97 Hubert Laws, Kenny Barron,
1928-2006 May 10 †Al Porcino 1925-2013 †Charles Davis 1933-2016 †Piet Noordijk 1932-2011 †Harry Beckett 1935-2010 Gil Evans, Sam Rivers, Dave
†Don Friedman 1935-2016 †Pee Wee Hunt 1907-79 Warren Smith b.1932 †Rufus Harley 1936-2006 Gary Foster b.1936 Ann Hampton Callaway b.1959 Sanborn, Anthony Braxton,
Ron Carter b.1937 †Al Hendrickson 1920-2007 †Jack Bruce 1943-2014 Victor Lewis b.1950 Christof Lauer b.1953 Juan Pablo Carletti b.1973 Muhal Richard Abrams and
Chuck Folds b.1938 †Mel Lewis 1929-90 Virginia Mayhew b.1959 Ralph Peterson b.1962 Wallace Roney b.1960 Frank Rosaly b.1974 dozens of others in nearly
Rudresh Mahanthappa b.1971 †Julius Wechter 1935-99 Frank Basile b.1978 Sheryl Bailey b.1966 300 sessions as a sideman.
Jeremiah Cymerman b.1980 †Mike Melvoin 1937-2012 Benjamin Duboc b.1969 May 26 May 31 He was a founding member
†Jimmy Ponder 1946-2013 May 15 †Ady Rosner 1910-76 †Red Holloway 1927-2012 of Max Roach’s M’Boom
May 5 Ahmed Abdullah b.1947 †Ellis Larkins 1923-2002 May 21 †Shorty Baker 1914-66 Albert “Tootie ”Heath b.1935 Percussion Ensemble, has
Kidd Jordan b.1935 †Hans Reichel 1949-2011 Karin Krog b.1937 †Fats Waller 1904-43 †Ziggy Elman 1914-68 Louis Hayes b.1937 released over a dozen
Stanley Cowell b.1941 Alex Foster b.1953 Oscar Castro-Neves b.1940 †Tommy Bryant 1930-82 †Calvin Jackson 1919-85 Marty Ehrlich b.1955 albums and continues to
Jack Walrath b.1946 Philip Harper b.1965 Omer Klein b.1982 Marc Ribot b.1954 †Neil Ardley 1937-2004 Eric Revis b.1967 perform regularly. -AH
Pablo Aslan b.1962 Jasper Hoiby b.1977 Grace Kelly b.1992 Lewis “Flip” Barnes b.1955 David Torn b.1953 Christian McBride b.1972

CROSSWORD
1 2 3 4 5 ACROSS 2. Former Basie arranger Dean Sorensen is head of this
school’s jazz program (abbr.)
1. Trumpeter of the Eubanks clan 3. G.L. Unit’s 1969-70 Odeon album had this animal
6 7
6. Finnish city that hosts annual Jazz Happening on the cover
8. Ig: Ab :: ____ : Baars 4. 2005-06 Tyft Skirl album Meg ____ Sa
8 9 10. André Previn était le vrai ____ d’Art Flickreiter 5. Swing ____
11. Arrangers Evans or Goldstein 6. This Jazz at Lincoln Center Orchestra stalwart died
13. Briggan Krauss project H-____ a year ago this month
10 11 12 16. West Indian flutist Max who worked with 7. Jazz cliffs of New Jersey?
David Murray 8. 1976 Oliver Lake Black Saint album ____ Together
13 14 15 16 17 18. Pope of Philadelphia? 9. Norwegian Drummer Paal ____-Love
19. Bassist Drew 10. Japanese drummer ____ Yamagishi who records for
20. 1955 Woody Herman/Erroll Garner Columbia album Creative Sources
18 19 Music For ____ Lovers 12. Ultra high-end turntables use this instead of a needle
21. Vocalist Brendan who participated in the Kenny 14. ____ Shan Records, bootleg Taiwan label that catered
Wheeler/Norma Winstone 2012 Edition album Mirrors to U.S. soldiers in the ‘60s-70s
20 21
22. This French orch.’s home has hosted the Jazz at Lincoln 15. You ____ the Night ____ the Music
Center Orchestra 16. Notes of a Csus2 chord
22 23 23. “Just A Closer Walk With Thee” repeats this contraction 17. Finnish pianist Haarla
24. Pianist Rick who works with Joe Chambers and 25. Italian imprint that released albums by Billy Higgins,
Louis Hayes Steve Lacy and others
24 25 26 27 28 29
30. Time for Best of Lists? 26. 2012 Darius Jones AUM Fidelity album
31. This may be found on the shrinkwrap of an Book Of ____’bul (Another Kind Of Sunrise)
30 award-winning CD 27. Corea/Holland/Altschul
28. Jazz Masters org.
DOWN 29. Michael Brecker and Lenny Pickett both played
31 saxophone in this TV band
1. Pianist Tepfer or saxophonist Blake
By Andrey Henkin visit nycjazzrecord.com for answers

38 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 CALENDAR
Monday, May 1 • The Music of Mel Tormé: Michael Feinstein, Billy Stritch, Ann Hampton Callaway,
Maddie Baillio and Tedd Firth Big Band
Saturday, May 6
• Stephen Gauci, Adam Lane, Kevin Shea; Jake Henry Ensemble; Chris Welcome, The Appel Room 7, 9 pm $95-110 • Songbook Classics by Unsung Lyricists: Aaron C. Finley, Judy Kuhn, Elizabeth Stanley,
Sam Weinberg, Weasel Walter Artichoke Basille 8, 9, 10 pm $10 êAruán Ortiz Trio Bar Lunàtico 8:30, 10 pm $10 Sal Viviano with Lawrence Feldman, Jim Hershman, Dick Sarpola, John Redsecker
• Brian Marsella Group Bar Lunàtico 8:30, 10 pm $10 • Bobby Katz Trio with Ryan Slatko, Tim Rachbach; Tim Armacost Trio with 92nd Street Y 8 pm $58
• Alan Kwan Trio with Joel Gonzalez, Eugene Seow; Melissa Stylianou Trio with Joseph Lepore, Michael Petrosino Bar Next Door 6:30, 8:30, 10:30 pm $12 êAbbey Lincoln Tribute: Dee Dee Bridgewater, Dianne Reeves, Esperanza Spalding,
Gene Bertoncini, Ike Sturm Bar Next Door 6:30, 8:30, 10:30 pm $12 êRon Carter 80th Birthday Celebration: Ron Carter Quartet with guest Houston Person Terri Lyne Carrington Apollo Theater & Music Café 8 pm $33.50-128.50
• Arianna Neikrug Birdland 6 pm $30 Blue Note 8, 10:30 pm $45 êJohn Scofield’s Blue Matter with Jim Beard, Gary Grainger, Dennis Chambers;
êThe Dizzy Gillespie Afro Cuban Experience: Freddie Hendrix, Antonio Hart, • John Pizzarelli Café Carlyle 8:45 pm $85-160 John Scofield’s Quiet with Charles Pillow, John Clark, Roger Rosenberg, Joe Lovano,
Abelita Mateus, John Lee, Tommy Campbell, Roger Squitero • Nick Myers and the Varitones Cavatappo Grill 9, 11 pm $10 Michael Rodriguez, Jeffrey Scott, Larry Grenadier, Bill Stewart
Blue Note 8, 10:30 pm $35 • Ken Simon Duo Cleopatra’s Needle 7 pm The Appel Room 7, 9:30 pm $65-85
êDavid Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper êInternational Battle of the Bands: Lima Interescolar Big Band; Afro-Latin Fat Cats;
Cornelia Street Underground 8:30 pm $10 Susan Wagner High School; Gabriel Alegría Afro-Peruvian Sextet with • Freddie Bryant Trio with Ricky Rodriguez, Alvin Atkinson
• University Of Wyoming Jazz Ensemble with Terell Stafford Laura Andrea Leguía, Freddy “Huevito” Lobatón, Yuri Juárez, John Benitez, Bar Next Door 7:30, 9:30, 11:30 pm $12
êRon Carter 80th Birthday Celebration: Ron Carter Quartet with guests Roy Hargrove,
Dizzy’s Club 7:30, 9:30 pm $35 Franco Pinna Club Bonafide 7:30, 9:30 pm $20-30
• Richie Vitale Octet +1; Billy Kaye Jam • Sara Serpa Trio with Ingrid Laubrock, Erik Friedlander Javon Jackson Blue Note 8, 10:30 pm $45
Fat Cat 9 pm 12:30 am $10 Cornelia Street Underground 8, 9:30 pm $10 êMarcus Gilmore and Friends Blue Note 12:30 am $10
• Joris Teepe/Marko Churnchetz Mezzrow 8 pm $20 êMarc Cary The Harlem Sessions David Rubenstein Atrium 7:30 pm êYosvany Terry Afro-Cuban Sextet Brooklyn Center for the Performing Arts 8 pm $35
• DarkMatterHalo: Hardedge, Brandon Ross, Doug Wieselman; Nublu Orchestra: êThe Cookers: Billy Harper, Jaleel Shaw, Eddie Henderson, David Weiss, George Cables, êThomas Chapin Tribute: Michael Sarin, Arthur Kell, Ned Rothenberg, Dave Ballou,
Graham Haynes, Brandon Ross, Kenny Wollesen, Ilhan Ersahin, Mauro Refosco, Cecil McBee, Billy Hart Dizzy’s Club 7:30, 9:30 pm $40 Arun Luthra, Armen Donelian, Marty Ehrlich, Michel Gentile, Daniel Kelly, Rob Garcia
Doug Wieselman, Michael Kiaer Nublu 9 pm êGrassella Oliphant Dizzy’s Club 11:30 pm $10 Brooklyn Conservatory of Music 8 pm $20
êMatt Nelson’s Criminals with Jaimie Branch, Brandon Lopez, Sam Opsovat; • Grant Stewart Quintet; Saul Rubin Zebtet; Jeremy Manasia êBang on a Can Marathon: Oliver Lake Crash Bang Trio with Bill McClellan,
Stuart Popejoy, Brandon Seabrook, Kevin Shea Fat Cat 7, 10 pm 1:30 am $10 Reggie Nicholson; Rabbit Rabbit: Carla Kihlstedt/Matthias Bossi; Meredith Monk;
ShapeShifter Lab 7, 8:15 pm $10 • King Solomon Hicks Ginny’s Supper Club 7:30, 9:30 pm $15 Amir ElSaffar’s Two Rivers Ensemble; Pan in Motion; Asphalt Orchestra;
• Josiah Boornazian Shrine 6 pm êPredicate Trio: Josh Sinton, Christopher Hoffman, Tom Rainey Women’s Raga Massive Brooklyn Museum of Art 8 pm
• Adriaan Campo 4tet; Gideon Forbes Sextet Halyard’s 8 pm • John Pizzarelli Café Carlyle 8:45 pm $95-185
Silvana 6, 7 pm êOliver Lake Harlem Safe House Jazz Parlor 8 pm • Kelly Green Sextet with Josh Evans, Jovan Alexandre, Mike Troy, Jonathan Barber,
• Sebastian Chames Quintet; Ari Hoenig Trio with Chico Pinheiro, Eduardo Belo; êPat Martino Iridium 8:30 pm $35-45 Matt Dwonszyk The Cell 8 pm
Jonathan Michel Jam Session Smalls 7:30, 10:30 pm 1 am $20 • Avi Fox-Rosen Electric Klezmer Trio with David Licht, Zoe Guigeno • Kayo Hiraki Trio Cleopatra’s Needle 8 pm
êEddie Palmieri Quintet with guest Nelson Gonzalez Jalopy 8:30 pm $15 • Dahlia Dumont Club Bonafide 10:30 pm $10
Subrosa 7, 9:30 pm $35-65 • Iris Ornig Quintet with Dave Smith, Jeremy Powell, Glenn Zaleski, Allan Mednard êGeorge Garzone Boston Collective with Phil Grenadier, John Lockwood, Luther Grey
• Marcos Toledo; Dana Reedy Tomi Jazz 8, 11 pm Jazz at Kitano 8, 10 pm $17 Cornelia Street Underground 9, 10:30 pm $10
• Jeremy Dutton’s Things Done Changed with Marquis Hill, James Francies, êThe Cookers: Billy Harper, Jaleel Shaw, Eddie Henderson, David Weiss, George Cables,
Harish Raghavan
Tuesday, May 2 • Fred Hersch/Jo Lawry
The Jazz Gallery 7:30, 9:30 pm $15
Jazz Standard 7:30, 9:30 pm $35
Cecil McBee, Billy Hart
êGrassella Oliphant
Dizzy’s Club 7:30, 9:30 pm $45
Dizzy’s Club 11:30 pm $20
• Hendrik Meurkens Trio with Misha Tsignaov, Chris Berger • Larry Fuller; Spike Wilner and guests • Jeremy Noller/Mangue Sylla; Raphael D’lugoff Quintet; Greg Glassman Jam
Bar Next Door 8:30, 10:30 pm $12 Mezzrow 8, 11 pm $20 Fat Cat 7, 10 pm 1:30 am $10
• The Conquerer Worm Suite: Ben Holmes/Patrick Farrell • Theo Bleckmann with Uri Caine, Joyce Harmon • Theo Croker Ginny’s Supper Club 9:30 pm $20
Barbès 7 $10 Neue Galerie 7 pm $140 êHarris Eisenstadt’s Recent Developments with Anna Webber, Sara Schoenbeck,
êPitch Plot 4: James Cammack, Christian Pabst, Jeroen Pek, Onno Witte; Nate Wooley, Jeb Bishop, Joe Daley, Patricia Brennan, Eivind Opsvik, Rubin Kodheli
êRon Carter 80th Birthday Celebration: Ron Carter/Bill Frisell
Blue Note 8, 10:30 pm $45 Marko Djordjevic and Sveti with Julian Pollack, Petar Krstajic; Justin Mullens Octet Greenwich House Music School 8 pm $15
• John Pizzarelli Café Carlyle 8:45 pm $85-160 ShapeShifter Lab 7, 8:15, 9:30 pm $10-15 êFranz Hautzinger/Isabelle Duthoit Ibeam Brooklyn 8:30 pm $15
êRyan Keberle’s Big Band Living Legacy Project with Dave Pietro, Billy Drewes,
• Pasquale Grasso Quartet Cavatappo Grill 8, 10 pm $10
Bill Easley, Dan Block, Carl Maraghi, Earl Gardner, Bob Millikan, Tony Kadleck,
êPat Martino Iridium 8:30 pm $35-45
• Istmo Trio: Magos Herrera, Vitor Gonçalves, Rogério Boccato and guest Mike Rodriguez, Clarence Banks, Mike Davis, Earl McIntyre, Carmen Staff, Dave Baron,
êAlexis Cole Quartet Jazz at Kitano 8, 10 pm $32
Gilad Hekselman Cornelia Street Underground 8, 9:30 pm $10 êAndrew White Quartet with Wade Beach, Steve Novosel, Nasar Abadey
êEhud Asherie Trio with Dezron Douglas, Aaron Kimmel; Mara Rosenbloom Trio with John Riley Silberman Auditorium at Hunter College Harlem 8 pm The Jazz Gallery 7:30, 9:30 pm $22
Sean Conly, Chad Taylor Dizzy’s Club 7:30, 9:30 pm $30 • Mike Fahn Silvana 6 pm • Ellington and Strayhorn Jam Session: David Durrah Quartet
êGrassella Oliphant Dizzy’s Club 11:30 pm $5 • Jonathan Kreisberg Quartet; Carl Bartlett, Jr. Quartet with Yoichi Uzeki, Jazz Museum in Harlem 2 pm $10
• Oscar Williams; Danitos Salsondria; Ray Parker Marcus McLaurine, Sylvia Cuenca; Sarah Slonim Jam Session êFred Hersch/Stefon Harris Jazz Standard 7:30, 9:30 pm $35
Fat Cat 7, 9 pm 12:30 am $10 Smalls 7:30, 10:30 pm 1 am $20 • Natalie Douglas’ Four Women Kingsborough Community College 8 pm $32-37
• Jean-Luc Guionnet’s Inclinamen for Organ; Norbert Rodenkirchen, Robbie Lee, • Jacques Lesure Quartet with Victor Gould, Alex Claffy, Lawrence Leathers êJoel Forrester/David Hofstra Knickerbocker Bar & Grill 9 pm $3.50
James Ilgenfritz First Unitarian Church 8 pm $15 Smoke 7, 9, 10:30 pm $12 • Ray Gallon with Paul Gill, Rodney Green
• Addison Frei solo Jazz at Kitano 8 pm êSamir Chatterjee/Dan Weiss The Stone 8:30 pm $20
• Biodiversity Mezzrow 8 pm $20
• Sam Harris Trio with Martin Nevin, Craig Weinrib Tomi Jazz 9 pm $10 • Renato Diz/Maria Quintanilla Rockwood Music Hall Stage 3 7 pm $12
The Jazz Gallery 7:30, 9:30 pm $15 êHighlights In Jazz—Joe Bushkin Centennial Concert: Wycliffe Gordon, Harry Allen,
êJohn Zorn’s Game Pieces: Cobra with Eyal Maoz, Taylor Levine, Matt Hollenberg,
êFred Hersch/Donny McCaslin Jazz Standard 7:30, 9:30 pm $35 Eric Comstock, Ted Rosenthal, Spike Wilner, Nicki Parrott, Steve Johns, John Colliani,
Bob Merrill and guest Tribeca Performing Arts Center 8 pm $50 Ikue Mori, Sylvie Courvoisier, Michael Nicolas, Trevor Dunn, Cyro Baptista, Ches Smith,
êSam Bardfeld, Kris Davis, Michael Sarin; Mike Pride Trio with Jamie Saft, Brad Jones
Korzo 9, 10:30 pm êDavid Murray and Class Struggle with Mingus Murray, D.D. Jackson, Rashaan Carter, Kenny Wollesen, Brian Marsella, Okkyung Lee; Xu Feng with Kenny Wollesen,
• Tessa Souter with Adam Birnbaum, Sean Smith; Miki Yamanaka/Adi Myerson Russell Carter Village Vanguard 8:30, 10:30 pm $30 Kenny Grohowski, Ches Smith, Jim Black, Tim Keiper, Aaron Edgcomb
Polite Jam Session Mezzrow 8, 11 pm $20 Roulette 8 pm $30-40
êWarren Smith and the Composer’s Workshop Orchestra • David Acevedo’s Eyehear Silvana 6 pm
New York City Baha’i Center 8, 9:30 pm $15 Friday, May 5 êThe Music of Art Blakey: Robert Rutledge with George Gray Allstar Jazz Coalition
Sistas’ Place 9, 10:30 pm $20
• Glenn Crytzer Trio Radegast Hall 8 pm
• Elise Wood Duo; Alan Leatherman Silvana 6, 7 pm êCUNY Jazz Festival: City College of New York Student All-Stars; Dr. Lonnie Smith Trio • Allyn Johnson Quintet with Joel Ross, Tim Green, Corcoran Holt, Kush Abadey;
• Frank Lacy Group; Abraham Burton Quartet Aaron Davis Hall 7:30 pm $15 Philip Harper Quintet Smalls 10:30 pm 1 am $20
Smalls 7:30, 10:30 pm $20 • Amirtha Kidambi and The Elder Ones; Ras Moshe Unit with Bill Cole, Larry Roland, • Jim Rotondi Dark Blue Quintet with Joe Locke, David Hazeltine, Doug Weiss, Carl Allen
êDan Weiss Trio with Jacob Sacks, Eivind Opsvik Dan Kurfirst Alwan for the Arts 8, 9 pm $15 Smoke 7, 9, 10:30 pm $38
The Stone 8:30 pm $20 êJohn Scofield’s Blue Matter with Jim Beard, Gary Grainger, Dennis Chambers; êDan Weiss/Matt Mitchell The Stone 8:30 pm $20
• Pedrito Martinez Group Subrosa 7, 9 pm $15 John Scofield’s Quiet with Charles Pillow, John Clark, Roger Rosenberg, Joe Lovano, • Lucy Yeghiazaryan Symphony Space Bar Thalia 9 pm
• Andrew Skepasts; Jun Xiao Tomi Jazz 9:40, 11 pm Michael Rodriguez, Jeffrey Scott, Larry Grenadier, Bill Stewart • Ken Kobayashi; Sharp Tree; Annie Chen
êDavid Murray and Class Struggle with Mingus Murray, D.D. Jackson, Rashaan Carter, The Appel Room 7, 9:30 pm $65-85 Tomi Jazz 6, 8, 11 pm $10
Russell Carter Village Vanguard 8:30, 10:30 pm $30 êBrad Jones Group Bar Lunàtico 8:30, 10 pm $10 • Bill Stevens Group with Braden Smith, Hyuna Park, Luca Rosenfeld, Gary Fogel
• David Pietro Trio with Johannes Weidenmueller, Ari Hoenig The Treehouse 8, 9:30 pm $15
Bar Next Door 7:30, 9:30, 11:30 pm $12 êDavid Murray and Class Struggle with Craig Harris, Hugh Ragin, Mingus Murray,
Wednesday, May 3 êRon Carter 80th Birthday Celebration: Ron Carter Quartet with guests Donald Harrison, D.D. Jackson, Rashaan Carter, Russell Carter
Antonio Hart Blue Note 8, 10:30 pm $45 Village Vanguard 8:30, 10:30 pm $30
• Ken Fowser Quintet with Josh Bruneau, Rick Germanson, Paul Gill, Jason Tiemann êMarcus Gilmore and Friends Blue Note 12:30 am $10 • David Acker Williamsburg Music Center 10 pm $10
An Beal Bocht Café 8, 9:30 pm $15 • John Pizzarelli Café Carlyle 8:45 pm $95-185
• The Music of Mel Tormé: Michael Feinstein, Billy Stritch, Ann Hampton Callaway, • Denton Darien Trio Cleopatra’s Needle 8 pm
Maddie Baillio and Tedd Firth Big Band
The Appel Room 7 pm $95-110
êGeorge Garzone Boston Collective with Phil Grenadier, John Lockwood, Luther Grey Sunday, May 7
Cornelia Street Underground 9, 10:30 pm $10
êRon Carter 80th Birthday Celebration: Ron Carter Quartet with guests Benny Golson, êThe Cookers: Billy Harper, Jaleel Shaw, Eddie Henderson, David Weiss, George Cables, êDave Ballou solo 440Gallery 4:40 pm $10
Wallace Roney Blue Note 8, 10:30 pm $45 Cecil McBee, Billy Hart Dizzy’s Club 7:30, 9:30 pm $40 êLage Lund Group 55Bar 9:30 pm
• John Pizzarelli Café Carlyle 8:45 pm $85-160 êGrassella Oliphant Dizzy’s Club 11:30 pm $10 • Songbook Classics by Unsung Lyricists: Aaron C. Finley, Judy Kuhn, Elizabeth Stanley,
• David Lyttle Trio Club Bonafide 7:30 pm $10 • Dida Pelled Quartet; Jared Gold/Dave Gibson; Nick Hempton Sal Viviano with Lawrence Feldman, Jim Hershman, Dick Sarpola, John Redsecker
• Javier Moreno Quartet with Tony Malaby, Ernesto Jodos, Gerald Cleaver Fat Cat 6, 10 pm 1:30 am $10
Cornelia Street Underground 8, 9:30 pm $10 92nd Street Y 2, 7 pm $58-63
êThe Cookers: Billy Harper, Jaleel Shaw, Eddie Henderson, David Weiss, George Cables,
• Theo Croker Ginny’s Supper Club 7:30, 9:30 pm $20 • Alex Sipiagin NYU Ensemble Blue Note 11:30 am 1:30 pm $35
Cecil McBee, Billy Hart Dizzy’s Club 7:30, 9:30 pm $35
• Myk Freedman and the Mykfreedmans with Patrick Breiner, Kenny Warren, êRon Carter 80th Birthday Celebration: Ron Carter Trio with Russell Malone,
Adam Hopkins, Carlo Costa, Jason Vance Donald Vega Blue Note 8, 10:30 pm $45
êGrassella Oliphant Dizzy’s Club 11:30 pm $5
êRodney Green Quartet; Groover Trio; Ned Goold Jam
Happylucky no.1 8 pm • Michael Joseph Harris, Sami Arefin, Eddie Hrybyk
Fat Cat 7, 9 pm 12:30 am $10 • Jeff Pearring Sound with Patrick Holmes, Tim Vaughn, Ken Filiano, Michael Wimberly; Cornelia Street Underground 8:30, 10 pm $10
• Carol Sudhalter Jazz Jam Flushing Town Hall 7 pm $10 Carol Liebowitz, Adam Lane, Andrew Drury êAkiko Tsuruga Trio with Graham Dechter, Jeff Hamilton
• Marbin Iridium 8:30 pm $20 Ibeam Brooklyn 8, 9 pm $15 Dizzy’s Club 7:30, 9:30 pm $30
êPat Martino Iridium 8:30 pm $35-45
• Andrew Wagemann’s Jazz Folk with Immanuel Wilkins, Benjamin Rosenblum, • Brandon Sanders and the Swing Machine with Vincent Herring • Ben Stapp/Elijah Shiffer; Catherine Sikora/Brian Chase
Luke Sellick and guest Frank Kimbrough Jazz 966 8 pm Downtown Music Gallery 6, 7 pm
Jazz at Kitano 8, 10 pm $17
• La Voz de Tres: Natalia Bernal, Michael Eckroth, Jason Ennis and guest • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band;
• Joshua Crumbly Group with Casey Benjamin, Taber Gable, Mathis Picard, Paul McCandless Jazz at Kitano 8, 10 pm $32 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 1 am $10
Jason Burger The Jazz Gallery 7:30, 9:30 pm $15 êPeter Bernstein Trio with Doug Weiss, Willie Jones III
êFred Hersch/Gilad Hekselman Jazz Standard 7:30, 9:30 pm $30 êJonathan Finlayson and Sicilian Defense with Miles Okazaki, Matt Mitchell, John Hébert,
Craig Weinrib The Jazz Gallery 7:30, 9:30 pm $22 Iridium 8:30 pm $25
• Brad Mehldau/Kurt Elling; Tony Hewitt/Pete Malinverni êFred Hersch/Steve Wilson Jazz Standard 7:30, 9:30 pm $35 • Fred Hersch/Chris Potter Jazz Standard 7:30, 9:30 pm $35
Mezzrow 8, 11 pm $20 • Kid Millions with guests; Ava Mendoza solo; Stuart Popejoy Pleonid with
êJason Nazary solo; James Brandon Lewis Trio with Luke Stewart, Trae Crudup III and êJoel Forrester/David Hofstra Knickerbocker Bar & Grill 9 pm $3.50
• Ray Gallon with Paul Gill, Rodney Green Sarah Bernstein, Avram Fefer, Steve Swell, Kenny Wollesen
guest Anthony Pirog; Jaimie Branch Fly or Die Quartet with Tomeka Reid, Knockdown Center 7:30 pm $15
Jason Ajemian, Chad Taylor Nublu 7 pm $15 Mezzrow 8 pm $20
• Andrea Wolper Trio with John di Martino, Ken Filiano • Irwin Hall Minton’s 7 pm • Ivo Perelman/Matthew Shipp Le Poisson Rouge 9:30 pm $20
Saint Peter’s Church 1 pm $10 • Steve Cardenas/Fabio Gouveau Neighborhood Church of Greenwich Village 8, 9:30 pm • Tamir Hendelman with Marco Panascia, Ulysses Owens; John Merrill
• Peyton Pleninger’s Biotonic with Alex Levine, Louis de Mieulle, Chris Carroll; • Kavita Shah/François Moutin Rockwood Music Hall Stage 3 10 pm $12 Mezzrow 8, 11 pm $20
Kinsmen & Strangers: Jon Crompton, James Wengrow, Mike Alfieri • Eva Cortes with Jon Cowherd, Luques Curtis, Doug Beavers, Marvin Sewell, • Christopher McBride Trio with Jonathan Edward Thomas, Curtis Nowosad and guest
ShapeShifter Lab 7, 8:15 pm $10 Roby Ameen; Josh Roberts Band with Ryan Slatko, Stefan Haerle, André Carvalho; Minton’s 6:30 pm
• Andrew McGowan Trio Silvana 6 pm Cameron Macintosh Band ShapeShifter Lab 7, 8:15, 9:30 pm $10-13 • Eco-Music Big Band National Sawdust 7 pm $34
• Jonathan Kreisberg Quartet; Jon Beshay Group with George DeLancey • Dillon Mansour Trio Shrine 6 pm • Roz Corral Trio with Ron Affif, Jay Leonhart
Smalls 7:30, 10:30 pm $20 • Hashem Assadullahi Silvana 6 pm North Square Lounge 12:30, 2 pm
êDan Weiss/Miles Okazaki The Stone 8:30 pm $20 • Tardo Hammer Trio with Lee Hudson, Steve Williams; Allyn Johnson Quintet with • Gabrielle Stravelli Trio Perez Jazz 3 pm $20
• Happy Place: Andrew Smiley, Will Chapin, Kate Gentile, Will Mason; Joel Ross, Tim Green, Corcoran Holt, Kush Abadey • Nerissa Campbell Rockwood Music Hall Stage 1 6 pm
John Colpitts/Sarah Bernstein Threes Brewing 8 pm $10 Smalls 7:30, 10:30 pm $20 • Jamie Reynolds Saint Peter’s Church 5 pm
• Noel Simone Whippler; Miki Yokoyama • Jim Rotondi Dark Blue Quintet with Joe Locke, David Hazeltine, Doug Weiss, Carl Allen • Ai Murakami Quartet with Zaid Nasser, Sacha Perry, Lee Hudson; Tad Shull Quartet;
Tomi Jazz 8, 11 pm Smoke 7, 9, 10:30 pm $38 Jon Beshay Jam Session Smalls 4:30, 7:30 pm 1 am $20
êDavid Murray and Class Struggle with Mingus Murray, D.D. Jackson, Rashaan Carter, • Leap of Faith: PEK, Glynis Lomon, Dan O’Brien, Zach Bartolomei, Yuri Zbitnov • Jim Rotondi Dark Blue Quintet with Joe Locke, David Hazeltine, Doug Weiss, Carl Allen
Russell Carter Village Vanguard 8:30, 10:30 pm $30 Spectrum 9 pm $15 Smoke 7, 9, 10:30 pm $38
• Valentina Marino with Cameron Brown, Jay Azzolina, Anthony Pinciotti and guest êDan Weiss Large Group with Tom Rainey, Chris Tordini, Mark Helias, Jacob Sacks, êDan Weiss Sextet with Craig Taborn, Matt Mitchell, Mike Formanek, Trevor Dunn,
Jason Teborek Zinc Bar 7:30 pm $10 David Binney, Rudresh Mahanthappa, Tim Berne, Ellery Eskelin, Ohad Talmor, Tyshawn Sorey The Stone 8:30 pm $20
Anna Webber, Adam O’Farrill, Ben Gerstein, Jacob Garchik • Allegra Levy Tomi Jazz 8 pm
The Stone 8:30 pm $20 êDavid Murray and Class Struggle with Mingus Murray, D.D. Jackson, Rashaan Carter,
Thursday, May 4 • Craig Brann Tomi Jazz 9 pm $10 Russell Carter Village Vanguard 8:30, 10:30 pm $30
êDavid Murray and Class Struggle with Craig Harris, Hugh Ragin, Mingus Murray, • Kevin Sun Trio; MATKOT; Aurelia Trio
êCUNY Jazz Festival: Dr. Lonnie Smith and the City College of New York D.D. Jackson, Rashaan Carter, Russell Carter
Large Jazz Ensemble Aaron Davis Hall 7:30 pm $15 Williamsburg Music Center 8 pm $10
Village Vanguard 8:30, 10:30 pm $30

40 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 Monday, May 8
• Songbook Classics by Unsung Lyricists: Aaron C. Finley, Judy Kuhn, Elizabeth Stanley,
Sal Viviano with Lawrence Feldman, Jim Hershman, Dick Sarpola, John Redsecker
at Cavatappo Grill
92nd Street Y 2, 7:30 pm $58-63
êStephen Gauci, Adam Lane, Kevin Shea; Isabelle Duthoit/Leila Bordreuil;

Live Jazz Music

Franz Hautzinger/Brandon Lopez Artichoke Basille 8, 9, 10 pm $10
• Chuño: Sofia Tossela/Franco Pinna
Bar Lunàtico 8:30, 10 pm $10
• Stuart Mack Trio with Vaughn Stoffey, Noah Garabedian; Beat Kaestli Trio with
Jose Alves, Jesse Lewis Bar Next Door 6:30, 8:30, 10:30 pm $12
• NYU Jazz Orchestra Plays Brecker Bros. with guests Randy Brecker, Ada Rovatti
Blue Note 8, 10:30 pm $15
every Tuesday (8-10 pm)
• Lena Bloch and Feathery with Russ Lossing, Cameron Brown, Billy Mintz
Cornelia Street Underground 8:30 pm $10
êJeff Hamilton Trio with Tamir Hendelman, Christoph Luty
&
Thursday (9-11 pm)
Dizzy’s Club 7:30, 9:30 pm $35
• Ned Goold Quartet; Billy Kaye Jam
Fat Cat 9 pm 12:30 am $10
êEd Palermo Big Band Iridium 8:30 pm $25
êEvan Christopher Mezzrow 8 pm $20
• Jazzingaro Radegast Hall 8 pm
• Aaron Quinn Project; Dillon Mansour Trio Live piano every Monday (7-10 pm)
ShapeShifter Lab 7, 8:30 pm $10
• Andre Chez Lewis Trio Shrine 7 pm
• Wet Electric Silvana 6 pm
• Danny Fox Trio; Ari Hoenig Group; Jonathan Barber Jam Session
Smalls 7:30, 10:30 pm 1 am $20
“It’s a joy to create jazz in such a positive atmosphere and
• Gil Schwartz; Andrew Van Tassel Tomi Jazz 8, 11 pm to be so close to the people too! Enjoying a great bowl of pasta
Tuesday, May 9
listening to world class jazz is the only way to go”
êChristian McBride and Tip City with Emmet Cohen, Rodney Jones
John Pizzarelli, Grammy-nominated guitarist and singer
92nd Street Y 10, 11:30 am
• Horace Bray Trio with Tamir Schmerling, Nolan Byrd; Jeff Miles Trio with Ed Perez,
Rodrigo Recabarren
• Curtis Stigers
Bar Next Door 6:30, 8:30, 10:30 pm $12
Birdland 8:30, 11 pm $40 Mondays with Roger Lent solo piano
êChucho Valdés Quartet 75th Birthday Celebration

êBucky Pizzarelli Trio
Blue Note 8, 10:30 pm $55
Cavatappo Grill 6, 8 pm $15
7-10pm no cover
êPitch Plot 4: James Cammack, Christian Pabst, Jeroen Pek, Onno Witte
Club Bonafide 7:30, 9:30 pm $20 saturday brunch WITH GABRIELLE STRAVELLI
• VoxEcstatic: Alexis Parsons Quartet with Virg Dzurinko, Ron Horton, Andrew Drury;
Maryanne de Prophetis Quartet with Virg Dzurinko, Ron Horton, Andrew Drury
Cornelia Street Underground 8, 9:30 pm $10
12:30-3:30pm no cover
êJeff Hamilton Trio with Tamir Hendelman, Christoph Luty

• Nate Sparks Band
Dizzy’s Club 7:30, 9:30 pm $35
Dizzy’s Club 11:30 pm $5
MAY 2ND - 8/10pm $10 COVER
• Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop
Fat Cat 7, 9 pm $10
PASQUALE GRASSO QUARTET
• Angelo Di Loreto solo Jazz at Kitano 8 pm
êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King
Jazz Standard 7:30, 9:30 pm $35
MAY 4TH - 9/11pm $10 COVER
êJames Carney Group; Tim Berne solo
Korzo 9, 10:30 pm NICK MYERS AND THE VARITONES
• Carolyn Leonhart; Miki Yamanaka/Adi Myerson Polite Jam Session
Mezzrow 8, 11 pm $20
• Corina Bartra Peruvian/Jazz Experience
New York City Baha’i Center 8, 9:30 pm $15
MAY 9th - 6/8 pm $15 cover
***Bucky Pizzarelli Trio***
• ACE: Kush Abadey, Alex Claffy, Ben Eunson
Rockwood Music Hall Stage 2 9 pm $12
• Elise Wood Duo Shrine 6 pm
• Ehud Asherie Trio with David Wong, Aaron Kimmel; Abraham Burton Quartet
MAY 11th - 9/11 pm $10 cover
Smalls 7:30, 10:30 pm $20
• Sim Sim: Margaret Glaspy, Jesse Harris, Chris Morrissey, Tim Kuhl
The Stone 8:30 pm $20
• Pedrito Martinez Group Subrosa 7, 9 pm $15
• Shevelovin; Florian Kinger; Tomoko Omura RALPH LALAMA QUARTET
Tomi Jazz 8, 9:40, 11 pm
êVijay Iyer Trio with Stephan Crump, Tyshawn Sorey
Village Vanguard 8:30, 10:30 pm $30 MAY 16TH - 8/10pm $5 cover
êEtienne Charles Zankel Hall 10:15, 11:45 am

Wednesday, May 10
Jam Session hosted by Mike Sailors
êChristian McBride and Tip City with Emmet Cohen, Rodney Jones MAY 18th - 9/11 pm $10 cover
MATTHEW FRIES TRIO
92nd Street Y 10, 11:30 am
êHank Roberts Sextet with Brian Drye, Dana Lyn, Mike McGinnis, Jacob Sacks,
Vinnie Sperrazza Barbès 8 pm $10
• Curtis Stigers
MAY 23RD - 8/10 pm $10 cover
Birdland 8:30, 11 pm $40
êChucho Valdés Quartet 75th Birthday Celebration
Blue Note 8, 10:30 pm $55
• Michel Maurer’s 4Bandits; Finucci Brothers Quartet
Club Bonafide 7:30, 9:30 pm $10 MARIANNE SOLIVAN QUARTET
êQuinsin Nachoff Ethereal Trio with Mark Helias, Dan Weiss
Cornelia Street Underground 8, 9:30 pm $10
• Essentially Ellington Alumni Band Dizzy’s Club 7:30, 9:30 pm $35 MAY 25TH - 9/11pm $10 cover
• Nate Sparks Band Dizzy’s Club 11:30 pm $5
• Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam
Fat Cat 7, 9 pm 12:30 am $10
DAVID GIBSON/SHENEL JONES
• Tom Pappas Quartet Jazz at Kitano 8, 10 pm $17
êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King

MAY 30TH - 8/10pm $10 cover
DENNIS JOSEPH QUARTET
Jazz Standard 7:30, 9:30 pm $35
• JP Jofre Hard Tango Chamber Band with Francisco Fullana, Amy Kang, Martha Kato,
Chris Johnson; Tony Hewitt/Pete Malinverni
Mezzrow 8, 11 pm $20

Luca’s Jazz Corner

• Miya Masaoka’s A Line Becomes a Circle with Makiko Sakurai, Ann Moss
Roulette 8 pm $20
êBarry Harris Saint Peter’s Church 1 pm $10

at Cavatappo Grill
• Nathanael Koenig Shrine 6 pm
• Andrew Schiller Silvana 6 pm
• Patrick Cornelius Group; Dan Aran Quintet with Joe Magnarelli, Adam Birnbaum,

1712 First Avenue - (212) 987-9260

Matt Clohesy, Itai Kriss; Aaron Seeber Jam Session
Smalls 7:30, 10:30 pm 1 am $20
• Cosmo: Jeremy Gustin, CJ Camerieri, Will Graefe, Ben Davis, Jesse Harris

lucasjazzcorner.com
The Stone 8:30 pm $20
• Adam Kahan; Alan Kwan Tomi Jazz 8, 11 pm
êVijay Iyer Trio with Stephan Crump, Tyshawn Sorey
Village Vanguard 8:30, 10:30 pm $30

THE NEW YORK CITY JAZZ RECORD | MAY 2017 41

 Thursday, May 11 • Jon De Lucia Group with Greg Ruggiero, Sean Smith, Tommy Crane • Paul Jubong Lee Trio with Tony Lanen, Diego Maldonado; Benny Benack Trio with
The Drawing Room 8 pm $20 Raviv Markovitz, Joe Peri Bar Next Door 6:30, 8:30, 10:30 pm $12
êChristian McBride and Tip City with Emmet Cohen, Rodney Jones • SanfoNYa Brasileira; Greg Glassman Jam • New York Voices: Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox,
92nd Street Y 10, 11:30 am Fat Cat 7 pm 1:30 am $10 Laura Kinhan Birdland 8:30, 11 pm $40
êHenry Butler Bar Lunàtico 8:30, 10 pm $10 êBen Williams Ginny’s Supper Club 7:30, 9:30 pm $20 • Keyon Harrold and Friends with Nir Felder, Shedrick Mitchell, Burniss Travis and guests
• Tommaso Gambini Trio with Matt Dwonszyk, Adam Arruda; Roland Balogh Trio with êKarl Berger with Steve Gorn, Sana Nagano, Jason Hwang, Tomas Ulrich, Ken Filiano Blue Note 8, 10:30 pm $25
Jozsef Horvath, Jozsef Bordas Bar Next Door 6:30, 8:30, 10:30 pm $12 Greenwich House Music School 8 pm $20 • Mike Sailors Jam Session Cavatappo Grill 8, 10 pm $5
• John Yao Quintet with Billy Drewes, Randy Ingram, Peter Brendler, Tom Rainey • Nancy Marano Quartet with John di Martino, Martin Wind and guest Harry Allen • Jesse Simpson’s The Siguenza Settlement with Justin Carroll, Sean Wayland,
Birdland 6 pm $25 Jazz at Kitano 8, 10 pm $32 Keisuke Matsuno Cornelia Street Underground 8, 9:30 pm $10
• Curtis Stigers Birdland 8:30, 11 pm $40 êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King
Jazz Standard 7:30, 9:30 pm $35 • Bill Charlap Trio with Peter Washington, Kenny Washington
• Sarah Partridge The Bitter End 7:45 pm Dizzy’s Club 7:30, 9:30 pm $35
êChucho Valdés Quartet 75th Birthday Celebration • Russ Kassoff/Jay Anderson Knickerbocker Bar & Grill 9 pm $3.50
Blue Note 8, 10:30 pm $55 êKenny Werner/Billy Drewes Mezzrow 8 pm $20 • Saul Rubin Zebtet Fat Cat 7 pm $10
• Nina Dante/Brandon Lopez; Joanna Mattrey, Leila Bordreuil, Sean Ali; êKen Vandermark/Nate Wooley Issue Project Room 8 pm $12-15
• Ralph Lalama Quartet with Dave Lalama, Alex Claffy, Mike Camacho • Angelo Di Loreto solo Jazz at Kitano 8 pm
Cavatappo Grill 9, 11 pm $10 Jamal Moore solo New Revolution Arts 8 pm
• Yvonnick Prene Duo Cleopatra’s Needle 7 pm • AMP Trio: Addison Frei, Perrin Grace, Matt Young; êElla and Pops: Brianna Thomas and Michael Mwenso
• Gerry Eastman Quartet with Tendayi Kuumba The Westerlies: Riley Mulherkar, Zubin Hensler, Andy Clausen, Willem de Koch Jazz Museum in Harlem 7 pm $10
Club Bonafide 7:30 pm $10 Scholes Street Studio 8 pm • Anat Cohen and Trio Brasileiro with Dudu Maia, Douglas Lora, Alexandre Lora
• Shai Maestro Trio with Alex Claffy, Douglass Mariner • Alina Engibaryan; Chris McCarthy Shrine 6, 7 pm Jazz Standard 7:30, 9:30 pm $30
Cornelia Street Underground 8, 9:30 pm $10 êVincent Chancey All-Stars with Bryant Carrott, Bertha Hope, Hilliard Greene, • Andrew Schiller Quintet with Hery Paz, Alec Harper, Frank Carlberg, Robin Baytas;
• Music Of Duke Ellington: Juilliard Jazz Orchestra Newman Taylor Baker Sistas’ Place 9, 10:30 pm $20 John Escreet Group Korzo 9, 10:30 pm
Dizzy’s Club 7:30, 9:30 pm $40 • Ned Goold Group; David Weiss Sextet; Brooklyn Circle: Stacy Dillard, Diallo House, • John Raymond/Dan Tepfer; Miki Yamanaka/Adi Myerson Polite Jam Session
• Nate Sparks Band Dizzy’s Club 11:30 pm $10 Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20 Mezzrow 8, 11 pm $20
• Greg Glassman Quintet êWarren Wolf Standards Quartet with Emmet Cohen, Russell Hall, Rodney Green
Fat Cat 10 pm $10
Smoke 7, 9, 10:30 pm $38
• Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic
• Chris Washburne’s Rags and Roots with Evan Christopher, André Mehmari, • We Free Strings: Charles Burnham, Gwen Laster, Melanie Dyer, Clarissa Howell, ShapeShifter Lab 8:15 pm $10
Sarah Elizabeth Charles, Vuyo Sotashe, Alphonso Horne, Hans Glawischnig,
Noah Jackson, Michael Wimberly; Larry Roland • Michael Isichenko/André Matos; Tom Blatt Project
Vince Cherico Greenwich House Music School 8 pm $15 Silvana 6, 7 pm
êJim Guttman’s Bessarabian Breakdown
South Oxford Space 8 pm
êJoel Forrester Spectrum 9 pm • Lucas Pino Nonet with Philip Dizack, Alex LoRe, Nick Finzer, Andrew Gutauskas,
Jalopy 8:30 pm $15 Rafal Sarnecki, Desmond White, Mark Whitfield. Jr.; Abraham Burton Quartet
êLeslie Pintchik Trio with Scott Hardy, Michael Sarin
• Petra Haden/Jesse Harris Group with Will Graefe, Jeremy Gustin, Ben Davis
The Stone 8:30 pm $20 Smalls 7:30, 10:30 pm $20
Jazz at Kitano 8, 10 pm $17 • Happy Place: Andrew Smiley, Will Chapin, Kate Gentile, Will Mason
êAfrica in the Americas—Cuba & Brazil: Arturo O’Farrill and Afro Latin Jazz Orchestra
êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King
with guest Letieres Leite Symphony Space Peter Jay Sharpe Theatre 8 pm $45 Sunnyvale 8 pm $10
Jazz Standard 7:30, 9:30 pm $35
• Dame Madelyn Metropolitan Room 9:30 pm $24 • Yuko Kimura; Daniel Bennett; Candice Reyes êGordon Grdina/Satoshi Takeishi The Stone 8:30 pm $20
• Steve Slagle; Spike Wilner and guests Tomi Jazz 6, 8, 11 pm $10 • Andrew McGowan; Lady and the Vamps; Song Yi Jeon
êVijay Iyer Trio with Stephan Crump, Tyshawn Sorey Tomi Jazz 8, 9:40, 11 pn
Mezzrow 8, 11 pm $20
• Jason Prover Sneak Thievery Orchestra Village Vanguard 8:30, 10:30 pm $30 êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki,
Radegast Hall 9 pm Anthony Tidd, Sean Rickman Village Vanguard 8:30, 10:30 pm $30
• Guy Klucevsek’s Bellows Brigade with Will Holshouser, Nathan Koci, Sunday, May 14
Kamala Sankaram Roulette 8 pm $20
• Brian Pareschi Silvana 6 pm • Mari Koga Birdland 6 pm $25
Wednesday, May 17
êMichael Blake Quartet with Gabriel Chakarji, Michael Bates, JK Kim;
Danny Kolke/Walter Blanding; Jonathan Thomas Jam Session • Renaud Penant Trio with Pasquale Grasso êRoy Nathanson Bar Lunàtico 8:30, 10 pm $10
Bistro Jules 7:30 pm
Smalls 7:30, 10:30 pm 1 am $20 • Marlene VerPlanck with Tedd Firth, Jay Leonhart and guest Harry Allen • New York Voices: Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox,
• Michelle Walker Quintet with Mike Eckroth, Jason Ennis, Michael O’Brien, Blue Note 11:30 am 1:30 pm $35 Laura Kinhan and guests Ingrid Jensen, Antonio Hart, Jay Ashby
Andrew Atkinson Smoke 7, 9, 10:30 pm $12 êChucho Valdés Quartet 75th Birthday Celebration Birdland 8:30, 11 pm $40
• The Song Project: Petra Haden, Jesse Harris, Julian Lage Trio Blue Note 8, 10:30 pm $55 • Keyon Harrold and Friends with Nir Felder, Shedrick Mitchell, Burniss Travis and guests
The Stone 8:30 pm $20 • Chris McCarthy’s Sonder Club Bonafide 9:30 pm $10 Blue Note 8, 10:30 pm $25
• Rale Micic Duo Symphony Space Bar Thalia 9 pm • Fabio Gouvea Quintet with John Ellis, Helio Alves, Scott Colley, Alex Kautz • Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone,
• Greg Merritt Tomi Jazz 9 pm $10 Cornelia Street Underground 8:30, 10 pm $10 Terry Schwadron Caffe Vivaldi 8:15 pm
êVijay Iyer Trio with Stephan Crump, Tyshawn Sorey
Village Vanguard 8:30, 10:30 pm $30
• Music Of Duke Ellington: Juilliard Jazz Orchestra • Bill Charlap Trio with Peter Washington, Kenny Washington
Dizzy’s Club 7:30, 9:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35
êCentral Brooklyn Jazz Consortium Gala Concert: Duane Eubanks Quintet
Weeksville Heritage Center 5 pm
• Alec Harper/Tyler Gilmore Downtown Music Gallery 6 pm • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam
• Gene Bertoncini The Drawing Room 7 pm $20 Fat Cat 7, 9 pm 12:30 am $10
• Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Stanley Jordan Trio Iridium 8:30 pm $30
Fat Cat 6 pm 1 am $10
Friday, May 12 êTyshawn Sorey solo JACK 7 pm $15
• Judimarie Canterino Quartet with Conal Fowkes, Steve Lamattina, Jerry Bruno
Jazz at Kitano 8, 10 pm $17
êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King
• Alex LoRe Trio with Desmond White, Colin Stranahan Jazz Standard 7:30, 9:30 pm $35 êDafnis Prieto Si O Si Quartet with Román Filiú, Manuel Valera, Johannes Weidenmueller
Bar Next Door 7:30, 9:30, 11:30 pm $12 êJosh Sinton’s Ideal Bread with Kirk Knuffke, Adam Hopkins, Tomas Fujiwara;
The Jazz Gallery 7:30, 9:30 pm $25
• Curtis Stigers Birdland 8:30, 11 pm $40 Jessica Ackerly Trio with Mat Muntz, Nick Fraser • Anat Cohen and Trio Brasileiro with Dudu Maia, Douglas Lora, Alexandre Lora
êChucho Valdés Quartet 75th Birthday Celebration Legion Bar 9, 10 pm Jazz Standard 7:30, 9:30 pm $30
Blue Note 8, 10:30 pm $55 • The Starlite Sisters Metropolitan Room 4 pm $24 êFreddie Bryant/Edsel Gomez; Tony Hewitt/Pete Malinverni
• Walter Williams Gitesha Trio Cleopatra’s Needle 8 pm êBill Cunliffe with Martin Wind, Tim Horner; John Merrill Mezzrow 8, 11 pm $20
• Ryan Carraher Group with Colin Edgar, Evan Waaraama, Greg Toro, Steve Wilkinson Mezzrow 8, 11 pm $20 • Art Baron Saint Peter’s Church 1 pm $10
Club Bonafide 7:30 pm $10 • Christopher McBride Trio with Jonathan Edward Thomas, Curtis Nowosad and guest • Yoshiki Miura; Alden Hellmuth Silvana 6, 7 pm
• Music Of Duke Ellington: Juilliard Jazz Orchestra Minton’s 6:30 pm êAlex Wintz Group; Harold Mabern Trio
Dizzy’s Club 7:30, 9:30 pm $40 • Erli Perez Trio with Takaaki Ottomo, Michael O’Brian Smalls 7:30, 10:30 pm $20
• Nate Sparks Band Dizzy’s Club 11:30 pm $10 North Square Lounge 12:30, 2 pm êTrio Elgar: Hans Koch, Florian Stoffner, Lionel Friedli
• Lena Bloch Quartet The Drawing Room 7 pm $15 êEd Cherry Trio Radegast Hall 7 pm Soup & Sound 8 pm $20
• George Burton Fat Cat 10:30 pm $10 • Jenna Mammina/Rolf Sturm Rockwood Music Hall Stage 3 7 pm $10 êRenku: Michaël Attias, John Hébert, Satøshi Takeishi
êDan Weiss solo JACK 7 pm $15 • Ike Sturm Saint Peter’s Church 5 pm
• Keisha St. Joan Jazz 966 8 pm The Stone 8:30 pm $20
• Niko Seibold Big Band with Daniel Dickinson, Kushal Talele, Michael Brinzer, • Kenny Brooks Tomi Jazz 11 pm
êHarry Allen Quartet with Joel Forbes, Alvin Atkinson Niall Bakkestad-Légare, Beserat Tafesse, Grant Smith, Armando Vergara,
Jazz at Kitano 8, 10 pm $32 êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki,
Andrew Karboski, Tony Speranza, Stuart Mack, Rémy Labbé, Oriol López, Robbie Lee, Anthony Tidd, Sean Rickman Village Vanguard 8:30, 10:30 pm $30
êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King Noel Mason, Hugh Stuckey, Mareike Wiening
Jazz Standard 7:30, 9:30 pm $35 ShapeShifter Lab 7 pm $8
• Yuma Uesaka KD’s 7:30 pm • Ai Murakami Quartet with Zaid Nasser, Sacha Perry, Lee Hudson;
• Russ Kassoff/Jay Anderson Knickerbocker Bar & Grill 9 pm $3.50 Hillel Salem Jam Session Smalls 4:30 pm 1 am $20 Thursday, May 18
êKenny Werner/Billy Drewes Mezzrow 8 pm $20 êWarren Wolf Standards Quartet with Alex Brown, Russell Hall, Rodney Green
• Viva Hermeto: Richard Boukas New School Brazilian Jazz Ensemble Smoke 7, 9, 10:30 pm $38 êHenry Butler Bar Lunàtico 8:30, 10 pm $10
New School Glass Box Theater 7:30 pm • Music For Chameleons: Jesse Harris, Will Graefe, Jeremy Gustin, Ben Davis • NanJo Lee Trio with with Matt Clohesy, Adam Arruda; Ben Monder Trio with
• Jack Kilby and The Front Line Shrine 6 pm The Stone 8:30 pm $20 Matt Brewer, Ben Perowsky Bar Next Door 6:30, 8:30, 10:30 pm $12
• Nick Semenykhin Trio Silvana 6 pm • Hendrick Helmer Trio with Geoff Burke, George Papageorge • Ronny Whyte’s Shades of Whyte with Boots Maleson, Sean Harkness, David Silliman,
• Antonio Ciacca Quartet; David Weiss Sextet Symphony Space Bar Thalia 7 pm Lou Caputo, Alex Nguyen Birdland 6 pm $25
Smalls 7:30, 10:30 pm $20 • Bill Stevens, Rich Russo, Gary Fogel • New York Voices: Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox,
êWarren Wolf Standards Quartet with Alex Brown, Russell Hall, Rodney Green Tomi Jazz 8 pm Laura Kinhan Birdland 8:30, 11 pm $40
Smoke 7, 9, 10:30 pm $38 êVijay Iyer Trio with Stephan Crump, Tyshawn Sorey • The Manhattan Transfer 45th Anniversary Celebration
• Adam Larson Quintet; Benny Benack III Group Village Vanguard 8:30, 10:30 pm $30 Blue Note 8, 10:30 pm $65
St. George’s Episcopal Church 7:30, 9:30 pm $15
• Julian Lage/Jesse Harris The Stone 8:30 pm $20 • Matthew Fries Trio Cavatappo Grill 9, 11 pm $10
êAfrica in the Americas—Cuba & Brazil: Arturo O’Farrill and Afro Latin Jazz Orchestra Monday, May 15 • Dan Furman Duo Cleopatra’s Needle 7 pm
with guest Letieres Leite Symphony Space Peter Jay Sharpe Theatre 8 pm $45 • Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino
• Takenori Nishiuchi Tomi Jazz 9 pm $10 êStephen Gauci, Adam Lane, Kevin Shea; Yoni Kretzmer, John Hébert, Billy Mintz
Club Bonafide 7:30, 9:30 pm $15
êVijay Iyer Trio with Stephan Crump, Tyshawn Sorey Artichoke Basille 8, 9, 10 pm $10 • Bill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8:30, 10:30 pm $30 • Sheryl Bailey Trio with Ron Oswanski, Ian Froman Dizzy’s Club 7:30, 9:30 pm $40
Bar Lunàtico 8:30, 10 pm $10 • David Weiss’ Point of Departure Fat Cat 10 pm $10
• David Kuhn Trio with Daniel Durst, Mario Irigoyen; Elisabeth Lohninger Trio with • Samuel Thomas/Alon Nechushtan Jalopy 8:30 pm $15
Saturday, May 13 Walter Fischbacher, Evan Gregor Bar Next Door 6:30, 8:30, 10:30 pm $12 • Ben Cassara Quintet with Scott Robinson, Addison Frei, Iris Ornig, Ronen Itzik
êThe Dizzy Gillespie Afro Cuban Experience: Freddie Hendrix, Antonio Hart, Jazz at Kitano 8, 10 pm $17
êLos Sueños del Caribe: Paquito D’Rivera and Delia Cruz Bronx High School of Music Abelita Mateus, John Lee, Tommy Campbell, Roger Squitero êDafnis Prieto Si O Si Quartet with Román Filiú, Manuel Valera, Johannes Weidenmueller
Ensemble American Museum of Natural History 3 pm Blue Note 8, 10:30 pm $35 The Jazz Gallery 7:30, 9:30 pm $25
êMichael Blake’s Red Hook Soul Bar Lunàtico 8:30, 10 pm $10 • TK Blue and Chembo Corniel Dino Above Dinosaur Bar-B-Que 8, 10 pm • Regina Carter’s Simply Ella with Brandon McCune, Marvin Sewell, Chris Lightcap,
• Paul Bollenback Trio with Noriko Ueda, Rogério Boccato êJazzmeia Horn with Stacy Dillard, Josh Evans, Frank Lacy, Victor Gould, Alvester Garnett Jazz Standard 7:30, 9:30 pm $30
Bar Next Door 7:30, 9:30, 11:30 pm $12 Barry Stephenson, Henry Conerway III • Verena McBee Metropolitan Room 9:30 pm $15
• Curtis Stigers Birdland 8:30, 11 pm $40 Dizzy’s Club 7:30, 9:30 pm $30 êBen Allison/Michael Wolff; Spike Wilner and guests
êChucho Valdés Quartet 75th Birthday Celebration • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 Mezzrow 8, 11 pm $20
Blue Note 8, 10:30 pm $55 • Shai Maestro solo Mezzrow 8 pm $20 • Lorenzo Cino Trio Shrine 6 pm
• Scot Albertson Trio with Lee Tomboulian, Ron Jackson • Randy Ingram Quartet; Ari Hoenig Group; Jonathan Michel Jam Session • Rodrigo Bonelli Septet Silvana 6 pm
Café Noctambulo 8 pm $15 Smalls 7:30, 10:30 pm 1 am $20
• Rocco John/Chris Forbes Caffe Vivaldi 6 pm êEddie Palmieri Subrosa 7, 9:30 pm $35-65 • Phil Markowitz Group; Sarah Slonim Jam
• Michika Fukumori Trio Cleopatra’s Needle 8 pm êLittle Johnny Rivero and His Giants with Craig Handy, Jonathan Powell, Alex Tosca, Smalls 7:30 pm 1 am $20
• Berta Moreno Quintet; CharlElie Couture Luques Curtis, Luis Quintero Subrosa 8, 10 pm $15 • Paul Jost with Jim Ridl, Dean Johnson, Tim Horner
Club Bonafide 7:30, 9:30 pm $10 • Yun Huang; Nicholas Brust Tomi Jazz 8, 11 pm Smoke 7, 9, 10:30 pm $12
êDan Weiss Trio with Jacob Sacks, Ben Street êShoko Nagai/Satoshi Takeishi The Stone 8:30 pm $20
Cornelia Street Underground 9, 10:30 pm $10 • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai
• Renaud Penant Trio with Pasquale Grasso Tuesday, May 16 Tomi Jazz 9 pm $10
Crimson and Rye 9 pm êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki,
• Music Of Duke Ellington: Juilliard Jazz Orchestra • Homage to Billie Holiday: Alvin Ailey Dance Company, Lizz Wright, Bettye LaVette, Anthony Tidd, Sean Rickman Village Vanguard 8:30, 10:30 pm $30
Dizzy’s Club 7:30, 9:30 pm $45 Deva Mahal, William Bell, Southside Johnny, Rachel Price • Liberté Big Band led by Zack O’Farrill
• Nate Sparks Big Band Dizzy’s Club 11:30 pm $20 Apollo Theater & Music Café 8 pm $43-144 Williamsburg Music Center 8 pm $10

42 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 Friday, May 19 Sunday, May 21 êDan Tepfer Trio with Thomas Morgan, Nate Wood
The Jazz Gallery 7:30, 9:30 pm $15
êCécile McLorin Salvant and Aaron Diehl Trio • Molly Ryan Birdland 6 pm $30 • Gil Gutiérrez Trio with Robert Stern, David Rodriguez
The Appel Room 7, 9:30 pm $120-140 • Jason Anick/Jason Yeager Group with Greg Loughman, Mike Connors and guest Jazz Standard 7:30, 9:30 pm $25
êAlternative Guitar Summit—Celebrating Danny Gatton: Oz Noy, Pete McCann,
• Ajoyo with Yacine Boulares Bar Lunàtico 8:30, 10 pm $10 Clay Lyons Blue Note 11:30 am 1:30 pm $35
Joel Harrison, Brandon Seabrook, Stephan Crump, Allison Miller; Anthony Pirog,
• Pasquale Grasso Trio with Ari Roland, Keith Balla • The Manhattan Transfer 45th Anniversary Celebration
Blue Note 8, 10:30 pm $65 Dave Chapell, John Previti, Barry Hart
Bar Next Door 7:30, 9:30, 11:30 pm $12 Joe’s Pub 9:30 pm $25
• New York Voices: Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox, êJane Ira Bloom Trio with Mark Helias, Bobby Previte
Laura Kinhan Birdland 8:30, 11 pm $40 Cornelia Street Underground 8:30 pm $10 • Antoine Drye with Glenn Patscha, Neal Caine; Tony Hewitt/Pete Malinverni
• Bill Charlap Trio with Peter Washington, Kenny Washington Mezzrow 8, 11 pm $20
• The Manhattan Transfer 45th Anniversary Celebration • Hot Club of Flatbush Radegast Hall 9 pm
Blue Note 8, 10:30 pm $65 Dizzy’s Club 7:30, 9:30 pm $35
• Afro-Latineers Drom 6:30 pm $15 • Wing Walker Orchestra Rockwood Music Hall Stage 3 7 pm $10
• Dona Carter Trio Cleopatra’s Needle 8 pm • Joan La Barbara’s The Wanderlusting of Joseph C. with Mario Diaz-Moresco,
• Kinan Azmeh Band with Kyle Sanna, Josh Myers, John Hadfield • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam
Fat Cat 6 pm 1 am $10 Lauren Flanigan, Julia Meadows and Ne(x)tworks: Shelley Burgon, Yves Dharamraj,
Cornelia Street Underground 9, 10:30 pm $10 Miguel Frasconi, Stephen Gosling, Christopher McIntyre, Kurt Ralske
êGil Evans Birthday Celebration: Gil Evans Orchestra led by Miles Evans with
• Istmo Trio: Magos Herrera, Vitor Gonçalves, Rogério Boccato
Flushing Branch Library 2 pm Roulette 8 pm $20
Pete Levin, Gil Goldstein, Mark Egan, Kenwood Dennard, Mino Cinelu, Shunzo Ohno, êSheila Jordan/Cameron Brown Saint Peter’s Church 1 pm $10
• Regina Carter’s Simply Ella with Brandon McCune, Marvin Sewell, Chris Lightcap,
Alex Sipiagin, David Bargeron, David Taylor, John Clark, Chris Hunter, Alex Foster,
Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 • Michel Maurer’s 4Bandits with Peyton Pleninger, Alex Levine, Dan Martinez
Alden Banta, Rob Scheps The Cutting Room 7:30 pm $20-25 êThe Ecstatic World of Alice Coltrane Turiyasangitananda: Sai Anantam Singers, ShapeShifter Lab 7 pm $10
• Bill Charlap Trio with Peter Washington, Kenny Washington Ravi Coltrane, Brandee Younger and guests • Youngbloods Shrine 6 pm
Dizzy’s Club 7:30, 9:30 pm $40 Knockdown Center 6 pm $30-40 • Jocelyn Shannon Quartet Silvana 6 pm
êJerome Jennings Fat Cat 10:30 pm $10 êBen Rosenblum with Curtis Lundy, Billy Hart; John Merrill • Christopher McBride and Whole Proof; Jimmy O’Connell Sextet; Aaron Seeber
• Stanley Jordan Trio Iridium 8:30 pm $30 Mezzrow 8, 11 pm $20 Jam Session Smalls 7:30, 10:30 pm 1 am $20
• Marlene VerPlanck Trio with Mike Renzi, Jay Leonhart • Dandy Wellington Minton’s 12 pm êAnthony Coleman Trio with Kim Cass, JT Lewis
Jazz at Kitano 8, 10 pm $32 • Christopher McBride Trio with Jonathan Edward Thomas, Curtis Nowosad and guest The Stone 8:30 pm $20
• Shai Maestro/Joel Ross Group The Jazz Gallery 7:30, 9:30 pm $22 Minton’s 6:30 pm • Michael Gallant; Dayeon Seok Tomi Jazz 8, 11 pm
• Regina Carter’s Simply Ella with Brandon McCune, Marvin Sewell, Chris Lightcap, • Ambrose Akinmusire, Shai Maestro, Theo Bleckmann êGerald Clayton Trio with Joe Sanders, Kendrick Scott
Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 National Sawdust 4 pm $34 Village Vanguard 8:30, 10:30 pm $30
• Kathleen Landis Knickerbocker Bar & Grill 9 pm $3.50 • Roz Corral Trio with Saul Rubin, Sam Bevan
• Ben Sidran with Alexis Cuadrado, Leo Sidran North Square Lounge 12:30, 2 pm
Mezzrow 8 pm $20 • The Rhythm Method String Quartet; The Choir Invisible: Charlotte Greve, Chris Tordini, Thursday, May 25
êCount Meets the Duke: Wynton Marsalis, Vincent Gardner, Rodney Whitaker and Vinnie Sperrazza The Owl Music Parlor 7, 9 pm $10
guests Rose Theater 8 pm $50-140 • Alex Simon Gypsy Swing Ensemble êAruán Ortiz Trio Bar Lunàtico 8:30, 10 pm $10
êThe Four Bags; Anti-Social Music; Noah Kaplan Quartet with Joe Morris, Radegast Hall 7 pm • Vaughn Stoffey Trio with Thomson Kneeland, Alex Ritz; Paul Carlon Trio with
Giacomo Merega, Jason Nazary ShapeShifter Lab 7, 8:15, 9:30 pm $15 • Ana Hernandez Saint Peter’s Church 5 pm Steve LaSpina, Matt Kane Bar Next Door 6:30, 8:30, 10:30 pm $12
• John Stetch Trio Silvana 6 pm • Ai Murakami Quartet with Zaid Nasser, Sacha Perry, Lee Hudson; Ari Ambrose Group; • Monday Michiru Birdland 6 pm $30
êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune
• Dave Stoler Trio; Mike Rodriguez Group Jon Beshay Jam Session Smalls 4:30, 7:30 pm 1 am $20
Birdland 8:30, 11 pm $40
Smalls 7:30, 10:30 pm $20 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond
Smoke 7, 9, 10:30 pm $40 êLarry Harlow and The Latin Legends Blue Note 8, 10:30 pm $30
êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond
Smoke 7, 9, 10:30 pm $40 êNed Rothenberg, Satoshi Takeishi and guest • Dave Gibson/Shenel Jones Cavatappo Grill 9, 11 pm $10
The Stone 8:30 pm $20 êSonelius Smith Duo Cleopatra’s Needle 7 pm
êShoko Nagai, Jonathan Goldberger, Stomu Takeishi, Satoshi Takeishi
The Stone 8:30 pm $20 • New York Jazzharmonic: Jay Rattman, Chris Ziemba, Ron Wasserman and guests • LehCats: Karen Stachel, Gary Fisher, Michael O’Brien, Daniel Gonzalez, Renato Thoms,
Jim Saporito, Harrison Hollingsworth Dave Solomon, Norbert Stachel Club Bonafide 9:30 pm $15
êRevolution X3: The Revolution Will Not Be Televised: Sex Mob: Steven Bernstein,
Briggan Krauss, Tony Scherr, Kenny Wollesen; Jaimeo Brown and Transcendence with Symphony Space Bar Thalia 7 pm • Bill Charlap Trio with Peter Washington, Kenny Washington
• Tsuyoshi Yamamoto Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $40
Chris Sholar, Jaleel Shaw; Martha Mooke and Rahzel • Dan Chmielinski Dizzy’s Club 11:30 pm $10
Symphony Space Peter Jay Sharpe Theatre 8 pm $65 êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki,
Anthony Tidd, Sean Rickman Village Vanguard 8:30, 10:30 pm $30 • Johnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $20
• Julio Botti Tomi Jazz 9 pm $10 • David Lopato and Global Coolant with Lucas Pino, Bill Ware, Ratzo Harris,
êLost Jazz Shrines: Remembering Art Blakey and the Jazz Messengers at Michael Sarin Jazz at Kitano 8, 10 pm $17
Mikell’s Jazz Club: Brian Lynch, Javon Jackson, Bobby Watson, Johnny O’Neal,
Essiet Okon Essiet, Ralph Peterson Monday, May 22 êDan Tepfer Trio with Thomas Morgan, Nate Wood
The Jazz Gallery 7:30, 9:30 pm $15
Tribeca Performing Arts Center 8:30 pm $30 êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
êStephen Gauci, Adam Lane, Kevin Shea; Ras Moshe Burnett, Dafna Naphtali,
êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki, Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel,
Anthony Tidd, Sean Rickman Village Vanguard 8:30, 10:30 pm $30 Sean Conly, Dave Miller Artichoke Basille 8, 9, 10 pm $10
êOscar Noriega Trio with Trevor Dunn, Dan Weiss Augie Haas, Scott Wendholt, Mike Rodriguez, Ryan Keberle, Marshall Gilkes,
êNew York Guitar Festival Ragas Marathon: Debashish Bhattacharya; George Flynn, Marcus Rojas, Wendy Gilles, Frank Kimbrough, Jay Anderson,
Bar Lunàtico 8:30, 10 pm $10
Anupam Shobhakar; Gyan Riley, Krishna Bhatt, Dan Weiss; Debashish Bhattacharya; • Noah Gershwin Trio with Dan Pappalardo, Faron Tilson; Michelle Walker Trio with Lewis Nash Jazz Standard 7:30, 9:30 pm $30
Rez Abassi Quartet Winter Garden 8 am Q Morrow, Michael O’Brien Bar Next Door 6:30, 8:30, 10:30 pm $12 • David Bryant with Yasushi Nakamura, Mark Whitfield. Jr.; Spike Wilner and guests
• Peter Hand Big Band with Dave Pietro, Chris Hemingway, Camille Thurman, êInspired—Celebrating Jim Hall: John Abercrombie, Peter Bernstein, Rale Micic, Mezzrow 8, 11 pm $20
Ralph Lalama, Kenny Berger, Kevin Bryan, Valery Ponomarev, Eddie Allen, John Bailey, Lage Lund Blue Note 8, 10:30 pm $20 êSPACE: Roscoe MItchell, Thomas Buckner, Scott Robinson;
John Mosca, Corey Wallace, Sam Burtis, James Weidman, Daryl Johns, Steve Johns • Yaniv Taubenhouse Trio with Rick Rosato, Jerad Lippi Reggie Nicholson Percussion Concept with Bryan Carrott, Baba Don Eaton,
Zinc Bar 8 pm $20 Cornelia Street Underground 8:30 pm $10 Patience Higgins Roulette 8 pm $20
• Chris Cheek Berklee Quintet Dizzy’s Club 7:30, 9:30 pm $35 • Paul Shapiro Russ & Daughters Café 8 pm
• Ben Patterson; Billy Kaye Jam Fat Cat 6 pm 12:30 am $10 • Balto Exclamationpoint Silvana 6 pm
Saturday, May 20 • David Cook with John Ellis, Gary Wang • Loren Stillman Group; Behn Gillece Quartet with Nate Radley, Ugonna Okegwo,
Mezzrow 8 pm $20 Jason Tiemann; Jonathan Thomas Jam Session
êCécile McLorin Salvant and Aaron Diehl Trio • Jesse Byron-Carter Silvana 6 pm Smalls 7:30, 10:30 pm 1 am $20
The Appel Room 7, 9:30 pm $120-140 • Matt Pavolka’s Horns Band; Jonathan Michel Jam Session • Emmet Cohen Trio with Russell Hall, Kyle Poole
• Alex Wintz Trio with Dave Baron, Jimmy Macbride Smalls 7:30 pm 1 am $20 Smoke 7, 9, 10:30 pm $12
Bar Next Door 7:30, 9:30, 11:30 pm $12 • Vadim Neselovskyi Trio with Dan Loomis, Ronen Itzik and guest Sara Serpa êAnthony Coleman/Brian Chase The Stone 8:30 pm $20
• New York Voices: Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox, The Stone 8:30 pm $20 • Senri Oe Tomi Jazz 9 pm $10
Laura Kinhan Birdland 8:30, 11 pm $40 • Wishing on Stars; Dorian Devins Tomi Jazz 8, 11 pm êGerald Clayton Trio with Joe Sanders, Kendrick Scott
• The Manhattan Transfer 45th Anniversary Celebration Village Vanguard 8:30, 10:30 pm $30
Blue Note 8, 10:30 pm $65 • Justin Mullens/Dan Pugach Big Band
êMichael Carvin Trio with Jansen Cinco, Yayoi Ikawa Tuesday, May 23 Williamsburg Music Center 8 pm $10
The Cell 8, 9:30 pm $20
• Alan Rosenthal Trio • Horace Bray Trio with Tamir Schmerling, Nolan Byrd; Sam Zerna Trio with
Cleopatra’s Needle 8 pm
• Polyrhythmic: Greg Spero, Hadrien Feraud, Mike Mitchell, Dario Chiazzolino Hugh Stuckey, Adam Arruda Bar Next Door 6:30, 8:30, 10:30 pm $12 Friday, May 26
Club Bonafide 9:30, 11 pm $15 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune
êFrancisco Mela and The Crash Trio with Tony Malaby, Leo Genovese, Gerald Cannon Birdland 8:30, 11 pm $40 • Kendra Shank Group 55Bar 6, 7:45 pm
Cornelia Street Underground 9, 10:30 pm $10 • Stanton Moore Blue Note 8, 10:30 pm $25 • Michael Valeanu Trio with Rick Rosato, Jake Goldbas
• Marianne Solivan Quartet Cavatappo Grill 8, 10 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12
• Bill Charlap Trio with Peter Washington, Kenny Washington êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune
Dizzy’s Club 7:30, 9:30 pm $45 • Ross Kratter Jazz Orchestra Club Bonafide 7:30, 9:30 pm $20
• Bill Charlap Trio with Peter Washington, Kenny Washington Birdland 8:30, 11 pm $40
• Lena Bloch/Roberta Piket Duo The Drawing Room 7:30 pm $15 êLarry Harlow and The Latin Legends Blue Note 8, 10:30 pm $30
• Eric Wheeler; Greg Glassman Jam Dizzy’s Club 7:30, 9:30 pm $35
• Dan Chmielinski Dizzy’s Club 11:30 pm $5 • Art Lillard Trio Cleopatra’s Needle 8 pm
Fat Cat 10 pm 1:30 am $10 • Bill Charlap Trio with Peter Washington, Kenny Washington
êMiklós Lukács, Harish Raghavan, Eric Harland
• André Matos solo; David Ambrosio/Russ Meissner Sextet with Loren Stillman, Drom 7 pm $15 Dizzy’s Club 7:30, 9:30 pm $40
Matt Renzi, Nate Radley, Leonard Thompson • Saul Rubin Zebtet Fat Cat 7 pm $10 • Dan Chmielinski Dizzy’s Club 11:30 pm $10
Greenwich House Music School 7:30 pm $18 • Angelo Di Loreto solo Jazz at Kitano 8 pm • David Weiss’ Point of Departure Fat Cat 10:30 pm $10
êJane Ira Bloom Quartet with Dominic Fallacaro, Mark Helias, Matt Wilson
• Dave Kikoski Trio with Joe Martin, Justin Faulkner • Mwenso and The Shakes Ginny’s Supper Club 7:30, 9:30 pm $20
Jazz at Kitano 8, 10 pm $32 Jazz Standard 7:30, 9:30 pm $25 • The Treehouse All-Stars: Dave Frank, Richard Tabnik, Jimmy Halperin, Frank Canino,
êPhalanx Trio: Matt Mitchell, Kim Cass, Kate Gentile Billy Mintz Hari NYC 9 pm
êTom Rainey Trio with Mark Feldman, Christopher Hoffman; Richard Sears, Román Filiú,
The Jazz Gallery 7:30, 9:30 pm $22 Martin Nevin, Craig Weinrib Korzo 9, 10:30 pm • Oz Noy Boogaloo Experience Band with Jerry Z, Will Lee, Bernard “Pretty” Purdie
• Regina Carter’s Simply Ella with Brandon McCune, Marvin Sewell, Chris Lightcap, • Libby York with John di Martino, Dave Finck; Miki Yamanaka/Adi Myerson Polite Iridium 8:30, 10:30 pm $27.50
Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 Jam Session Mezzrow 8, 11 pm $20 • Gene Bertoncini Trio with Melissa Stylianou, Ike Sturm
• Kathleen Landis Knickerbocker Bar & Grill 9 pm $3.50 • Bruno Råberg’s Triloka with Layth Sidiq, Bengisu Gokce, Dan Lay, Naseem Alatrash Jazz at Kitano 8, 10 pm $32
êNels Cline Four with Julian Lage, Scott Colley, Tom Rainey ShapeShifter Lab 8 pm $10 êJoel Ross with Carl Hancock Rux, Immanuel Wilkins, Sam Harris, Harish Raghavan,
Le Poisson Rouge 7:30 pm $30 • Tom Blatt Project Shrine 6 pm Tyshawn Sorey The Jazz Gallery 7:30, 9:30 pm $22
• Sonya Perkins; Luiz Simas/Wesley Amorim êTheo Hill Trio; Abraham Burton Quartet êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro,
Metropolitan Room 4, 7 pm $20-25 Smalls 7:30, 10:30 pm $20 Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel,
• Ben Sidran with Alexis Cuadrado, Leo Sidran êAnthony Coleman Trio with Marty Ehrlich, Kim Cass Augie Haas, Scott Wendholt, Mike Rodriguez, Ryan Keberle, Marshall Gilkes,
Mezzrow 8 pm $20 The Stone 8:30 pm $20 George Flynn, Marcus Rojas, Wendy Gilles, Frank Kimbrough, Jay Anderson,
êCount Meets the Duke: Wynton Marsalis, Vincent Gardner, Rodney Whitaker and • Pedrito Martinez Group Subrosa 7, 9 pm $15 Lewis Nash Jazz Standard 7:30, 9:30 pm $35
guests Rose Theater 8 pm $50-140 • Devenny Bennett; Michael Vital; Takaaki Otomo • Bob Gingery Trio KD’s 7:30 pm
• B.J. Jansen Shrine 6 pm Tomi Jazz 8, 9:40, 11 pm êValerie Capers/John Robinson Knickerbocker Bar & Grill 9 pm $3.50
êOnaje Allan Gumbs Sistas’ Place 9, 10:30 pm $20 êGerald Clayton Trio with Joe Sanders, Kendrick Scott • Thelonious Monk 100: PUBLIQuartet with guest James Carter
• Ralph Lalama Bop-Juice with Alex Claffy, Clifford Barbaro; Mike Rodriguez Group; Village Vanguard 8:30, 10:30 pm $30 Metropolitan Museum Grace R. Rogers Aud. 7 pm $40
Philip Harper Quintet Smalls 7:30, 10:30 pm 1 am $20 • Bruce Barth/Ray Drummond Mezzrow 8, 11 pm $20
êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond
• Willie Alvarez S.O.B.’s 8, 10 pm $15
Smoke 7, 9, 10:30 pm $40 Wednesday, May 24 • Harry Smith Quartet with Daniel Berkey, Alex Karakis, Nick Dunston
êErik Friedlander, Nate Wooley, Satoshi Takeishi
ShapeShifter Lab 9:30 pm $10
The Stone 8:30 pm $20 êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune • Takeshi Otani Band Shrine 6 pm
• Ken Kobayashi Tomi Jazz 8 pm $10 Birdland 8:30, 11 pm $40 • Russ Nolan Quartet; Michael Dease Sextet
• Stanton Moore Blue Note 8, 10:30 pm $25 Smalls 7:30, 10:30 pm $20
• Made in New York 4th Annual International Jazz Gala with Lenny White, John Benitez, êMiles Davis Celebration: Eddie Henderson Quintet with Eric Alexander, George Cables
Yaacov Mayman Tribeca Performing Arts Center 7:30 $45 • Dan Chmielinski Dizzy’s Club 11:30 pm $5
• Bill Charlap Trio with Peter Washington, Kenny Washington Smoke 7, 9, 10:30 pm $40
êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki, êAnthony Coleman, Simon Hanes, Connor Baker
Anthony Tidd, Sean Rickman Village Vanguard 8:30, 10:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $35
• Raphael D’lugoff Trio +1; Ned Goold Jam The Stone 8:30 pm $20
• Rogiérs Williamsburg Music Center 9 pm $10 • Rale Micic Duo Symphony Space Bar Thalia 9 pm
• Christian Scott aTunde Adjuah with Logan Richardson, Lawrence Fields, Fat Cat 7 pm 12:30 am $10
• Jaimoe’s Jasssz Band Iridium 8:30 pm $25-35 • Takenori Nishiuchi Tomi Jazz 9 pm $10
Luques Curtis, Corey Fonville, Themba Mkhatshwa, Weedie Braimah êGerald Clayton Trio with Joe Sanders, Kendrick Scott
Zankel Hall 9 pm $45-53 • Kristiana Roemer Trio Jazz at Kitano 8, 10 pm $17
Village Vanguard 8:30, 10:30 pm $30

THE NEW YORK CITY JAZZ RECORD | MAY 2017 43

 Saturday, May 27 • Camila Meza Nectar Orchestra with Noam Wiesenberg, Eden Ladin, Keita Ogawa,
• Ben Eunson Trio with Zaaturdaych Brown, Kush Abadey
Bar Next Door 7:30, 9:30, 11:30 pm $12
Tomoko Omura, Fung Chern Hwei, Benjamin von Gutzeit, Adam Fisher
The Jazz Gallery 7:30, 9:30 pm $15
• Helen Sung’s Sung with Words with Ingrid Jensen, John Ellis, Boris Kozlov, RE G U L AR ENGAGE MENTS
êFour Generations of Miles: Jimmy Cobb, Mike Stern, Buster Williams, Sonny Fortune Kendrick Scott and guests Christie Dashiell, Carolyn Leonhart, Vuyo Sotashe
Birdland 8:30, 11 pm $40 Jazz Standard 7:30, 9:30 pm $25 M O N D AY
êLarry Harlow and The Latin Legends Blue Note 8, 10:30 pm $30 êVision Festival: Yoshiko School of Hard Knocks; String Stories: Miya Masaoka,
• Fuku and Chihiro Trio Cleopatra’s Needle 8 pm Robert Dick, Joëlle Léandre; Jazz and Poetry Choir Collective: Michael T.A. Thompson, • Grove Street Stompers Arthur’s Tavern 7 pm
• Chuño: Franco Pinna/Sofia Tosello Club Bonafide 7:30 pm $15 E.J. Antonio, Rosie Hertlein, Larry Roland, Golda Solomon, Phylisha Villanueva, • Svetlana and the Delancey 5
êGuillermo Klein Sextet with Miguel Zenón, Seamus Blake, Tirman Deus, Matt Pavolka, Warren Smith; Tomas Fujiwara Double Trio with Gerald Cleaver; Ralph Alessi, The Back Room 8:30 pm
Rodrigo Recabarren Cornelia Street Underground 9, 10:30 pm $10 Taylor Ho Bynum, Mary Halvorson, Brandon Seabrook; Trio 3: Oliver Lake, • Earl Rose solo; Earl Rose Trio
• Bill Charlap Trio with Peter Washington, Kenny Washington Reggie Workman, Andrew Cyrille Judson Memorial Church 6:30 pm $40 Bemelmans Bar 5:30, 9 pm
Dizzy’s Club 7:30, 9:30 pm $45 • Sam Ospovat Trio with Matt Mitchell, Kim Cass • Roger Lent solo Cavatappo Grill 7 pm
• Dan Chmielinski Dizzy’s Club 11:30 pm $20 Korzo 9, 10:30 pm • Woody Allen and Eddy Davis New Orleans Jazz Band
• Mwenso and The Shakes Ginny’s Supper Club 7:30, 9:30 pm $20 • Deanna Kirk; Miki Yamanaka/Adi Myerson Polite Jam Session Café Carlyle 8:45 pm $165
êBern Nix Quartet with Matt Lavelle, François Grillot, Reggie Sylvester; Gabby G and Mezzrow 8, 11 pm $20 • Nathan Brown Duo Cleopatra’s Needle 8 pm
The Heavy Hitters: Gabrielle Garo, Matthew Whitaker, Wes Whitelock, • JG Thirlwell’s Cholera Nocebo Roulette 8 pm $20 • Vince Giordano and The Nighthawks
Donovan Marshall Henry Winston Unity Hall 7:30, 8:30 pm • Marco Bolfelli Silvana 6 pm Iguana 8 pm
• Leila Bordreuil, Matt Mitchell, Will Mason Trio; Marc Hannaford Trio with Simon Jermyn, êSteve Nelson; Abraham Burton Smalls 7:30, 10:30 pm $20 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25
Satoshi Takeishi Ibeam Brooklyn 8 pm $15 • Joe Morris, Jaimie Branch, Brandon Lopez • Glenn Crytzer Orchestra Kola House 7:30 pm
• Oz Noy Boogaloo Experience Band with Jerry Z, Will Lee, Bernard “Pretty” Purdie The Stone 8:30 pm $20 • Jazz Foundation of American Jam Session
Iridium 8:30, 10:30 pm $27.50 • Javon Jackson Quartet with Jeremy Manasia, David Williams, McClenty Hunter Local 802 7 pm
êDaryl Sherman Trio with James Chirillo, Boots Maleson Village Vanguard 8:30, 10:30 pm $30 • Vincent Herring Quartet and Smoke Jam Session
Jazz at Kitano 8, 10 pm $32 Smoke 7, 9, 10:30 pm
êJoel Ross with Carl Hancock Rux, Immanuel Wilkins, Sam Harris, Harish Raghavan, • Swingadelic Swing 46 8:30 pm
Tyshawn Sorey The Jazz Gallery 7:30, 9:30 pm $22 Wednesday, May 31 • Vanguard Jazz Orchestra
êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Village Vanguard 8:30, 10:30 pm $30
Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel, êRavi Coltrane Birdland 8:30, 11 pm $40
Augie Haas, Scott Wendholt, Mike Rodriguez, Ryan Keberle, Marshall Gilkes, êMcCoy Tyner Blue Note 8, 10:30 pm $45 T U E S D AY
George Flynn, Marcus Rojas, Wendy Gilles, Frank Kimbrough, Jay Anderson, êLouis Hayes Serenade For Horace Silver with Abraham Burton, Josh Evans,
Lewis Nash Jazz Standard 7:30, 9:30 pm $35 Steve Nelson, David Bryant, Dezron Douglas • Nick West’s Westet Analogue 7 pm
• Bruce Barth/Ray Drummond Mezzrow 8, 11 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm
• Dillon Mansour Trio Shrine 6 pm • Micah Thomas Dizzy’s Club 11:30 pm $5 • Art Hirahara Trio Arturo’s 8 pm
• Rodrigo Bonelli Septet Silvana 7 pm • Raphael D’lugoff Trio +1; Ned Goold Jam • Joel Forrester solo The Astor Room 6 pm
êGreg Lewis Organ Monk Sistas’ Place 9, 10:30 pm $20 Fat Cat 7 pm 12:30 am $10 • Chris Gillespie; Loston Harris
êOliver Lake Group; Michael Dease Sextet; Brooklyn Circle: Stacy Dillard, Diallo House, • Jocelyn Medina Trio with Haidar Noiberg, Pete McCann, Evan Gregor, Mark Ferber Bemelmans Bar 5:30, 9:30 pm
Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20 Jazz at Kitano 8, 10 pm $17 • Marc Devine Trio Cleopatra’s Needle 8 pm
êMiles Davis Celebration: Eddie Henderson Quintet with Eric Alexander, George Cables • Glenn Zaleski Trio with Rufus Reid, Craig Weinrib • Ronnie Burrage and The Robu Trio
Smoke 7, 9, 10:30 pm $40 Jazz Standard 7:30, 9:30 pm $25 The Five Spot Brooklyn 6 pm $10
êAnthony Coleman solo The Stone 8:30 pm $20 êVision Festival: Visionary Youth Orchestra directed by Jeff Lederer and Jessica Jones; • Vince Giordano and The Nighthawks
• Aimee Allen Symphony Space Bar Thalia 9 pm Mat Maneri, Matthew Shipp, Whit Dickey; K.J. Holmes/Jeremy Carlstedt; Iguana 8 pm
• Ken Kobayashi; Emi Takada; Paul Lee Jason Kao Hwang’s Burning Bridge with Taylor Ho Bynum, Joe Daley, Steve Swell, • Annie Ross The Metropolitan Room 9:30 pm $25
Tomi Jazz 6, 8, 11 pm $10 Wang Guowei, Sun Li, Ken Filiano, Andrew Drury; Tracie Morris; Charles Gayle Trio with • Mona’s Hot Four Jam Session
êGerald Clayton Trio with Joe Sanders, Kendrick Scott William Parker, Michael TA ThompsonJudson Memorial Church 6:30 pm $40 Mona’s 11 pm
Village Vanguard 8:30, 10:30 pm $30 • Art Hirahara; Tony Hewitt/Pete Malinverni • Mike LeDonne Quartet; Emmet Cohen Band
Mezzrow 8, 11 pm $20 Smoke 7, 9, 10:30, 11:30 pm
êJohn Zorn’s The Stone Commissioning Series: Ikue Mori • George Gee Orchestra Swing 46 8:30 pm
Sunday, May 28 National Sawdust 7 pm $25
• Nick Fraser with Tony Malaby, Kenny Warren, Brandon Lopez
• Evolution Series Jam Session
Zinc Bar 11 pm
• Renaud Penant Trio with Pasquale Grasso Rye 10:30 pm
Bistro Jules 7:30 pm • Cecilia Coleman Big Band Saint Peter’s Church 1 pm $10 W E D N E S D AY
• Steven Feifke Trio with Raviv Markovitz, Bryan Carter • Nathanael Koenig Silvana 6 pm
Blue Note 11:30 am 1:30 pm $35 • Melissa Aldana Quintet with Philip Dizack, Sam Harris, Pablo Menares, Kendrick Scott; • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
êLarry Harlow and The Latin Legends Blue Note 8, 10:30 pm $30 Adam Birnbaum Group Smalls 7:30, 10:30 pm $20 • Monika Oliveira Analogue 7 pm
• Bill Charlap Trio with Peter Washington, Kenny Washington • Ben Hall, Andria Nicodemou, Joe Morris • Eve Silber Arthur’s Tavern 7 pm
Dizzy’s Club 7:30, 9:30 pm $35 The Stone 8:30 pm $20 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
• Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • The Highliners Tomi Jazz 8 pm • Chris Gillespie; Loston Harris
Fat Cat 6 pm 1 am $10 • Javon Jackson Quartet with Jeremy Manasia, David Williams, McClenty Hunter Bemelmans Bar 5:30, 9:30 pm
• Stanley Jordan Trio Iridium 8:30 pm $30 Village Vanguard 8:30, 10:30 pm $30 • David Ostwald’s Louis Armstrong Centennial Band
êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, êJacob Sacks, Yoon Sun Choi, Eivind Opsvik, Dan Weiss Birdland 5:30 pm $20
Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel, Weill Recital Hall at Carnegie Hall 8 pm $35 • Les Kurtz Trio Cleopatra’s Needle 7 pm
Augie Haas, Scott Wendholt, Mike Rodriguez, Ryan Keberle, Marshall Gilkes, • Django Big Band and Jam Session
George Flynn, Marcus Rojas, Wendy Gilles, Frank Kimbrough, Jay Anderson, The Django 8 pm
Lewis Nash Jazz Standard 7:30, 9:30 pm $30 • Mark Kross and Louise Rogers WaHi Jazz Jam
• Dave Stryker; John Merrill/Friends Mezzrow 8, 11 pm $20 Le Chéile 8 pm
• Dandy Wellington Minton’s 12 pm • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam
• Christopher McBride Trio with Jonathan Edward Thomas, Curtis Nowosad and guest Smoke 7, 9, 10:30, 11:30 pm
Minton’s 6:30 pm
• Kelsey Jillette Trio North Square Lounge 12:30, 2 pm T H U R S D AY
• Chanda Rule Saint Peter’s Church 5 pm
êGary Thomas, Mark Whitfield, Davis Whitfield, Lonnie Plaxico, Ralph Peterson • Jazz Jam Session American Legion Post 7:30 pm
ShapeShifter Lab 7 pm $10 • Chris Gillespie; Loston Harris
• Ai Murakami Quartet with Zaid Nasser, Sacha Perry, Lee Hudson; JD Walter Quintet; Bemelmans Bar 5:30, 9:30 pm
Jerry Weldon Group; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm
êMiles Davis Celebration: Eddie Henderson Quintet with Eric Alexander, George Cables • Stan Rubin Orchestra Swing 46 8:30 pm
Smoke 7, 9, 10:30 pm $40 • Rob Duguay’s Low Key Trio
êImprov Night—A Stone Benefit: Anthony Coleman, John Zorn, Okkyung Lee and Turnmill NYC 11 pm
guests The Stone 8:30 pm $20
• Kengo Yamada Tomi Jazz 8 pm F R I D AY
êJohn Zorn, Steve Coleman, Christian McBride, Tyshawn Sorey
Village Vanguard 3 pm $35 • Eri Yamamoto Trio Arthur’s Tavern 7 pm
êGerald Clayton Trio with Joe Sanders, Kendrick Scott • Birdland Big Band Birdland 5:15 pm $25
Village Vanguard 8:30, 10:30 pm $30 • Gerry Eastman Quartet Williamsburg Music Center 10 pm
• The Crooked Trio Barbès 5 pm
• Chris Gillespie; Loston Harris
Monday, May 29 Bemelmans Bar 5:30, 9:30 pm
• Nico Soffiato Nha Minh 7 pm
• Ben Monder Trio with Matt Brewer, Ben Perowsky • Patience Higgins Sugar Hill Quartet
Bar Lunàtico 8:30, 10 pm $10 Smoke 11:45 pm 12:45 am
• Mark Phillips Trio with Hugh Stuckey, Sam Zerna; Brenda Earle Trio with Craig Earle,
Alex Goodman Bar Next Door 6:30, 8:30, 10:30 pm $12 S AT U R D AY
• Julie Eigenberg with Ray Gallon, Alex Blake, Tommy Campbell, Ray Gallon
Blue Note 8, 10:30 pm $20 • Eri Yamamoto Trio Arthur’s Tavern 7 pm
êLouis Hayes Serenade For Horace Silver with Abraham Burton, Josh Evans, • Bill Saxton and the Harlem Bebop Band
Steve Nelson, David Bryant, Dezron Douglas Bill’s Place 8, 10 pm $20
Dizzy’s Club 7:30, 9:30 pm $35 • Chris Gillespie; Loston Harris
• Renato Diz/Maria Quintanilla Joe’s Pub 7 pm $20 Bemelmans Bar 5:30, 9:30 pm
êVision Festival—Lifetime Achievement Cooper-Moore: Hamid Drake/Patricia Nicholson; • Bill Saxton and the Harlem Bebop Band
Digital Primitives: Cooper-Moore, Assif Tsahar, Chad Taylor and guest Brian Price; Bill’s Place 8, 10 pm $20
Black Host: Gerald Cleaver, Cooper-Moore, Brandon Seabrook, Pascal Niggenkemper, • Eric Comstock/Sean Smith
Darius Jones; Carl Hancock Rux; In Order to Survive: Cooper-Moore, William Parker, Birdland 6 pm $30
Rob Brown, Hamid Drake Judson Memorial Church 6:30 pm $40 • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm
êValerie Capers/John Robinson Knickerbocker Bar & Grill 9 pm $3.50 • Assaf Kehati Duo Il Gattopardo 11:30 am
• Hetty Kate with Peter Bernstein, Neal Miner • Johnny O’Neal Smoke 11:45 pm 12:45 am
Mezzrow 8, 11 pm $20
• Jon De Lucia Octet with Marc Schwartz, John Ludlow, Aidan O’Donnell, Stefan Vasnier, S U N D AY
Jay Rattman, Steve Little, Brad Mulholland
Sir D’s 8 pm • Sam Martinelli Trio Analogue 6:30 pm
êEddie Palmieri Subrosa 7, 9:30 pm $35-65 • Creole Cooking Jazz Band; Stew Cutler and Friends
• Joëlle Léandre/Mat Maneri Zürcher Gallery 8 pm $15 Arthur’s Tavern 7, 10 pm
• Peter Mazza Trio Bar Next Door 8, 10 pm $12
• Earl Rose solo; Billy Stritch and Jim Caruso Trio
Tuesday, May 30 Bemelmans Bar 5, 9 pm
• Arturo O’Farrill Afro Latin Jazz Orchestra
• Sarah Cabral/Chico Pinheiro Bar Lunàtico 8:30, 10 pm $10 Birdland 9, 11 pm $30
• Michael Bliss Trio with Mark McIntyre; Aron Cacares; David Rosenthal Trio with • Glenn Crytzer Trio Blacktail 8 pm
Coleman Bartels, Nathaniel Schroede • Gabrielle Stravelli Cavatappo Grill 12:30 pm
Bar Next Door 6:30, 8:30, 10:30 pm $12 • Broc Hempel/Sam Trapchak/Christian Coleman Trio
êRavi Coltrane Birdland 8:30, 11 pm $40 Dominie’s Astoria 9 pm
êMcCoy Tyner Blue Note 8, 10:30 pm $45 • The EarRegulars The Ear Inn 8 pm
• Dennis Joseph Quartet Cavatappo Grill 8, 10 pm $10 • Joel Forrester solo Grace Gospel Church 11 am
êLouis Hayes Serenade For Horace Silver with Abraham Burton, Josh Evans, • Tony Middleton Trio Jazz at Kitano 12 pm $40
Steve Nelson, David Bryant, Dezron Douglas • Marjorie Eliot/Rudell Drears/Sedric Choukroun
Dizzy’s Club 7:30, 9:30 pm $35 Parlor Entertainment 4 pm
• Micah Thomas Dizzy’s Club 11:30 pm $5 • Lu Reid Jam Session Shrine 4 pm
• Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop • Annette St. John; Wilerm Delisfort Quartet
Fat Cat 7, 9 pm 12:30 am $10 Smoke 11:30 am 11:45 pm
• Chris Ziemba solo Jazz at Kitano 8 pm • Sean Smith and guest Walker’s 8 pm

44 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

 CLUB DIRECTORY
• 440Gallery 440 Sixth Avenue, Brooklyn • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • New School Glass Box Theater 55 West 13th Street
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-229-5600 Subway: F, V to 14th Street www.newschool.edu
• 55Bar 55 Christopher Street (212-929-9883) • First Unitarian Church 50 Pierrepont Street, Brooklyn • Nhà Minh 485 Morgan Avenue
Subway: 1 to Christopher Street www.55bar.com (718-624-5466) Subway: M, R to Court Street www.fuub.org (718-387-7848) Subway: L to Graham Avenue
• 92nd Street Y Lexington Avenue at 92nd Street • The Five Spot 459 Myrtle Avenue, Brooklyn (718-852-0202) www.nhaminh.squarespace.com
(212-415-5500) Subway: 6 to 96th Street www.92y.org Subway: G to Clinton/Washington www.fivespotsoulfood.com • North Square Lounge 103 Waverly Place (212-254-1200)
• Aaron Davis Hall 133rd Street and Convent Avenue • Flushing Branch Library 41-17 Main Street Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
(212-650-7100) Subway: 1 to 137th Street/City College www.adhatccny.org (718-661-1200) Subway: 7 to Main Street • Nublu 62 Avenue C between 4th and 5th Streets
• Alwan for the Arts 16 Beaver Street, 4th floor • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-979-9925) Subway: F, V to Second Avenue www.nublu.net
(646-732-3261) Subway: 4, 5 to Bowling Green www.alwanforthearts.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • The Owl Music Parlor 497 Rogers Avenue, Brooklyn
• American Folk Art Museum 65th Street at Columbis Avenue • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Parlor Entertainment 555 Edgecombe Ave. #3F
• American Legion Post 248 West 132nd Street • Grace Gospel Church 589 East 164th Street (212-781-6595) Subway: C to 155th Street  www.parlorentertainment.com
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (718-328-0166) Subway: 2, 5 to Prospect Avenue • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway
• American Museum of Natural History 79th Street and Central Park West • Greenwich House Music School 46 Barrow Street • Radegast Hall 113 North 3rd Street
(212-769-5100) Subway: B, C to 81st Street-MNH www.amnh.org (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com
• An Beal Bocht Café 445 W. 238th Street • Halyard’s 406 3rd Avenue, Brooklyn • Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: 1 to 238th Street www.LindasJazzNights.com (718-532-8787) Subway: R to 9th Street www.barhalyards.com Subway: F, V to Second Avenue www.rockwoodmusichall.com
• Analogue 19 West 8th Street (212-432-0200) • Happylucky no.1 734 Nostrand Avenue • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Apollo Theater & Music Café 253 W. 125th Street • Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street • Roulette 509 Atlantic Avenue
(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street • Harlem Safe House Jazz Parlor 27 Mount Morris Park West (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
www.apollotheater.org (between W. 122nd and 123rd Streets) (212-662-7779) • Russ & Daughters Café 127 Orchard Street 127 Orchard Street
• The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: 2, 3 to 125th Street www.welcometoharlem.com (212-475-4881) Subway: F to Delancey Street
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Henry Winston Unity Hall 235 W. 23rd Street, 7th floor www.russanddaughterscafe.com
• Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1 to 23rd Street www.facebook.com/NewMassesNights • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue
Subway: 1 to Christopher Street www.arthurstavernnyc.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • S.O.B.’s 204 Varick Street
• Artichoke Basille 18 Wyckoff Avenue Subway: F to 4th Avenue www.ibeambrooklyn.com (212-243-4940) Subway: 1 to Varick Street www.sobs.com
(718-386-0333) Subway: L to DeKalb Avenue www.artichokepizza.com • Iguana 240 West 54th Street (212-765-5454) • St. George’s Episcopal Church 4 Rutherford Place
• Arturo’s 106 W. Houston Street (at Thompson Street) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com (646-723-4178) Subway: L to Third Avenue www.calvarystgeorges.org
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Il Gattopardo 13-15 W. 54th Street • Saint Peter’s Church 619 Lexington Avenue at 54th Street
• The Astor Room 34-12 36th Street, Queens (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Sankofa Aban
(718-255-1947) Subway: M, R to Steinway Street www.astorroom.com www.ilgattopardonyc.com • Scholes Street Studio 375 Lorimer Street (718-964-8763)
• Bar Lunàtico 486 Halsey Street • Iridium 1650 Broadway at 51st Street (212-582-2121) Subway: L to Lorimer Street; G to Broadway www.scholesstreetstudio.com
(917-495-9473) Subway: C to Kingston-Throop Avenues Subway: 1,2 to 50th Street www.theiridium.com • ShapeShifter Lab 18 Whitwell Place
• Bar Next Door 129 MacDougal Street (212-529-5945) • Issue Project Room 22 Boerum Place (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall • Showman’s 375 W. 125th Street at Morningside) (212-864-8941)
• Barawine 200 Lenox Avenue at W. 120th Street www.issueprojectroom.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
(646-756-4154) Subway: 2, 3 to 116th Street • JACK 505 Waverly Avenue • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org Subway: B, 2, 3 to 135th Street www.shrinenyc.com
Subway: F to 7th Avenue www.barbesbrooklyn.com • Jalopy 315 Columbia Street, Brooklyn • Silberman Auditorium at Hunter College Harlem
• Bemelmans Bar 35 E. 76th Street (212-744-1600) (718-395-3214) Subway: F to Smith Street www.jalopy.biz 2180 Third Avenue at 119th Street
Subway: 6 to 77th Street www.thecarlyle.com • Jazz 966 966 Fulton Street Subway: 6 to 116th Street; 4, 5 to 125th Street
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (718-638-6910) Subway: C to Clinton Street www.jazz966.com • Silvana 300 West 116th Street
(212-281-0777) Subway: 2, 3 to 135th Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com
• Birdland 315 W. 44th Street (212-581-3080) Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • Sir D’s 837 Union Street, Brooklyn Subway: M, R to Union Street
Subway: A, C, E, to 42nd Street www.birdlandjazz.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
• Bistro Jules 60 St. Marks Place Subway: N, R to 28th Street www.jazzgallery.org (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
(212-477-5560) Subway: 6 to Astor Place www.julesbistro.com • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
• The Bitter End 147 Bleecker Street between Thompson and LaGuardia Avenues (212-348-8300) Subway: 6 to 125th Street Subway: 1 to Christopher Street www.smallsjazzclub.com
Subway: A, B, C, D, E, F, V to W. 4th Street www.jazzmuseuminharlem.org • Smoke 2751 Broadway between 105th and 106th Streets
• Blacktail 2nd floor, Pier A Harbor House, 22 Battery Place • Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
(212-785-0153) Subway: 4, 5 to Bowling Green www.blacktailnyc.com (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Soup & Sound 292 Lefferts Avenue
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Joe’s Pub at the Public Theater 425 Lafayette Street (between Nostrand and Rogers Avenues) Subway: 2 to Sterling Street
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • South Oxford Space 138 South Oxford Street, Brooklyn
• Brooklyn Center for the Performing Arts 2900 Campus Road www.joespub.com (718) 398-3078 Subway: C to Lafayette Street
Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.org • Judson Memorial Church 55 Washington Square South • Spectrum 121 Ludlow Street, 2nd floor
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: A, B, C, D, E, F, V to W. 4th Street Subway: F to Delancey Street www.spectrumnyc.com
Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org • Juilliard School Peter Jay Sharp Theater and Paul Hall 155 W. 65th Street • The Stone Avenue C and 2nd Street
• Brooklyn Museum of Art 200 Eastern Parkway (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu Subway: F to Second Avenue www.thestonenyc.com
(718-638-5000) Subway: 2, 3 to Eastern Parkway • KD’s 408 Rogers Avenue between Lefferts and Sterling • Subrosa 63 Gansevoort Street
www.brooklynmuseum.org Subway: 5 to Sterling Street www.plgarts.org (212-997-4555) Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue
• Café Carlyle 35 E. 76th Street (212-744-1600) • Kingsborough Community College 2001 Oriental Boulevard www.subrosanyc.com
Subway: 6 to 77th Street www.thecarlyle.com (718-368-6686) Subway:Q to Brighton Beach www.kingsborough.edu • Sunnyvale 1031 Grand Street
• Café Noctambulo at Pangea 178 Second Avenue • Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490) (347-987-3971) Subway: L to Grand Street www.sunnyvalebk.com
(212-995-0900) Subway: L to First Avenue www.pangeanyc.com Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com • Swing 46 349 W. 46th Street (646-322-4051)
• Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V • Knockdown Center 52-19 Flushing Avenue, Queens Subway: A, C, E to 42nd Street www.swing46.com
to W. 4th Street-Washington Square www.caffevivaldi.com Subway: L to Canarsie - Rockaway Pkwy www.knockdowncenter.com • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
• Carnegie Club 156 W. 56th Street • Kola House 408 W. 15th Street and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
(212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue (646-869-8873) Subway: A, C, E, L to 14th Street www.kolahouse.com Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
• Cavatappo Grill 1712 First Avenue • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Terraza 7 40-19 Gleane Street
(212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com www.facebook.com/konceptions (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com
• The Cell 338 West 23rd Street • Le Chéile 839 W. 181st Street • Threes Brewing 333 Douglass Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com (718-522-2110) Subway: R to Union Street www.threesbrewing.com
• Cleopatra’s Needle 2485 Broadway (212-769-6969) • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Tomi Jazz 239 E. 53rd Street
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Legion Bar 790 Metropolitan Avenue • The Treehouse 833 Broadway at 13th Street, Suite #6
E, V to 53rd Street www.clubbonafide.com (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com Subway: 4, 5, 6, L, N, R to 14th Street-Union Square
• Cornelia Street Underground 29 Cornelia Street (212-989-9319) • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Tribeca Performing Arts Center 199 Chambers Street
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street
• Crimson & Rye 198 E. 54th Street • Metropolitan Museum of Art, Grace R. Rogers Auditorium www.tribecapac.org
(212-687-6692) Subway: 6 to 51st Street www.crimsonandrye.com 1000 Fifth Avenue at 82nd Street (212-570-3949) • Turnmill NYC 119 East 27th Street
• The Cutting Room 44 E. 32nd Street Subway: 4, 5, 6 to 86th Street www.metmuseum.org (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Village Vanguard 178 Seventh Avenue South (212-255-4037)
• David Rubenstein Atrium Broadway at 60th Street Subway: N, R to 23rd Street www.metropolitanroom.com Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Mezzrow 163 W. 10th Street • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street
www.lincolncenter.org/atrium (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com • Weeksville Heritage Center 1698 Bergen Street
• Dino Above Dinosaur Bar-B-Que 700 W. 125th Street • Minton’s 206 West 118th Street (718-756-5250) Subway: C to Ralph Avenue www.weeksvillesociety.org
(212-694-1777) Subway: 1 to 12th Street www.dinosaurbarbque.com (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • MIST - My Image Studios 40 West 116th Street (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 2, 3 to 116th Street www.mistharlem.com • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
• The Django The Roxy Hotel 2 Sixth Avenue (212-519-6600) • Mona’s 224 Avenue B Subway: L to First Avenue (718-384-1654) Subway: L to Bedford Avenue
Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Winter Garden Battery Park City
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: E to World Trade Center www.worldfinancialcenter.com
• Downtown Music Gallery 13 Monroe Street (212-473-0043) • National Sawdust 80 N. 6th Street • Zankel Hall 881 Seventh Avenue at 57th Street
Subway: F to East Broadway www.downtownmusicgallery.com (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org
• The Drawing Room 56 Willoughby Street #3 (917-648-1847) • Neighborhood Church of Greenwich Village 269 Bleecker Street • Zinc Bar 82 W. 3rd Street
Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street
• Drom 85 Avenue A (212-777-1157) • Neue Galerie 1048 Fifth Avenue www.zincbar.com
Subway: F to Second Avenue www.dromnyc.com (212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org • Zürcher Gallery 33 Bleecker Street
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette
Subway: C, E to Spring Street www.earinn.com www.jazzrightnow.com/new-revolution-arts-series www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | MAY 2017 45

(INTERVIEW CONTINUED FROM PAGE 6) definition there but not trying to define the whole Terry Gibbs enjoyed the feedback, but was
thing. You let other players complete the mantra, or try reluctant to take on the project. “Neal’s been after me
TNYCJR: It’s interesting how you’re able to get to at least and try to let them express themselves. to record for years. I told him I don’t record or play
something physical and something very ethereal into anymore. 80 years is enough!” But Weiss persisted and
the same music. I suppose that would fit into the time TNYCJR: You build the frame but let the painting fill after the video hits continued to build, Gibbs relented,
and space concept somewhat. itself in. but he insisted on several conditions: “I don’t want to
use a studio, I’ll record a jam session at my house. He
WD: I prefer that feeling of suspension and I believe it WD: Right, exactly. To be honest I went through a life- paid the guys for four days in case I got tired. I figured
does come from Milford; it helps me to have something changing illness and came out of it much more self- we’d do two or three tunes in one day and get enough
to focus on. I work off of the immediate imprint of possessed and wanting to communicate my soul. in four days to make an album. We recorded 31 songs.
sound, which for me generates a heartbeat vibration of I really wanted to be honest about where I was at and We never heard what we played. We went from one
half notes, if you know what I mean. express the fierceness of my being, get the whole granular tune to another. He brought one of those sophisticated
nature of everything I was feeling out there. I’ve become recording boards that they have in the studio. Out of 31
TNYCJR: How do you view tradition in your work and a more emotional player and I’ve come to a place where songs, I picked out 14 to make a 78-minute album, then
what does that word mean to you? I know what I want to do and I want to keep doing that Gerry took it back to New York and mixed it. Nobody
while getting as much documented as I can. v records like this; this is how you recorded in the old
WD: For me the tradition at this time in my life is really days with one microphone.”
very powerful and when I hear something, the root of For more information, visit aumfidelity.com/dickey.html. Like many jazz label owners, turning a profit in
what I hear is what I call “tradition” and it centers on Dickey is at Judson Memorial Church May 31st and Jun. their business is difficult, as Weiss explained: “I haven’t
time. What I discovered studying Coltrane and his 3rd as part of the Vision Festival. See Calendar. figured out how to make money, so the angle is trying
pivot toward Indian and African music—though he’s not to lose as much. I would like to get to the point
rooted in jazz traditions, there was a meeting place Recommended Listening: where it is almost self-sustaining. I have worked
between his ideas and those of other traditions through • Matthew Shipp Quartet—Points (Silkheart, 1990) another job my whole life and I am now half-retired
using [drummer] Elvin [Jones]. His introduction of • David S. Ware Quartet—Dao (Homestead, 1995) from day jobs and devoting more time to the music.
African rhythms, using 12/8 and the triplet grid, fit in • Whit Dickey—Transonic (AUM Fidelity, 1998) That’s number one. When I first started about 18 years
with my studies with Milford and how I was able to • Matthew Shipp—Art of the Improviser ago, people said, ‘Have fun, but don’t expect to get any
find my own sense of time. (Thirsty Ear, 2010) radio airplay, there’s so much stuff out there.’ Almost
• Whit Dickey/Kirk Knuffke—Fierce Silence from the get-go, we created a buzz among the jazz
TNYCJR: I like the word “pivot” because it makes me (Clean Feed, 2015) programmers and program directors, to the point
think that you can adjust yourself to whatever you’re • Whit Dickey/Mat Maneri/Matthew Shipp— where some of my early promoters said they were
experiencing and how that may change. Vessel in Orbit (AUM Fidelity, 2016) getting upset at me because new CDs weren’t coming
fast enough. I don’t take it literally, but one programmer
WD: I can go from being on the 1-2-3-4 into a more said, ‘We don’t bother to preview Whaling City Sound
allover space-time thing, always within the feeling of (LABEL CONTINUED FROM PAGE 11) CDs anymore. We just open the envelope and put them
the heartbeat but as something that extends beyond on the air.’ I don’t believe that, but I love the sentiment.
the “one”. That’s the mantra that I’m dealing with— We did a two-CD set of Miles’ electric music. He went That’s what we’re after, for them to have confidence
the one is moving all the time, it’s a one with an ellipsis. in and did a marathon single day of recording little bits that they should at least take a listen to us.”
and pieces and by the end of the night, he had it There are plenty of CDs due out soon or in the
TNYCJR: One could also imagine you, Shipp and stitched together what little interludes go between this works. Weiss notes, “In New Bedford, there’s a group
Maneri playing “Alabama” or something. track and that track, over two hours of music, and he of brothers known as Tavaras. I’m hoping to get
knew exactly what the order and segues were going to something more mainstream issued by one of them,
WD: Yeah, you got it—that’s what I’m trying to convey, be, because he had that all figured out. He didn’t There’s a bassist named Dave Zinno and through
the feeling of there being a drone or something like necessarily record them in that order, but he knew just a combination of circumstances I will have four
that going on. I definitely hear one when I’m playing. what this thing should sound like before he walked in. different CDs by him out soon. The first is a band that
Recently when I went into that recording it was a I think that’s one of the things that Kenny Barron and goes by AGNZ, that’s a bit of a fusion group with
magical thing. I called it Vessel in Orbit because I was Ron Carter really appreciated about him. We did three Adam Nussbaum, Dino Govoni, Jay Azzolina and
moved by the moment of playing with Mat Maneri and CDs with them. There’s a generational and experience Dave. I have a trio led by the drummer Steve Langone
Matthew Shipp again. Later I listened to it and put it difference, but they quickly respected him for his with pianist Kevin Harris and Dave. I have a duet with
all together, sequencing the music and said to myself ability to not waste their time.” guitarist John Stein and Dave, a kind of quiet dialogue.
“I can’t believe this came off like it did, wow” and Gibbs doesn’t mince words when it comes to Then Leo Genovese, Rafael Barata and Boston-based
I want to do it again and again. Human nature—you working with Weiss: “Neal is completely old school. He tenor Mike Tucker and Dave went into the studio.
want to try and codify it or capture it. I’ve been trying believes people want great packaging and a story Miles Donahue, a trumpeter, saxophonist and
to do that a little bit, but, you know, it’s dangerous to behind why someone recorded what they did. He composer, whom I’ve known for years, has a new one
try and nail down what you did in a situation like that. creates elaborate booklets with art, pictures, information with Mike Stern, Jerry Bergonzi and other good
and whatever else the artist wants to put into the players, that will be out in the summer. I put out a CD
TNYCJR: I would assume the last few years have seen packaging... Neal makes sure that there is always by a young local sax player, Marcus Monteiro, about
a refinement of structuring ensembles and your own something that makes it worth buying the actual CD to ten years ago. His first one was MM4. It was kind of
playing, narrowing the rhythmic or chordal aspects of keep in your collection for a lifetime just like we all do edgy funk. Jazz guys didn’t like it because it had too
your music, but is there anything you want to get with LPs. Neal also loves every kind of jazz, where many modern elements. I wanted to record him closer
across that you didn’t before, about how your approach many labels want to only push one type. He loves to a jazz setting, so I got Steve Langone again, John
has evolved to this point? bebop, straightahead, fusion, avant garde, jazz rock, etc. Harrison and Fernando Huergo, a Berklee professor
He releases music on his label of every type of jazz and and electric bassist I love. That should be out soon.”
WD: To me, when I’m allowed to express my a few bands he likes that have nothing to do with jazz.” Historical releases are also of interest. “I’m talking
individuality—usually with Shipp, [saxophonist] Ivo One of Weiss’ most satisfying achievements was to a party whom I can’t name who is digitizing tapes of
Perelman and [cornet player] Kirk Knuffke I get to do convincing one of his longtime favorites, vibraphone a prominent band. There’s a club owner in New York
that—I’d say that I’ve become more of an extrovert, but great Terry Gibbs (father to Gerry and who officially who has a bible of everyone from when he ran a club on
not to the point of taking over. I always like to leave retired from performing at the age of 90 in 2015), to the West Coast. Now that I’ve had releases by Phil Woods
space for people to work and to bring out the best in make a new recording. An informal jam session in and Terry Gibbs, I’ve thought about having something
them. That’s my nature and I like to hear people do Gibbs’ living room with Gerry, pianist John Campbell like ‘Legends For the New Century’ to try to introduce
their thing and play what they play, but I try to keep an and bassist Mike Gurrola was recorded on iPhone by the audience to amazing people of the past.” v
open approach. It’s not always easy and I have to say Gerry’s wife and promptly shared on YouTube, where
I go into the studio sometimes and have to return to it it promptly got 46,000 hits overnight. Weiss was For more information, visit whalingcitysound.com. Artists
because I didn’t like what I’d just recorded. I do try to fascinated with this performance: “He took about a performing this month include John Abercrombie at Blue
keep my mind out of it as much as possible and work three-minute solo and it’s fantastic. Then he sits down Note May 22nd; Sheryl Bailey at Bar Lunàtico May 15th;
on meditation and leaving space, allowing mystery to on the sofa and his dog is walking around. So we had a Ingrid Jensen at Birdland May 17th with New York Voices
happen. That’s something both William Parker and discussion and Gerry also talked to him. After Terry and Jazz Standard May 30th with Helen Sung; and Rale
David S. Ware taught me—they were really into that saw the many hits his YouTube video got, he realized Micic at Symphony Space Bar Thalia May 11th and 26th
whole idea of uncertainty and allowing or having some ‘Maybe I got one more in me.’” and Blue Note May 22nd. See Calendar.

46 MAY 2017 | THE NEW YORK CITY JAZZ RECORD

(ARTACTS CONTINUED FROM PAGE 13) (CREATE CONTINUED FROM PAGE 13)

saxophonist Jean-Luc Guionnet, Belgian bassist Matija utter clarity in clipped, resonant gobs and carved
Schellander and two Japanese players, Yan Jun on angles, offsetting Smith’s clarion whine and Andrews’
electronics and Seijiro Murajama, who produced an comely circularity throughout one lengthy new
array of percussion noises with only one snare, cymbal, composition written specifically for this 40-year
stick, brush and small bells. Pauses were as frequent as partnership. What doesn’t always come through in the
faint pulsations from Jun’s software were continual. recordings is this music is not only spry but extremely
Guionnet let loose with terse shrills or aviary whistles tough, almost cutting in its display of potential motion
as Schellander sawed, slapped, buzzed and rubbed his and sinewy, driving openness around its central axis.
instrument’s wood as often as his strings. Murajama Drummer Pheeroan akLaff has been part of Smith’s
produced enough rhythmic variety with snare orbit since the mid ‘70s and his forceful, earthy funk
paradiddles, bow strokes and rebounds on vertically and detailed, precise attack grant a sense of brashness
held cymbals to make a full kit superfluous. In contrast, while leaving voided carpets when necessary. Linking
Danish alto saxophonist Mette Rasmussen’s quintet up with Lindberg’s meaty poetics and formidable
was galvanized by the dual kits of free jazz veterans: technique and Davis’ fluid cycles and chunky rhythmic
Sweden’s Raymond Strid and England’s Paul Lytton. elegance, the threesome created a shifting landscape of
The younger saxophonist filled out the band with two mass that stoked Smith’s pinched Miles-ian flurries
bassists who were her near-contemporaries: American and brittle frames. Within this, Walters could be
Brandon Lopez and Swede Torbjörn Zetterberg. somewhat difficult to hear though in sparser moments
Rasmussen played intensely, combining ferocious her sinewy draw was elegiac and arresting. As Smith
Albert Ayler-ian screams with sultry tongue slaps and noted, the National Parks are the nation’s people and
circular breathing, frequently played acappella. ideas, more than just physical locations or smaller
Rasmussen matched wits the next afternoon with ecosystems. Inspired by Ken Burns’ 2009 documentary
Viennese turntablist Dieb13 in an austere classroom- on the subject, mailed to him by video artist Jesse
MAY 5–6, 7PM & 9:30PM
like space of the nearby Jugendzentrum, using a Gilbert (who mixed historical images and an altered JOHN SCOFIELD
brighter tone, which was parceled into emotional reed live feed of the Golden Quintet musicians during both
smacks and short near-melodic bursts. Dieb13’s performances), Smith set out to create representations RETROSPECTIVE:

PHOTO COURTESY OF THE ARTIST

contributions included unadulterated vinyl crackling,
scraped metal interludes and LP samples of lyrical
and meditations on Yellowstone, New Orleans, the
Mississippi River, musicologist and author Eileen
QUIET AND LOUD JAZZ
guitar lines, harmonized clarinets and electric bass Jackson Southern and other sublime concepts for
Guitarist and 2017 Grammy Award
thumps. The saxophonist used these to play against or invention. winner John Scofield with Gary
as a back-up to her solos. While it would be easy and make complete sense Grainger, Jim Beard, Dennis
Timbres of another genre were emphasized during for Smith at this point to work only with a few Chambers, Bill Stewart, Larry
Artacts’ final night at Alte Gerberei. Draksler, fronting dedicated ensembles to push forward his vision, that Grenadier, Joe Lovano, and more.
an octet representing seven European countries, wouldn’t exactly fly with what we know: a musician
adapted folk tales from different countries sung and who has engaged himself with community on a local THE APPEL ROOM
recited by Latvian mezzo Laura Polence and Icelandic and global scale, politically and ecologically motivated
soprano Björk Nielsdóttir. Instrumental heft kept the towards creating a better environment. His 23-year-old
versions expressive, adding sympathetic backing from grandson Lamar Smith opened the proceedings on
Romanian violist George Dumitriu, Belgian bassist Saturday night with a guitar trio, joined by William MAY 19–20, 7PM & 9:30PM
Lennart Heyndels, Dutch drummer Onno Govaert, Brennan and Bentley Lewis on a single, relatively brief
Argentinean reedplayer Ada Rave and especially invocation, which, fleshed with dusty and granular
CÉCILE McLORIN SALVANT
Dutch tenor saxophonist/clarinetist Ab Baars. reverb and doused with signifiers of contemporary AND THE AARON DIEHL TRIO
France’s Sophie Agnel’s subsequent set with Swiss post-rock, properly attuned the evening towards a Grammy Award–winning vocalist
turntablist Joke Lanz and American drummer Michael future generation of creative players. Similarly the Cécile McLorin Salvant
Vatcher was easily Artacts’ most robust. The latter RedKoral Quartet (Walters, violist Lorenz Gamma and
THE APPEL ROOM
output an all-encompassing beat that cemented the violinists Shalini Vijayan and Mona Tian) approached
performance even as his rhythmic singularity came Smith’s string writing with youthful athleticism and
through via little instrument reverberations. Lanz was scumbled stridence, augmented by Davis’ piano or MAY 19–20, 8PM
a percussionist, scratching beats from the turntable Min Xiao Fen’s voice on two compositions. In a COUNT MEETS THE DUKE
itself as well as vinyl, using hand pressure plus dedication to Ellington, SQ No. 10 Ellingtonia/
Wynton Marsalis, Vincent Gardner, and
sampled voice and music snippets to equal drum beats. Reminiscing in Tempo, Davis transliterated Darmstadt
Agnel vigorously sourced staccato tones from the and Harlem in swoops and volleys with string
Rodney Whitaker are joined by the next
keyboard and threaded a cord among the piano strings pirouettes while the four movements of SQ No. 9 generation of jazz greats to perform the
for supplementary textures. scrawled and elided in crackling filaments, often music of Duke Ellington and Count Basie
Will it Float, Norwegian drummer Ståle Liavik Kodály-like yet commingling in rubbery vamps. ROSE THEATER
Solberg with veteran British improvisers bassist John The second night offered a rather brilliant
Edwards, pianist Steve Beresford and guitarist John counterpoint leading up to the Golden Quintet’s
Russell, closed the festival in an elevated fashion. reading of four parts of America’s National Parks: Smith
JUNE 1–3, 8PM
Notwithstanding Beresford’s table filled with noise- performing Monk tunes solo and The Crystal Sextet, WORLD OF MONK
making toys and junk that could be cranked, blown which joined the trumpeter with electronics artist Jazz at Lincoln Center Orchestra with
into, shaken or electronically animated, comedic Hardedge and violists Tanya Kalmanovitch, Jason Kao Wynton Marsalis and special guests
inferences were secondary to the pleasure of watching Hwang, Stephanie Griffin and Gwen Lester. Certainly Baqir Abbas and Hamilton de Holanda
expert players toss off improvisational challenges with Monk’s employment of space, squirrelly intervals and
seemingly effortless aplomb while complementing or relational rhythms that at first may not appear ‘right’
ROSE THEATER
challenging one another. Russell’s continuous fits well with Smith’s music. This was the first time he
strummed patterns were idiosyncratic, yet never had played Monk’s music publicly in a solo setting and
disrupted the group sound. Edwards’ sonorous time- the results were exquisite and imbued with a brilliant
keeping was spelled by sudden strokes or sweeps, energy. The Crystal Sextet employed extended
hitting the strings and the bass’ wooden shell. When techniques and noise effects on Pacifica, snapping and venue
Beresford decisively turned to piano his keyboard grappling pizzicato blending with Smith’s curling runs frederick p. rose hall
stretches and slams were as swinging as they were and the hisses and crackle of Hardedge’s live processing. box office
strident. The set ended as subtly unexpected as it had Looking forward and taking a risky step into tradition, broadway at 60th st.,
ground fl.
begun, leaving behind astounding music echoes that the CREATE Festival presented a vibrant setting for
centercharge JAZZ.ORG
couldn’t be precisely defined. v exploring the self, collectivity and the planet. v 212-721-6500 @jazzdotorg

For more information, visit muku.at For more information, visit wadadaleosmith.com

THE NEW YORK CITY JAZZ RECORD | MAY 2017 47

 Just Future
Free Jazz Festival For A

May 28 -
Celebrating Cooper-Moore
Lifetim e of Achievement Jun 3, 2017
Judson Memorial Church
ms 55 Washington Sq South, NYC
Sunday May 28 | Vision Fil
at Anthology Film Archiv es, 32 Second Avenue, NYC www.artsforart.org/vf22
3:45 Grenada: The Future
Coming Towards Us [email protected]
of Cooper-Moore /
5:30 Ashimba: A Portrait
Rising Tones Cross
rld of Sound /
8:30 David S. Ware: A Wo
The Bla ck Pan the rs: Van guard of the Revolution

Monday May 29 | COOPER-MOORE

Celebrating a Lifetime of Achievement
6:30 Invocation – Hamid Drake / Patricia Nicholson
7:00 In Order to Survive
Tuesday May 30 8:00 Digital Primitives
6:30 Yoshiko Chuma School of Hard Knocks 9:00 Carl Hancock Rux
7:00 Masaoka / Leandre / Dick 9:45 Black Host
8:00 Jazz & Poetry Choir Collective
9:00 Tomas Fujiwara Double Trio
10:00 Trio 3

Wednesday May 31
6:00 Visionary Youth Orchestra
check artsforart.org for 7:00 Shipp / Dickey / Maneri
Thursday June 1 conference schedule 8:00 K.J. Holmes / Jeremy Carlstedt
8:30 Jason Kao Hwang’s Burning Bridge
9am - 5pm | Vision Conference at Columbia University
9:40 Tracie Morris / Marvin Sewell
7:00 Odean Pope Saxophone Choir 10:00 Charles Gayle Trio
8:00 Djassi DaCosta Johnson / Shayna Dulberger
8:30 Darius Jones & Farmers by Nature
9:30 Jesus Papoleto Melendez
10:00 Artifacts: Tomeka Reid / Nicole Mitchell / Mike Reed

Saturday June 3
3:00 Forum on Racism
6:30 Oluyemi Thomas / Ijeoma Thomas / Andrew Cyrille
7:30 Tony Malaby / Mat Maneri / Daniel Levin
Friday June 2 8:30 Ivo Perelman Quartet w/ Shipp / Bisio / Dickey
7:00 Chicago Plan: Ullmann / Swell / Lonberg-Holm / Zerang 9:30 David Murray / Kahil El’Zabar / Gerry Eastman
8:00 Joe McPhee’s Dream Book 10:30 Songs for a Free World: led by Oliver Lake & William Parker
9:00 Fred Moten
9:30
10:30
Dave Burrell Quartet w/ Jordan / Parker / Hooker
BassDrumBone
&
VISION AfterDark at Nublu, 51 Ave C, NYC, sets at MIDNIGHT
JUNE 1 – Aruan Ortiz
JUNE 2 – Fay Victor | JUNE 3 – James Brandon Lewis
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