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March 2013 | No. 131<br />

CLAUDIA<br />

ACUÑA<br />

Your FREE Guide to the NYC Jazz Scene<br />

•<br />

MIN<br />

•<br />

VALERIE<br />

•<br />

LIBRA<br />

•<br />

XIAO-FEN CAPERS RECORDS<br />

nycjazzrecord.com<br />

<strong>JENNY</strong> <strong>SCHEINMAN</strong><br />

Bringing It All Together<br />

“WOMEN<br />

IN JAZZ”<br />

ISSUE<br />

EVENT<br />

CALENDAR


“BEST JAZZ CLUBS OF THE YEAR 2012”<br />

SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK<br />

FEATURED ARTISTS / 7pm, 9pm & 10:30<br />

Friday & Saturday March 1 & 2<br />

BILLY HARPER QUINTET<br />

featuring Francesca Tanksley<br />

Friday & Saturday March 8 & 9<br />

“BLOWIN’ THE BLUES AWAY”<br />

MIKE LEDONNE QUINTET FEAT.<br />

LOUIS HAYES<br />

Jeremy Pelt (tr) • Gary Smulyan (bar sax) • Ira Coleman (b)<br />

Friday & Saturday March 15 & 16<br />

ERIC REED QUARTET<br />

Grant Stewart (sax) • Matt Clohesy (b) • Willie Jones III (d)<br />

Friday & Saturday March 22 & 23<br />

CELEBRATING HAROLD<br />

MABERN’S 77TH BIRTHDAY<br />

HAROLD MABERN TRIO<br />

John Webber (b) • Joe Farnsworth (d)<br />

Friday & Saturday March 29 & 30<br />

FRANK WESS QUINTET<br />

ONE NIGHT ONLY / 7pm, 9pm & 10:30<br />

Wednesday March 6<br />

Michael Dease Quintet<br />

Wednesday March 13<br />

Rick Germanson Quintet<br />

Wednesday March 20<br />

Cynthia Holiday<br />

Wednesday Feb 27<br />

Dee Daniels<br />

LATE NIGHT RESIDENCIES<br />

Mon The Smoke Jam Session<br />

Tue Mike DiRubbo B3-3<br />

Wed Brianna Thomas Quartet<br />

Thr Nickel and Dime OPS<br />

Fri Patience Higgins Quartet<br />

Sat Johnny O’Neal & Friends<br />

Sun Roxy Coss Quartet<br />

RESIDENCIES / 7pm, 9pm & 10:30<br />

Mondays March 4, 18<br />

Captain Black Big Band<br />

Mondays March 11, 25<br />

Jason Marshall Big Band<br />

Tuesdays March 5, 12, 19, 26<br />

Mike LeDonne<br />

Groover Quartet<br />

Eric Alexander (sax) • Peter Bernstein (g) • Joe Farnsworth (dr)<br />

Thursdays March 7, 14, 21, 28<br />

Gregory Generet<br />

Sundays March 3, 10<br />

SaRon Crenshaw Band<br />

Sunday March 17, 31<br />

Allan Harris Band<br />

Sunday March 24<br />

Scott Sharrard Blues & Bugaloo Soul Revue<br />

featuring Ian Hendrickson-Smith<br />

Sundays<br />

Jazz Brunch<br />

With vocalist Annette St. John and her Trio<br />

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


4<br />

6<br />

7<br />

9<br />

10<br />

11<br />

12<br />

14<br />

38<br />

45<br />

47<br />

New York@Night<br />

Interview: Claudia Acuña<br />

by Suzanne Lorge<br />

Artist Feature: Min Xiao-Fen<br />

by Kurt Gottschalk<br />

On The Cover: Jenny Scheinman<br />

by Sean Fitzell<br />

Encore: Lest We Forget:<br />

Valerie Capers Patti Bown<br />

by Brad Farberman by Suzanne Lorge<br />

Megaphone VOXNews<br />

by Kali. Z. Fasteau by Katie Bull<br />

Label Spotlight: Listen Up!:<br />

Libra Records<br />

by Ken Waxman<br />

Roxy Coss & Lakecia Benjamin<br />

CD Reviews: Kris Davis, Champian Fulton, Marilyn Crispell,<br />

Karin Krog, Lorraine Feather, Ig Henneman, Claire Daly and more<br />

Event Calendar<br />

Club Directory<br />

Miscellany: In Memoriam • Birthdays • On This Day<br />

Welcome, dear readers, to The New York City Jazz Record’s “Women in Jazz” issue.<br />

We are certainly not the first to highlight the contributions of women in the history<br />

of the music but we would like to take advantage of March being Women’s History<br />

Month to debunk the notion that women should be thought of as separate from<br />

their male musician counterparts. Women in jazz, frankly, are nothing new (wider<br />

acceptance, perhaps, may be). Not even mentioning all the important vocalists of<br />

the past century, female instrumentalists have been active in jazz as far back as the<br />

‘20s and only gaining prominence in the subsequent decades, from Mary Lou<br />

Williams and Lil Hardin Armstrong to Mary Halvorson and Nicole Mitchell. Next<br />

time someone says there haven’t been too many women in jazz, ask them to name<br />

their three favorite soprano saxophonists and watch them squirm.<br />

We have dedicated much of our coverage to this theme (as well as reaffirming<br />

the international nature of this music). West Coast violinist Jenny Scheinman (On<br />

The Cover) is both a compelling leader and valued collaborator with Bill Frisell.<br />

She leads a trio with the guitarist and drummer Brian Blade at Zankel Hall. Chilean<br />

vocalist Claudia Acuña (Interview) is a leader in both the jazz and world music<br />

scenes. She brings her group to Harlem Stage Gatehouse. And Chinese pipa player<br />

Min Xiao-Fen (Artist Feature) has thrived not only as a woman, but as a foreign<br />

player on an unfamiliar instrument. She celebrates a new album at Brooklyn Public<br />

Library and also appears at Avery Fisher Hall and Museum of Chinese in America.<br />

We also have features on pianist Valerie Capers (Encore, appearing at Jazz at<br />

Kitano); pianist Patti Bown (Lest We Forget, who passed away five years ago this<br />

month); a Megaphone by multi-instrumentalist Kali. Z. Fasteau, who will perform<br />

at Brecht Forum; a Label Spotlight on pianist Satoko Fujii’s Libra Records; two<br />

up-and-coming women, Roxy Coss and Lakecia Benjamin, featured in our Listen<br />

Up! section and the opening portion of our CD Reviews (pgs. 14-18) given over to<br />

new albums from a wide swathe of female jazzers.<br />

Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director<br />

On the cover: Jenny Scheinman (John Rogers/Johnrogersnyc.com)<br />

Corrections: In what we readily admit as the worst error in our history, last month’s<br />

Globe Unity: Slovenia triple review included an introductory paragraph that spoke<br />

of Slovakia and Slovakian musicians. We deeply regret the error.<br />

Submit Letters to the Editor by emailing feedback@nycjazzrecord.com<br />

US Subscription rates: 12 issues, $30 (International: 12 issues, $40)<br />

For subscription assistance, send check, cash or money order to the<br />

address below or email info@nycjazzrecord.com.<br />

The New York City Jazz Record<br />

www.nycjazzrecord.com / twitter: @nycjazzrecord<br />

Managing Editor: Laurence Donohue-Greene<br />

Editorial Director & Production Manager: Andrey Henkin<br />

Staff Writers<br />

David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull,<br />

Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan,<br />

Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman,<br />

Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie,<br />

Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts,<br />

John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman<br />

Contributing Writers<br />

Duck Baker, Brad Farberman, Kali Z. Fasteau, Laurel Gross, George Kanzler, Suzanne Lorge<br />

Contributing Photographers<br />

Tom Greenland, Alan Nahigian, John Rogers, Monika Sziladi, Jack Vartoogian<br />

To Contact:<br />

The New York City Jazz Record<br />

116 Pinehurst Avenue, Ste. J41<br />

New York, NY 10033<br />

United States<br />

Laurence Donohue-Greene: ldgreene@nycjazzrecord.com<br />

Andrey Henkin: ahenkin@nycjazzrecord.com<br />

General Inquiries: info@nycjazzrecord.com<br />

Advertising: advertising@nycjazzrecord.com<br />

Editorial: editorial@nycjazzrecord.com<br />

Calendar: calendar@nycjazzrecord.com<br />

All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 3


NEW YORK @ NIGHT<br />

FEATURING<br />

DANILO PEREZ<br />

JOHN PATITUCCI<br />

BRIAN BLADE<br />

“A band of spellbinding intuition,<br />

with an absolute commitment to<br />

the spirit of discovery, it has had<br />

an incalculable infl uence on the<br />

practice of jazz in the 21st century”<br />

— New York Times<br />

New Album Available Now<br />

itunes.com/wayneshorter<br />

itunes.com/wayneshorter<br />

4 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Photo by Monika Sziladi<br />

It can’t be easy to say the words “2013 could be my last<br />

year.” But that’s what the audience heard when Fred<br />

Ho’s Green Monster Big Band performed at Ginny’s<br />

Supper Club (Feb. 9th). Ho seemed in good spirits and<br />

conducted the band with vigor, but he played no<br />

baritone sax (a role given to Ben Barson, the club’s<br />

co-manager). The early set erupted from the start with<br />

Ho’s first big band piece, “Liberation Genesis” (1975),<br />

which took on new meaning in light of the composer’s<br />

cancer fight. Keyboardist Art Hirahara, bassist Ken<br />

Filiano and drummer-percussionist Royal Hartigan<br />

laid the foundation for an edifice of reeds and brass,<br />

including the paired altos of Bobby Zankel and Marty<br />

Ehrlich and the bass trombones of Earl McIntyre and<br />

Dave Taylor. The band was obstreperous yet tightly<br />

coordinated, marrying modernist harmony and raw<br />

groove, breaking away on occasion to free-improvising<br />

duos (one of them led off the Ellington ballad “In a<br />

Sentimental Mood”). Ho took a moment before “Iron<br />

Man Meets the Black Dog Meets Dave Taylor” to<br />

recount how he met the remarkable Taylor during his<br />

days as a sub with the Gil Evans Orchestra. Aspects of<br />

Evans’ approach, Ho explained, have decisively<br />

impacted his own. “Float Like a Butterfly, Sting Like an<br />

AfroAsian Bumblebee”, a movement from Sweet Science<br />

Suite (Big Red Media), found Ho speaking about future<br />

plans in spite of his illness: the “music and martial arts<br />

extravaganza”, as he described it, will be staged at<br />

BAM in the fall of this year. - David R. Adler<br />

Fred Ho @ Ginny’s Supper Club<br />

By tradition, the winner of the annual Thelonious<br />

Monk Competition is the first to play in the Tribeca<br />

Performing Arts Center’s annual Monk in Motion<br />

series. Jamison Ross, the 2012 victor, obliged with a<br />

strong showcase of his Joy Ride sextet (Feb. 2nd). Ross’<br />

swing feel was spry and deeply interactive; his take on<br />

the postbop language of Harold Mabern, Cedar Walton<br />

and Joe Henderson was without flaw. But this Florida<br />

native and current New Orleanian had a swampier<br />

rhythmic element, a deep affinity for the blues, at the<br />

heart of his sound. He opened the first set with the<br />

funky “It Ain’t My Fault”, by legendary New Orleans<br />

drummer Smokey Johnson, and closed with a stirring<br />

vocal rendition of Muddy Waters’ “Deep Down in<br />

Florida”. The funk surfaced in a different way on<br />

“Sandy Red” (Ross’ variation on “Cantaloupe Island”),<br />

a feature for fired-up percussionist Nate Werth.<br />

Trumpeter Alphonso Horne and tenor saxophonist<br />

Troy Roberts were consistently solid in the frontline,<br />

although the most interesting moment was the slow<br />

trio reading of “Stompin’ at the Savoy”, featuring just<br />

Ross, pianist Chris Pattishall and bassist Corcoran<br />

Holt. One could call it an anti-orchestration, sparse as<br />

can be, with Ross’ delicate breaks on brushes replacing<br />

parts of the main melody. It was clear enough what<br />

wowed the competition judges: Ross knows the jazz<br />

tradition cold and uses what he loves from every time<br />

period, every genre, to bring his own voice into focus.<br />

(DA)<br />

Introducing the Zmiros Project at Symphony Space<br />

(Feb. 6th), World Music Institute Director of Marketing<br />

and Programs Alexa Burneikis referred to the venue’s<br />

Leonard Nimoy Thalia theater as her organization’s<br />

“living room on the Upper West Side”, which proved<br />

to be an apt descriptor for the trio’s recital of songs of<br />

devotion and gratitude. It described the setting, that is,<br />

even if it may have been an opportunity for a living<br />

room the band never had. “I grew up on Long Island in<br />

a very reformed household,” Frank London said to an<br />

audience that was quick to complete the musicians’<br />

thoughts when introducing songs and even came<br />

together to sing when a title was mentioned without<br />

the band’s accompaniment. Through a selection of<br />

Sabbath songs, they held sway, Rob Schwimmer on<br />

piano and London on keyboard and trumpet with<br />

Lorin Sklamberg’s sonorous tenor (and some additional<br />

accordion and guitar) steadying the course. The concert<br />

hit a peak with the impromptu addition of Michael<br />

Winograd on piano and singer Sarah Gordon, but the<br />

real high point came with a lovely, nearly a cappella<br />

piece sung by Sklamberg with London and Schwimmer<br />

chiming in on off-mic harmonies. That piece was<br />

dedicated to the late Symphony Space Founding<br />

Artistic Director Isaiah Sheffer. When the three played<br />

as a piano/accordion/trumpet trio, they were airy and<br />

familiar, the familiarity one might reasonably expect to<br />

find among three friends sitting in a living room on the<br />

Upper West Side. - Kurt Gottschalk<br />

Zmiros @ Symphony Space Leonard Nimoy Thalia<br />

Tyshawn Sorey’s musical course changes direction as<br />

easily as he himself changes instruments. He can be<br />

setting rhythm for a driving jazz group one moment<br />

and guiding another ensemble through glacially paced<br />

chamber compositions the next. Or he might be<br />

drumming in an extended avant jazz improv duet with<br />

vocalist Fay Victor and then four months later (Feb.<br />

5th), leading a driving brass quintet in a late-night set<br />

at Korzo. The group opened with a swell of New<br />

Orleans harmonies before quickly ramping up into a<br />

healthy maelstrom held steady by Dan Peck’s tuba<br />

then slowly - in no rush despite the tempo - descending<br />

into a brass morass. It would be too easy to liken it to a<br />

New Orleans funeral march, but the emotional range<br />

of the brass family - so often overlooked - was on full<br />

display. Especially satisfying was Peter Evans pulling<br />

out his piccolo trumpet and undercutting the trombones<br />

(Sorey and Ben Gerstein), playing well below the<br />

instrument’s usual range. As the set progressed the<br />

group’s sound (completed by second trumpeter Dave<br />

Ballou) was further augmented with horns taken apart<br />

and the trombonists switching to melodicas before<br />

they eventually fell into a wonderful passage of pops<br />

and drones. There were some eardrum-wringing<br />

midrange battles that shook the bar’s backroom and a<br />

certain amount of bluster and blunderbuss was to be<br />

expected, but they found that crucial groupthink that<br />

carried them through the set. With all he does, it’s good<br />

to see Sorey just having fun. (KG)<br />

© 2013 Jack Vartoogian/FrontRowPhotos


Tom Greenland, Midnight Son Music<br />

Heavy snow piles and plunging temperatures<br />

dissuaded all but the faithful few from the fourth<br />

annual birthday celebration of Joe Maneri’s passing at<br />

Douglas Street Music Collective (Feb. 9th). Still the<br />

event made up in fortitude what it lacked in multitude.<br />

Hosted by son Abe, who set the musical mise en scene<br />

with remembrances of his father and a piano soliloquy,<br />

the round-robin affair saw contributions from<br />

vibraphonist Matt Moran, acoustic bassist Ed Schuller,<br />

tenor saxophonist Ben Jaffe, pianist Lucian Ban,<br />

drummer Juan Pablo Carletti, poet Steve Dalachinsky,<br />

guitarist Sten Hostfalt, dancer Savina Theodorou,<br />

baritone saxist Josh Sinton, electric bassist Simon<br />

Germyn, alto saxophonists Nicole Kampgen and Noah<br />

Kaplan and pianists Sekai Ishizuka and Jesse Stacken,<br />

culminating in an 11-part free-for-all that aptly<br />

captured Maneri’s enduring spirit and message. Along<br />

the way, participants offered anecdotes and<br />

observations of Maneri - his urging to students, “Don’t<br />

let the music die!” or his high praise for musical “love<br />

lines” (as opposed to “burgers”) - that revealed how<br />

he’d touched each of them. High-points were Schuller’s<br />

rock-tinged bass solo, soon joined by Jaffe’s brawny<br />

tenor; Dalachinsky’s recitation of poetry and<br />

autobiographical sketches; Hostfalt and Theodorou’s<br />

visually dramatic duets; Sinton and Jermyn’s equally<br />

dynamic duet; Kaplan’s operatic microtonalism and<br />

the final soiree, an extended tribute to Maneri’s living<br />

memory. - Tom Greenland<br />

Ed Schuller @ Douglass Street Music Collective<br />

Sunday nights at ABC No-Rio are always<br />

unpredictable, but the Feb. 10th benefit (to help fund<br />

new building construction) was particularly<br />

carnivalesque, mainly because host/alto saxophonist<br />

Blaise Siwula scheduled each act into 10- and 12-minute<br />

sets, ensuring variety yet forcing performers to make<br />

their musical ‘points’ succinctly. After an informal<br />

opening jam, multi-instrumentalists Kali. Z. Fasteau<br />

and Daniel Carter set a high bar for those following.<br />

Stand-out moments included: five taut sketches by<br />

tenor saxophonist Jason Candler and tuba player Jesse<br />

Dulman; three pieces by soprano saxist Rocco John<br />

Iacovone and bassist Nicolas Letman-Burtinovic; a<br />

duet by cellist Diana Wayburn and duduk (Armenian<br />

double-reed) player Edith Lettner; an exciting matchup<br />

with Siwula and guitarist Cristian Amigo; an<br />

impromptu set with four saxophonists (Carter, Siwula,<br />

Candler, Iacovone) and pianist Constance Cooper; a<br />

‘free-funk’ outing with guitarist On Ka’a Davis and<br />

drummer Vin Scialla; the avant-improv theater of Anne<br />

Bassen and Emmanuelle Zagoria; a challenging but<br />

riveting piece by guitarist Chris Welcome; Dikko<br />

Faust’s trombone painting; flutist Cheryl Pyle’s trio<br />

with Carter and Letman-Burtinovic; a low-end duet by<br />

bassoonist Claire de Brunner and bassist Jochem Van<br />

Dijk; Siwula and Iacovone’s sax summit; pianist Evan<br />

Gallagher and drummer David Gould’s rowdy têtê-àtêtê<br />

and the gentle closure of violinist Cecile Broche<br />

and bassist Francois Grillot. (TG)<br />

In his debut as a leader at the Village Vanguard pianist<br />

David Virelles performed compositions from his<br />

critically acclaimed new CD Continuum (Pi), a bold<br />

amalgam of folkloric traditions from his native Cuba<br />

and avant garde jazz under the influence of mid 20th<br />

Century iconoclasts like Cecil Taylor and the Art<br />

Ensemble of Chicago, music that more than almost any<br />

other today matched the latter’s pronouncement of<br />

being from “ancient to the future”. Unfolding<br />

dramatically, the young leader’s set (Feb. 2nd) freely<br />

developed around the percussion and vocal chants of<br />

Ogduardo Roman Diaz, who opened with a traditional<br />

Yoruba canto that flowed into his own original Spanish<br />

language poetry, as bassist Ben Street and drummer<br />

Andrew Cyrille embellished his earthy rhythms with<br />

their own delicate cadences. This set the stage for<br />

Virelles’ vigorously rumbling piano, which slowly<br />

evolved into the jagged melody of his Monkish “One”.<br />

The group improvised collectively, all but abandoning<br />

the concept of soloist, each player interjecting creative<br />

ideas and contributing equally to the totality of sound,<br />

which moved from intriguing to spellbinding on “El<br />

Brujo and The Pyramid” and “The Executioner”. The<br />

music’s intensity grew with the addition of alto<br />

saxophonist Román Filiú, his piercing tone and jagged<br />

lines at times recalling Henry Threadgill (who guested<br />

with the group earlier in the week) as he dynamically<br />

expanded the tonal environment on “To Know” and<br />

the closer “Unseen Mother”. - Russ Musto<br />

David Virelles @ Village Vanguard<br />

Long heralded as much for his compositional skills as<br />

for his prowess as an instrumentalist, it was perhaps<br />

inevitable that the day would come that one would<br />

find the name of Wayne Shorter along with those of<br />

Beethoven and Charles Ives on a program at Carnegie<br />

Hall’s Stern Auditorium (Feb. 1st). The evening,<br />

celebrating the 40th Anniversary of the Orpheus<br />

Chamber Orchestra, paired the innovative classical<br />

ensemble with Shorter’s long-standing quartet of<br />

pianist Danilo Pérez, bassist John Patitucci and<br />

drummer Brian Blade on the concert’s second half,<br />

following the orchestra’s recitals of pieces by the<br />

aforementioned classical masters. Opening with<br />

“Pegasus”, a Shorter composition previously<br />

developed in concert with the Imani Winds, Orpheus<br />

and the quartet joined forces to expand the subtle<br />

dynamics of the music, built upon a recurring threenote<br />

motif, reinforced by Shorter’s soprano and Pérez’<br />

piano, with Patitucci’s rich sound providing a tonal<br />

center and Blade’s interjections modulating the tempo.<br />

Flutes and woodwinds with strings filled out the lush<br />

harmonics of “The Three Marias”, as the quartet’s<br />

sound took center stage with organically developed<br />

explorations. The world premiere of “Lotus”, the set’s<br />

centerpiece, utilized the orchestra’s full dynamic range<br />

to expound upon the exotic Eastern-tinged melody,<br />

setting the stage for Shorter’s most impassioned solo.<br />

The show concluded in a delicately melancholic mood<br />

with “Prometheus Unbound”. (RM)<br />

©John Rogers/WBGO<br />

WHAT’S NEWS<br />

The winners of the 2012 Grammy Awards have been<br />

announced. Bassist Charlie Haden received the Lifetime<br />

Achievement Award. Other relevant winners were: Best<br />

R&B Album: Robert Glasper Experiment - Black Radio<br />

(Blue Note); Best Improvised Jazz Solo: Gary Burton &<br />

Chick Corea - “Hot House” (Hot House, Concord); Best<br />

Jazz Vocal Album: Esperanza Spalding - Radio Music<br />

Society (Heads Up International); Best Jazz Instrumental<br />

Album - Pat Metheny - Unity Band (Nonesuch); Best Large<br />

Jazz Ensemble Album: Arturo Sandoval - Dear Diz (Every<br />

Day I Think Of You) (Concord); Best Latin Jazz Album:<br />

Clare Fischer Latin Jazz Big Band - Ritmo! (Clare Fischer<br />

Prod./Clavo); Best Blues Album: Dr. John - Locked Down<br />

(Nonesuch); Best Instrumental Composition: Chick Corea<br />

- “Mozart Goes Dancing” (Chick Corea & Gary Burton - Hot<br />

House, Concord); Best Instrumental Arrangement: “How<br />

About You” (Gil Evans Centennial Project - Newly<br />

Discovered Works of Gil Evans, ArtistShare); Best<br />

Instrumental Arrangement Accompanying Vocalist(s):<br />

“City Of Roses” (Thara Memory & Esperanza Spalding -<br />

Radio Music Society, Heads Up International); Best<br />

Compilation Soundtrack for Visual Media: Various Artists -<br />

Midnight In Paris (Madison Gate Records). For more<br />

information, visit grammy.com.<br />

As part of the 40th anniversary celebration of the founding<br />

of New England Conservatory’s Contemporary<br />

Improvisation department by Gunther Schuller and Ran<br />

Blake in 1972, events will take place Mar. 17th-23rd at<br />

Cornelia Street Café, Symphony Space and Barbès,<br />

featuring such musicians as Blake, Anthony Coleman,<br />

Hankus Netsky and John Medeski. For more information,<br />

visit necmusic.edu/ci40.<br />

The Brooklyn Conservatory of Music is the recipient of<br />

a $25,000 award from the Amy Winehouse Foundation in<br />

support of its Teen Jazz Scholarship, which “provides<br />

weekly private lessons, music theory classes, large and<br />

small ensemble rehearsals, and performance opportunities<br />

to young music students in need who demonstrate<br />

dedication to their music studies and strong moral<br />

character, for little or no cost.” The foundation is<br />

administered by the parents of the late pop singer, whose<br />

mother was born in Brooklyn. For more information, visit<br />

bqcm.org.<br />

Legendary Dutch drummer Han Bennink has been named<br />

the recipient of the eighth annual Jazzahead! Škoda-<br />

Award, worth €15,000. The 70-year-old Bennink joins such<br />

past winners as Joe Zawinul, Norma Winstone and John<br />

McLaughlin. For more information, visit jazzahead.de.<br />

In addition to the festivities of this year’s Prez Fest,<br />

celebrating Milt Hinton and taking place Mar. 3rd at Saint<br />

Peter’s Church (including musical performances and a film<br />

and panel discussion), photographs taken by the late<br />

bassist will be on display at the Living Room of Saint<br />

Peter’s through the day of the concert. For more<br />

information, visit saintpeters.org.<br />

The Vilcek Foundation has named Armenian jazz pianist<br />

Tigran Hamasyan one of the winners of its Prizes for<br />

Creative Promise in Contemporary Music, in order to<br />

“recognize a younger generation of foreign-born artists.”<br />

The prize amount is $35,000 and follows Hamasyan’s<br />

winning the Thelonious Monk Jazz Piano Competition and<br />

second place showing at the Martial Solal International<br />

Jazz Competition. For more information, visit vilcek.org.<br />

The Seattle Women’s Jazz Orchestra has announced its<br />

first annual Jazz Ensemble Composition Contest for<br />

Women Composers. The winning piece will be performed<br />

and recorded live at the 2013 Earshot Jazz Festival. For<br />

more information, visit swojo.org.<br />

The 2013 Women in Jazz Festival will take place at Saint<br />

Peter’s Church Apr. 13th. For more information, visit<br />

internationalwomeninjazz.org.<br />

Submit news to info@nycjazzrecord.com<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 5


Photo: by Alan Nahigian<br />

INTERVIEW<br />

Claudia Acuña moved to New York City from Santiago,<br />

Chile in 1995. She’d been working as a singer with some<br />

success in her home country, but American jazz is what<br />

captured her imagination. She worked her way up through<br />

the New York club scene during the late ‘90s, impressing<br />

many influential personalities in the jazz world with her<br />

compelling voice and rhythmic acuity. Her first record deal<br />

came from Verve in 1999 and other companies and producers<br />

soon followed - MAXJAZZ, ZoHo Music and Marsalis<br />

Music. Acuña spoke with The New York City Jazz Record<br />

about how she turned her career visions into reality.<br />

The New York City Jazz Record: What were your early<br />

days as an unknown jazz singer in New York like,<br />

newly arrived from a foreign country?<br />

Claudia Acuña: My first years here, I didn’t know at<br />

the time much English. I couldn’t afford to go to school<br />

and I didn’t know how to apply for scholarships. So I<br />

started going a lot to places like Smalls, where I met<br />

[pianist] Harry Whitaker, an amazing musician and<br />

composer. We used to get together almost every day at<br />

Smalls and we’d just do repertoire or arrangements.<br />

He was the first one to encourage me to arrange and<br />

write.<br />

TNYCJR: Who were your other teachers and mentors?<br />

CA: I participated in the workshops of Barry Harris<br />

and one of the first drummers I worked with, Jeff<br />

Ballard, used to teach me. Then I worked with people<br />

like Jason Lindner, who became a very strong<br />

collaborator. We co-wrote songs and worked<br />

consistently for almost 12 to 13 years. I also had the<br />

fortune [to meet] people with so much history, like<br />

Frank Hewitt, Jimmy Lovelace and Stanley Turrentine.<br />

And also to work with [bassist] Avishai Cohen and Avi<br />

Leibowitz and Pablo Ziegler - it just doesn’t stop. It’s a<br />

beautiful journey of having the honor and blessings<br />

and working with people who have been very patient<br />

and generous.<br />

TNYCJR: And the singers?<br />

CA: I had the amazing blessing to meet one of my<br />

idols, which was Abbey Lincoln. She really opened her<br />

world to me. She had a lot of stories and experiences<br />

and just thoughts. Just to be in her presence was a<br />

master class. A few of [these singers] I have been very<br />

blessed to get to know and call them even friends, like<br />

Dianne Reeves, someone who is an amazing singer and<br />

also a mentor. We became friends and [she is] someone<br />

where I can pick up the phone and ask a question.<br />

TNYCJR: Your music contains many different elements.<br />

Do you draw more on your Chilean musical sensibilities<br />

or on your American influences?<br />

CA: I feel both. To be honest, if I’d never moved to this<br />

6 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Claudia<br />

Acuña<br />

by Suzanne Lorge<br />

country, I would never have had the opportunity to<br />

meet the people who were my teachers, who inspired<br />

me and motivated me to work harder to become the<br />

artist or singer or songwriter that I’m dreaming to<br />

become. I would not ever have been influenced or<br />

learn about so many [different types of] music. I<br />

consider myself a New Yorker and I do also consider<br />

myself an ambassador from my country. Because ever<br />

since I moved from Chile I promised to myself and I<br />

think that’s why I’ve always made an effort, from my<br />

first album, to have even one song in Spanish. [With<br />

these songs] I’ve paid tribute to people like Violetta<br />

Parra, who was a great inspiration and one of the<br />

greatest singer-songwriters from Chile, along with<br />

Víctor Jara and others. Even though I’ve been here for<br />

17 years, my roots are from Chile.<br />

TNYCJR: Parra and Jara were part of the politicallyinfluential<br />

La Nueva Canción Chilena [New Chilean<br />

Song] movement. Do you identify with them personally<br />

as an artist or is your interest more broadly cultural?<br />

CA: Violetta Parra was the first musician, female<br />

singer, that I heard in my life, in my consciousness. I<br />

was very intrigued and she had a very strong impact<br />

on my life as a child. At the time I was too little to<br />

understand what exactly the words and what the<br />

movement was, in a country that was taken by a<br />

dictator. I was a little baby and had no knowledge or<br />

understanding about what was going on in my country.<br />

For some reason I was very attracted to people like her<br />

and like Víctor Jara. Along the way, when I left my<br />

country and came here to do what I was doing, I<br />

decided that I was going to tribute the first couple of<br />

singers who influenced my life. As I grew up, I could<br />

sympathize with a lot of the words that they express<br />

and a lot of them touch a deep part of how I think or<br />

feel about life and about my country.<br />

TNYCJR: How did you start working with Verve?<br />

CA: It was kind of an accident. I was so driven - I’d go<br />

to the Vanguard and from one jam session to another.<br />

…I started singing and doing things with different<br />

bands, doing my little gigs and getting little reviews<br />

here and there and the word started to spread out.<br />

Someone said you should try to get a record deal, but it<br />

didn’t even occur to me that there was even a<br />

possibility, because I was very discouraged at the<br />

beginning. At the time Sweet Basil was open...and the<br />

[A&R] person who signed me came to see me at the<br />

club. It was an amazing experience to go into the studio<br />

with that kind of support, with the history of that label<br />

and being a Spanish-speaking, South American person,<br />

making the dream come true and going a little further<br />

than maybe I could have imagined.<br />

TNYCJR: On your first two recordings, for Verve, you<br />

perform mostly standards, but when you moved to<br />

MAXJAZZ in 2003 you recorded almost all Latin jazz<br />

in Spanish. What was behind the shift?<br />

CA: I’ve always tried to be respectful of where I am<br />

musically. I felt because that’s the beauty of the<br />

recording, the possibility of documenting a moment in<br />

your life as much as you can. At the time on the first<br />

two records I was singing a lot of standards and I loved<br />

them. I felt that the idea of what I wanted to accomplish<br />

later was to get back to my roots, to the emotion of that<br />

repertoire and with the concept that, yes, I am a Chilean<br />

singer. So by the time I signed with MAXJAZZ I was<br />

stronger and ready to present [myself like this].<br />

(CONTINUED ON PAGE 46)<br />

JERRY GRANELLI TRIO<br />

Briggan Krauss (sax) / J. Granelli (bass)<br />

SPECIAL GUEST: JAY CLAYTON<br />

SUNDAY, MARCH 10TH 8PM (ONE SET ONLY)<br />

SHAPESHIFTER LAB<br />

18 Whitwell Place Brooklyn (bet. 1st and Carroll)


© Jack Vartoogian/FrontRowPhotos<br />

ARTIST FEATURE<br />

Last month, pipa player Min Xiao-Fen was at Flushing<br />

Town Hall in Queens, playing a matinee concert with<br />

the Momenta Quartet in a program that included her<br />

own compositions as well as a piece by the celebrated<br />

Chinese composer Tan Dun, one of the first<br />

contemporary composers she worked with after<br />

moving to San Francisco 13 years ago. Playing Tan’s<br />

concerto for pipa and string quartet she fell in with the<br />

staccato of the string quartet and played so fast<br />

sometimes that her plectra against the pipa strings<br />

sounded like the scratching of a bow pulled lightly<br />

over violin strings. On her solo piece “ABC (American<br />

Born Chinese)”, she played with a slide, coaxing ‘blue’<br />

notes and half- and quarter-tone wavers from her<br />

instrument. She further explored those bent tones in<br />

her “Tan Tan, Chang Chang”, a piece that borrowed<br />

from Southeast Chinese traditions as well as American<br />

blues and bluegrass, played on the banjo-like sanxian.<br />

A week later - on Chinese New Year - she played<br />

solo for the Jazz Vespers Sunday evening service at<br />

Saint Peter’s Church. Opening the service with a sort<br />

of improvised meditation, she steadily ramped up to a<br />

level that may have surprised some for a house of<br />

worship. The corners of her mouth betrayed a smile as<br />

she ululated in an improvised lingo inspired by her<br />

native tongue. After the service she played again, this<br />

time with her Blue Pipa Trio, a jazzier setting with<br />

acoustic guitar and upright bass.<br />

While the sources Xiao-Fen drew from in those<br />

two appearances ranged from Chinese folk and<br />

classical music to jazz, blues and bluegrass and the<br />

lessons she’s learned collaborating with free<br />

improvisers around the world, what’s notable about<br />

her artistry isn’t the diversity but the fluidity with<br />

which she moves between different streams.<br />

It’s the music of a virtuosic performer certainly,<br />

but it also may be the product of a restless spirit. Even<br />

as a child in a family of musicians – a pipa master<br />

father, a sister who is a celebrated erhu player and an<br />

orchestra conductor brother – her interests were often<br />

diverted. “I played erhu, then finger-painted,” she<br />

said. “Somehow I’m not the kind of person - like my<br />

father, like my sister - that can focus on one thing. But<br />

society, family, only want you to do one thing. I’m not<br />

the kind of person who wants to stay on one thing.”<br />

As a child, she interspersed music lessons with her<br />

father - who was forbidden from teaching under<br />

Chairman Mao’s rule - with art lessons (she still paints<br />

and designs her album covers), but as a teenager<br />

dedicated herself to the instrument her father played.<br />

“My father was my teacher,” she said. “I remember I<br />

was kind of a little bit afraid of him. And I had a very<br />

famous sister so my father had very high expectations.<br />

I studied six years with him, strict traditional music. I<br />

was pretty lucky because just as I graduated from high<br />

school the Cultural Revolution was about to end but<br />

the colleges were not ready; they were closed and my<br />

father focused on me. ”<br />

Under her father’s tutelage she found a talent for<br />

Min<br />

Xiao-Fen<br />

by Kurt Gottschalk<br />

the Chinese lute and when musical ensembles finally<br />

awoke from their state-imposed dormancy, Xiao-Fen<br />

was quickly able to find work with the Nanjing<br />

Traditional Music Orchestra. She stayed with the<br />

orchestra for a decade before again growing restless<br />

and relocating to San Francisco, where she was soon<br />

working with some of the great innovators of<br />

contemporary Chinese composition, including Tan<br />

Dun, Zhou Long and Chen Yi. She began touring the<br />

country playing their music and found herself playing<br />

solo in Chicago on a program with a composition by<br />

trumpeter Wadada Leo Smith. After the concert he<br />

approached her and said he wanted to write a piece for<br />

her. That piece, “Lake Biwa”, was featured on the first<br />

recording she made after moving to America. She also<br />

began playing with him, learning improvisation and<br />

cementing one of her closest musical relationships.<br />

“His music is like ‘take time, follow your feelings,’”<br />

she said. “I had to tell him I don’t improvise, I don’t<br />

know how to improvise. And his score was graphic, it<br />

was hard for me. I was already scared and then he<br />

looked at me and said ‘improvise’ and I was, like,<br />

sinking into a hole. I was so sweaty, my hand just<br />

stopped. I never had that experience before. We were<br />

trained that you can’t make mistakes.” “I didn’t like<br />

improvisation,” she added. “It took me like 10 years<br />

before I started to like it, started to feel comfortable.”<br />

A similar meeting after moving to New York City<br />

in 1996 led to two other formative relationships. After<br />

a concert at the old Knitting Factory she was<br />

approached by John Zorn, who had an idea for a<br />

record. “He said, ‘Do you know Derek Bailey?’” she<br />

remembered, “And I said ‘I don’t do it, I don’t<br />

improvise.’ He gave me CDs and said, ‘I’ll give you<br />

one week.’ I told myself, ‘I have to take a chance,<br />

otherwise I’ll never change.’” She went to the studio<br />

without ever having met the guitarist and while the<br />

resulting Viper isn’t the record she’s proudest of (her<br />

second session with Bailey, Flying Dragons, is stronger),<br />

she said she has a fondness for it. “I can feel it, my<br />

innocence. I was a little bit careful and just followed<br />

him. It was a very innocent experience.”<br />

Last year she released her boldest album yet. Dim<br />

Sum, on her own Blue Pipa imprint, employs such<br />

devices as string preparations and a distortion box for<br />

her most experimental effort to date (made possible by<br />

a grant from the Peter S. Reed Foundation). “I went to<br />

China this year and showed my father my new CD. He<br />

listened to the whole thing and he said, “This is very<br />

interesting.” He was so happy. I dedicated it to him<br />

and he said it’s a little strange for him but at least he<br />

listened to the whole thing. I told him, ‘This is myself,<br />

I came to America, I found myself. I was always so<br />

nervous in China. You have to be perfect.<br />

“Little by little I feel more comfortable and more<br />

competent and little by little I feel so happy to be<br />

onstage,” she added. “A door totally opened for me.<br />

This is what’s so great about being in New York and<br />

being in America. You can always do what you want.” v<br />

For more information, visit bluepipa.org. Xiao-Fen is at<br />

Brooklyn Public Library Central Branch Mar. 3rd, Avery<br />

Fisher Hall Mar. 16th and Museum of Chinese in America<br />

Mar. 22nd. See Calendar.<br />

Recommended Listening:<br />

• John Zorn - Filmworks VIII (Tzadik, 1997)<br />

• Derek Bailey/Min Xiao-Fen - Flying Dragons<br />

(Incus, 1999)<br />

• Ned Rothenberg - Ghost Stories (Tzadik, 1999-2000)<br />

• Leroy Jenkins - The Art Of Improvisation (Mutable, 2004)<br />

• Wadada Leo Smith Mbira - Dark Lady of the Sonnets<br />

(TUM, 2007)<br />

• Min Xiao-Fen - Dim Sum (Blue Pipa, 2012)<br />

JSnycjr0313 2/14/13 3:18 PM Page 1<br />

“Best Jazz Venue of the Year” NYC JAZZ RECORD★“Best Jazz Club” NY MAGAZINE+CITYSEARCH<br />

FRI-SUN MAR 1-3<br />

3<br />

RAVI COLTRANE: QUARTETS<br />

FRI MAR 1 WITH JASON PALMER - CHRISTIAN McBRIDE - BILL STEWART<br />

SAT-SUN MAR 2-3 WITH DAVID VIRELLES - DEZRON DOUGLAS - JOHNATHAN BLAKE<br />

TUE-WED MAR 5-6<br />

KILLER RAY APPLETON’S<br />

BRIAN LYNCH - IAN HENDRICKSON-SMITH - TODD HERBERT - PETER BERNSTEIN<br />

RICK GERMANSON - ROBERT SABIN - LITTLE JOHNNY RIVERO<br />

THU-SUN MAR 7-10<br />

&<br />

ANTONIO SANCHEZ<br />

DAVID BINNEY - DONNY McCASLIN - JOHN ESCREET - ORLANDO LE FLEMING - THANA ALEX<br />

TUE MAR 12<br />

AFROHORN:<br />

ROMAN DIAZ - FRANCISCO MORA–CATLETT<br />

WED MAR 13<br />

CLARENCE PENN QUARTET<br />

SAM NEWSOME - ABRAHAM BURTON - ARUAN ORTIZ - RUFUS REID<br />

CHRIS POTTER - ADAM ROGERS - BEN STREET<br />

THU-SUN MAR 14-17<br />

SFJAZZ COLLECTIVE<br />

AVISHAI COHEN - MIGUEL ZENÓN - DAVID SANCHEZ - ROBIN EUBANKS<br />

STEFON HARRIS - EDWARD SIMON - MATT PENMAN - OBED CALVAIRE<br />

TUE MAR 19<br />

JOHNATHAN BLAKE<br />

JALEEL SHAW - MARK TURNER - BEN STREET<br />

WED MAR 20<br />

THE 3RD<br />

INCARNATION<br />

CAMILA MEZA QUARTET<br />

FEATURING AARON GOLDBERG<br />

THU-SUN MAR 21-24<br />

SOLO<br />

ROOTS & 3/21-22<br />

TRIO<br />

HENRY BUTLER: BEYOND 3/23-24<br />

TUE-WED MAR 26-27<br />

MINGUS BIG BAND<br />

MIGRATION<br />

ELEVENTH<br />

HOUR BAND<br />

KENDRICK SCOTT: ORACLE<br />

JOHN ELLIS - MIKE MORENO - TAYLOR EIGSTI - JOE SANDERS<br />

THU-SUN MAR 28-31<br />

DAVE DOUGLAS QUINTET<br />

JON IRABAGON - MATT MITCHELL - LINDA OH - RUDY ROYSTON<br />

MON MAR 4, 11 & 25<br />

MON MAR 18<br />

NAPTOWN<br />

LEGACY<br />

ALL-STARS<br />

50TH<br />

B’DAY<br />

WEEK<br />

THE MUSIC OF<br />

CHICK<br />

COREA<br />

MINGUS ORCHESTRA<br />

JAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAYAT2PM [EXCEPT MAR 3 & 31] -DIRECTEDBYDAVIDO’ROURKE<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 7


ON THE COVER<br />

<strong>JENNY</strong> <strong>SCHEINMAN</strong><br />

Bringing It All Together<br />

by Sean Fitzell<br />

During a typically rollicking show with her band<br />

Mischief & Mayhem in February 2012, a visibly<br />

pregnant Jenny Scheinman told the crowd it would be<br />

her last New York City appearance for a while. After 13<br />

years, the violinist was moving back to California and<br />

taking time off from touring. This news came after the<br />

band played one of the most talked-about sets of<br />

Winter JazzFest 2012 and was prepared to release their<br />

first CD with the lineup of guitarist Nels Cline, bassist<br />

Todd Sickafoose and drummer Jim Black. From a career<br />

standpoint the timing wasn’t ideal. But Scheinman has<br />

often confounded others’ expectations in pursuing the<br />

music that inspires her.<br />

She’s built a loyal following and received critical<br />

notice as composer and player over the course of seven<br />

releases as a leader. Her work in several of guitarist<br />

Bill Frisell’s groups and alongside singer-songwriter<br />

Bruce Cockburn has been praised and brought her to<br />

wider attention. The recent change of scenery proved<br />

inspiring for Scheinman, who wrote 20 “fiddle songs”<br />

and decided finally to join her two musical personas -<br />

instrumental improviser and singer-songwriter. This<br />

month she makes her Carnegie Hall debut, joined by<br />

Frisell and drummer Brian Blade, in a program that<br />

combines her vocal songs and instrumentals.<br />

“A lot of it came from Bill’s encouragement; I’ve<br />

always sort of segregated my singing music from the<br />

instrumental music,” Scheinman says. In January, the<br />

group played two shows in Oregon and recorded new<br />

music. Of the experience, she says, “it just seemed to<br />

be a really exciting, unusual show that didn’t jerk me<br />

around the way I always thought it would; it just<br />

flowed right together.”<br />

The trio made its debut during a stint at the Village<br />

Vanguard in December 2011. At the time, Scheinman<br />

chose tunes from her instrumental catalogue that she<br />

thought would work for the players. Since she hadn’t<br />

previously performed with Blade, she wanted a relaxed<br />

atmosphere to put the focus on playing rather than the<br />

compositions. Enjoying the results, Scheinman wanted<br />

to explore future possibilities for the trio and when she<br />

decided to do “songs with words and songs without”,<br />

the lineup seemed ideal.<br />

“My feeling was I didn’t see why they couldn’t<br />

co-exist,” says Frisell. “With music, I’ve never had a<br />

problem with things being put up against each other<br />

that maybe on the surface [are] being opposed or<br />

something. Somehow you’re always going to find<br />

some relationship between it.” Frisell’s career has<br />

exemplified that idea and in many ways, so has<br />

Scheinman’s.<br />

She grew up the daughter of folk musicians in a<br />

remote part of Humboldt County in northwestern<br />

California. She took piano and violin lessons in the<br />

nearest town, some two hours away. Scheinman also<br />

competed in fiddle festivals, gave solo piano recitals<br />

and attended chamber music workshops. Piano was<br />

her focus until she was 17 years old and became drawn<br />

to the violin’s more vocal and intimate qualities. She<br />

studied at Oberlin Conservatory before graduating<br />

from UC Berkeley with an English literature degree.<br />

With this swirl of influences, she started playing<br />

around the Bay area in the Hot Club of San Francisco,<br />

a take on guitarist Django Reinhardt and violinist<br />

Stephane Grappelli’s music. She also performed with<br />

the Rova Saxophone Quartet and with experimentalists<br />

like clarinetist Ben Goldberg, guitarist John Schott and<br />

fellow singer-violinist Carla Kihlstedt. Composing<br />

more often, Scheinman formed her own bands, often<br />

with drummer Scott Amendola and guitarist Adam<br />

Levy. “I was attracted to her composing, which I felt<br />

was very original and, kind of like mine, was<br />

uncategorizable,” says Cline, who first noticed and<br />

then played with Scheinman in Amendola’s band.<br />

In 1999, Scheinman moved to New York and built<br />

a reputation within the creative improvising scene.<br />

Favoring long melodic lines and clean tones over<br />

vibrato and pyrotechnic displays, her playing has a<br />

lyrical elegance. Her debut CD Live at Yoshi’s (Avant)<br />

was recorded in 1999 and featured her compositions,<br />

displaying a range of influences and crisp performances.<br />

The Rabbi’s Lover for Tzadik’s Radical Jewish Culture<br />

series followed two years later. It explored Jewish<br />

modes and themes with moments of sweeping drama,<br />

combining originals and arrangements of two<br />

traditional songs. Shalagaster (Tzadik, 2003) also<br />

experimented with Eastern modes and Scheinman<br />

paired with Myra Melford’s piano and harmonium. It<br />

included a thrilling arrangement of a Turkish melody<br />

on “Zeynebim” and her “American Dipper” themes,<br />

which she has returned to in other settings.<br />

Her fourth release, 12 Songs (Cryptogramophone,<br />

2004), had an immediacy and cohesive ambiance with<br />

familiar song forms embellished with improvisation.<br />

Scheinman wrote with Frisell in mind. She plumbed<br />

folk and blues to conjure memorable melodies and<br />

coaxed dynamic contributions from the group. The<br />

music distilled many of her disparate influences into a<br />

more developed personal sound.<br />

“My music in general has a real folk foundation.<br />

But with words added, they definitely sound like folk<br />

songs,” she says. “I’m calling it ‘folk music’ as sort of a<br />

general term to mean music that doesn’t have too much<br />

color in the chords in the harmony and is a sort of<br />

stable structure.” Scheinman also started a weekly<br />

residency at the Brooklyn club Barbès, which became<br />

an incubator for ideas and a chance to play with<br />

different musicians and instrumentation. For example,<br />

she tried out chamber music with other string players<br />

and later brought Cline and Black together for the first<br />

time. In this comfortably supportive atmosphere,<br />

Scheinman started singing songs more frequently.<br />

The Barbès workshops provided seeds for her next<br />

three albums. 2008 saw the near-simultaneous releases<br />

of Crossing the Field and her eponymous vocal debut<br />

(Koch). For those not frequenting the weekly Barbès<br />

shows, the latter was a surprise. Combining her own<br />

heartfelt songs with covers of notable songwriters like<br />

Tom Waits and Lucinda Williams, the album had an<br />

earthy veracity with accessibly sincere vocals. Known<br />

for his extensive work as a bassist for Sex Mob and<br />

Frisell, Tony Scherr is also a singer-songwriter and<br />

assisted Scheinman. His gritty slide guitar work and<br />

effective backing vocal harmonies combined for a rich<br />

sound: at times roadhouse rough or hauntingly<br />

atmospheric. In reality, the release wasn’t a drastic<br />

departure, as Scheinman had worked on vocal records<br />

by Williams and Scherr, as well as Norah Jones’<br />

breakout debut. Even her instrumental writing was<br />

taking song forms, as was her work with Frisell.<br />

It “brought her closer to her love of singersongwriter<br />

music and folk music and blues music; and<br />

I think that when she started singing, I think that was<br />

a bold move and one that made total sense to me,”<br />

Cline observes of her work with Frisell.<br />

Schedules permitting, she also worked with the<br />

lineup of Cline, Black and Sickafoose that emerged<br />

from Barbès and became Mischief & Mayhem. Initially<br />

taking music from her earlier records, Scheinman later<br />

wrote new music with a band feel. The interaction<br />

among players draws out different aspects of their<br />

talents: Cline and Black temper their wilder proclivities<br />

to suit the songs while their company elicits sparks<br />

from the violinist.<br />

But Scheinman felt it was time for another change<br />

and during her break from the road wrote new<br />

instrumental music and refined vocal songs, gradually<br />

joining them for a unified personal expression. “In<br />

contrast to all my other records, I wanted a record<br />

where I was really the person singing the song,” she<br />

says. “I’ve been criticized for being an overgenerous<br />

musician, where it’s all about the other players and<br />

where I don’t take the center quite enough.” Putting<br />

herself out front, Scheinman needed the right musical<br />

complement and both Frisell and Blade have worked<br />

extensively with singers and in improvising bands.<br />

“They’re really committed musicians and create a lot<br />

of magic,” she says. “They can play a song and be as<br />

passionate about finding a feel as they are when they<br />

have 10 minutes to solo.”<br />

Tentatively titled The Littlest Prisoner, the new trio<br />

CD may be out this summer. Scheinman will also be<br />

recording with Frisell’s 858 joined by drummer Rudy<br />

Royston and joining a project with country guitarist<br />

Will Kimbrough. She thrives on the diversity and not<br />

staying in one place. “It’s just something about<br />

breaking things up a little, sometimes brings out<br />

creative stuff I think. I don’t know, I’m still guessing,”<br />

she muses. “If I knew where I could go to write good<br />

music, I’d go there all the time.” v<br />

For more information, visit jennyscheinman.com.<br />

Scheinman is at Zankel Hall Mar. 23rd with Bill Frisell and<br />

Brian Blade. See calendar.<br />

Recommended Listening:<br />

• Jenny Scheinman - Live at Yoshi’s (Avant, 1999)<br />

• Jenny Scheinman - The Rabbi’s Lover (Tzadik, 2001)<br />

• Bill Frisell - Richter 858 (Songlines, 2002)<br />

• Jenny Scheinman - Shalagaster (Tzadik, 2003)<br />

• Scott Amendola Band - Believe<br />

(Cryptogramophone, 2005)<br />

• Jenny Scheinman - Mischief and Mayhem (s/r, 2010)<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 9<br />

John Rogers/Johnrogersnyc.com


ENCORE<br />

Valerie Capers<br />

by Brad Farberman<br />

30 seconds into the<br />

piano solo from<br />

“Bebop”, captured on<br />

the recorded-in-1981<br />

Dizzy Gillespie concert<br />

film In Redondo, the<br />

leader yells, “Whoa!”,<br />

smiles at trombonist Tom McIntosh, plays a little air<br />

keyboard and laughs. That’s high praise coming from a<br />

man who, by that point, had worked with ivoryticklers<br />

like Bud Powell, Thelonious Monk, Mary Lou<br />

Williams and Chick Corea, but Valerie Capers earns it.<br />

Over the guitar of Ed Cherry, the bass of Michael<br />

Howell, and the drums of Tommy Campbell, the<br />

singer-pianist scurries, shimmers, splashes and<br />

dazzles, pouring her all into the eighty-eight keys<br />

afforded her that night in Southern California. All said<br />

and done, though, Dizzy’s approval that evening is<br />

merely one highlight from a five-decade career that’s<br />

full of bright moments. And Capers is still on the case.<br />

A lifelong resident of the Bronx, Capers, who has<br />

been blind since the age of six, entered the jazz world<br />

in the early ’60s, after finishing up at Juilliard. Her<br />

brother, the late saxophonist Bobby Capers, had just<br />

joined Mongo Santamaria’s band and encouraged her<br />

to write for the conguero. The sweeping 6/8 steamer<br />

“El Toro”, which opens the 1963 LP Mongo at the Village<br />

Gate, was her first effort. Other tunes for the bandleader,<br />

like “Chili Beans” and “La Gitana”, followed.<br />

“Bobby said, ‘Mongo, I’m gonna get my sister to<br />

write something for you’,” remembers Capers fondly.<br />

“And Mongo said, ‘Okay.’ And then Mongo loved [‘El<br />

Toro’]. So Mongo swore after that that I had to have<br />

had some spiritual existence in another world - another<br />

Latin world - to come up with ‘El Toro’.”<br />

After getting started with Santamaria, Capers<br />

scored a record date for Atlantic through famed<br />

producer Joel Dorn. Her resulting debut album, 1965-<br />

66’s Portrait in Soul, was a stirring exploration of Latin<br />

music, soul jazz and postbop featuring players like<br />

saxophonists Frank Perowsky and Robin Kenyatta.<br />

The questing, John Coltrane-like “Odyssey” towers<br />

above the other tracks in both length and intensity.<br />

“I like Greek mythology and different things like<br />

that,” explains Capers about the inspiration behind<br />

“Odyssey”. “I remember The Odyssey being Ulysses<br />

and his journey. [The song] wasn’t about Ulysses<br />

particularly, it was the idea of journey. A moving-<br />

LEST WE FORGET<br />

Patti Bown (1931-2008)<br />

by Suzanne Lorge<br />

Little has been written about Patti Bown. Even so, she<br />

stands out for her prolific body of work as a pianist,<br />

accompanist and arranger for some of the foremost<br />

jazz and soul performers of the 20th century. (Bown’s<br />

lack of recognition might have contributed to a<br />

common misspelling of her name, which in turn makes<br />

it harder to find her in this digital age; even Columbia<br />

Records, which released her first and only solo album<br />

in 1958, Patti Bown Plays Big Piano, spelled her name as<br />

“Patti Brown” on one version of the album cover.)<br />

Patricia Ann Bown was born on Jul. 26th, 1931, in<br />

Seattle, Washington. Her parents encouraged her<br />

musical interests and Bown began her piano studies<br />

early, demonstrating a keen ear for jazz especially. She<br />

continued her music education on scholarship at<br />

10 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

about.”<br />

In terms of studio time, though, the pianist stood<br />

still between the mid ’60s and early ’80s. Capers<br />

wouldn’t cut her sophomore album, Affirmation, until<br />

1982, due to a pileup of personal issues.<br />

“I’d had a fall and I injured my back,” recalls<br />

Capers about the era between her first and second LPs.<br />

“And that came right on top of my brother and father<br />

dying. And I just wasn’t able to [work on a recording].<br />

So when I finally decided that I was gonna go ahead<br />

and do that album, that’s why I call it Affirmation.<br />

Because I figured that this album would represent<br />

affirming myself to be a musician and just to get back<br />

into life.”<br />

Another long wait ensued between Capers’ second<br />

and third albums, but 1995’s Come on Home came in like<br />

a lion. Featuring trumpeter Wynton Marsalis,<br />

saxophonist Paquito D’Rivera, bassist Bob Cranshaw<br />

and Santamaria, among others, Come on Home houses<br />

an update on “Odyssey”, the tender Capers original<br />

“Out of All (He’s Chosen Me)” and a take on Gillespie’s<br />

“A Night in Tunisia” in an unusual time signature.<br />

“[Gillespie] had just gotten back from his first trip<br />

to Africa when he came and had lunch with me and he<br />

told me how excited he was about the fact that he<br />

heard this African group play ‘A Night in Tunisia’ with<br />

one of the Yoruba 6/8 rhythms,” remembers Capers<br />

about stumbling upon the arrangement of “A Night in<br />

Tunisia” she recorded for Come on Home. “And so he<br />

sat down at the piano and showed it to me! And I said,<br />

‘Oh, Dizzy, that’s fantastic.’ So I said to him, ‘Listen,<br />

I’m getting ready to do an album. Would you allow me<br />

to use that 6/8 rhythm playing ‘A Night in Tunisia’?’<br />

In his own inimitable fashion, he said, ‘Oh, yeah!’”<br />

Concurrent to her life as a performer and recording<br />

artist, Capers has enjoyed a long career in music<br />

education, instructing at the Manhattan School of<br />

Music for a stretch in the ’70s and at Bronx Community<br />

College from 1971-95. Though she has focused on her<br />

own sounds since retiring, she continues to take on the<br />

odd private student and conduct workshops in the US<br />

and beyond.<br />

“It’s bringing the awareness of music to people,”<br />

says Capers on teaching. “All kinds of music. The other<br />

thing, of course, is to help students develop a sense of<br />

dedication, focus and discipline in their music. Things<br />

are so fast these days. You got American Idol. If you go<br />

on a computer and you don’t get to the internet in less<br />

than two seconds, then things are slow. And then what<br />

you have to do there with the students, who are so<br />

eager, is let them know that this is a long process. This<br />

doesn’t happen overnight. You’ll be learning and<br />

growing all of your life.” v<br />

Seattle University and later at the University of<br />

Washington and by the late ‘40s she was thoroughly<br />

enmeshed in the Seattle jazz scene. There she<br />

established one of her most formative professional<br />

collaborations, with childhood playmate Quincy Jones.<br />

In 1959, the year after the release of her solo<br />

album, Bown toured Europe in the Harold Arlen jazz<br />

musical, Free and Easy, as the pianist in Jones’ jazz<br />

orchestra and, in 1961, Jones released a recording based<br />

on this work - The Quintessence (Impulse) - with Bown<br />

playing on six of the eight cuts. The orchestra<br />

performed with Jones at the Newport Jazz Festival that<br />

same year and the live recording of that performance<br />

includes Bown’s primary contribution as a composer,<br />

the blues tune “G’won Train”.<br />

From the late ‘50s onward, Bown, now in New<br />

York City, remained active in the studio, recording<br />

albums with saxophonists Gene Ammons and Oliver<br />

Nelson; trumpeters Art Farmer, Harry Edison and Cal<br />

Massey; reed player Roland Kirk; drummer Ed<br />

For more information, visit valeriecapers.com. Capers is at<br />

Jazz at Kitano Mar. 23rd. See Calendar.<br />

Recommended Listening:<br />

• Valerie Capers - Portrait in Soul (Atlantic, 1965-66)<br />

• Valerie Capers - Affirmation (KMArts, 1982)<br />

• Valerie Capers - Come on Home (Sony-Columbia, 1995)<br />

• Valerie Capers - Wagner Takes The ‘A’ Train<br />

(Elysium, 1998)<br />

• Valerie Capers - Limited Edition (Valcap Music, 2001)<br />

March 5th<br />

Warren Smith and the<br />

Composer’s Workshop Orchestra<br />

March 12th<br />

Russ Kassoff Orchestra<br />

with Catherine Dupuis<br />

March 19th<br />

Mike Longo’s NY State of the Art Jazz<br />

Ensemble with Dee Daniels<br />

March 26th<br />

Vibraphonist Warren Chiasson<br />

George Shearing Tribute<br />

New York Baha’i Center<br />

53 E. 11th Street<br />

(between University Place and Broadway)<br />

Shows: 8:00 & 9:30 PM<br />

Gen Adm: $15 Students $10<br />

212-222-5159<br />

bahainyc.org/nyc-bahai-center/jazz-night<br />

Shaughnessy and bandleaders Duke Ellington and<br />

George Russell. Bown also worked with many singers<br />

throughout her career: Dinah Washington, Aretha<br />

Franklin, James Brown, Etta Jones, Sarah Vaughan and<br />

Leon Redbone among them.<br />

When jazz slipped from the popular music charts<br />

in the ‘60s, Bown sought out other performing<br />

opportunities. She worked as a pit musician/musical<br />

director on Broadway and gigged locally at highprofile<br />

jazz clubs like The Village Gate and Weston’s.<br />

She played at Carnegie Hall in 1985 in the Kool Jazz<br />

Festival and, in 1997, at the Kennedy Center in<br />

Washington, DC, as part of the second Mary Lou<br />

Williams Women in Jazz Festival. In 2006 this same<br />

organization granted Bown the Festival’s Achievement<br />

Award for her “lifetime of service to jazz”.<br />

In her later years, Bown continued to perform but<br />

also taught and spoke publicly about her jazz career.<br />

She died from diabetes-related conditions on Mar. 21st,<br />

2008, in a nursing home in Media, Pennsylvania. v


MEGAPHONE<br />

Spontaneous Composition<br />

in the Round<br />

by Kali. Z. Fasteau<br />

Music offers a sweet alternative to the mundane,<br />

transporting us to a non-logical enjoyment of being. If<br />

you read this journal, you feel the power of music. We<br />

musicians are lucky making music that feels good to us.<br />

Rather than ‘improvising’ (improving) upon a<br />

preset structure, I prefer composing music in real time,<br />

shaping the sound energy coming through me without<br />

forethought. The body and spirit seem electrified by<br />

the high-voltage energy of contouring sound live.<br />

Spontaneous composition is almost magical, producing<br />

amazing results when the musicians are well chosen.<br />

Since our society awards predictability, spontaneous<br />

music may benefit from a theoretical basis for what I<br />

and others do naturally. Long ago, I applied the<br />

philosophy of Taoism, the moving dance of opposites,<br />

yin and yang, to music. Music lives in a multidimensional<br />

sphere encompassing all possible sounds:<br />

high and low, soft and loud, slow and fast, smooth and<br />

rough, legato and staccato. The spontaneous composer<br />

is free at every moment to create and juxtapose these<br />

yin and yang parameters of sound so as to enhance<br />

their unique qualities moving through time.<br />

Transcending this dynamic balance, the vital power of<br />

heart energy animates the sound so it can be felt and<br />

savored. Chops are required but to resonate in others,<br />

the sounds must carry deep spirit and sincere emotion.<br />

Society and culture both reflect and create each<br />

other. Music influences thought. The mind follows<br />

sound consciously and unconsciously. New shapes of<br />

sound can create new cellular connections in the brain.<br />

Awakening consciousness with music involves more<br />

than changing the lyrics to conventional song forms or<br />

expanding preset forms. Sailing uncharted sonic<br />

waters provides a musical template for living in the<br />

moment.<br />

It’s said that women usually initiate lateral,<br />

egalitarian, informal (yin) communication of ideas,<br />

outside the constraints of patriarchal ‘chains of<br />

command’. Although I certainly admire and enjoy<br />

many large ensemble works and have led and<br />

participated in some, at this time I have no desire to<br />

control or direct other musicians’ energy flow. Neither<br />

the (yang) hierarchical organization of orchestras and<br />

big bands, nor the division of labor separating<br />

composer, performer and conductor, prevalent in most<br />

‘Western’ music of recent centuries, suits my creative<br />

by Katie Bull<br />

VOXNEWS<br />

In honor of this month’s Women In Jazz theme, singers<br />

highlighted here embody consummate skill and<br />

unbridled freedom of expression. Focusing on gender<br />

can invite the risk of perpetuating the division between<br />

women and men; the conversation is important and<br />

needs to evolve. We must seize opportunities to<br />

celebrate the vibrancy and persistence of women in<br />

jazz as an ode to the force of liberation itself. Let’s<br />

focus on a new paradigm in which the primary point<br />

is: individuals making music deserve to be viewed<br />

solely on the merits of strong musicianship, regardless<br />

of gender.<br />

To that end, the Evolving Music Series is back and<br />

manifests the healthy paradigm shift most clearly. The<br />

series is a long-time champion of a diverse array of<br />

experimental jazz vocalists. This month the quicksilver<br />

Kyoko Kitamura and her Moving Music Ensemble will<br />

be featured in a Sunday matinee at the Clemente Soto<br />

temperament. Many musicians are comfortable and<br />

happy working toward their desired sound through<br />

these structures and/or must for financial reasons. I<br />

prefer action composing live and direct from the<br />

source, the bliss of instantaneous communion in sound<br />

creation with other musicians of similar aesthetic.<br />

Our experiences, both inherited and selected,<br />

inform our musical vocabularies. From a deeply<br />

musical and ‘free-thinking’ family and steeped in<br />

Euro-classical, blues, soul and some world music, I<br />

found free/avant garde jazz to be a perfect fit. After<br />

eight years of piano lessons with Olga Heifetz, I had<br />

dreamed and then played freely from age 14. Multiinstrumentality<br />

is natural for me since studying piano,<br />

cello, flute and singing in childhood. I’ve always loved<br />

bringing forth the uniquely beautiful sounds of each<br />

family of instruments: woodwinds, strings, percussion<br />

and the voice. For decades, I navigated the rivers of<br />

music on four continents, performing, living and<br />

enjoying the work of my brother and sister musicians.<br />

My music is the elixir of an adventurous life. Generalist,<br />

multi-instrumentalist, world traveler, musicologist,<br />

flute-maker, I also practice Tai-Chi and Chi-Gong,<br />

research health and nutrition, love nature, audio<br />

engineer and produce recordings, use Feng-Shui<br />

principles for interior and exterior design and graphic<br />

arts, swim long distances and much more. Versatility is<br />

yin; specialization is yang. We are all individuals with<br />

infinite capacities.<br />

You can create yourself at every moment. Don’t let<br />

others define you. The open arms of jazz have embraced<br />

motifs, timbres, rhythms and instruments from many<br />

musics of the world. Innovation is its unique attribute<br />

and source of vitality. Creating in the moment,<br />

forgetting the box, energy is strong.<br />

The sounds of animals and natural forces, although<br />

rhythmic, never repeat exactly. They are very refreshing<br />

to hear and inspire appreciation and ongoing invention.<br />

Crickets, frogs, waves, birds, rocky streams all create<br />

beautiful intricate non-repeating sound designs.<br />

Nature always changes.<br />

Your body is your first instrument - tune and tone<br />

it kindly. Whether you play or listen (we need you too),<br />

cultivate your health, your posture, slow breathing,<br />

relaxation, positive thoughts and research your food.<br />

When your musical mind seeks familiarity, relish your<br />

joys of recreating and listening to old and new<br />

favorites. If your musical mind relishes creating on the<br />

threshold of the unknown, then hone your chops and<br />

let the life energy stream sound through you. In the<br />

moving circle of Tao, yin maxes into yang and yang<br />

maxes into yin, change is the only constant. Do your<br />

best work, help others and wear at least a little smile. v<br />

Velez Cultural Center’s LES gallery, a true bastion for<br />

fresh vocal innovation (Mar. 3rd). Kitamura’s voice is<br />

an instrument of crystalline tonal purity and moves<br />

like a hummingbird’s wings.<br />

The Vital Vox Series at the edgy Roulette features<br />

cream of the crop inter-arts avant garde jazz vocalists.<br />

Hear an equitable balance of male/female sounds with<br />

Sabrina Lastman, Philip Hamilton and Sarah<br />

Bernstein (Mar. 25th-26th).<br />

Jay Clayton is a pioneer of jazz vocal envelopeexpansion,<br />

who sings in layers of contrasting texture<br />

and exquisite nuance. She can be heard with legendary<br />

drummer Jerry Granelli’s trio at the hip Shapeshifter<br />

Lab (Mar. 10th).<br />

In the more straightahead vein, the Lady Got<br />

Chops Festival features a steady stream of solid, gutsy<br />

vocalists (and instrumentalists) at various locations,<br />

including the fun Sistas’ Place. Hear the deep currents<br />

of singer/pianist Mala Waldron there (Mar. 16th).<br />

Seasoned Greek-rooted goddess Maria Farantouri<br />

For more information, visit kalimuse.com. Fasteau is at<br />

Brecht Forum Mar. 16th as part of Lady Got Chops Festival.<br />

See Calendar.<br />

Kali. Z. Fasteau composes and performs on piano, nai flutes,<br />

voice, drum set, viola, mizmars, soprano sax and more. For<br />

14 years she lived in Europe, India and Africa, playing in<br />

music festivals and concerts, radio, TV and film soundtracks.<br />

Fasteau has recorded 18 albums as a leader, 12 on her Flying<br />

Note label.<br />

KARIN KROG &<br />

MORTEN GUNNAR<br />

LARSEN<br />

IN A RAG BAG<br />

(MEANTIME RECORDS)<br />

“A great partnership between singer<br />

and pianist… Karin’s singing<br />

embraces almost every style of<br />

jazz and popular song from the<br />

days of Irving Berlin to today’s<br />

avant garde”<br />

(from liner notes)<br />

AVAILABLE ON<br />

ITUNES, SPOTIFY,<br />

AMAZON.COM,<br />

MUSIKKOPERATORENE.NO<br />

KARINKROG.NO<br />

sings with saxophonist Charles Lloyd’s quartet at the<br />

Metropolitan Museum of Art’s Temple of Dendur (Mar.<br />

15th) in the New York debut of their disarmingly<br />

beautiful collaboration Athens Concert (ECM).<br />

Over in the classy Metropolitan Room the licks<br />

will be tight: hear scat vocalese connoisseur Anita<br />

Wardell in a double bill with warm, smokey Perez<br />

(Mar. 5th); bouncing-in-the-pocket Rebecca Kilgore/<br />

Harry Allen Quartet (Mar. 6th-10th) and one of our<br />

greatest singer/lyricists - Lorraine Feather – who will<br />

celebrate the CD release of Fourteen (Relarion) by<br />

Nouveau Stride, her innovative and humorous duo<br />

with killer 26-year-old stride pianist, Stephanie Trick<br />

(Mar. 28th).<br />

Speaking of strides, this March let’s applaud the<br />

ways jazz has made progress towards trumping<br />

gender-based division. If you go to a gig, regardless of<br />

the gender of those performing, during Women’s<br />

History Month, remember - as all the jazz greats say -<br />

“It’s about the music.” v<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 11


LABEL SPOTLIGHT<br />

Libra Records<br />

by Ken Waxman<br />

“All projects have their own stories and I now have<br />

more than 60 stories I can tell,” explains pianist/<br />

composer/bandleader Satoko Fujii when asked about<br />

her recording career. More than 32 of these stories are<br />

available from Tokyo-based Libra records, a label she<br />

and her husband, trumpeter Natsuki Tamura, founded<br />

in 1996. Although the pair occasionally record for other<br />

imprints, Libra reflects Fujii’s most personal projects:<br />

duets and trios with Tamura and other Japanese and<br />

Western musicians; solo albums; records by her New<br />

York and Tokyo big bands; her avant-rock-free jazz<br />

combo and a quartet in which she plays accordion.<br />

Although Fujii, who attended both Berklee<br />

College of Music and New England Conservatory<br />

during the mid ‘80s and early ‘90s, respectively, and<br />

Tamura, who had been a member of Toshiyuki<br />

Miyama’s New Herd Orchestra, one of Japan’s best<br />

known jazz bands, had extensive recording experience<br />

- “the biggest reason we started this label was that we<br />

got tired of looking for labels that would release our<br />

recordings,” she reveals. At that time most record<br />

companies had certain fixed ideas of how jazz sessions<br />

should sound and look. She recalls one firm suggesting<br />

she wear a fancy dress and surround herself with<br />

“good looking guys as sidemen.”<br />

Libra is a small operation, which usually presses<br />

1,000 copies of each release, with tasteful CD covers<br />

Zakopane<br />

Satoko Fujii Orchestra Tokyo<br />

LISTEN UP!<br />

Saxophonist/flutist ROXY COSS has become one of<br />

the most unique voices of her generation. A native of<br />

Seattle, WA, Coss graduated in 2008 from William<br />

Paterson University on a full Presidential Scholarship.<br />

She then moved to New York where she played with<br />

Louis Hayes and the Clark Terry and Claudio Roditi<br />

Big Bands. She is also on trumpeter Jeremy Pelt’s latest<br />

record (Water and Earth, HighNote). Her eponymous<br />

debut, featuring all original material, came out in 2010.<br />

Teachers: Rich Perry, Gary Smulyan, Clark Terry,<br />

Harold Mabern, Mark Taylor, Anne Drummond, Rich<br />

DeRosa, Ingrid Jensen, Nathan Davis, Rufus Reid.<br />

Influences: Dexter Gordon, Hank Mobley, John<br />

Coltrane, Wayne Shorter, Sonny Rollins, Miles Davis,<br />

Art Blakey, Count Basie, Duke Ellington, Lee Morgan,<br />

Brad Mehldau, Joshua Redman, Mark Turner, Kenny<br />

Garrett, Roy Hargrove’s RH Factor, Bach.<br />

Current Projects: Working on a Miles Davis songbook<br />

project for the spring; Jeremy Pelt Band; DIVA Jazz<br />

Orchestra; Roxy Coss Quintet; Colleen Clark Trio;<br />

Danny Rivera/Matt Chiasson Big Band.<br />

By Day: Practice, play, compose, teach.<br />

Eto<br />

Satoko Fujii Orchestra New York<br />

I knew I wanted to be a musician when... I realized<br />

everything else was so boring!<br />

Dream Band: Nat King Cole, Freddie Hubbard, Kurt<br />

12 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

designed by Masako Tanaka. To devote full attention to<br />

the music, Fujii produces Tamura’s CDs and he hers.<br />

Sessions recorded in NYC are done at Brooklyn’s<br />

Systems Two studio because Fujii likes its piano.<br />

Business dealings are straightforward as well. For a<br />

project under Fujii or Tamura’s leadership, they hire<br />

the musicians and pay all expenses. For other CDs,<br />

such as Under the Water, Fujii’s duo piano record with<br />

Myra Melford, or Rafale with French musicians who<br />

helped compose the material, costs are shared and<br />

profits divided accordingly. Available from a variety of<br />

distributors in Japan, Europe and the US or from its<br />

website, Libra is officially located in Tokyo because<br />

that’s where a close friend of Fujii’s has the key to a<br />

small warehouse and can send out requested discs.<br />

Named Libra for Fujii’s astrological sign - “Natsuki<br />

is Leo and as you know there is a Leo label already,”<br />

she jokes - the imprint’s idiosyncrasies extend to its<br />

numbering system. “The first three numbers tell whose<br />

project it is and how big the band is and the last three<br />

numbers are continuous,” Fujii notes. “For example:<br />

Satoko Fujii Orchestra Tokyo, Zakopane is Libra 216-<br />

027; 2 means a Satoko project - Natsuki’s project is a 1<br />

- 16 means there are 16 musicians in the band and 027<br />

means this is the 27th Libra CD.” Vulcan is probably<br />

the label’s bestseller. It features the trumpeter and<br />

pianist with two Japanese rock musicians, including<br />

drummer Tatsuya Yoshida of The Ruins. All Libra CDs<br />

can be downloaded from iTunes and while there are no<br />

Libra LPs yet, “we’d love to do one,” says Fujii.<br />

Other well-received Libra CDs include discs made<br />

with Fujii’s American trio of drummer Jim Black and<br />

Rosenwinkel, Bobby Timmons, Paul Chambers, Art<br />

Blakey.<br />

Did you know? I have a soft spot for The Beatles,<br />

Michael Jackson, Britney Spears, ‘90s hip-hop/R&B<br />

and gangsta rap.<br />

For more information, visit roxycoss.com. Coss is at Smoke<br />

Sundays. See Regular Engagements.<br />

Roxy Coss<br />

Watershed<br />

Satoko Fujii Min-Yoh Ensemble<br />

Lakecia Benjamin<br />

A streetwise New York City native born and raised in<br />

Washington Heights, LAKECIA BENJAMIN has<br />

become one of the most highly sought-after players in<br />

soul and funk music. Charismatic and dynamic as both<br />

a saxophonist and bandleader, she has worked with<br />

David Murray, Stevie Wonder, Alicia Keys, The Roots,<br />

Macy Gray and more. She has performed on four<br />

continents and her extensive recording credits include<br />

saxophone and arrangements for Santigold, Maurice<br />

Brown, Clark Terry Big Band, Krystle Warren and Talib<br />

bassist Mark Dresser. “She has fantastic performance<br />

energy, a great ear, a musical fearlessness that allows<br />

her to travel into new territories, has an amazing work<br />

ethic and is constantly building bridges,” notes<br />

Dresser. “Her label is dedicated to releasing her various<br />

projects, which makes it part of a long tradition of<br />

improviser/composer/performers self-producing.”<br />

Although the pianist tells most of her stories via<br />

Libra, she won’t turn down the opportunity to work<br />

with other labels “if we find a label that loves our<br />

music and that we can trust,” she avers. For instance<br />

the newest disc by her Ma-do ensemble is on Poland’s<br />

Not Two. Another departure was KAZE’s Rafale, put<br />

out cooperatively in 2011 by Libra and Circum-Disc,<br />

the label of the Muzzix musicians’ collective, based in<br />

Lille, France. KAZE consists of Fujii, Tamura plus two<br />

French musicians: drummer Peter Orins and trumpeter<br />

Christian Pruvost.<br />

“The most important fact about Libra and Circum-<br />

Disc is that both record companies are headed by<br />

musicians, so there’s passion in the way things are<br />

done and freedom that we don’t find elsewhere,”<br />

explains Orins. “Nowadays musicians almost always<br />

lead their project from the beginning to the release, so<br />

I think that running our own record company lets us<br />

manage the way we want to do it. Working with Satoko<br />

is one of the simplest musical experiences I know. Even<br />

if the music we make is highly elaborate and<br />

purposeful, the way we do it is very natural and<br />

without pressure. We simply play while being very<br />

focused on one another.”<br />

(CONTINUED ON PAGE 46)<br />

Forever<br />

Gato Libre<br />

Kweli, among others.<br />

Rafale<br />

KAZE<br />

Teachers: Wessell Anderson, Steve Wilson, Gary Bartz,<br />

Bruce Williams, Reggie Workman, Billy Harper, Bill<br />

Saxton.<br />

Influences: Jackie McLean, Maceo Parker, John<br />

Coltrane, Kirk Whalum, Charlie Rouse, Sly and the<br />

Family Stone, Earth, Wind & Fire, Alice Coltrane.<br />

Current Projects: I have been working extensively<br />

with my band Soulsquad, promoting songs off my<br />

debut album Retox (Motéma).<br />

By Day: Practice, compose, meetings and rehearsals.<br />

I knew I wanted to be a musician when... the first time<br />

I laid eyes on a saxophone. My best friend had an alto<br />

saxophone and from that moment on I became fixated<br />

with it.<br />

Dream Band: Bootsy Collins, Herbie Hancock, Eddie<br />

Hazel, Greg Errico, Earth, Wind & Fire horn section,<br />

Rachelle Ferrell.<br />

Did you know? I only eat pizza crust. It’s my fave. I<br />

dislike the taste of pizza and garlic knots.<br />

For more information, visit lakeciabenjamin.com. Benjamin<br />

is at For My Sweet Restaurant Mar. 4th as part of Lady Got<br />

Chops Festival. See Calendar.


HUGH MASEKELA<br />

Sat., April 20 | 7:30pm<br />

THE KNICKERBOCKER ORCHESTRA<br />

FEATURING HARUMI HANAFUSA<br />

Fri., March 8 | 7:30pm<br />

Photo: Kevin Yatarola<br />

AMERICAN<br />

SHOWSTOPPERS<br />

JULE STYNE<br />

Sat., March 9 | 7:30pm<br />

Coming Up<br />

Next at<br />

schimmel.pace.edu or call 866.811.4111


CD REVIEWS<br />

Capricorn Climber<br />

Kris Davis (Clean Feed)<br />

by John Sharpe The Song That Sings You Here<br />

Pianist Kris Davis has perfected a great trick, dressing<br />

her elaborate compositions in the guise of improvisation<br />

so successfully it’s barely possible to tell one from the<br />

other. By doing so she retains the freshness and<br />

unpredictability of unscripted interaction while at the<br />

same time keeping a taut conceptual grasp. In this<br />

she’s abetted by an allstar cast, including frequent<br />

collaborators like saxophonist Ingrid Laubrock and<br />

drummer Tom Rainey.<br />

Davis sets the mood with her purposefully<br />

intelligent promptings, only cutting loose herself on<br />

“Pass The Magic Hat”, before setting up the sort of<br />

involved interplay characteristic of all the pieces here.<br />

For her contribution Laubrock alternates between<br />

flowing but asymmetric rounded tones and heated<br />

timbral distortion, but meshes well with her frontline<br />

partner, violist Mat Maneri, during some tricky<br />

unisons. Elsewhere Maneri is angular and abrasive,<br />

sliding between notes in a way that ups the surprise<br />

quotient. In fact, it’s impossible to anticipate the<br />

trajectory of any of the selections. Much credit for such<br />

flexibility falls to the rhythmic ingenuity of Rainey<br />

allied to the nimble yet assertive bassist Trevor Dunn.<br />

Each number is event-strewn but cohesive. The<br />

title cut provides as good an example as any: Maneri<br />

and the leader pontificate dreamily to start, before<br />

building to an energetic crescendo of intersecting<br />

layers. A saxophone/viola theme emerges from the<br />

swirling chaos, providing a cooling interlude, which<br />

morphs into a tappy coda of sustained drones,<br />

culminating in a chiming conclusion recalling an oldfashioned<br />

clock. While highlights are too many to<br />

enumerate, one that sticks in the mind is Laubrock’s<br />

forceful tenor solo on “Trevor’s Luffa Complex”,<br />

goosed by some explosive comping from the leader.<br />

One of the treats of this tremendous album is to<br />

savor the appealing blend of the cerebral and affecting,<br />

with new quirks revealed on every listen.<br />

For more information, visit cleanfeed-records.com. Davis is<br />

at Clemente Soto Velez Cultural Center Mar. 4th, Cornelia<br />

Street Café Mar. 5th with Ingrid Laubrock and 30th as a<br />

leader and Korzo Mar. 26th. See Calendar.<br />

AMANDA<br />

& THE MICHAELS<br />

AMANDA MONACO - GUITAR<br />

MICHAEL BATES - BASS<br />

MICHAEL PRIDE - DRUMS<br />

SEEDS BROOKLYN<br />

617 VANDERBILT AVENUE<br />

WED, MAR. 20TH, 10 PM $10<br />

AMANDAMONACO.COM<br />

14 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Chris McNulty (Challenge)<br />

Champian Sings and Swings<br />

Champian Fulton (Sharp Nine)<br />

Mississippi Belle (Cole Porter in the Quarter)<br />

Daryl Sherman (Audiophile)<br />

by Marcia Hillman<br />

The Great American Songbook - tunes mostly from<br />

the ‘20s-50s written by the Tin Pan Alley masters for<br />

Broadway shows or movies - is the mother lode for<br />

singers in all genres in search of material to express<br />

themselves. Three different songbirds have recently<br />

mined it for their respective albums, testifying once<br />

again to its inexhaustible richness.<br />

Australian-born vocalist Chris McNulty possesses<br />

a mature, expressive voice and sings a little behind the<br />

beat, which allows her to explore some innovative<br />

phrasing on The Song That Sings You Here, accompanied<br />

by bassist Ugonna Okegwo, drummer Marcus Gilmore,<br />

guitarist Paul Bollenback, pianists Andrei Kondakov<br />

and Graham Wood, tenor/soprano saxophonist Igor<br />

Butman and guest vocalist Anita Wardell. McNulty<br />

opens with a lightly swinging version of “How Little<br />

We Know” (featuring Butman’s high-flying tenor solo)<br />

and continues with a soft and easy rendition of “How<br />

Are Things in Glocca Morra?”, proving that she can<br />

handle both sides of the emotional coin. Most notable<br />

is the inclusion of Fats Waller’s “Jitterbug Waltz”. Who<br />

ever knew there were lyrics to this song? There are, by<br />

Richard Maltby Jr., and just as playful as Waller’s<br />

personality. McNulty has a lot of fun with this one.<br />

Champian Fulton is a double-threat performer,<br />

possessing a powerful voice and some heavy piano<br />

chops, both captured on Champian Sings and Swings,<br />

where she is joined by Hide Tanaka (bass) and Fukushi<br />

Tainaka (drums), with the addition (on selected tracks)<br />

of trumpeter Stephen Fulton and tenor saxophonist<br />

Eric Alexander. The album is nicely paced, with<br />

opportunities to show off her vocal talent (edgy at<br />

times and softer at others) and her instrumental ability,<br />

with several tracks (“I Cover The Waterfront” and Bud<br />

Powell’s “Celia”, for example) done in a piano trio<br />

setting. Fulton’s two skills meet on “Samba de Orfeo”,<br />

the leader first singing a wordless lyric and then<br />

scatting along with her playing. On “It’s Too Late<br />

(Baby Too Late)”, Fulton gets especially bluesy, aided<br />

and abetted by wailing tenor work from Alexander<br />

(who also smokes on an uptempo version of “It’s<br />

Alright With Me”). Stephen Fulton contributes inspired<br />

horn on “You’re Getting To Be A Habit With Me”.<br />

Vocalist/pianist Daryl Sherman is no stranger to<br />

the club scene as a singer of standards, but on<br />

Mississippi Belle she has chosen to focus exclusively on<br />

the Cole Porter songbook, presenting a program of<br />

underdone and even obscure songs. Recorded in New<br />

Orleans in salute to the resilience of the city after<br />

Katrina, Sherman’s group is a trio with tenor<br />

saxophonist/clarinetist Tom Fischer and bassist Jesse<br />

Boyd, with a guest appearance by New Orleans vocalist<br />

Banu Gibson on “By The Mississinewah”, a duet in<br />

English and French. Sherman’s skill as a storyteller<br />

stands out, as does her close musical connection with<br />

Boyd, starting with the opener, “Let’s Do It”, where<br />

she goes through the multi-choruses of the song with<br />

just bass and a touch of piano behind her. Other<br />

highlights include Fisher’s sax on “Looking At You”<br />

and his clarinet work on “Who Wants To Be A<br />

Millionaire?”. The combination of some freshly done<br />

material and Sherman’s straightforward approach<br />

make this album delightful.<br />

This triumvirate of CDs by a trio of ladies, each<br />

with their respective talents and styles, once again<br />

demonstrates why the Great American Songbook<br />

deserves the superlative!<br />

For more information, visit challengerecords.com,<br />

sharpnine.com and jazzology.com/audiophile_records.php.<br />

Chris McNulty is at Jazz at Kitano Mar. 7th. Champian<br />

Fulton is at The Garage Mar. 7th and 30th. Daryl Sherman<br />

is at Knickerbocker Bar and Grill Mar. 8th-9th and<br />

15th-16th. See Calendar.<br />

UNEARTHED GEM<br />

Bigbands Live<br />

Benny Goodman Orchestra (feat. Anita O’Day)<br />

(Jazzhaus)<br />

by Andrew Vélez<br />

This is only one part of a treasure trove of live<br />

recordings from the archives of the German Southwest<br />

Broadcasting Company. The 3,000 hours in its<br />

archives represent possibly the most comprehensive<br />

reservoir of unpublished jazz recordings worldwide.<br />

In this instance it’s a performance at the Stadthalle<br />

Freiburg, West Germany from 1959. So here’s a<br />

Jewish-American bandleader performing in a<br />

country where his Swing Era music was once banned<br />

by the Nazis as “decadent”.<br />

Showcasing a first-rank lineup including Red<br />

Norvo (vibes), Russ Freeman (piano), Flip Phillips<br />

(tenor sax) and some luscious vocals from Anita<br />

O’Day, this is first-class big band music just as rock<br />

‘n roll was about to explode popular music into a<br />

new era. But for now Goodman’s clarinet blending<br />

with Norvo’s ever-swinging vibes on “Air Mail<br />

Special” evoke a still thrilling whiff of peak Swing<br />

Era sounds. If this is not quite the Goodman and<br />

Company of his legendary 1938 Carnegie Hall<br />

Concert, it still packs a swinging punch.<br />

The distilled simplicity of Red Wooten’s bass<br />

makes a perfect nest for the succulent sweetness of<br />

O’Day on “Honeysuckle Rose”. A medley of<br />

Gershwin’s “But Not for Me”, “Four Brothers” and<br />

“Blues” has O’Day swinging ever so easily. She<br />

veers from seductive to rambunctious highstratosphere<br />

scatting, all unique and all captivating.<br />

“Raise the Riff” is an opportunity for Goodman<br />

to swing big time with Wooten and Freeman each<br />

taking hot turns until Norvo sweeps in like the<br />

Swing Era master he was. There’s a taste of Goodman<br />

as composer with “Breakfast Feud”, on which he<br />

wails against trumpeter Jack Sheldon and again<br />

those Norvo vibes, each taking a piece of the action<br />

before a happy finish by the whole gang. For a taste<br />

of Goodman at his sweetest, there’s his old favorite,<br />

“Memories of You”.<br />

The closing medley - including “Stompin’ at the<br />

Savoy”, an irresistible “Moonglow” and “Bei mir bist<br />

du schein” - brings to a tumultuous close a session<br />

that demonstrates what had made Goodman “The<br />

King of Swing” decades earlier was still at play.<br />

For more information, visit jazzhaus-label.com


Elephant Wings<br />

Gunhild Seim & Time<br />

Jungle with Marilyn<br />

Crispell (Drollehala)<br />

by Stuart Broomer<br />

Play Braxton<br />

Marilyn Crispell/<br />

Mark Dresser/Gerry<br />

Hemingway (Tzadik)<br />

Marilyn Crispell is a pianist of special vision and<br />

tremendous lyric sweep, with a capacity for finding<br />

passion in a keyboard that has linked all of the different<br />

musical dimensions she has explored since emerging<br />

in the early ‘80s. She was initially associated with Cecil<br />

Taylor for her dense, high-speed improvisations, but<br />

Crispell is a complete musician who, over time, has<br />

revealed myriad facets to her work, from spacious<br />

ballad playing to concentrated rhythmic interplay.<br />

Crispell has worked extensively with Scandinavian<br />

musicians and on Elephant Wings she joins Norwegian<br />

trumpeter Gunhild Seim and her quartet Time Jungle.<br />

Seim has a capacity for brevity and focus whether it’s a<br />

composition reduced to dramatic gestures or the clarity<br />

of her trumpet phrases. Time Jungle is an effective<br />

instrument for her compositions. Alto saxophonist<br />

Arild Hoem is a good foil, whether contributing<br />

abstract, out-of-tempo squiggles or long-lined solos in<br />

contrast to Seim’s economy. It’s a conversational group<br />

and bassist John Lilja and drummer Dag Magnus<br />

Narvesen choose their notes carefully, complementing<br />

the melodic focus or developing a web of overlapping<br />

rhythmic figures. It’s a band with a distinctive<br />

conception and Crispell raises it to another level, not<br />

by doing a guest-star turn but by burrowing into the<br />

music, adding optimum framing to the other musicians’<br />

lines and turning in solos that sparkle in their aptness,<br />

like the fleetly floating invention she brings to “Joni”.<br />

Crispell’s gift for collective creation first flowered<br />

in the Anthony Braxton Quartet between 1983-95 with<br />

bassist Mark Dresser and drummer Gerry Hemingway,<br />

a genuinely great band in which Braxton mixed and<br />

matched scores from his entire body of compositions,<br />

solo to orchestra. Somehow the four managed to find<br />

ways to negotiate that shifting terrain and make<br />

coherent art. The trio reunited to pay tribute to Braxton<br />

on his 65th birthday and this recording came about as<br />

a result. There may be music as complex or as playful,<br />

but not both. This CD includes many of the moods of<br />

Braxton, from the densely layered rhythms and<br />

harmonies that live in synch on “Composition 116” to<br />

LIBRA<br />

Records<br />

32 CDs of limitless creative vision by<br />

pianist/composer Satoko Fujii &<br />

trumpeter/composer Natsuki Tamura.<br />

Solo, duo, trio, quartet, big band and<br />

orchestra. Artist owned!<br />

Stay tuned for more releases soon!<br />

www.librarecords.com<br />

the atonal bop of “Composition 23C” and the hanging<br />

isolated tones of “Composition 40N”. Crispell is<br />

magnificent, displaying the breadth of her playing,<br />

from the flying clusters of “Composition 69B [8.2]”<br />

(Crispell sounds most like Cecil Taylor when reading<br />

an excerpt from a through-composed Braxton piano<br />

solo) to the weird block-chord groove of “Composition<br />

40B”. Dresser and Hemingway play at a level of<br />

thought and interaction most can only imagine and all<br />

three navigate this music with an intimacy that blurs<br />

compositional and improvisational methodologies into<br />

indivisible music. It’s a masterpiece in itself, as well as<br />

an invitation to investigate all the original quartet’s<br />

recordings, spread over more than a decade, with<br />

notable performances on Leo, hatHUT and Victo.<br />

For more information, visit gunhildseim.com and tzadik.com.<br />

Crispell is at Symphony Space Peter Jay Sharp Theatre Mar.<br />

22nd as part of a Paul Motian Tribute. See Calendar.<br />

Down Here Below<br />

Ran Blake/Christine<br />

Correa (Red Piano)<br />

by George Kanzler<br />

Aurora<br />

Sara Serpa/Ran Blake<br />

(Clean Feed)<br />

Ran Blake is a pianist who never plays a superfluous<br />

note. He can be spare and angular, but always<br />

satisfyingly complete. Few pianists in jazz have been<br />

as masterful, or comfortable, playing alone or in duos.<br />

Blake has made duo albums with vocalists before,<br />

including Jeanne Lee and Dominique Eade, as well as<br />

two others with Indian singer Christine Correa and<br />

one other with Portuguese singer Sara Serpa. The two<br />

are poles apart as vocalists and stylists.<br />

Correa brings an immediacy and raw edge to her<br />

delivery, as if melding method acting with singing.<br />

Down Here Below honors Abbey Lincoln, who also<br />

brought an acting sensibility to her singing. The title<br />

song bookends the album, the first track beginning<br />

with highly charged wordless chanting, followed by a<br />

piano solo suffused with mystery before Correa returns<br />

with Lincoln’s lyrics, delivered in a conspiratorial tone<br />

rising to a devotional pitch. The album closes with<br />

Correa’s very different a cappella and low-key<br />

performance of the song. Correa can be raw and angry,<br />

as on “Freedom Day” (two versions, with and without<br />

Blake), adding petulance to the anger on “Retribution”.<br />

Her tone can be dry and harsh, as she bends melodies<br />

to extremes on “Little Niles” and “African Lady”, slide<br />

from steely to cool on “Bird Alone” or be downright<br />

sweet and engaging on the winsome “How I Hoped for<br />

Your Love”. Correa and Blake make “Brother, Can You<br />

Spare a Dime?” as singular and heart-wrenching as<br />

Lincoln did, but in their own unique way.<br />

Serpa is, to say the least, an acquired taste. She<br />

doesn’t emote much. Her a cappella version of “Strange<br />

Fruit” on Aurora is freeze-dried. Her delivery of torch<br />

songs like “Saturday” and “When Autumn Sings” are<br />

wooden, staid and calm. In fact, on the latter, Blake<br />

brings the passion with his piano jabs as Serpa’s voice<br />

flattens and sours.<br />

The most successful duo track is the wordless “Dr.<br />

Mabuse”, co-written by Blake and featuring a threenote<br />

motif and pleasing blend of deep piano chords<br />

and trilling vocal vowels. The longest track is Blake’s<br />

masterful, brooding piano solo on his own “Mahler<br />

Noir”, a worthy addition to his growing body of “Noir”<br />

pieces. Three standards on this outing are vehicles for<br />

deconstruction. “The Band Played On” lurches on an<br />

off-kilter waltz rhythm for the opening vocal, followed<br />

by some stride from Blake, Serpa then returning in a<br />

higher key, or just purposely over-singing until she is<br />

performing wordless, operatic-like vocal scales. “Fine<br />

and Dandy” also has hints of stride piano and a vocal<br />

that shreds the melody with weird sharps and flats<br />

close to caterwauling. “Last Night When We Were<br />

Young” is best in the piano intro, worst in the fey and<br />

strained vocal.<br />

For more information, visit redpianorecords.com and<br />

cleanfeed-records.com. Blake and Correa are at Symphony<br />

Space Peter Jay Sharp Theatre Mar. 23rd as part of “CI at<br />

40”. See Calendar.<br />

IN PRINT<br />

Shall We Play That One Together?: The Life and Art<br />

of Jazz Piano Legend Marian McPartland<br />

Paul de Barros (St. Martin’s Press)<br />

by Ken Dryden<br />

English pianist Marian McPartland’s professional<br />

jazz career spanned over 60 years and she became a<br />

jazz icon thanks to her multi-award-winning, longrunning<br />

NPR radio series Piano Jazz. Paul de Barros,<br />

a renowned jazz journalist, did in-depth research<br />

and conducted many interviews to craft a detailed<br />

portrait of the witty yet complex musician.<br />

McPartland’s early life covers a difficult<br />

relationship with her mother over abandoning<br />

classical studies to play jazz, prompting a comment<br />

that the pianist often shared with her audiences:<br />

“You’ll come to no good. You’ll marry a musician<br />

and live in an attic,” followed by, “And she was<br />

right!” While touring with the USO in World War II,<br />

she met Chicago cornetist Jimmy McPartland. After<br />

she joined her new husband in America, he<br />

encouraged her career, though she would become<br />

the more widely known player, thanks to her<br />

extended gig at The Hickory House in New York<br />

City and later the Piano Jazz program.<br />

Not all was rosy in McPartland’s life. Her<br />

ongoing affair with her (married) drummer Joe<br />

Morello caused problems as did sparse recording<br />

opportunities in the early ‘60s and bouts with<br />

depression. But she rebounded with jazz writing<br />

and education, launch of her record label Halcyon,<br />

the NPR series and her signing to Concord Records.<br />

The author’s insights as a jazz journalist help<br />

him document McPartland’s growth as a pianist.<br />

Not one to establish a set repertoire and remain<br />

stagnant, she continuously explored new material<br />

and took chances on Piano Jazz, playing with new<br />

people from diverse backgrounds. One of her<br />

triumphs was playing duets with Cecil Taylor, not at<br />

all intimidated by his wild improvising and showing<br />

off her own considerable abstract chops.<br />

With over 700 Piano Jazz programs recorded<br />

between 1978-2010 (she formally retired in 2011),<br />

much of the book is devoted to her broadcasts. Sadly<br />

only a few dozen have been commercially issued<br />

and a fraction of the others made available as<br />

podcasts; it is a shame that there wasn’t room in the<br />

appendix to list all of her guests.<br />

For more information, visit us.macmillan.com/SMP.aspx<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 15


GLOBE UNITY: NORWAY<br />

Memnon: Sound Portraits of Ibsen Characters<br />

Ruth Wilhelmine Meyer/Helge Lien (Ozella Music)<br />

In A Rag Bag<br />

Karin Krog/Morten Gunnar Larsen (Meantime)<br />

Voxpheria Tone Åse/Thomas Strønen (Gigafon)<br />

by Tom Greenland<br />

Jazz fans familiar with ECM recordings know about<br />

a certain slice of the country’s ‘cool’ school but<br />

perhaps know little of artists like Bugge Wesseltoft,<br />

the rhythm team of Ingebrigt Håker Flaten and Paal<br />

Nilssen-Love, Jaga Jazzist, Supersilent, The Core<br />

and legions more that comprise Norway’s active<br />

and eclectic modern jazz scene.<br />

Memnon: Sound Portraits of Ibsen Characters<br />

features vocalist Ruth Wilhelmine Meyer and pianist<br />

Helge Lien in a series of composed improvisations<br />

inspired by the great Norwegian playwright’s<br />

protagonists. The pair’s modus operandi seems<br />

Stanislavski-ian, deeply immersing themselves in a<br />

character’s emotions before letting the creative<br />

sparks fly. Lien’s touch is gentle and ethereal,<br />

marking a zone for Meyer’s plaintive, searching<br />

vocal flights, which range from whispers, growls<br />

and squelched notes with pinched upper partials to<br />

wailing helicopter yodels and ululations, the latter<br />

reaching powerful climaxes on “Hedvig”, “Hedda”<br />

and “Peer and the Mountain King”. “Ellida”, “Åse”<br />

and “Nora” are all notable for their Billy Strayhornesque<br />

chromatic lyricism.<br />

Another vocal/piano pairing, veteran Karin<br />

Krog’s duo with Morten Gunnar Larsen In a Rag<br />

Bag, explores ragtime and traditional jazz repertoire,<br />

particularly Bix Beiderbecke and Fats Waller. A<br />

versatile singer and Norway’s first internationally<br />

known jazz musician, Krog phrases effortlessly with<br />

a slightly smoky and breathy tone, never oversinging<br />

where a subtler touch will do, serving up a<br />

saucy scat solo on “Spanish Steps”. Larsen is a<br />

marvel, a fine technician who deftly tackles the<br />

complex rhythmic convolutions of Scott Joplin’s<br />

“Euphonic Sounds”, his own “Olympia Rag” and<br />

Waller and Clarence Williams’ “Wild Cat Blues”,<br />

instantly adjusting his timing to accommodate rag,<br />

stride or boogie, often within the same piece, yet<br />

always maintaining his forward momentum.<br />

On Voxpheria, vocalist Tone Åse and<br />

percussionist Thomas Strønen take the duo concept<br />

one step further, into the realm of improvised<br />

electronica. The ‘50s-era cover, looking like a setpiece<br />

from The Twilight Zone, aptly telegraphs the<br />

music within, a pastiche of textures - radio static,<br />

fizzling power-lines, crackling hearth-fires, howling<br />

wind, leaky faucets, subterranean drones,<br />

shimmering chimes, tearing paper, rusty springs,<br />

twanging rubberbands, boiling kettles, shuffling<br />

cards and the like - that create a synthetic soundscape<br />

through which Åse wends her way with poetry<br />

bytes (by e.e. cummings or Rolf Jacobsen) and<br />

wordless ad-libs, often harmonized and digitally<br />

looped in spontaneous counterpoint.<br />

For more information, visit ozellamusic.com, karinkrog.no<br />

and gigafon.no<br />

16 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Fourteen<br />

Nouveau Stride<br />

(Relarion)<br />

by Ken Dryden<br />

Tales of the Unusual<br />

Lorraine Feather<br />

(Jazzed Media)<br />

Vocalist Lorraine Feather’s gift for writing witty<br />

lyrics has put her on the map and garnered her both<br />

Grammy and Oscar nominations. Feather pens lyrics<br />

for decades-old gems by jazz greats with an engaging,<br />

at times conversational, singing style.<br />

Pianist Dick Hyman previously worked with<br />

Feather and recommended that she listen to Stephanie<br />

Trick, a young St. Louis stride pianist. Once they met<br />

and played a few numbers, they discovered it was a<br />

perfect match, christening themselves Nouveau Stride.<br />

Fourteen includes new Feather lyrics and some of her<br />

earlier works, all played with gusto by the talented<br />

Trick. James P. Johnson’s “Caprice Rag” becomes “Pour<br />

on the Heat”, a historic narrative on the development<br />

of stride, Feather alternating between rapid-fire<br />

singing and narration as Trick provides romping<br />

accompaniment. Trick delivers a powerful rendition of<br />

Johnson’s “Carolina Shout”, long considered an acid<br />

test for stride pianists. “Vive Le Boogie Woogie” is an<br />

infectious boogie-woogie penned by Trick (which she<br />

plays with as much authority as stride) with a playful<br />

Feather lyric. Willie “The Lion“ Smith’s “Spanish Rag”<br />

reemerges as “The Tango Lesson”, imagining a young<br />

lady’s discovery of the sensuous dance while Duke<br />

Ellington’s “Dancers in Love” transforms into<br />

“Imaginary Guy”, a hilarious solution to a lady’s<br />

problems with various boyfriends. Fats Waller’s “Bond<br />

Street” began life as his impression of a day in the life<br />

of a London streetwalker; Feather’s “California Street”<br />

transforms it into a nostalgic love story. Nouveau<br />

Stride will delight both jazz vocal and piano fans, due<br />

to the pair’s tremendous chemistry.<br />

Tales of the Unusual blends humor and an<br />

occasionally eerie flavor as Feather collaborates with<br />

some of her favorite musicians, which include Russell<br />

Ferrante or Shelly Berg (piano), violinist Charles<br />

Bisharat and either Grant Geissman or Mike Miller<br />

(guitar). The captivating alto is a terrific storyteller,<br />

crafting lyrics that take on a more introspective nature<br />

in this collection while adding to the exotic air of the<br />

music. “The Hole in the Map”, with music by Ferrante,<br />

is Feather’s amusing story of exploring the Amazon.<br />

“Where is Everybody?” combines mystery and humor,<br />

with Bisharat spicing his solo with gypsy flavor. “Five”<br />

features music by Tony Morales (Feather’s husband)<br />

and creative use of overdubbed vocals in a song about<br />

a young girl’s obsession with the number five. “Get a<br />

Room” is a hilarious tale of opposites attracting with<br />

plenty of romantic fireworks, with Berg’s engaging<br />

music and lively solos all around supporting Feather’s<br />

engaging vocal. She revisits “Indiana Lana”, an earlier<br />

work adding words to Duke Ellington’s “Jubilee<br />

Stomp”, singing a lively duet with Berg (a masterful<br />

stride piano player, among many things) about a<br />

female runner who outruns everyone and everything.<br />

Feather’s imagery in the haunting “To Lie Another<br />

Day” describes loneliness in an atypical fashion. With<br />

the diverse Tales of the Unusual, Feather reaffirms her<br />

status as one of the most gifted lyricists and compelling<br />

vocalists.<br />

For more information, visit lorrainefeather.com and<br />

jazzedmedia.com. Nouveau Stride is at Metropolitan Room<br />

Mar. 28th. See Calendar.<br />

Bouquet<br />

Charlotte Hug/Frédéric<br />

Blondy (Emanem)<br />

by Ken Waxman<br />

Live @ The Ironworks,<br />

Vancouver<br />

Ig Henneman Sextet (Wig)<br />

What’s the difference between a dog and a viola? The<br />

dog knows when to stop scratching. Of all the stringed<br />

instruments, it’s the viola that gets the least respect,<br />

with this joke only one of hundreds. Yet because of its<br />

unique intonation the viola has become a favored<br />

method of expression for inventive improvisers like<br />

Switzerland’s Charlotte Hug and the Netherlands’ Ig<br />

Henneman.<br />

The selections on Bouquet by Hug and Paris-based<br />

pianist Frédéric Blondy are perfectly designed to<br />

confuse types whose allegiance is to contemporary<br />

so-called classical music. Both have enough academic<br />

expertise to work in the notated milieu, but the dozen<br />

tracks here are improvisations, off-handedly displaying<br />

exquisite technical smarts while cooperating to create<br />

sound pictures that are extravagant without being<br />

egocentric. Most tracks consist of inside and outside<br />

piano tropes ranging from methodical to stratospheric,<br />

plus fiddle sweeps that encompass mangling, melding<br />

and mixing textures. The overlapping cadences create<br />

a genuinely moving program.<br />

A track such as “Thalia Remontant” finds Blondy<br />

vibrating miniature cymbals resting on the top of the<br />

piano’s internal string set, complementing Hug’s lowpitched<br />

spiccato swipes. In contrast, “Rosa moyesii” is<br />

completed with a (faux?) sexy sigh from Hug after the<br />

two have methodically exposed parallel tonal chords,<br />

with the violist’s instrument attaining cello-like<br />

resonance as she roughens her attack. Blondy is so<br />

skillful that on “Sombreuil” he creates a cavern-deep<br />

ostinato from pure pedal motion alone and then uses<br />

broken-octave keyboard jumps to define a response to<br />

Hug’s melodic invention. Elsewhere embroidered<br />

textures oscillate so quickly and are so opaque that<br />

ascribing them to a particular instrument is nearly<br />

impossible.<br />

The six Henneman compositions that make up<br />

Live @ The Ironworks, Vancouver include so-called<br />

classical references as well. Her international sextet is<br />

made up of bassist Wilbert de Joode and multi-reedist<br />

Ab Baars from the Netherlands; Berlin-based trumpeter<br />

Axel Dörner and two Canadians: Montreal clarinetist<br />

Lori Freedman and Toronto pianist Marilyn Lerner.<br />

Note the versatile turns on the final “A ‘n B”, with<br />

the exposition moving from straightforward swing,<br />

replete with graceful trumpet lines and contrapuntal<br />

cascades from Lerner, to tougher sequences when<br />

honking bass clarinet explosions from Freeman and<br />

angled riffs from the violist take over. De Joode’s<br />

steady pumping personalizes the title of “Bold<br />

Swagger”. Henneman’s gift for descriptive lines are on<br />

display with “Prelude for the Lady with the Hammer”,<br />

which could serve as a film noir theme. The group’s<br />

abstract turn arrives with the deceptively titled “Light<br />

Verse”. More like a dramatic epic, the juddering<br />

exposition include whinnying trumpet flutters,<br />

unaccompanied, altissimo reed squeals and jittery<br />

lines from Henneman.<br />

More sessions like these and eventually there may<br />

be a dearth of jokes like: Why is a viola like a lawsuit?<br />

Everyone’s happy when the case is closed.<br />

For more information, visit emanemdisc.com and<br />

stichtingwig.com


Money Jungle<br />

Terri Lyne Carrington<br />

(Concord)<br />

by George Kanzler<br />

Baritone Monk<br />

Claire Daly<br />

(North Coast Brewing)<br />

Two prominent female jazz artists honor jazz icons on<br />

these albums. Drummer Terri Lyne Carrington<br />

reimagines the music of one of the most celebrated allstar<br />

trio LPs in jazz while baritone saxophonist Claire<br />

Daly essays a program of Monk compositions in one of<br />

his favorite performing contexts.<br />

50 years ago last month, United Artists released<br />

Money Jungle, a Duke Ellington album with bassist<br />

Charles Mingus and drummer Max Roach, a one-off<br />

trio assembled by producer Alan Douglas. Ellington<br />

wrote eight mostly blues-based tunes for the date,<br />

which also included three Ellington standards.<br />

Carrington jettisons those in favor of originals and<br />

augments her basic trio, with bassist Christian McBride<br />

and pianist Gerald Clayton, on some of the eight Money<br />

Jungle tunes. She also interpolates some soundbite<br />

quotes about our economic problems from the likes of<br />

Martin Luther King Jr., Barack Obama, George W. Bush<br />

and the Clintons onto the opening title track, which<br />

otherwise adheres closely to the original, right down<br />

to McBride’s choked, upper register Mingus bass<br />

technique. The album also ends with spoken words:<br />

Duke Ellington’s in his poem “Music”, an extended<br />

metaphor of music as a woman (voiced by Shea Rose)<br />

and his comments about jazz, music and money (voiced<br />

by Herbie Hancock). In between, Carrington and her<br />

cohort inhabit and reinvigorate the spirit of the music<br />

originally created by that allstar trio in 1962.<br />

Some of Ellington’s pieces receive radical<br />

makeovers. “Backward Country Boy Blues” adds<br />

ethereal wordless vocals from Lizz Wright as well as<br />

Nir Felder’s gritty electric guitar and some Rhodes<br />

from Clayton. “Fleurette Africain”, a delicate pastel on<br />

the original LP, becomes a colorful Romare Beardenlike<br />

collage, adding Clark Terry’s “mumbles” vocals<br />

and some mouthpiece brays as well as his trumpet<br />

solo, plus flutes and trombone. “Switch Blade” begins<br />

similar to the original, with deep groove blues piano<br />

referencing Ellington, but expands to include Tia<br />

Fuller’s alto sax, Antonio Hart’s flute and Robin<br />

Eubanks’ trombone in Mingus-y polyphony. The trio<br />

tracks are an inspired amalgam of tribute and creativity<br />

and Clayton’s “Cut Off” is a deft pastiche of Ellington’s<br />

“Solitude”, suggesting just how much this trio has<br />

absorbed the lessons of Money Jungle.<br />

After a spate of ‘novel’ Monk repertoire albums<br />

including organ and guitar trios and Monk mid-size<br />

bands without a piano, it is refreshing to hear a<br />

straightforward tribute in the manner of Monk’s most<br />

frequent working band, a quartet. Daly’s group, much<br />

like that early and suave Monk tribute band Sphere,<br />

plays Monk’s music without aping the composer or his<br />

bands. Like Sphere, Daly’s quartet is more aware of<br />

nuance and structure than the anarchic quirks and<br />

humor of Monk’s tunes, but aside from a couple of too<br />

bland takes, this CD delivers with moderate Monk-ish<br />

spice. The title is reflected in the bass clef favoritism of<br />

the best tracks, from “Light Blue”, wherein Daly’s<br />

baritone begins phrases completed by Mary Ann<br />

McSweeney’s arco bass, to “Ruby, My Dear”, a<br />

deliciously slow, sinuous version with plucked bass<br />

obbligati to the baritone lead. Also appealing to Monk<br />

fans should be the care and detail applied to<br />

singularizing such tunes as “Let’s Cool One”, with<br />

accelerating A sections and a slinky sax solo entrance,<br />

and “Bright Mississippi”, as an appropriately bright<br />

tempo is complemented by a drum solo accompanied<br />

by shards of sax melody. “Pannonica” features Daly on<br />

flute and a waltz tempo while “Green Chimneys” is a<br />

baritone sax and piano (Steve Hudson) duet that<br />

invokes Monk’s fondness for stride with its two-beat<br />

flavor. But this album triumphs on the expressive and<br />

Monk-informed vivacity of baritone sax and bass.<br />

For more information, visit concordmusicgroup.com and<br />

northcoastbrewing.com. Carrington’s Money Jungle is at<br />

Dizzy’s Club Mar. 26th-27th. Daly’s Baritone Monk is at<br />

Birdland Mar. 28th. See Calendar.<br />

ON DVD<br />

Solo•Duo•Poetry<br />

Cecil Taylor + Pauline Oliveros (EMPAC)<br />

by Suzanne Lorge<br />

Listening requires some effort on the part of the<br />

listener - at the least, a certain receptivity. This kind<br />

of interactive communication lies at the heart of<br />

Pauline Oliveros’ work as a musician, professor and<br />

philosopher. Her music can only be described as<br />

such if one understands that all sound is music.<br />

This is the message that Oliveros offered<br />

listeners in her 2008 concert with pianist Cecil Taylor<br />

at Rensselaer Polytechnic Institute, where she<br />

teaches. The occasion was the dedication of the<br />

university’s Curtis R. Priem Experimental Media<br />

and Performance Arts Center (EMPAC), a bright,<br />

open space of glass and wood for avant garde artists<br />

of all stripes. The DVD, with almost three hours of<br />

spontaneous composition and improvised poetry,<br />

not only shows off the Center’s stages to best<br />

advantage but gives lovers of free improv a visceral<br />

experience of the evening - not easy to do, given the<br />

immediate nature of that musical process.<br />

Oliveros and Taylor are experts at turning<br />

themselves inside out during their solos; one can<br />

almost hear their thoughts a second before they play<br />

them. Each improvised separately before<br />

collaborating on a 22-minute improv. In their solo<br />

performances the musicians followed their<br />

respective internal cues through the twists and turns<br />

of their composition, changing musical direction at<br />

will. When the two performed together, however,<br />

they synched these internal cues nonverbally,<br />

moving together the way birds do. The duo section<br />

is a lesson in how to work together.<br />

Taylor also improvises with words (the “poetry”<br />

part of the title). In a separate performance in the<br />

EMPAC’s theater, he read (or created spontaneously)<br />

phrases and verses that questioned the nature of<br />

existence - just what are these racial, sexual, cultural,<br />

biological, cosmological structures all about,<br />

anyway? As with the music, the answer seems to lie<br />

somewhere in between the sounds.<br />

This DVD is not for the passive viewer looking<br />

to be pleased or entertained, even though there are<br />

many pleasant, entertaining moments on the disc.<br />

It’s for those looking to have their psyches prodded.<br />

For more information, visit empac.rpi.edu. Oliveros is at<br />

Roulette Mar. 30th. See Calendar.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 17


New Blues Aki Takase (Enja/Yellowbird)<br />

En Corps<br />

Eve Risser/Benjamin Duboc/Edward Perraud<br />

(Dark Tree)<br />

Games and Improvisations (Homage à György Kurtág)<br />

Katharina Weber/Barry Guy/Balts Nill (Intakt)<br />

Orchestre Idéal Johanna Borchert (WhyPlayJazz)<br />

by John Sharpe<br />

Right from the time when most women in the<br />

entertainment business were either singers or dancers,<br />

the piano supplied one of the few acceptable entrees<br />

for female instrumentalists to the world of jazz. Even<br />

though such prejudices have been left way behind, the<br />

keyboard remains where women are most strongly<br />

represented on the bandstand.<br />

Berlin-based Japanese pianist Aki Takase creates a<br />

beguiling mix of the old and the modern day, with her<br />

original compositions rubbing shoulders with tunes by<br />

Fats Waller, Jelly Roll Morton and WC Handy. In many<br />

ways New Blues is a follow up to 2003’s Plays Fats<br />

Waller (Enja), with almost the same lineup, including<br />

the spirited yet knowing vocals by maverick guitarist/<br />

18 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

banjo player Eugene Chadbourne. Some of the pianist’s<br />

numbers sit well alongside the standards, such as the<br />

jaunty “Seven Eleven”, featuring quicksilver interplay<br />

between the bass clarinet of Rudi Mahall and the<br />

boisterous trombone of Nils Wogram, while others<br />

boast a barreling vivacity and angular unisons, as well<br />

as bursts of piano dissonance from the leader. There is<br />

a madcap edge to the polyphony, which bursts out of<br />

the confines of “The Joint Is Jumpin’”, “Dr. Jazz” and<br />

“Dead Man Blues”, even though the last comes<br />

complete with a funeral march introduction.<br />

Very different but equally enthralling, En Corps<br />

features the French triumvirate of pianist Eve Risser<br />

working with the seasoned bass and drums of Benjamin<br />

Duboc and Edward Perraud. Remarkably selfless,<br />

Risser tempers her keyboard with all manner of<br />

preparations, including wooden and metal blocks,<br />

accentuating the percussive nature of her instrument.<br />

Over two lengthy excursions the trio indulge in what<br />

might be termed tantric jazz: mysterious, veiled, slow<br />

burning and perfectly judged. Indeterminate sounds<br />

flicker like stars in the cosmic void, as brief shards of<br />

rhythmic patter form part of a larger arc that<br />

disjointedly moves to a stunning crescendo, without a<br />

hint of tune or steady tempo, before Risser’s distant<br />

hammered tremolo sees the energy slowly dissipate.<br />

On Games and Improvisations, Swiss pianist<br />

Katharina Weber interprets 11 brief (mainly less than a<br />

minute) piano works by contemporary Hungarian<br />

composer György Kurtág. She follows each one, in the<br />

company of compatriot percussionist Balts Nill and<br />

English bass virtuoso Barry Guy, with a reaction to the<br />

initial work. Weber, who studied with Kurtág, is a<br />

precise and self-contained practitioner, balanced by<br />

Nill who is as much sound sculptor as percussionist<br />

while Guy’s astonishing range of textures act as the<br />

NEW FROM RED HOUSE RECORDS!<br />

glue between them. At times the links between<br />

inspiration and resultant extemporization are clear, as<br />

with “Palm Stroke”, where the ensuing improvisation<br />

is correspondingly thorny and energetic, while<br />

elsewhere the connection becomes more oblique, as<br />

with “Hommage à Szervánszky: Silence”, melodic but<br />

interspersed with quiet, which draws an initially lowkey,<br />

lower case response before the three voices<br />

variously overlap and mesh. The set can be enjoyed on<br />

several different levels: Kurtág’s pieces, spare to the<br />

point of haiku, can be savored in their own right; or<br />

inviting investigation of the relationships to the<br />

corresponding exploration or as an extended suite.<br />

German pianist Johanna Borchert extracts the<br />

essence of the orchestra from her piano, harpsichord<br />

and autoharp over the course of 13 short tracks on<br />

Orchestre Idéal. Like Risser, she also makes extensive<br />

use of preparations but to very different ends. At times,<br />

such as on the tolling “Obertöne”, she evokes<br />

minimalism, provoking contemporary classical<br />

comparisons. Elsewhere she summons Erik Satie,<br />

especially on the dreamy “Lillies”. The latter is one of<br />

four pieces improvised on her own compositions, more<br />

lyrical than the unpremeditated cuts. In her<br />

explorations of texture, layers and moods, several<br />

events often happen simultaneously, such as the<br />

pointillist plucked notes and dramatic piano sweep of<br />

“Königlicher Schlafgang” or the ghostly ape-like hoots,<br />

percussive taps and isolated keystrokes that comprise<br />

“Gemolkene Stäbchen”. Many of the pieces are left<br />

hanging and this, combined with the general austerity<br />

of conception, means that a similarly unresolved air<br />

hangs over the album as a whole.<br />

For more information, visit enjarecords.com,<br />

darktree-records.com, intaktrec.ch and whyplayjazz.de<br />

HEATHER MASSE AND DICK HYMAN<br />

LOCK MY HEART<br />

www.redhouserecords.com<br />

“a coalescence of musical vision and sound.”<br />

– ALL ABOUT JAZZ<br />

“timeless...makes old school new cool.”<br />

–@CRITICALJAZZ<br />

The surprise duo fi rst heard on public<br />

radio’s A Prairie Home Companion!<br />

The brilliant honey-voiced alto and<br />

songwriter from The Wailin’ Jennys<br />

meets the legendary pianist in a stunning<br />

new recording of classic jazz vocals.<br />

The sound quality and performances<br />

are astounding!<br />

AVAILABLE IN BOTH REGULAR CD AND<br />

SUPER AUDIO CD (HYBRID SACD) FORMATS.<br />

RECORDED IN HI-REZ DIRECT STREAM DIGITAL.


Centennial: Newly Discovered Works of Gil Evans<br />

Ryan Truesdell (ArtistShare)<br />

by George Kanzler<br />

Heralded as both a large ensemble and debut album<br />

of 2012, this exquisite and sumptuous mounting of ten<br />

previously unrecorded charts found among the late Gil<br />

Evans’ papers is a fittingly grand tribute to the late<br />

composer-arranger on his centennial. Ryan Truesdell<br />

assembled enough musicians to bring to life charts<br />

ranging from a woodwind-string-trombones-plus<br />

rhythm octet accompanying a vocal and the ‘40s<br />

Claude Thornhill Orchestra to a full 24-piece ensemble<br />

replicating a “dream band” Evans led at the 1971 Berlin<br />

Jazz Festival. He even adds a tabla player to the<br />

16-piece instrumentation Evans had used on his 1964<br />

Individualism of Gil Evans album to realize a chart<br />

intended for that recording.<br />

That piece, “Punjab”, is the most cinematic track.<br />

Truesdell, after listening to the (rejected) rehearsal<br />

takes, added Dan Weiss on tabla - an instrument Evans<br />

never used - and its sound informs the unique feel of<br />

the 15-minute track, from the long prelude, where it is<br />

joined by tenor violin, drums, guitar and flutes, to the<br />

main sections, part of the underpinnings to the<br />

whirling melody along with deep tuba-trombone<br />

chords. Solos by pianist Frank Kimbrough and alto<br />

saxophonist Steve Wilson weave in and out of the rich<br />

orchestral tapestry. As this music demonstrates time<br />

and again, Evans was about much more than melody<br />

and harmony in arrangements. Those rich tapestries<br />

depended on exotic textures, hence his novel voicings<br />

and lushly dramatic transitional passages, sustained<br />

notes and chords that floated free of themes and<br />

conventional linearity. The longest track here (19<br />

minutes) is a medley, “Waltz/Variation on the Misery/<br />

So Long”, resembling a rhapsody moving through<br />

myriad tones and colors in multiple tempos, touching<br />

down on wisps of melody but held together by the<br />

gossamer transitions and suspended rhythms.<br />

There are three vocal tracks, each featuring a<br />

different singer and differing instrumentation, which<br />

reveal Evans’ restless inventiveness at work behind<br />

singers and five charts originally written for Thornhill<br />

over 60 years ago. They show how creative Evans was<br />

dealing with Swing band vocabulary, but the real<br />

revelation is an early “The Maids of Cadiz”, more<br />

expansive than the version fashioned for Miles Davis a<br />

decade later on Miles Ahead.<br />

For more information, visit artistshare.com. A Gil Evans<br />

tribute is at Borden Auditorium Mar. 1st. See Calendar.<br />

Some More Love Songs<br />

Marc Copland Trio (Pirouet)<br />

by Joel Roberts<br />

Marc Copland started his career as a saxophonist in<br />

the ‘70s, but he’s long since developed into one of the<br />

more creative and accomplished, if underrated,<br />

20 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

pianists in jazz. His lyrical, expressive style puts him<br />

loosely in the Bill Evans-Keith Jarrett wing of modern<br />

jazz piano, but he has a sound that’s easily identifiable.<br />

Copland’s new release is a followup, seven years<br />

and at least that many albums removed, to 2005’s Some<br />

Love Songs. He has reassembled the same trio from the<br />

first outing (in-demand bassist Drew Gress and the<br />

fine German-born drummer Jochen Rueckert) and<br />

features a similar setlist of all love songs, mostly very<br />

familiar ones. But it’s not the tunes themselves that<br />

stand out here; it’s what Copland and company do<br />

with them, as he and his mates find new harmonic and<br />

melodic angles to explore in these chestnuts.<br />

The opener is a Joni Mitchell number, “I Don’t<br />

Know Where I Stand”, which Copland approaches<br />

with a quiet but firm command, sharing solo space (as<br />

he does throughout the album) with Gress. Two wellworn<br />

standards are given slightly offbeat twists: the<br />

usually bleak “My Funny Valentine” is taken at a<br />

swinging pace while the usually swinging “I’ve Got<br />

You Under My Skin” loses its Sinatra-esque bounce<br />

and becomes a slow, somewhat gloomy ballad that<br />

goes off in unexpected directions. “Rainbow’s End”,<br />

the only original composition by Copland here, is the<br />

album’s emotional core, evoking equal parts romance<br />

and sorrow.<br />

Though it’s an album of love songs, the overall<br />

tone of the session is blue (like the great Joni Mitchell<br />

album of the same name), but Copland doesn’t exactly<br />

play the blues. His vision of love - or at least his vision<br />

of love songs - is a complicated and refreshingly adult<br />

one, as much about longing and loss as it is about<br />

sweetness and bliss.<br />

For more information, visit pirouet.com. Copland is at<br />

Birdland Feb. 26th-Mar. 2nd. See Calendar.<br />

#BAM Live at Bohemia Caverns<br />

Nicholas Payton (BMF)<br />

by Sean O’Connell<br />

Trumpeter Nicholas Payton has made waves lately<br />

more on the heels of his social media prowess than<br />

with his trumpet. His BAM (Black American Music)<br />

movement has prompted more late-night, off-therecord<br />

conversations than one could have ever<br />

imagined. As the leader of a bold idea, naturally, his<br />

recorded output has been held to higher scrutiny. His<br />

last release, Bitches, was a foray into cathartic R&B but<br />

for this album, his first for his BMF record label, he<br />

returns to an instrumental sound with a stripped-down<br />

band of bassist Vicente Archer and drummer Lenny<br />

White. Curiously, what rises to the surface on this<br />

record is Payton’s way with a keyboard. Throughout<br />

the live date, the smooth but talkative leader spends as<br />

much time seated at the Rhodes as blasting his horn.<br />

The album kicks off with Payton in duet with<br />

himself, his plaintive trumpet cry matched by sparse<br />

chords. He alternates between pinched trumpet and a<br />

plucky Rhodes solo before briefly riding Wayne<br />

Shorter’s quartal “Witch Hunt” riff on his trumpet<br />

with punchy electricity. On “Catlett Outta the Bag”, a<br />

White original, Payton gets downright funky on the<br />

Rhodes, digging into a distorted stride as White beats<br />

the hell out of his kit. It’s an impressive display that<br />

seems to take the audience a bit by surprise. The<br />

applause is spacious and hesitant. They get a confident<br />

solo from Archer to sort things out. If that surprised<br />

them, then who knows what “The African Tinge” did.<br />

The 14-minute jam is a non-stop barrage of screaming<br />

Rhodes, somersaulting backbeats and rocketing<br />

trumpet pyrotechnics. “Frankie and Johnny” closes the<br />

set with a smooth swing. Archer takes a rumbling solo<br />

over White’s effortless brushes as the band takes their<br />

time with the mellow blues.<br />

The set runs a high-energy 80 minutes over just 7<br />

tracks with clinking silverware and Payton’s quiet<br />

storm patter tying it all together, an engaging live date<br />

that reminds us why Payton’s opinions are given the<br />

weight they are in the first place.<br />

For more information, visit nicholaspayton.com. This<br />

project is at Iridium Mar. 1st-3rd. See Calendar.<br />

RECOMMENDED<br />

NEW RELEASES<br />

• Barry Altschul - The 3Dom Factor (TUM)<br />

• Ben Goldberg - Subatomic Particle Homesick Blues<br />

(BAG Production)<br />

• Eric Hofbauer - American Grace (Creative Nation)<br />

• Jonathan Kreisberg - One (New For Now)<br />

• Jeremy Manasia - Green Dream (Cellar Live)<br />

• David Weiss & Point of Departure -<br />

Venture Inward (Posi-Tone)<br />

David Adler, New York@Night Columnist<br />

• Jeremiah Cymerman Amplified Quartet -<br />

Sky Burial (s/r)<br />

• Mats Eilertsen Trio - Sails Set (Hubro)<br />

• Champian Fulton - Champian Sings and Swings<br />

(Sharp Nine)<br />

• Billy Martin’s Wicked Knee - Heels Over Head<br />

(Amulet)<br />

• Ruth Wilhelmine Meyer/Helge Lien - Memnon:<br />

Sound Portraits of Ibsen Characters (Ozella Music)<br />

• Neil Welch - Twelve Tiny Explosions (Table & Chairs)<br />

Laurence Donohue-Greene<br />

Managing Editor, The New York City Jazz Record<br />

• John Butcher/Guillaume Viltard/Eddie Prévost -<br />

Meeting with Remarkable Saxophonists Volume 2<br />

(Matchless)<br />

• Silke Eberhard/Ulrich Gumpert -<br />

Peanuts & Variations (Jazzwerkstatt)<br />

• Ben Goldberg - Subatomic Particle Homesick Blues<br />

(BAG Production)<br />

• Ibrahim Electric - “Isle of Men” (Target)<br />

• JC Jones - Citations (Solo Bass) (Kadima Collective)<br />

• The O’Farrill Brothers Band - Sensing Flight<br />

(ZoHo Music)<br />

Andrey Henkin<br />

Editorial Director, The New York City Jazz Record


Play the music of<br />

Benny Carter<br />

Count Basie<br />

(Roulette-Fresh Sound)<br />

by Duck Baker<br />

Opus De Blues<br />

Frank Wess & Thad Jones<br />

Septets (Savoy/Roulette -<br />

Fresh Sound)<br />

Here are two excellent reissues to delight Basie fans,<br />

both those who love the big band and those with a<br />

taste for the winning style of small-group mainstream<br />

swing that his sidemen served up through the ‘50s and<br />

early ‘60s. And you needn’t be a specialist to enjoy<br />

these releases; having ears that work properly is the<br />

only prerequisite for that reaction.<br />

No pairing of LPs could be more logical than<br />

Kansas City Suite and The Legend, the 1960 and 1961<br />

sessions arranged by Benny Carter for a Basie band<br />

that had, in the opinion of many, hit its postwar peak<br />

with The Atomic Mr. Basie in 1958. There were only a<br />

couple of personnel changes between the Atomic and<br />

Kansas City sessions. Eddie Lockjaw Davis was replaced<br />

by Billy Mitchell on tenor saxophone, but Frank Foster<br />

and Frank Wess remained, as did trumpet stars Joe<br />

Newman, Thad Jones and Snooky Young and<br />

trombonists Al Grey, Seldon Powell and Henry Coker.<br />

The section playing was still sensational and of course<br />

the rhythm section of Basie, guitarist Freddie Green,<br />

bassist Eddie Jones and drummer Sonny Payne was<br />

nonpareil. By the time The Legend was recorded,<br />

Newman and Grey had left, Budd Johnson had replaced<br />

Billy Mitchell and Sam Herman was subbing for Green.<br />

The soloists throughout are great, with Foster and<br />

Jones making, perhaps, the strongest impressions.<br />

Several of these tunes became standards and “Katy<br />

Do” is in the band’s book to this day, but there’s no<br />

sane way to single out individual tracks when every<br />

one is a classic. Carter’s writing is wonderful and<br />

draws things out of the band that Basie’s regular<br />

arrangers didn’t, especially from the sax and trombone<br />

sections. Carter did lead a good few dates during this<br />

period, but the only one that found him leading a big<br />

band was the magnificent Aspects (1958) and the<br />

similarity to the writing here is immediately apparent.<br />

The Frank Wess date Opus De Blues was recorded<br />

in 1959 but remained unissued, somehow, until 1991.<br />

The Thad Jones tracks were originally part of an<br />

unwieldy two-LP set called The Birdland Story, so the<br />

packaging of these two slightly out-of-the-way sessions<br />

Pugs & Crows - Fantastic Pictures<br />

“This is music of great strength and beauty.”<br />

- Alexander Varty, The Georgia Straight (Vancouver, B.C)<br />

Meredith Bates - violin / Cat Toren - piano / Cole Schmidt - guitar<br />

Russell Sholberg - bass / Ben Brown - drums<br />

recipient of Galaxie Rising Star Award at 2010 Vancouver Jazz Festival<br />

Available now: pugsandcrows.com<br />

is again good thinking, especially as seven of the nine<br />

tracks are Jones originals. The first session features<br />

fellow Basie hand Charlie Fowlkes on baritone sax and<br />

Curtis Fuller on trombone, with Hank Jones heading a<br />

three-piece rhythm section that manages the right<br />

swing feel while adding a few modern flourishes.<br />

Hank’s soloing is particularly tasty and his sense of<br />

humor is in evidence, the sly quote of “Star Eyes” at<br />

the beginning of his solo on “Boop De Doop” a<br />

noteworthy example. Though he’s listed as playing<br />

tenor and flute, Wess also plays alto on the opening “I<br />

Hear Ya Talkin’”. On the Birdland date (not sure what<br />

the reasoning behind that title was, since it was mostly<br />

a collection of unrelated studio sessions), our two<br />

protagonists are joined by Al Grey and Billy Mitchell.<br />

Is the cast sounding familiar yet? They certainly sound<br />

familiar to one another, making Thad’s charts sound as<br />

easy to play as they are to listen to, which is easy<br />

indeed! Brother Hank returns with more great piano<br />

comping and soloing and we get another rare chance to<br />

hear Wess’ alto, on “Friday the 13th”. Fans of his fine<br />

flute work and fluid tenor will find lots to like<br />

throughout the two sessions as well, of course.<br />

Opus De Blues is certainly a worthwhile addition<br />

to any collection but the Carter/Basie collaborations<br />

rank among the very greatest postwar big band<br />

records. You’ll like the former and you need the latter.<br />

For more information, visit freshsoundrecords.com. Wess is<br />

at Jazz at Kitano Mar. 2nd, Saint Peter’s Mar. 3rd as part of<br />

Prez Fest and Smoke Mar. 29th-30th. See Calendar.<br />

The Loneliest Woman<br />

Joe McPhee Po Music (Corbett vs. Dempsey)<br />

by Marc Medwin<br />

This version of Ornette’s classic composition blossoms<br />

into one of the best ever. Recorded in Basel, Switzerland<br />

in 1981 with some of European improvisation’s leading<br />

lights, it’s a wonder that the lonely 13-minute track is<br />

only seeing the light of day for the first time.<br />

Bassist François Méchali’s solo is indicative,<br />

gaining in momentum before settling down to a drone<br />

similar to Coleman’s 1959 version. Michael Overhage’s<br />

cello and Raymond Boni’s guitar emerge from the<br />

drone, providing a timbral and harmonic cushion<br />

where Coleman emphasizes the melody’s starkness. As<br />

in late-period Coltrane, there is a transparent layer of<br />

percussion, courtesy of bells and cymbals from Pierre<br />

Favre. While some room is provided midway for solos,<br />

notably a scorcher from trombonist Radu Malfatti,<br />

much of this music is collective in nature. It is as if Joe<br />

McPhee, or whoever was responsible for the lush and<br />

constantly morphing arrangement, realized Coleman’s<br />

harmolodic implications, bringing the music to the<br />

next level. Parts of the head are non-contiguously<br />

juxtaposed with others, giving the form the same<br />

freedom that meter and solos enjoyed in the original.<br />

Despite the present transfer obviously coming<br />

from a fairly high-generation copy, the recording is<br />

superb. Each detail is audible while not necessarily<br />

being realistically presented. Witness the hazy echo on<br />

certain saxophone passages as contrasted with the<br />

forward positioning of cymbals and Irène Schweizer’s<br />

piano. McPhee fans needn’t hesitate.<br />

For more information, visit corbettvsdempsey.com. McPhee<br />

is at Clemente Soto Velez Cultural Center Mar. 2nd. See<br />

Calendar.<br />

JAZZ AT LINCOLN CENTER<br />

MAR<br />

MAR 8–9<br />

7:30PM<br />

& 9:30PM<br />

MAR 8–9<br />

8 PM<br />

MAR 15–16<br />

7:30PM<br />

& 9:30PM<br />

MAR 22–23<br />

7:30PM<br />

& 9:30PM<br />

25 YEARS OF JAZZ<br />

charlie parker & dizzy gillespie<br />

Photo courtesy of the Frank Driggs Collection<br />

DIZZY & BIRD FESTIVAL<br />

PAQUITO D’RIVERA’S<br />

‘CHARLIE PARKER WITH<br />

STRINGS’<br />

D’Rivera honors the work of<br />

Charlie Parker, imparting a Latin<br />

twist to the familiar standard<br />

Free pre-concert festival, 6:30pm<br />

DIZZY & BIRD FESTIVAL<br />

CELEBRATING DIZZY<br />

GILLESPIE<br />

Master trumpeter Jon Faddis<br />

leads The Jon Faddis Jazz<br />

Orchestra of New York through<br />

new transcriptions of Dizzy<br />

Gillespie repertoire<br />

Free pre-concert festival, 6:30pm<br />

CHARLIE MUSSELWHITE<br />

Blues master Charlie<br />

Musselwhite brings his bourbonsmooth<br />

tenor voice and<br />

masterful harmonica commentary<br />

to The Allen Room<br />

MADELEINE PEYROUX<br />

Vocalist and guitarist<br />

Madeleine Peyroux reprises<br />

originals and classics from<br />

artists such as Bessie Smith,<br />

Bob Dylan, Joni Mitchell,<br />

and more<br />

BOX OFFICE BROADWAY AT 60 TH<br />

CENTERCHARGE 212-721-6500<br />

JALC.ORG<br />

Preferred Card of Jazz at Lincoln Center<br />

Lead Corporate Sponsor<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 21


22 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Channels of Consciousness<br />

William Hooker<br />

(NoBusiness)<br />

by Ken Waxman<br />

Duo (feat. Mark Hennen)<br />

William Hooker<br />

(Nacht)<br />

With a career that stretches back to NYC’s Loft Era,<br />

drummer William Hooker tries to create something<br />

unique with each CD. The challenge of a Hooker<br />

session is how well his concept succeeds. Both recorded<br />

live, Channels of Consciousness and Duo couldn’t be<br />

more different. The former, although inspired by an<br />

unfinished novel, is fully formed with sterling work<br />

from a quintet of percussionist Sanga, bassist Adam<br />

Lane, trumpeter Chris DiMeglio and guitarist Dave<br />

Ross. Duo captures solos from Hooker and a long-time<br />

associate, pianist Mark Hennen, but only gels when<br />

the two finally improvise together.<br />

Based on Richard Wright’s posthumously<br />

published A Father’s Law, the quintet CD is an extended<br />

meditation on power and violence. Hooker quotes<br />

from Wright’s book in two instances but the emotion<br />

expressed by Ross’ whining bottleneck guitar alongside<br />

Hooker’s timed cowbell smacks expresses more drama<br />

than the out-of-context phrases. In the same way, the<br />

quintet’s emotionally affecting instrumental smarts<br />

trump thematic storytelling. This is made clear with<br />

“Connected” and “Three Hexagons”. Earlier, DiMeglio<br />

expresses himself with clarion calls and note bending,<br />

but on these climatic tunes he reaches back to bedrock<br />

jazz; likewise, Lane’s most comprehensive solo unrolls<br />

on “Three Hexagons”, as sul ponticello strokes and<br />

chiming scrubs hold their own alongside Ross’ sharp<br />

picking, the trumpeter’s poised grace notes and<br />

polyrhythms from the dual drummers.<br />

Hooker and Sanga’s patterning and blunt strokes<br />

reference African, AfroCuban and jazz inflections. But<br />

unlike a solipsistic Max Roach percussion ensemble,<br />

the drum pounding is strictly transformative. The<br />

music’s full spectrum wouldn’t exist if not for the<br />

guitarist’s intense blues or DiMeglio’s elevated<br />

timbres, often sounding like a baroque trumpet.<br />

Hooker also verbalizes a metaphysically oriented<br />

poem on Duo, but, especially with dodgy recording,<br />

more rewarding sentiments come from his spot-on<br />

playing. Minutely timing his options during his solo<br />

track, he intertwines press rolls, gong resonation and<br />

rat-tat-tats with assurance, calmly slowing down and<br />

speeding up the result without hesitation.<br />

Hennen’s calm is the defining factor in his playing.<br />

Known for his work with hard-nosed ensembles like<br />

the Collective 4tet, here Hennen reveals a lyrical side.<br />

His sweeping harmonies and tinkling key dusting<br />

reveal sound nuances and shading. These components<br />

came into play in the final duet as Hennen’s linear key<br />

motions meander tortoise-like through the exposition<br />

as Hooker leaps hare-like through a series of boisterous<br />

buzzing and resounding percussion displays. Without<br />

losing his subtle voicing, midway through Hennen<br />

variations turn to Cecil Taylor-like contrasting<br />

dynamics, which eventually corral the drummer’s<br />

agitated pummeling into a more cooperative interface.<br />

Although Hooker never attains the ingenious pianist’s<br />

level of unhurried syncopation, his output remains<br />

tasteful even as he maintains propulsive rhythms.<br />

For more information, visit nobusinessrecords.com and<br />

nachtrecords.com. Hooker’s Quintet is at Nublu Mar. 2nd<br />

and his Quartet with Mark Hennen is at The Firehouse<br />

Space Mar. 8th. See Calendar.


Music is Emotion<br />

Ryan Keberle and Catharsis (Alternate Side)<br />

by Elliott Simon<br />

Music is Emotion is evidence that there is a lot going<br />

on in both trombonist Ryan Keberle’s heart and head.<br />

Without delving into the two-factor theory of emotion,<br />

Keberle is clearly in sync with music being both a<br />

reflection of a performer’s emotion and eliciting a<br />

visceral response from the listener. That is not all that<br />

Keberle is in synch with, however; his interplay with<br />

trumpeter Mike Rodriguez is thrilling.<br />

The self-penned compositions are the truest to the<br />

session’s beliefs and on an emotional level opener “Big<br />

Kick Blues” is filled with happiness while “Need Some<br />

Time” is subtly complex as it mixes in some fear with<br />

an upbeat feel. The trombone is custom made for this<br />

role and Keberle is a nuanced player who rarely goes<br />

over the top. He promotes a group atmosphere that<br />

engenders a tight improvisational framework and<br />

blends in phenomenally well with Rodriguez for what<br />

are some great voicings.<br />

Bassist Jorge Roeder is like-minded and his long<br />

arco intro to the environmentally friendly “Carbon<br />

Neutral” elicits a profound sadness that drummer Eric<br />

Doob skillfully converts into anger. “Nowhere to Go,<br />

Nothing to See” drifts into a lovely exotica soundscape<br />

with harmonic horn interplay while “Key Adjustment”<br />

is a cleverly composed vehicle featuring an expressive<br />

drum and bass duet. While a few of the non-originals<br />

don’t fit into the overall concept, both Billy Strayhorn’s<br />

“Blues in Orbit” and Art Farmer’s “Blueport” are right<br />

on. Saxophonist Scott Robinson joins the quartet on<br />

these two cuts and lends ample support to Keberle’s<br />

theory with a rich bluesy wail on the former and<br />

swinging adrenaline-pumping bop on the latter.<br />

For more information, visit ryankeberle.com. This group is<br />

at Barbès Mar. 3rd. See Calendar.<br />

New Myth/Old Science<br />

Living By Lanterns (Cuneiform)<br />

by Jeff Stockton<br />

The spirit of Sun Ra hovers over New Myth/Old Science.<br />

His spectral voice processed electronically, as if being<br />

received on a frequency coursing through the Milky<br />

Way, opens the CD with some brief philosophizing and<br />

rhetorical profundities. This is something of a tribute<br />

to the bandleader/pianist/composer/intergalactic<br />

traveler, but not quite, given that the tunes here are<br />

originals based on a tape drummer Mike Reed and his<br />

partner, vibraphonist Jason Adasiewicz, plucked from<br />

over 700 hours in an El Saturn archive. On the tape<br />

from 1961, Ra, longtime tenor associate John Gilmore<br />

and stalwart bassist Ronnie Boykins could be heard<br />

rehearsing a series of roughly sketched musical<br />

thoughts. Adasiewicz, a member of Reed’s band Loose<br />

Assembly, fleshed out the arrangements for that fivepiece<br />

band, which ultimately expanded into the nine-<br />

member Living By Lanterns. In Chicago, Loose<br />

Assembly is rounded out by bassist Josh Abrams,<br />

cellist Tomeka Reid and alto saxophonist Greg Ward.<br />

From New York, add cornetist Taylor Ho Bynum,<br />

guitarist Mary Halvorson, drummer Tomas Fujiwara<br />

and tenor saxophonist Ingrid Laubrock.<br />

These compositions reflect Ra’s approach by<br />

combining melody with a deep sense of swing,<br />

peppering that foundation with experimental touches,<br />

and each number offers a showcase for one or two<br />

players. “Think Tank” lets Halvorson slather skronky<br />

notes over Adasiewicz’ tasteful reverberations while<br />

“2000 West Erie” is typically jaunty, but Ward and<br />

Laubrock scrape and clash in the foreground. The<br />

lovely, gently lilting melody of “Shadow Boxer’s<br />

Delight” gives way to cello before the rhythm section<br />

recedes and the tune takes on a soft glow, like an old<br />

light bulb under a browning lampshade.<br />

The back half of the record, divided into thirds,<br />

finds the tunes blending one into the next, with<br />

Adasiewicz featuring on “Forget B” (along with a<br />

Laubrock solo) and Bynum and Abrams handling the<br />

midpoint impressionism of “Glow Lights”. Finally, a<br />

three-way conversation among the strings becomes the<br />

drum-propelled “Old Science”, setting Halvorson<br />

against Reid, sidestepping guitar versus cello chops.<br />

When Ward comes in, his alto stretches like a sprinter<br />

before stepping into the starting blocks. Then he’s off<br />

and the band is right there with him as they break the<br />

tape, moving forward the legacy of the great Ra.<br />

For more information, visit cuneiformrecords.com. Ingrid<br />

Laubrock, Mary Halvorson and Tomas Fujiwara are at Cornelia<br />

Street Café Mar. 5th or 6th, Jason Adasiewicz is at Ibeam<br />

Brooklyn Mar. 15th-16th with James Falzone and Greg Ward is<br />

at Dominie’s Astoria Mar. 31st. See Calendar.<br />

The Soul of my ALTO<br />

Ian Hendrickson-Smith (Cellar Live)<br />

by Ken Dryden<br />

Ian Hendrickson-Smith has a different take on the<br />

typical saxophone-with-organ session. Many of the<br />

greats of the tenor sax of the ‘60s regularly recorded<br />

with organists, including Eddie “Lockjaw” Davis,<br />

Gene Ammons, Stanley Turrentine and Sonny Stitt.<br />

Hendrickson-Smith, besides being an alto player, also<br />

has a different twist: he omits the frequently present<br />

guitarist and sticks with just organ and drums (Adam<br />

Scone and Charles Ruggiero, respectively). The<br />

saxophonist also conceived a sparser, lush sound while<br />

still injecting a bit of soulfulness into this ballad date.<br />

“The End of a Love Affair” is one of those forgotten<br />

gems that used to be staples of romantic jazz albums;<br />

the trio recaptures its magic with a gorgeous<br />

interpretation, as the leader’s big tone is well supported<br />

by Scone and Ruggiero’s soft brushwork. Benny<br />

Golson’s “Park Avenue Petite”, a beautiful ballad, is<br />

one of the composer’s songs from The Jazztet’s debut<br />

album. Hendrickson-Smith caresses its melody in a<br />

spacious manner, with Scone’s sensitive accompaniment<br />

and Ruggiero’s adept percussion complementing his<br />

rich sound. The leader’s impassioned playing of “My<br />

Silent Love” conveys its message without needing the<br />

lyrics, though it’s a safe bet that he, like Ben Webster,<br />

probably knew them before he stepped to the<br />

microphone. Billy Eckstine’s “I Want to Talk About<br />

You” became the cornerstone of the vocalist’s repertoire<br />

and was acknowledged by instrumentalists with John<br />

Coltrane’s landmark recording. Hendrickson-Smith’s<br />

arrangement is no less powerful with the alto<br />

saxophonist’s carefully crafted statement and the<br />

bluesy Scone solo that follows.<br />

The date wraps with Hendrickson-Smith’s moving<br />

original “Butterbean”, a deliberate, conversational<br />

ballad with a theme that stands well in comparison to<br />

the well-known works that make up the rest of the<br />

album. This is the perfect release to cue up for latenight<br />

listening with someone special.<br />

For more information, visit cellarlive.com. Hendrickson-Smith<br />

is at Jazz Standard Mar. 5th-6th with “Killer” Ray Appleton<br />

and Smalls Mar. 22nd with Cory Weeds. See Calendar.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 23


Fri, Mar 1 PETROS KLAMPANIS’ CONTEXTUAL 9PM & 10:30PM<br />

Lefteris Kordis, John Hadfield, Maria Im, Maria Manousaki,<br />

Ljova Zhurbin, Julia MacLaine, Mavrothi Kontanis, Hadar Noiberg<br />

Sat, Mar 2 DAVE LIEBMAN QUINTET 9PM & 10:30PM<br />

Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz<br />

Sun, Mar 3 NEW BRAZILIAN PERSPECTIVES:<br />

FILIP NOVOSEL-RICHARD BOUKAS DUO 8:30PM<br />

Tue, Mar 5 INGRID LAUBROCK’S ANTI-HOUSE -<br />

CD RELEASE: STRONG PLACE 8:30PM<br />

Mary Halvorson, Kris Davis, Sean Conly, Tom Rainey<br />

Wed, Mar 6 INSTANT STRANGERS 8:30PM<br />

Tim Berne, Mary Halvorson, Stephan Crump, Tomas Fujiwara<br />

Thu, Mar 7 JOHN YAO QUINTET 8:30PM<br />

Jon Irabagon, Randy Ingram, Leon Boykins, Will Clark<br />

PETER BRENDLER QUARTET 10PM<br />

Rich Perry, Peter Evans, Vinnie Sperrazza<br />

Fri, Mar 8 HUSH MONEY 9PM & 10:30PM<br />

John McNeil, Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza<br />

Sat, Mar 9 VOXIFY: AMY CERVINI 9PM<br />

Amy Cervini/Bruce Barth<br />

VOXIFY: JANIS SIEGEL 10:30PM<br />

Janis Siegel/Edsel Gomez; Nicky Schrire, host<br />

Tue, Mar 12 LAINIE COOKE 8:30PM<br />

Peter Zak, Martin Wind, Ralph Peterson<br />

Wed, Mar 13 FLORIAN HOEFNER GROUP 8:30PM<br />

Mike Ruby, Sam Anning, Peter Kronreif<br />

ALON NECHUSHTAN 10PM<br />

John Ellis, Aidan Carroll, Damion Reid<br />

Thu, Mar 14 ROB GARCIA’S AMERICAN SONGS 8:30PM<br />

Scott Robinson, Tamar Korn, Nir Felder<br />

Fri, Mar 15 BOBBY AVEY GROUP 9PM & 10:30PM<br />

Chris Speed, Thomson Kneeland, Jordan Perlson<br />

Sat, Mar 16 TONY MALABY’S READING BAND 9PM & 10:30PM<br />

Ralph Alessi, Drew Gress, Billy Drummond<br />

Sun, Mar 17 TANYA KALMANOVITCH/ANTHONY COLEMAN/<br />

TED REICHMAN TRIO 8:30PM<br />

Tue, Mar 19 BENJAMIN SCHEUER 8:30PM<br />

PETER LERMAN 10PM<br />

Wed, Mar 20 MATT HOLMAN’S DIVERSION ENSEMBLE -<br />

CD RELEASE: WHEN FLOODED 8:30PM<br />

Michael McGinnis, Nate Radley, Christopher Hoffman, Ziv Ravitz<br />

Thu, Mar 21 CHRIS SPEED TRIO 8:30PM<br />

Chris Tordini, Dave King 8:30PM<br />

Fri, Mar 22 SARA SERPA 9PM & 10:30PM<br />

André Matos, Jacob Sacks, Eivind Opsvik, Tommy Crane<br />

Sat, Mar 23 MICHAEL FORMANEK 9PM & 10:30PM<br />

Tim Berne, Peter Formanek, Jacob Sacks, Jim Black<br />

Tue, Mar 26 MARGARET GLASPY 8:30PM<br />

Talia Billig, host<br />

Wed, Mar 27 ANAT FORT TRIO 8:30PM<br />

Gary Wang, Yaaki Levy<br />

Thu, Mar 28 SANDA WEIGL 8:30PM<br />

Gael Rouilhac, Jake Shulman-Ment, Pablo Aslan, Nick Anderson<br />

JP SCHLEGELMILCH, CD RELEASE: THROUGHOUT 10PM<br />

Fri, Mar 29 JEFF DAVIS TRIO AND FRIENDS - LIVE RECORDING FOR<br />

FRESH SOUND RECORDS! 9PM & 10:30PM<br />

Russ Lossing, Eivind Opsvik, Oscar Noriega, Kirk Knuffke<br />

Sat, Mar 30 KRIS DAVIS 9PM & 10:30PM<br />

Sun, Mar 31 RACHEL BROTMAN QUARTET 8:30PM<br />

Yago Vazuez, Zach Lane, Anthony Taddeo<br />

MARIA NECKAM 10PM<br />

24 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Spiritual Nature Donald Vega (Resonance)<br />

Turn of Phrase Paul Kogut (Blujazz)<br />

The Highest Mountain<br />

Lewis Nash Quintet (Cellar Live)<br />

by Russ Musto<br />

Perhaps the most in-demand drummer in mainstream<br />

jazz today, Lewis Nash is best known for his long<br />

tenures as a sideman with some of the music’s greatest<br />

masters, from Betty Carter and Tommy Flanagan to<br />

Ron Carter and Joe Lovano, as well as his appearances<br />

with a wide array of artists who call on his talent to<br />

raise the level of their own dates.<br />

Nash’s versatility is put to good use on fellow Ron<br />

Carter band colleague Donald Vega’s sophomore effort<br />

Spiritual Nature. The date features the pianist with<br />

bassist Christian McBride and Nash in a wide variety<br />

of settings, from straightahead jazz to titles from the<br />

Brazilian, European classical and AfroCaribbean<br />

songbooks. The drummer contributes immeasurably to<br />

the success of this disc, swinging relentlessly on the<br />

leader’s opening Messenger-ish anthem “Scorpion”<br />

(spurring on the sextet’s trumpet-tenor-trombone<br />

frontline of Gilbert Castellanos, Bob Sheppard and Bob<br />

McChesney) then demonstrating his peerless brush<br />

artistry on Ron Carter’s soulfully grooving “First Trip”<br />

with a quartet featuring guitarist Anthony Wilson. His<br />

subtle accents on Neils-Henning Ørsted Pedersen’s<br />

“Future Child”, featuring Christian Howes’ violin, are<br />

the epitome of tasteful accompaniment while his bossa<br />

beat on Vega’s title track is genuinely stimulating. The<br />

date’s remaining eight compositions - by Monty<br />

Alexander, Alexander Scriabin, Antonio Carlos Jobim,<br />

Benny Golson and two more of the pianist’s own tunes<br />

- utilize Nash’s resourceful drumming to make this a<br />

most satisfying outing.<br />

Guitarist Paul Kogut’s Turn of Phrase reunites<br />

Nash with his former Tommy Flanagan colleague,<br />

bassist George Mraz. In the context of the spare sonic<br />

tapestry of the pianoless guitar trio, the inventive<br />

nuances of Nash’s playing take on added importance,<br />

creating an ever-shifting environment, which enhances<br />

the collective harmonic inventiveness of Kogut and<br />

Mraz. The guitarist’s ability to put his own stamp on<br />

chestnuts such as “Body and Soul”, “Days Of Wine<br />

And Roses” and “Blue And Green” and create engaging<br />

new melodies from the well-known chord changes of<br />

other standards signal him as a largely unheralded<br />

original. Particularly resourceful playing from Nash<br />

makes this record one that should bring more<br />

recognition to its talented leader.<br />

Fortunately, Nash regularly takes time out from<br />

his busy schedule working with others to lead his own<br />

groups. The Highest Mountain, recorded live at The<br />

Cellar, in Vancouver, British Columbia, finds him<br />

fronting a fiery quintet comprised of some of the best<br />

players of their respective generations. The frontline of<br />

trumpeter Jeremy Pelt and saxophonist Jimmy Greene,<br />

driven to impressive heights by Nash’s regular rhythm<br />

section mates pianist Renee Rosnes and bassist Peter<br />

Washington, burn through some of the hottest hardbop<br />

playing since the glory days of Blue Note Records as<br />

well as mature interpretations of a pair of old and new<br />

ballads (Gordon Jenkins’ evergreen “Goodbye” and<br />

Rosnes’ appealing “From Here To A Star”) and the<br />

beautiful James Williams jazz waltz “Arioso”. Hardswinging<br />

arrangements by Rosnes set this date apart.<br />

Beginning with the crisp drum volley that opens Bobby<br />

Hutcherson’s “Teddy”, Nash persistently swings his<br />

unit, finding all the right places to interject bombs,<br />

rolls and other rhythmic devices that contribute to,<br />

rather than distract from, each songs’ musicality. His<br />

playing on the Clifford Jordan title track, Ornette<br />

Coleman’s “Blues Connotation” and Thad Jones’ “Ain’t<br />

Nothin’ Nu” invigorates the classic melodies with<br />

insightful percussive commentary. This is the kind of<br />

vital jazz one hopes to get with the price of admission<br />

to any jazz club in the world.<br />

For more information, visit resonancerecords.org,<br />

blujazz.com and cellarlive.com. Nash is at Village Vanguard<br />

Mar. 5th-10th with Renee Rosnes. See Calendar.<br />

Powers<br />

Nilsson/Fonda/Nilsson<br />

(Konnex)<br />

by Kurt Gottschalk<br />

Hogwild Manifesto<br />

Hot & Cold<br />

(Jungulous)<br />

Guitarists who use distortion in the realms of<br />

improvised music are almost without fail labeled<br />

“rockers”. For some, the tag rings true, others of course<br />

not. Anders Nilsson is among the latter, those who<br />

know the lingo and aren’t just saddled by the<br />

descriptors that come with stompboxes. Nilsson has<br />

got the chops to pull off jazz, blues, rock and noise and<br />

much of what lies in between. What’s more notable,<br />

though, is that he’s got enough sense not to overuse his<br />

skills. Two recent releases may not find him discovering<br />

new territory but showing himself to be easily<br />

conversant in familiar terrain.<br />

Powers, a trio album with brother Peter Nilsson on<br />

drums and bassist Joe Fonda, opens with a driving -<br />

softly pounding even, it might be said - rocker with<br />

deft guitar soloing over a metered loop while Fonda<br />

wonderfully complements (not undermines) the jam<br />

with an arco/scat solo. Peter Nilsson’s “Melodrone”<br />

provides opportunity for some pedal point pulse à la<br />

Jimmy Garrison and some nice chordal guitar soloing.<br />

Fonda’s “China” is a lovely, airy ballad in which all<br />

three members take distinct approaches to the gently<br />

loping tempo while his “I’ve Been Singing” borders on<br />

a Wes Montgomery R’n’B groove. Anders’ bluesy<br />

“Vodka Meditations” rambles through phrases and<br />

filigrees without wanting for a map.<br />

With Hogwild Manifesto, Nilsson and fellow<br />

guitarist Aaron Dugan explore ground previously<br />

covered by a number of improvising skronkmeisters,<br />

almost paying homage to such axe-wielders as Derek<br />

Bailey, Eugene Chadbourne, Chris Cochrane, Henry<br />

Kaiser and Arto Lindsay. Muted strings and a crankedup<br />

fuzzbox can make some wonderful sounds and<br />

what those champions have in common is knowing<br />

they need to do something more than flail around in it.<br />

Nilsson and Dugan get this too - the title could even be<br />

taken as declaration of proper proceeding. If it were a<br />

manual, a few instructions might be gleaned from the<br />

disc: keep moving (not just pounding but changing<br />

course often); provide a respite (the two 10+-minute<br />

tracks are separated by a quiet[er], ambling interlude)<br />

and don’t overstay your welcome (the disc clocks in at<br />

a quick half hour and doesn’t need to be any longer).<br />

For more information, visit konnex-records.de and<br />

aarondugan.bandcamp.com. Anders Nilsson is at Shrine<br />

Mar 5th with Tunk Trio and The Firehouse Space Mar. 7th,<br />

14th and 28th with various groups. See Calendar.


The Exterminating Angel<br />

Kirk Knuffke/Mike Pride (Not Two)<br />

by John Sharpe<br />

Duets offer the purest form of communication. For<br />

both drummer Mike Pride and cornetist Kirk Knuffke,<br />

such situations hold a special attraction. The latter’s<br />

first real experience of improvising came in a duo with<br />

a drummer in high school while the former finds the<br />

setup one that promotes deeper relationships - witness<br />

his fertile pairing with saxophonist Jon Irabagon. That<br />

shared pleasure comes through loud and clear on this<br />

excellent 68-minute studio session, which forms<br />

Knuffke’s first completely improvised recording.<br />

Unscripted or not, Knuffke’s abstractly lyrical<br />

lines feature a strong rhythmic dimension as he flows<br />

over Pride’s choppy contours, almost as if he could<br />

veer into bebop at any second. But he never loses his<br />

cool, no matter what provocation the drummer throws<br />

his way, remaining mostly pure-toned, singing some<br />

tune only he can hear. Always responsive, Pride takes<br />

his time, exploring all the textures available to him in<br />

purposeful interweaving patterns, though leaving<br />

abundant space for the cornet between the intersections<br />

of his loose pulse.<br />

Each of the six pieces evolves organically, with the<br />

opening “Appeasing the Geezer” setting the template,<br />

mutablemusic<br />

Ahead of the Curve<br />

First Two Mutable Music Releases<br />

In our New All-Digital Format!<br />

Thomas Buckner, J.D. Parran, Mari Kimura,<br />

& Earl Howard: Particle Ensemble<br />

Richard Teitelbaum: Solo Live<br />

With our two newest releases,<br />

Mutable Music begins a new<br />

era. Mutable Music has decided<br />

to respond to the changing<br />

marketplace for recorded<br />

media, and is switching to<br />

an all-digital format. All new<br />

titles, including downloadable<br />

artwork and liner notes, will<br />

be offered in both high definition<br />

and mp3 formats. On our<br />

new website you will be able<br />

to hear sound samples of all<br />

our titles, read artist bios and<br />

reviews, and find out about<br />

performances.<br />

Upcoming releases include new<br />

music by ROSCOE MITCHELL,<br />

the REVOLUTIONARY<br />

ENSEMBLE live, and the trio<br />

of THOMAS BUCKNER, JOELLE<br />

LEANDRE, & NICOLE MICHELL!<br />

www.mutablemusic.com<br />

mutablemusic<br />

109 West 27th<br />

Street, 8th Floor<br />

New York, NY 10001<br />

Ph: 212-627-0990<br />

Fax: 212-627-5504<br />

as cornet and drums whirl and pirouette around one<br />

another in perfect balance. Pride’s sound placement is<br />

spot on, usually simpatico, but occasionally providing<br />

the grit that creates the pearl, as on the title track,<br />

where he counters Knuffke’s plaintive appeals by<br />

unleashing what recalls a barrow load of percussive<br />

devices being dumped on the floor. Unperturbed, the<br />

cornetist draws more timbral variety from his horn<br />

with droning screeches and wavering whistles, all<br />

executed with a pleasing musical sensibility, until his<br />

rapid-fire runs develop a throbbing intensity. Similarly<br />

adventurous on “Benstein”, Knuffke pontificates<br />

blearily in sustained tones in contrast to Pride’s thorny<br />

undercurrent, but still manages to sign off with<br />

honeyed epigrams. This disc reveals another facet of<br />

Knuffke’s artistry and one that should be exposed<br />

more often.<br />

For more information, visit nottwo.com. This duo is at<br />

ShapeShifter Lab Mar. 6th. See Calendar.<br />

New Life<br />

Antonio Sanchez (CAMJazz)<br />

by David R. Adler<br />

Antonio Sanchez, Pat Metheny’s drummer of choice,<br />

is steadily building his presence as a leader and up to<br />

now he’s made clear his taste for two-saxophone<br />

lineups sans chordal instrument. His debut Migration<br />

featured tenor saxophonists Chris Potter and David<br />

Sanchez; his two-disc follow-up Live In New York<br />

paired Sanchez with alto saxophonist Miguel Zenón.<br />

On New Life, the roster shifts to Donny McCaslin on<br />

tenor and David Binney on alto. All of the above are<br />

formidable leaders in their own right.<br />

Part of what makes New Life new is the inclusion<br />

of a pianist, the budding master John Escreet, who<br />

plays on all eight tracks of an all-original program. The<br />

harmony flows and shifts and expands, whether it’s<br />

the pastoral waltz feel of “Nighttime Story” (with a<br />

deft McCaslin quote of “Blues on the Corner”), the<br />

churning 7/4 minor-modal flavor of the opening<br />

“Uprisings and Revolutions” or the more elusive<br />

Rhodes sonority of “Minotauro” and “The Real<br />

McDaddy”. Singing melodies, big statements,<br />

deceptive endings, an urge toward more development<br />

and variation: this is Sanchez’ writing voice, buoyed in<br />

every way by his approach as a drummer, complex and<br />

yet flawlessly in the pocket.<br />

“Medusa” and “Family Ties” stand out as widely<br />

contrasting and beautifully played. “Air”, a dark and<br />

mystical ballad with soprano sax (though no soprano<br />

credit appears on the sleeve), is one of Escreet’s key<br />

moments - not just his rubato introduction but his<br />

dramatic impact with the sparest and most ambiguous<br />

whole-note chords.<br />

Sanchez is after something altogether different<br />

with the title track, a 14-minute opus with marked<br />

emphasis on the layered wordless vocals of Thana<br />

Alexa (the leader’s fiancée). His experience in the Pat<br />

Metheny Group, widely known for its wordless vocal<br />

textures and soaring sonic expanses, has to be relevant<br />

here, but the drummer is fresh and not imitative in his<br />

approach. Even if the result has its indulgent side, it<br />

still showcases the band’s emotional power and unified<br />

purpose.<br />

For more information, visit camjazz.com. This project is at<br />

Jazz Standard Mar. 7th-10th. See Calendar.<br />

JAZZ AT LINCOLN CENTER<br />

SWING<br />

UNIVERSITY<br />

SPRING 2013 TERM<br />

Learn about jazz from the<br />

musicians who make<br />

the music and the scholars<br />

who have mastered it<br />

CLASSES START MARCH 19<br />

ENROLL TODAY / 212-258-9922<br />

JALC.ORG / SWINGU<br />

Lead Corporate Sponsor<br />

CLASSES INCLUDE<br />

RAGTIME with Terry Waldo<br />

Mar 19–Apr 16; 4 Tuesdays<br />

FREE JAZZ with Ben Young<br />

Mar 27–May 15; 8 Wednesdays<br />

JAZZ 301 with Phil Schaap<br />

Mar 27–May 8; 7 Wednesdays<br />

Optional exam on May 22<br />

JAZZ 101 with Vincent Gardner<br />

Apr 1–May 20; 8 Mondays<br />

CHARLIE CHRISTIAN with Vincent Pelote<br />

Apr 1–22; 4 Mondays<br />

JAZZ 201 with Phil Schaap<br />

Apr 2–May 21; 8 Tuesdays<br />

LENNIE’S LISTENING LESSONS<br />

with Connie Crothers<br />

Apr 2–May 21; 8 Tuesdays<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 25<br />

billie holiday Courtesy of the Frank Driggs collection


In the Now<br />

John Yao Quintet (Innova)<br />

by Donald Elfman<br />

Trombonist John Yao understands the improvisational<br />

music tradition and its attendant vocabulary with the<br />

ability to assemble elements in fresh and different<br />

ways. His avowed modus operandi explores the way<br />

opposites work together and, with that, comes, as in all<br />

jazz groupings, the relationship between the individual<br />

and the group.<br />

Such exploration can be heard in several instances<br />

where Yao takes what first sounds like a free floating<br />

melody and places it over a soon-recognizable groove.<br />

On “Funky Sunday”, the groove emerges first with<br />

Randy Ingram’s Hammond organ, Leon Boykins’ bass<br />

and Will Clark’s drums, then the horns - Yao and<br />

frontline partner Jon Irabagon on alto or soprano<br />

saxophone - send forth a sinuous and beautifully exotic<br />

theme. Suddenly, there is a stop and the organ pulses<br />

an even funkier foundation as Yao plays a solo both in<br />

the pocket as well as flying out into the open air. Tunes<br />

like “Snafu” and “Not Even Close” have a jeu d’esprit<br />

that moves them beyond convention and into playful<br />

new areas.<br />

The ballads are something else again. “For NDJ”<br />

begins as an ethereal waltz for trombone and drums,<br />

26 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

but as bass and Fender Rhodes enter, there’s a deep,<br />

romantic sensibility coming to the fore. It’s a love song<br />

- plaintive and wistful - but it moves forward with an<br />

energy beyond the standard ballad.<br />

The intriguingly titled “Shorter Days” - a possible<br />

double entendre referring both to winter and the<br />

compositional approach of Wayne Shorter - is bold and<br />

expressive, holding its languorous and sensual pace<br />

even as the solos become animated. Powerful trombone<br />

opens the tune a cappella then the rest of the band digs<br />

down with great individual contributions.<br />

On his debut, Yao has created a vital and<br />

communicative approach, modern yet expanding upon<br />

what has come before.<br />

For more information, visit innova.mu. This group is at<br />

Cornelia Street Café Mar. 7th. See Calendar.<br />

Eponymous<br />

Many Arms (Tzadik)<br />

by Wilbur MacKenzie<br />

The latest release from Philadelphia trio Many Arms<br />

is their first for the Spotlight series on John Zorn’s<br />

Tzadik label and their third to date. An intense,<br />

virtuosic update of the classic rock power trio, Many<br />

Arms is made up of guitarist Nick Millevoi, electric<br />

bassist Johnny DeBlase and drummer Ricardo<br />

Lagomasino. As with previous releases, this album<br />

favors long-form compositions, which effortlessly<br />

integrate complex written material with very loose,<br />

high-energy improvisational excursions. Amazingly,<br />

their albums consistently convey the energy and<br />

intensity of their live performances.<br />

The album features one track from each member<br />

of the trio. Millevoi’s “Beyond Territories” opens, the<br />

first few minutes a series of jarring arrhythmic unison<br />

repetitive lines, ultimately giving way to high-energy<br />

free playing, intermittently returning to the seemingly<br />

endless parade of anti-riffs over the course of the<br />

piece’s 16 minutes. The middle track, “In Dealing with<br />

the Laws of Physics on Planet Earth”, written by<br />

DeBlase, is an extended ruminative journey through<br />

twisted sonorities and hard-edged punctuations, as<br />

repetitive arpeggios are underscored by heavy<br />

ensemble passages. Ironically, in this case, the quietest<br />

moments on this recording are by far the most<br />

delightfully unsettling. Proceeding at a glacial pace,<br />

the tune eventually builds to a robust crescendo of<br />

shifting odd-time signatures. Lagomasino’s “Rising<br />

Artifacts in a Five-Point Field” opens with some of the<br />

most abstract sonic explorations on the disc, from<br />

which emerge a series of long, lightning-speed unison<br />

riffs and wailing guitar melodies floating over the<br />

torrential storm created by bass and drums.<br />

On their latest release, Many Arms continue to<br />

refine their radical approach to integrating loud rock<br />

with expansive free improvisation and rigorous<br />

compositional pursuits, reaching new levels of<br />

creativity, concept and execution.<br />

For more information, visit tzadik.com. This group is at The<br />

Stone Mar. 8th. See Calendar.<br />

Cobi Narita presents: now at Zeb’s<br />

EVERY SATURDAY<br />

At Zeb’s, from 1 p.m. to 6 p.m., Cobi Narita presents MOVIES & OPEN MIC SESSION.<br />

From 1 p.m., MOVIES of legendary Black Artists, shown by WALTER TAYLOR;<br />

followed by OPEN MIC SESSION for Singers, Tap Dancers & Instrumentalists,<br />

hosted by FRANK OWENS, Music Director & piano, from 3 to 6 p.m. $10. AUDIENCE WELCOME!<br />

FRIDAY, MARCH 15<br />

At ZEB’s, from 8 p.m. to 12 midnight, Paul Ash and Cobi Narita present, in cooperation with<br />

Women (In) Jazz and the Jazz Foundation, one concert of the 11th Annual LADY GOT CHOPS Women’s<br />

History Month Music & Arts Festival: “MUSI-ARTI-COPIA”, flash mob round robin jazz plus project,<br />

featuring Mem Nadahr, vocals; Meg Montgomery, trumpet; Andrea Brachfeld, flute;<br />

Sheryl Renee, vocals; Lisette Santiago, percussion; Nikita White, vocals; Bertha Hope, piano;<br />

Claudia Hayden, flute; and Kim Clarke, bass<br />

FRIDAY, MARCH 22<br />

At Zeb’s, from 7 p.m., Cobi Narita presents<br />

WILLIE MAE PERRY in Concert, “SomeoneTo Watch Over Me”,<br />

with the Frank Owens Trio, with Frank Owens, Music Director & piano;<br />

Paul West, bass; Greg Bufford, drums. $15<br />

SATURDAY, MARCH 23<br />

At Zeb’s, from 8 p.m., Cobi Narita presents<br />

EMIKO MIZOGUCHI and DEREK HOOD in Concert,<br />

with the Frank Owens Trio, with Frank Owens, Music Director & piano;<br />

Paul West, bass; Greg Bufford, drums. $15<br />

ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues)<br />

2nd Fl walk-up. Info: 516-922-2010


Sojourner Truth (1797?-1883) led a life that was at once<br />

humble and heroic. She jettisoned the bonds of slavery<br />

and paternalism to become an indomitable voice for<br />

the abolition of slavery and the advocacy of women’s<br />

rights. Bassist Avery Sharpe crafts a heartfelt tribute to<br />

a truly extraordinary woman.<br />

In a sense, Truth is a silent collaborator on this<br />

album as Sharpe incorporates some of her words into<br />

the narrative. The title cut is a spoken-word version of<br />

her watershed speech “Ain’t I A Woman?”, set to a<br />

gospel theme. Truth also was a lyricist, in spite of her<br />

illiteracy, and Sharpe wrote music for her poem<br />

“Pleading for My People”. Sharpe’s arrangement of the<br />

traditional “Motherless Child”, a favorite of Truth’s,<br />

underscores the homage by invoking John Coltrane’s A<br />

Love Supreme. All of these songs, as well as “The Way<br />

Home” and “Son of Mine”, feature singer Jeri Brown as<br />

the embodiment of Truth’s spirit and whose earthy<br />

vocals are as elemental and poignant as the woman<br />

herself.<br />

The band recounts other elements of Truth’s story<br />

quite eloquently through straightahead songs like<br />

“Isabella’s Awakening” and “Truth Be Told”. Craig<br />

m A R ch 1-3<br />

warren wolf group<br />

m A R ch 4<br />

jason marsalis quartet<br />

m A R ch 5-6<br />

grace kelly quintet<br />

cD release –Live at Scullers<br />

m A R ch 7-10 dizzy & bird festival<br />

wycliff gorD o n & frienD s<br />

the Dizzy Birds: Bebop then & now<br />

m A R ch 11<br />

Sojourner Truth “...ain’t I a Woman?”<br />

Avery Sharpe (JKNM)<br />

by Terrell Holmes<br />

amina figarova sextet<br />

music of twelve<br />

m A R ch 12-13<br />

e DDi e D a niels & roger kellaway<br />

m A R c h 14-17<br />

B i lly hart quartet<br />

m A R ch 18<br />

new york youth symphony<br />

jazz classic<br />

m A R ch 19-20<br />

luis B o nilla quintet<br />

m A R ch 21-24<br />

michael carvin experience<br />

featuring sonny fortune (3/22-24 only)<br />

m A R ch 25<br />

floriD a state university<br />

jazz ensemB le<br />

m A R ch 26-27<br />

terri lyne carrington’s<br />

m O NEy juN g L E<br />

cD release<br />

m A R ch 28-31<br />

B e n wolfe quintet<br />

featuring nicholas payton<br />

RESERVATIONS 212-258-9595 / 9795 jalc.org/dizzys<br />

Handy’s passionate tenor saxophone drives the<br />

distinctly African rhythm on “Bomefree”, a tribute to<br />

Truth’s father, who was sold into slavery from what is<br />

now Ghana. Duane Eubanks’ flugelhorn is honey<br />

smooth on drummer Yoron Israel’s “Virtuous She Is”.<br />

And the mingled voices of Onaje Allan Gumbs’ piano,<br />

Sharpe’s bass and Eubanks’ trumpet form a stunning<br />

chorus that captures the themes of alienation, loneliness<br />

and tumult on “NYC 1800s”.<br />

Throughout his career Sharpe has made it a point<br />

to honor his heroes, whether they are other musicians<br />

(see his album Legends & Mentors) or historical figures<br />

and the profound respect he feels for Truth comes out<br />

in this excellent music. Sojourner Truth “…ain’t I a<br />

Woman?” is a bold praise shout to someone whose<br />

fierce dedication to the pursuit of equality, justice and<br />

humanity remains timeless.<br />

For more information, visit jknmrecords.com. Sharpe is at<br />

Ginny’s Supper Club Mar. 9th and Brooklyn Public Library<br />

Central Branch Mar. 10th with this project. See Calendar.<br />

Live at Smalls<br />

Grant Stewart (smallsLIVE)<br />

by Alex Henderson<br />

Pianist Spike Wilner, who co-owns Smalls Jazz Club in<br />

the West Village, is among jazz’ more ambitious<br />

entrepreneurs. Since launching his smallsLIVE label in<br />

2010, Wilner has released more than 30 CDs from a<br />

long list of artists, including this recent date by Grant<br />

Stewart, who plays a brawny tenor saxophone along<br />

the lines of Sonny Rollins, Don Byas, Coleman Hawkins<br />

and Wardell Gray.<br />

Leading a quartet of Tardo Hammer (piano),<br />

David Wong (bass) and brother Phil Stewart on drums<br />

(all Smalls regulars, with Hammer a regular participant<br />

in Stewart’s recordings), the saxman swings hard and<br />

passionately on material ranging from Henry Mancini’s<br />

“Mr. Lucky”, Billy May’s “Somewhere in the Night”<br />

and Jule Styne’s “Make Someone Happy” to a Latintinged<br />

take on Cole Porter’s “Get Out of Town” and<br />

energetic, rather than sentimental, “Tea for Two”, the<br />

Vincent Youmans standard.<br />

In the ‘50s, saxophonists like Hawkins, Rollins,<br />

Byas and Gray were not only known for their<br />

barnburners but also for being excellent ballad players.<br />

And that fact isn’t lost on Stewart, who demonstrates<br />

his own abilities in that realm with takes on Bobby<br />

Troup’s “The Meaning of the Blues”, Jerome Kern’s<br />

“Smoke Gets in Your Eyes” and Thelonious Monk’s<br />

“Reflections”.<br />

Stylistically, Live at Smalls could have been<br />

recorded 60 years ago, given its material and aesthetic<br />

sensibilities. Stewart has never claimed to be<br />

groundbreaking, but what the saxophonist may lack in<br />

originality, he more than makes up for with warmth,<br />

good taste and a healthy sense of swing, which could<br />

be the motto for Smalls Jazz Club as well.<br />

For more information, visit smallslive.com. Stewart is at<br />

Smoke Mar. 15th-16th with Eric Reed and Smalls Mar. 17th<br />

as a leader. See Calendar.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 27


12_Fimav_TheNewYorkCityJazz_B&W_F01.pdf 1 13-02-12 13:29<br />

28 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Brooklyn Lines...<br />

Chicago Spaces<br />

Klang (Allos Documents)<br />

by Clifford Allen<br />

Soft Focus<br />

Vox Arcana<br />

(Relay Records)<br />

Clarinetist James Falzone is an artist who decidedly<br />

works between and across boundaries. In addition to<br />

composing and playing in a variety of improvising<br />

ensembles, Falzone has been active with throughcomposed<br />

and liturgical music and exploring non-<br />

Western instrumentation and forms. As a soloist<br />

Falzone is concentrated but wonderfully liberated,<br />

with what one might call a ‘classical’ tone that readily<br />

spirals into fierce multiphonics, whirls and dives or an<br />

acerbic, nearly electronic lack of wavering.<br />

When it comes to what one might otherwise deem<br />

a strictly ‘jazz-derived’ group like Klang (with<br />

vibraphonist Jason Adasiewicz, bassist Jason Roebke<br />

and drummer Tim Daisy), the range of Falzone’s<br />

interests and influences become clear and actualized.<br />

Importantly, that diversity doesn’t complicate<br />

proceedings; rather, Klang have a wealth of possibilities<br />

at their disposal that advance and recede in the split<br />

seconds of improvisational choice. Brooklyn Lines…<br />

Chicago Spaces is the quartet’s fourth disc to date and<br />

consists of 11 pieces, 2 which are group improvisations<br />

while the rest are the clarinetist’s tunes. Importantly,<br />

while written by Falzone, they were conceived for this<br />

ensemble and are actualized collectively as “Klangmusic”.<br />

These range from the Rolf Kühn-like<br />

“Ukrainian Village” to the Farmer Alfalfa homage (in<br />

sound if not literally) “Carol’s Burgers”. Though many<br />

of the pieces move through a range of colors and<br />

structures, the set does have a suite that should be<br />

called out: dedicated to longtime Chicago jazz writer<br />

Larry Kart, the pieces “Alone at the Brain”, “Jazz<br />

Searching Self” and “It Felt as if Time had Stopped” are<br />

a portrait of presence and history. The final movement<br />

is absolutely gorgeous, limned by delicate woody<br />

footfalls and Adasiewicz’ glassy rows and eddies that<br />

recall Walt Dickerson in dreamlike, fluttering<br />

aggression, closing in a wistfully funereal march.<br />

Falzone is the sole reed voice in Daisy’s Vox<br />

Arcana, a trio that also includes cellist/guitarist Fred<br />

Lonberg-Holm. This is the group that most clearly<br />

represents Daisy’s compositional acumen; as one might<br />

infer, the compositions and improvisations inform one<br />

another, thus exploring the continual process of crossbreeding<br />

that occurs in the works’ development. Soft<br />

Focus is the trio’s third disc and its eight pieces clock in<br />

economically at a shade over a half-hour. Vox Arcana<br />

finds Daisy at perhaps his most texturally rangy - in<br />

addition to a standard kit, he employs a variety of<br />

gongs, marimba and what sound like roto-toms and<br />

tuned bongos. While slinky tone poems and chamber<br />

studies are, in part, endemic to this trio’s music, that<br />

doesn’t mean that opportunities to stretch don’t arise<br />

- witness the toothy opener, “De Grote Olifant” and its<br />

panoply of athletic rattles. Daisy has chosen his<br />

compatriots perfectly, as both Falzone and Lonberg-<br />

Holm are as rigorous in their compositional acumen as<br />

they are in open improvisation and Daisy’s writing<br />

might as well be theirs. It’s a fine tightrope walk that<br />

Vox Arcana are testing and being ‘in the middle’ is<br />

profoundly rewarding.<br />

For more information, visit allosmusica.org and timdaisy.<br />

wordpress.com. Klang is at Ibeam Brooklyn Mar. 15th-16th.<br />

See Calendar.


It would be hard to overstate the excellence of On<br />

Broadway, Vol. 1,2,3,4,5, a anthology release of late<br />

drummer Paul Motian’s 20-year project to reenvision<br />

and ‘re-roast’ those famous and not-quite-as-famous<br />

chestnuts of the Great American Songbook. Whereas<br />

Ella Fitzgerald’s previous interpretations of Tin Pan<br />

Alley tunes were faithful renditions that even exhumed<br />

long forgotten introductory sectional verses, Motian’s<br />

approach is decidedly heterodox, often ignoring vital<br />

rhythms, melodies and harmonies in favor of<br />

interaction and improvisation.<br />

The five albums divide into two groups, the first<br />

three recorded in 1988, 1989 and 1991 with tenor<br />

saxophonist Joe Lovano, guitarist Bill Frisell and<br />

bassist Charlie Haden (Vol. 3 adds alto/soprano<br />

saxophonist Lee Konitz), all musicians that share<br />

Motian’s penchant for group interplay, ability to say<br />

more with less and deconstructionist attitude towards<br />

composition and improvisation. The last two volumes<br />

were recorded considerably later, in 2005 and 2008,<br />

with a younger generation of musicians: saxophonist<br />

Chris Potter and bassist Larry Grenadier with vocalist<br />

Rebecca Martin and veteran pianist Masabumi Kikuchi<br />

NEW<br />

On Broadway, Vol. 1,2,3,4,5<br />

Paul Motian (Winter & Winter)<br />

by Tom Greenland<br />

236 West 26 Street, Room 804<br />

New York, NY 10001<br />

Monday-Saturday, 10:00-6:00<br />

Tel: 212-675-4480<br />

Fax: 212-675-4504<br />

Email: jazzrecordcenter@verizon.net<br />

Web: jazzrecordcenter.com<br />

LP’s, CD, Videos (DVD/VHS),<br />

Books, Magazines, Posters,<br />

Postcards, T-shirts,<br />

Calendars, Ephemera<br />

Buy, Sell, Trade<br />

Collections bought<br />

and/or appraised<br />

USED<br />

Also carrying specialist labels<br />

e.g. Fresh Sound, Criss Cross,<br />

Ayler, Silkheart, AUM Fidelity,<br />

Nagel Heyer, Eremite, Venus,<br />

Clean Feed, Enja and many more<br />

(Vol. 4) and saxophonists Loren Stillman and Michäel<br />

Attias, bassist Thomas Morgan and Kikuchi (Vol. 5).<br />

The lack of guitar, charismatic presence of Kikuchi and<br />

an extreme generation gap (Morgan was born 50 years<br />

after Motian) give these latter two albums a different<br />

character, though the leader’s overarching ethos is still<br />

very much to the fore. Indeed, it would have been out<br />

of character for Motian to revisit his own work after a<br />

13-year break only to retread previous patterns. The<br />

earlier three albums also differ from the later two in<br />

that their setlist concentrates on a few iconic tunesmiths<br />

- in particular George Gershwin, Cole Porter and<br />

Jerome Kern - while Vols. 4 and 5 feature a wider<br />

selection of writers and less canonized melodies such<br />

as Frank Loesser’s “Sue Me”, Jay Gorney’s “Brother,<br />

Can You Spare a Dime?” and Jack Little-John Siras’ “In<br />

a Shanty in Old Shanty Town”. Finally, the sonic<br />

‘canvas’ of the three initial albums (engineered by Joe<br />

Ferla) differs from that of the last two albums<br />

(engineered by Adrian Von Ripka): Motian’s drum<br />

colors overlap and blend seamlessly with the total<br />

audio backdrop on the earlier recordings whereas the<br />

component sounds of his drumkit are panned and<br />

separated more distinctly on the later ones.<br />

Vol. 1 sets the tone for the two to follow, employing<br />

various strategies to draw fresh water from the well.<br />

To begin with, Motian never ‘lays down’ the time, but<br />

rather implies or plays around it, preferring the role of<br />

co-soloist to that of metronome. Likewise, Haden finds<br />

ways to break up obvious bass patterns and while<br />

either Lovano or Frisell usually ‘leads’ a statement of<br />

the song’s melody, they are most often in dialogue<br />

with each other, akin to the heterophonic (multiple<br />

solos at once) blowing of traditional jazz. Many of the<br />

cuts eschew an obvious introduction to the tune,<br />

instead referring to it only in passing or in abstraction,<br />

so that a listener only gradually realizes that they are<br />

listening to “Liza” or “Someone To Watch Over Me”.<br />

Lovano and Frisell are in fine form throughout, the<br />

former burning with quiet fire and fluid intensity,<br />

producing dense but relaxed statements that push<br />

gently towards the outré limits (listen to his work on<br />

“My Heart Belongs To Daddy” from Vol. 1, “I Got<br />

Rhythm” from Vol. 2 or “Weaver of Dreams” from Vol.<br />

3) while the latter employs an encyclopedia of<br />

Americana guitar techniques with his idiosyncratic<br />

touch, rendering sparse-but-full chord solos on “What<br />

Is This Thing Called Love?” and “Last Night When We<br />

Were Young” from Vol. 1 or “I Wish I Knew” from Vol.<br />

3 and slow-hand soul on “You and the Night and the<br />

Music” from Vol. 2. Konitz’ alto is an integral part of<br />

Vol. 3, particularly on “How Deep Is the Ocean” and<br />

“Weaver of Dreams”. Together, these elements continue<br />

an aesthetic approach Motian made famous with Bill<br />

Evans, ensuring that these covers of classics avoid the<br />

‘aging process’ so common to repertory projects.<br />

The fourth and fifth volumes are marked by the<br />

presence of Kikuchi who, like Bill Evans, exudes deep<br />

musicality in his lightest, most minimalist touches,<br />

bringing an unfakeable sincerity to “The Last Dance”,<br />

“Never Let Me Go”, “I Loves You Porgy” (all from Vol.<br />

4), “Something I Dreamed Last Night” and especially<br />

“I See Your Face Before Me” (from Vol. 5), though at<br />

times his spontaneous vocalizations overshadow his<br />

sensitive playing. On Vol. 4, Potter is a fountain of<br />

ideas, delivered with taut logic and a dry, almost<br />

vibrato-less tone, often in counterpoint to Martin, who<br />

brings life to the lyrics, hitting her stride on “How<br />

Long Has This Been Going On”, which closes the set.<br />

Vol. 5 is notable for the interweavings of Stillman and<br />

Attias, particularly on “Midnight Sun” when, after<br />

four minutes of free-form interaction, the melody<br />

finally materializes from the musical mists, creating an<br />

‘aha!’ moment for listeners.<br />

For more information, visit winterandwinter.com. A tribute<br />

to Paul Motian is at Symphony Space Peter Jay Sharp<br />

Theatre Mar. 22nd. See Calendar.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 29


30 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Wisława<br />

Tomasz Stanko New York Quartet (ECM)<br />

by Stuart Broomer<br />

Polish trumpeter Tomasz Stanko’s first recording<br />

since 2009 is a two-CD set and it’s also a tale of two<br />

cities. The Wisława of the title is the late Polish poet<br />

Wisława Szymborska, who inspired Stanko’s<br />

compositions here, both in his own reading and in a<br />

2009 Krakow performance in which he improvised<br />

accompaniments to her reciting new poems. The<br />

second city is New York, where Stanko resides part of<br />

the year and where he assembled the dynamic new<br />

band heard here.<br />

Stanko has a significant gift for putting together<br />

excellent bands (or just finding them, in the case of the<br />

Marcin Wasilewski Trio) and he’s done that here, with<br />

the young Cuban pianist David Virelles, bassist<br />

Thomas Morgan and distinctive drummer Gerald<br />

Cleaver. There’s great rapport evident here among all<br />

four musicians and it shows in the kinds of developed<br />

dialogues that develop around Stanko’s often balladic<br />

themes, like the ending of Stanko’s solo on “Tutaj -<br />

Here”, in which Virelles and Morgan pick up the<br />

conversation with the sustained echoing of Stanko’s<br />

final note, or Cleaver‘s extended passage of leading the<br />

conversation (it’s not a drum solo) on “Faces”.<br />

The set opens and closes with Stanko’s pensive<br />

title track, a piece that seems to begin almost as a<br />

reflective dirge but which ultimately floods with light<br />

in the final version, Stanko’s tautly introspective<br />

trumpet phrases etched with complex emotions, then<br />

framed and levitated by the delicacy of Virelles’ touch,<br />

resonant high harmonics bursting from Morgan’s bass<br />

and metallic shimmer and rattle of Cleaver’s brushed<br />

cymbals and snare. Virelles’ occasional ominous bass<br />

clusters seem to be receding into the past even as he<br />

articulates them. The final version runs 13:13 and every<br />

second of it is beautiful.<br />

For more information, visit ecmrecords.com. This group is<br />

at Birdland Mar. 28th-30th. See Calendar.<br />

One<br />

Jonathan Kreisberg (New For Now Music)<br />

by Sharon Mizrahi<br />

Jonathan Kreisberg clutches his guitar in a tight,<br />

closed-eyed embrace on the cover of his solo debut.<br />

This marks Kreisberg’s move from stage left to center<br />

spotlight, giving a glimpse into his eclectic creativity<br />

as he establishes his own voice.<br />

Kreisberg storms into the opening second of<br />

“Canto de Ossanha” with a gloomy chord - but the rest<br />

of the sublime piece is smooth sailing. The title loosely<br />

translates into “Song of the Spirits”, more specifically,<br />

the spirits responsible for casting the spell of love.<br />

Kreisberg breathes a mellow vibe into the AfroBrazilian<br />

composition, though in this case mellow doesn’t just<br />

translate into stagnant. This piece is a perfect sunset<br />

soundtrack, echoing a sultry undertone beneath each<br />

carefree, breezy refrain. On “Hallelujah”, Kreisberg’s<br />

stripped-down style strongly resembles the late Jeff<br />

Buckley version of the Leonard Cohen original. As<br />

soon as the first few chords unfold, one half-expects<br />

Buckley’s darkly evocative voice to emerge and take<br />

the lead. Kreisberg, however, clears the fog to weave<br />

his own melancholic yet subtly uplifting lullaby. The<br />

result is equal parts nostalgia and intrigue.<br />

Kreisberg takes a playful approach to Juan Tizol’s<br />

“Caravan”. His billowing chords resonated from the<br />

album all the way to his Jazz Standard release concert<br />

last month. Kreisberg, perched on a corner of the stage,<br />

radiated the quick versatility of a banjo player. A new<br />

dimension of whimsy also bubbled to the surface,<br />

infusing the denser album version with a light-hearted<br />

sensibility.<br />

Surprisingly, his solo performance was the outlier<br />

of the evening, as saxophonist Will Vinson (featured on<br />

Kreisberg’s quartet release Shadowless), bassist Rick<br />

Rosato and drummer Colin Stranahan accompanied<br />

him throughout the rest of set. Yet at times, Kreisberg<br />

appeared to accompany Vinson, particularly in a synth<br />

piece that resembled “Escape From Lower Formant<br />

Shift” from the album. His guitar chords pounded in<br />

hypnotic discord with Rosato and Stranahan’s speedy<br />

rhythm - but all was overshadowed by a frenzy of<br />

erratic sax slurs. Kreisberg made a dynamic comeback<br />

in “Zeibekiko”, named for a genre of Greek<br />

improvisational dance music. The lively guitar melody,<br />

interwoven with edgy electronics, was irresistible and<br />

made for dancing. And this time, Vinson offered warm<br />

accentuation on the piano, perfectly complementing<br />

Kreisberg’s hearty style.<br />

For more information, visit jonathankreisberg.com


Ellington Saxophone Encounters<br />

Mark Masters Ensemble (feat. Gary Smulyan) (Capri)<br />

by George Kanzler<br />

The classic big band sax section of two altos, two<br />

tenors and a baritone provides the template for this<br />

project, rounded out to an octet by piano, bass and<br />

drums. It’s a format that was actually used by Duke<br />

Ellington on some of his ‘private’ recordings and one<br />

employed by Benny Carter on his celebrated Impulse<br />

recording Further Definitions. Mark Masters proves<br />

equal to those examples, producing inspired sax<br />

section arrangements that belie the simplicity of the<br />

material: fully half of the tunes are 12-bar blues;<br />

another two based on “I Got Rhythm” changes, the<br />

others in standard pop AABA form. Masters and<br />

baritone saxophonist Gary Smulyan wanted to make<br />

an Ellingtonian album with a difference and they have<br />

definitely succeeded. They feature tunes written alone,<br />

or co-written with Ellington, by famous members of<br />

his saxophone section, some for Duke’s orchestra, but<br />

others for outside projects or at times when the<br />

composers were not working for Ellington.<br />

Masters invokes the sound of the Ellington sax<br />

section throughout this recording, from the familiar<br />

launching pad riffs and rhythmic kicks of “Rockin’ In<br />

Rhythm” to the clarinet obbligato of Don Shelton over<br />

DEBORAH LATZ<br />

FIG TREE Deborah’s third album will be released<br />

May 7, 2013 on June Moon Productions<br />

PRE-RELEASE GIGS:<br />

CORNELIA ST. CAFE<br />

Saturday, April 20 / 6pm<br />

Deborah Latz, vox<br />

Jon Davis, piano<br />

Zach Brock, violin<br />

Ray Parker, Bass<br />

Willard Dyson, drums<br />

Reservations (212) 989 9319<br />

“Deborah is a beautiful singer<br />

and a great talent. Fig Tree is<br />

wonderful. Really wonderful!”<br />

— Sheila Jordan,<br />

2012 NEA Jazz Master<br />

“...Latz demonstrates an<br />

outstanding range of technique<br />

and creative musicality...”<br />

— Scott Yanow,<br />

excerpt Fig Tree liners<br />

“I am a fan of Fig Tree!”<br />

— Jana Herzen,<br />

President Motema Music<br />

www.deborahlatz.com<br />

SOMETHIN’ JAZZ CLUB<br />

Saturday, April 27 / 9pm<br />

Deborah Latz, vox<br />

Jon Davis, piano<br />

Ray Parker, bass<br />

Willard Dyson, drums<br />

Reservations (212) 371 7657<br />

Photo ©Todd Weinstein<br />

the blues theme of Johnny Hodges’ “The Peaches Are<br />

Better Down the Road”. Masters, much like Ellington,<br />

employs the sax section and full ensemble as a<br />

completely collaborative contributor to the music, with<br />

backgrounds and riffs rising behind soloists and<br />

transitions filled by vamps and shout choruses.<br />

Smulyan is the main soloist, his robust sound featured<br />

on 10 of the 12 tracks, but the other saxophonists all get<br />

their spots, as do pianist Bill Cunliffe, bassist Tom<br />

Warrington and drummer Joe La Barbera. But the<br />

special delight of this album is the reclamation of tunes<br />

not heard in decades or, indeed, a lifetime, like the<br />

Hodges-Ellington “Esquire Swank”, Jimmy Hamilton’s<br />

“Ultra Blue” and Harry Carney’s lovely ballad “We’re<br />

In Love Again”, done as a baritone quartet number<br />

with a gorgeous coda by Smulyan.<br />

For more information, visit caprirecords.com. Smulyan is at<br />

Smoke Mar. 8th-9th with Mike LeDonne and Blue Note<br />

Mar. 25th. See Calendar.<br />

Hagar’s Song<br />

Charles Lloyd/Jason Moran (ECM)<br />

by Joel Roberts<br />

Saxophonist Charles Lloyd, who turns 75 this month,<br />

has enjoyed a remarkable late-career run, helped by his<br />

association with much-younger pianist Jason Moran.<br />

Despite his own flourishing solo career, Moran has<br />

become a key member of Lloyd’s working quartet,<br />

appearing on the group’s last three releases. Moran<br />

wasn’t even born when Lloyd released his landmark<br />

1966 album Forest Flower, an innovative blend of<br />

postbop, free jazz and world music that made Lloyd<br />

one of the era’s top jazz stars and even won him a<br />

following among rock listeners. But the younger artist<br />

shares the elder’s forward-thinking outlook and<br />

openness to exploring music that cuts across genres.<br />

Their latest collaboration is a duo recording, an<br />

intimate and often melancholy affair that highlights<br />

their musical symbiosis. The album features modernist<br />

reworkings of jazz standards, as well as rock classics<br />

by Bob Dylan and the Beach Boys. Lloyd and Moran<br />

dig deep into Duke Ellington’s “Mood Indigo” and<br />

George Gershwin’s “Bess, You Is My Woman Now”,<br />

mining both for all their bluesy lyrical beauty. They<br />

also offer radical reinterpretations of Dylan’s “I Shall<br />

Be Released” and Brian Wilson’s “God Only Knows”,<br />

turning the former into a memorable slice of gospel<br />

jazz and the latter into a tender jazz ballad. (The rock<br />

excursions should come as no surprise: Lloyd played<br />

on several Beach Boys albums in the ‘70s and was a<br />

friend of Dylan and The Band.)<br />

The centerpiece is the five-part title suite composed<br />

by Lloyd and inspired by the harrowing tale of his<br />

great-great grandmother, a slave who was uprooted<br />

from her Mississippi home as a child and sold to another<br />

slave owner in Tennessee. With Lloyd switching from<br />

tenor to alto to flute, the suite starts from the blues and<br />

shifts to increasingly abstract and evocative<br />

improvisations to tell the heartbreaking story.<br />

Lloyd is playing as well as ever deep into his<br />

eighth decade - elegant, ethereal and energetic. And in<br />

Moran, with his powerful percussive approach and<br />

daunting technique, he appears to have found the<br />

perfect partner to keep his creative juices flowing.<br />

For more information, visit ecmrecords.com. Lloyd is at<br />

Metropolitan Museum of Art Mar. 15th. See Calendar.<br />

Wait, who?<br />

Ran Blake<br />

John Medeski<br />

Frank London<br />

Dominique Eade<br />

Mat Maneri<br />

Sarah Jarosz<br />

Marty Ehrlich<br />

and many more.<br />

What?<br />

Fabulous musicians + boundary-smashing music.<br />

In other words, Contemporary Improvisation.<br />

Why?<br />

New England Conservatory celebrates 40 years of CI.<br />

When?<br />

Four dierent appearances March 17-23.<br />

Where?<br />

Cornelia Street Café, Symphony Space, Barbès.<br />

Want more info? Go to necmusic.edu/ci40<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 31


Let Go<br />

Jerry Granelli Trio (Plunge)<br />

by Ken Waxman<br />

Now 72 and after almost 60 years as a professional,<br />

drummer, Jerry Granelli has conveyed a perfect gem of<br />

a trio to express his ideas. He, Danny Oore on soprano,<br />

tenor, baritone saxophones and bassist/cellist Simon<br />

Fisk move confidently through nine instant<br />

compositions, a couple that also feature the ethereal<br />

Scots-Gaelic vocalizing of Mary Jane Lamond.<br />

While pretty, Lamond’s lyric delicacy is secondary<br />

to the overall program. Most of Let Go demonstrates<br />

how many sonic colors can be produced by three<br />

musicians with judicious doubling or tripling. Granelli,<br />

whose experience goes back to Vince Guaraldi’s ‘60s<br />

piano trio, is a jazz man first and foremost, a truism<br />

easily proven by “Bones”, the funky, yet unhurried<br />

opener.<br />

From then on the group investigates many forms<br />

of improvisation, sticking pretty close to the tonal.<br />

Especially remarkable is Oore’s technical skill on his<br />

three horns, plus his ability, prominent on a tune like<br />

“A Woman Who Wants To Waltz”, to stretch out the<br />

emotional underpinning of a solo without ever<br />

breaking the line. He can snort and squeak with the<br />

best on baritone while on soprano his muted tone<br />

32 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

complements Lamond’s low-key singing on “Solaria”,<br />

which is also notable for a scene-setting cello intro and<br />

drum patterning that seems half Carnatic-styled and<br />

half Krupa-swing. Fisk’s skills extend to melding<br />

folksy riffs with Granelli’s simple ruffs on “Letter To<br />

Bjork” or providing a double-stopping continuum on<br />

tracks such as “Leaving” and “A Chinese Saloon”.<br />

That last piece also highlights the drummer’s<br />

invention. Among unison double bass thumps and<br />

baritone sax snorts, he showcases clanging Orientalstyled<br />

gongs, plus press rolls and a hefty but not<br />

lumbering swing beat. Granelli’s adopted hometown<br />

of Halifax has apparently helped him to extend his<br />

skills and given him two fine helpmates with which to<br />

create provocative sounds.<br />

For more information, visit thejerrygranellitrio.bandcamp.com.<br />

Granelli is at ShapeShifter Lab Mar. 10th. See Calendar.<br />

Pieces<br />

Hashem Assadullahi (OA2)<br />

by Elliott Simon<br />

Guitarist Justin Morell’s raga-informed intro on CD<br />

opener “Prized Possession” entreats the listener to get<br />

on board this somewhat disjointed but compositionally<br />

intricate session from saxophonist Hashem Assadullahi.<br />

Trumpeter Ron Miles’ luxuriant tone melds with<br />

Morell’s spaciousness before Assadullahi leads the<br />

sextet into various collectively inspired realms. Aptly<br />

named Pieces, things evolve and devolve into songs<br />

about lots of different subjects, using the mundane “A<br />

Bag of Oranges”, the weird “Fingersticks” and the<br />

mysterious “Dark Tower” to highlight and integrate a<br />

smorgasbord of styles.<br />

Despite all this, Assadullahi rarely loses track of<br />

his own eclectic brand of swing. This is largely due to<br />

bassist Tyler Abbott and drummer Ryan Biesack, who<br />

usually succeed in holding things together. Miles<br />

brings his gorgeous voice and elegance to many of<br />

these pieces but the welcome surprise is pianist James<br />

Milney, who beautifully segues between rhythm and<br />

frontline roles. He is integral and his treatment of the<br />

pensively delicate melody on “Harbinger” is superb.<br />

Where things drift a bit are the middles of the longer<br />

cuts. “Dark Tower” has a great melody and feel and<br />

would be a super tune if it lost some of its meandering<br />

quality. Likewise, “The Straight Man” is a vehicle that<br />

gets lost a bit after a brilliant start.<br />

Assadullahi is of a new generation of jazz<br />

musicians who have the compositional understanding,<br />

technique and improvisational skill to create complex<br />

works with beautiful melodies while at the same<br />

time drawing on a multitude of styles. He uses pop,<br />

swing, straightahead, classical, free and other genres<br />

as construction pieces. The trick is not to lose sight of<br />

one aspect of the music at the expense of another or<br />

throw something in for the sake of itself. That is very<br />

tough to do and with Pieces Assadullahi largely<br />

succeeds.<br />

For more information, visit originarts.com. This group is at<br />

Korzo Mar. 19th. See Calendar.<br />

Grace Kelly<br />

“Live At Scullers”<br />

CD release tour<br />

stops at<br />

DIZZY’S CLUB COCA COLA<br />

MARCH<br />

5th and 6th<br />

7:30PM AND<br />

9:30PM<br />

Jazz At Lincoln Center<br />

Broadway and 60th<br />

www.gracekellymusic.com


The Sirens<br />

Chris Potter (ECM)<br />

by Jeff Stockton<br />

Even after more than 15 solo dates, as well as making<br />

significant contributions to the bands of Dave Holland<br />

and Paul Motian, Chris Potter’s ECM debut, The Sirens,<br />

feels like a milestone achievement. Inspired by a<br />

reading of Homer’s Odyssey (apparent mainly due to<br />

the song titles), Potter has assembled a crack band<br />

including pianist Craig Taborn (himself making a name<br />

on ECM), bassist Larry Grenadier, drummer Eric<br />

Harland and the ace-in-the-hole, pianist David Virelles,<br />

pitching in with prepared piano, celeste and<br />

harmonium. The two keyboards interweave<br />

instinctively on “Wayfarer”, the celeste twinkles<br />

against Harland’s cymbal taps on “Nausikaa” and<br />

Taborn and Virelles are handed the CD’s ultra-quiet,<br />

mid-air suspended coda “The Shades”. While the band<br />

distinguishes itself with top-drawer technical facility<br />

and simpatico interaction, the leader shines through<br />

with powerful, aggressive, abundant soloing on the<br />

opening “Wine Dark Sea”, the spiraling tenor arpeggios<br />

of “Stranger at the Gate” and the profound solemnity<br />

of the bass clarinet intro to the title track. In Taborn’s<br />

accompaniment, Grenadier’s bowing and Potter’s<br />

switch to tenor, the cut recalls nothing less than the<br />

conclusion to A Love Supreme, as if Eric Dolphy had<br />

written the preface.<br />

“The Sirens” served as the apex among high points<br />

during a set at the Village Vanguard last month, with<br />

Potter and his band playing well over an hour in front<br />

of a packed house. Potter is no stranger to the<br />

Vanguard, having previously recorded two live albums<br />

at the club, and he and his band were relaxed and<br />

adventurous. The playing wasn’t free, but it was on its<br />

verge, the solos cutting against the grain of the<br />

compositions to create an internal tension within the<br />

group that was built and then released. Commencing,<br />

as on the CD, with “Wine Dark Sea”, the band segued<br />

into a West African folk tune with Potter on flute and<br />

Ethan Iverson (subbing for Taborn) standing to pluck<br />

the innards of the piano before the leader switched<br />

back to tenor, Iverson concentrated on the bass notes<br />

and Grenadier plinked near the bridge of his bass. The<br />

rhythmic repetition became hypnotic. From there on it<br />

was one continuous performance, Potter moving from<br />

soprano to tenor to bass clarinet and back to tenor.<br />

Potter’s tunes have an innate ability to let his band<br />

stretch out and the transitions were as seamless as they<br />

were inventive. By the time Potter launched into an<br />

extended solo outro, informed heavily by the blues, to<br />

close the show, it was as if he was just getting started.<br />

For more information, visit ecmrecords.com<br />

Plays Don Friedman<br />

Don Friedman<br />

(Edition Longplay)<br />

Alone Together<br />

Hank Jones/Don Friedman<br />

(Edition Longplay)<br />

by Ken Dryden<br />

The demise of the LP was forecast soon after the dawn<br />

of the CD. Instead, it has clung to life as growing<br />

numbers of discerning listeners find more warmth in<br />

record grooves. Edition Longplay is a new label<br />

established to pair audiophile recordings on heavyduty<br />

180-gram pressings and fine art commissioned<br />

for each album, with releases limited to just 500 copies.<br />

A veteran pianist whose career dates back to the<br />

‘50s, Don Friedman’s Plays Don Friedman is a rare<br />

opportunity for him to focus on his originals, with the<br />

performances coming from his solo piano set at the<br />

2011 JazzBaltica Festival. “34 West 54th Street” has a<br />

bustling postbop flavor, contrasting with the deliberate,<br />

semi-classical feeling of “Friday Morning”. Friedman<br />

sets up the listener for a ballad as he begins “Waltz For<br />

Marilyn”, but the piece quickly turns into a lively<br />

vehicle with inevitable comparisons to Bill Evans due<br />

to its logical, intricate voicings. Another staple in<br />

Friedman’s repertoire is “Almost Everything”, a thinly<br />

disguised, yet brilliant reworking of the changes to the<br />

standard “All the Things You Are”. His elegant tribute<br />

“Chopinesque” is a masterful blend of virtuoso<br />

playing, lyricism and swinging jazz. Friedman wraps<br />

his solo set by segueing directly into an introspective<br />

interpretation of Monk’s “‘Round Midnight”, which<br />

takes it far from the usual path.<br />

Alone Together documents a fine set of solo and<br />

duo piano at the 2008 JazzBaltica Festival. The late<br />

Hank Jones is featured as a soloist for the first three<br />

numbers, including an elegant, reflective title track<br />

and striding, buoyant “The Very Thought of You”. The<br />

gem of his solo segment is a gorgeous rendition of<br />

“Oh! What a Beautiful Morning”, blending<br />

impressionism with Jones’ unmistakable bop touch.<br />

Friedman joins him on a second piano for the remainder<br />

of the performance; the two musicians are of like mind,<br />

anticipating where his partner is headed and providing<br />

the perfect accompaniment. The duo starts with “Have<br />

You Met Miss Jones?”, which proves to be a terrific<br />

musical conversation. “Body and Soul” is one of the<br />

most beloved jazz standards and the duo’s moving<br />

performance doesn’t need a vocalist to convey its<br />

message. “My Funny Valentine” is a frequently played<br />

standard, yet Jones and Friedman find something new<br />

to say with a softly spoken yet lush treatment that<br />

retains the essence of this timeless ballad. Bop fans will<br />

be delighted with their hard-charging take of<br />

“Confirmation”. Bassist Martin Wind and drummer<br />

Matt Wilson join the pianists as they wrap the set with<br />

“Moose the Mooche”, a Charlie Parker favorite that<br />

showcases each of the players in turn.<br />

For more information, visit editionlongplay.com. Friedman<br />

is at Smalls Mar. 9th and Jazz at Kitano Mar. 29th-30th.<br />

See Calendar.<br />

new album<br />

The other strangers<br />

alternative folk - jazz<br />

orioxy.net<br />

orioxy.net<br />

Yael Miller - vocals<br />

Julie Campiche - harp<br />

Manu Hagmann - double bass<br />

Roland Merlinc - drums<br />

« This Israeli-Swiss quartet (...) where<br />

madness is never excluded, takes pleasure<br />

in shoving us quickly from the comfort of<br />

their pop-rock universe to capsize to other<br />

more adventurous regions. In a word, fascinating.<br />

»<br />

Denis Desassis<br />

citizenjazz.com<br />

« A beauty that dees convention.<br />

A beauty that almost disturbs. »<br />

Jacques Prouvost<br />

jazzques.skynetblogs.be<br />

UTR 4400<br />

Unit Records<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 33


Celebration<br />

Arild Andersen/Scottish National Jazz Orchestra<br />

Directed by Tommy Smith (ECM)<br />

by Donald Elfman<br />

ECM is a label that deserves to celebrate itself. For<br />

over 40 years, the company has, with a diversity of<br />

artists, created recordings with a unity of vision.<br />

Bassist Arild Andersen has been associated with ECM<br />

almost since its inception, a player whose concept and<br />

sound reflect both the human voice and then something<br />

deeper, like breathing itself. Saxophonist Tommy<br />

Smith, who has been part of Andersen’s trio, is himself<br />

a musician of powerful insight. He and Andersen are a<br />

perfect match and the tune here that best defines that<br />

collaboration is Andersen’s “Independency, Part 4”.<br />

The arrangement by Michael Gibbs is, at once, sparse<br />

and densely textured, with floating free passages,<br />

lively dance-like sections and ample space for<br />

Andersen and Smith.<br />

A lovely segment of this October 2010 concert is<br />

ECM star Trygve Seim’s “Ulrika’s Dance”. In the<br />

composer’s new arrangement, the piece becomes<br />

complex, with great counterpoint for the Scottish<br />

National Jazz Orchestra (of which Smith is Artistic<br />

Director) and knockout themes, blending to feel both<br />

spontaneous and carefully choreographed.<br />

Flushing Town Hall<br />

RANDY SANDKE<br />

HOMAGE TO LOUIS ARMSTRONG<br />

+ BIX BEIDERBECKE<br />

SAt, MAr 9, 8 PM<br />

$15/$10 Members and Students with ID<br />

Randy Sandke performs a homage<br />

to these greats who called Queens<br />

their home. Join us for a post-show<br />

Q & A and Birthday Cake in honor<br />

of Bix, who was born<br />

March 10, 1903.<br />

ORDER TICKETS TODAY!<br />

(718) 463-7700 x222 flushingtownhall.org<br />

Flushing town Hall, 137-35 Northern Blvd., Flushing, NY 11354<br />

Supported by National Endowment for the Arts; New York State Council on the Arts, a State Agency; New York<br />

City Department of Cultural Affairs; Bloomberg Philanthropies; New York Community Bank Foundation and Macy’s.<br />

34 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

The recording abounds with surprises. Smith<br />

wails in free-ish fashion on Christian Jacob’s<br />

arrangement of Dave Holland’s “May Dance”. Smith<br />

himself has arranged “Molde Canticle Part 1” by<br />

another ECM mainstay, saxophonist Jan Garbarek. The<br />

theme of Chick Corea’s “Crystal Silence” emerges out<br />

of a delicately shimmering arrangement by pianist<br />

Makoto Ozone, who worked with Smith in Gary<br />

Burton’s group.<br />

And finally, there’s one of the more celebrated<br />

tunes in the ECM catalogue: Keith Jarrett’s “My Song”,<br />

with the melody carried by Andersen. Pianist Steve<br />

Hamilton sweetly supports the bass and it’s an<br />

emotional but different reading. The arrangement is by<br />

pianist Geoff Keezer and, like all of the work here,<br />

opens a window onto these classic ECM compositions.<br />

For more information, visit ecmrecords.com. Andersen is at<br />

Birdland Mar. 26th. See Calendar.<br />

Tusk<br />

Sean Moran Small Elephant Band (NCM East)<br />

by Wilbur MacKenzie<br />

Though perhaps best known for his work in The Four<br />

Bags, guitarist Sean Moran is profoundly diverse in his<br />

output, as his latest release demonstrates. With Moran<br />

Chia’s Dance Party<br />

LATIN JAzz<br />

New York Faces<br />

Presented in Partnership with Terraza 7 Cafe<br />

SAt, MAr 23, 6 PM<br />

$20/$15 Members and Students with ID<br />

3 ensembles, 1 dance floor; featuring<br />

Puerto rican bassist Ricardo Rodriquez’s<br />

Quintet; revolutionary Cuban<br />

Accordionist Victor Prieto who embraces<br />

jazz, tango, classical & Celtic roots; and<br />

Chia’s Dance Party’s infectious, danceable<br />

grooves of Colombian music & original<br />

tunes. refreshments on sale.<br />

on nylon string guitar, Four Bags cohort Mike McGinnis<br />

on clarinets, Chris Dingman on vibraphone, Reuben<br />

Radding on bass and Harris Eisenstadt on drums, the<br />

Small Elephant Band invites a major expansion of the<br />

compositional and orchestrational ideas Moran<br />

contributes to The Four Bags.<br />

On the opening “Elliptical”, things start off with<br />

some subtle guitar statements before making room for<br />

more ensemble members and breaking into a march<br />

feel. “Circle One, Two” and “Monkeytown” both<br />

emphasize the jazz aspects of this multifaceted<br />

ensemble, favoring proper instrumental solos while, in<br />

contrast, “Moon Reflected” offers a well-constructed<br />

array of shimmering textures.<br />

Moran’s ability to conjure both subtlety and<br />

intensity from the nylon string guitar lends this album<br />

a profound sense of drama. The haunting feel that<br />

populates the majority of this record perfectly frames<br />

Moran’s sound, but at the same time so do more intense<br />

passages, like “Year of the Snake”, which calls to mind<br />

the mid ‘60s Miles Davis Quintet.<br />

Counterpoint between guitar, vibes, clarinet and<br />

bass crops up throughout the album, but most notably<br />

on “Dream of the Water”, characterized by amazing<br />

interactions between Radding and McGinnis. “The<br />

Camel” opens with some colorful unaccompanied<br />

guitar, then settles into some slightly Middle-Easternflavored<br />

ensemble passages, finally led off into the<br />

distance by McGinnis’ clarinet. This ethereal ending is<br />

carried through for the final track, “To the Edge of the<br />

World”, where suspended harmonies are punctuated<br />

by Eisenstadt’s subtle percussion scrapes and clicks<br />

and Radding’s unaccompanied arco solo.<br />

For more information, visit ncmeast.com. This group is at<br />

Barbès Mar. 31st. See Calendar.


Numerology (Live at Jazz Standard)<br />

David Gilmore (Evolutionary Music)<br />

by Terrell Holmes<br />

David Gilmore’s Numerology is pure energy from start<br />

to finish. This live set, recorded over two nights at Jazz<br />

Standard, is absolutely relentless. Joining the peerless<br />

guitarist are singer Claudia Acuña, alto saxophonist<br />

Miguel Zenón, pianist Luis Perdomo, bassist Christian<br />

McBride, drummer Jeff “Tain” Watts and Mino Cinelu<br />

on percussion. With a seasoned and talented band like<br />

this, amazing music is no surprise.<br />

The seven numerically themed tunes are divided<br />

into two movements, each movement a suite with<br />

seamless transitions between songs. Things unfold<br />

slowly on the mysterious “Zero to Three: Expansion”,<br />

with incantory vocals, languid alto and whispered<br />

percussion. The tempo picks up as alto and Watts’<br />

signature thunderous drumming kicks up the tempo<br />

on “Four: Formation”, where Perdomo and Gilmore<br />

mirror each other flawlessly. The former plays<br />

wonderfully off the cyclonic theme of “Five: Change”,<br />

to which Gilmore adds his patented quicksilver riffs.<br />

The percussion-driven and blistering “Six: Balance”<br />

ends the first movement. Zenón blows this tune away,<br />

Watts and Gilmore matching him with equal fury.<br />

Although the album’s second movement isn’t<br />

quite as overwhelming as the first, the music loses<br />

very little of its intensity. Gilmore’s soft, contemplative<br />

playing on “Seven: Rest” is enhanced by more of<br />

Acuña’s vocalizing. The title is deceptive since a slight<br />

downshift in tempo doesn’t necessarily imply rest, as<br />

McBride’s excellent solo proves. “Eight: Manifestation”<br />

is brief, but powerful, like a stick of dynamite, and a<br />

perfect lead-in to the album’s closer, the incendiary<br />

“Nine: Dispersion”. Gilmore and the band play as if<br />

under the spell of demonic possession, particularly<br />

Perdomo, whose solo exemplifies the dynamism,<br />

creativity and passion of the entire band.<br />

Gilmore has been a first-call guitarist for years<br />

and Numerology might well be his finest hour. The band<br />

is on point throughout and not a single note is wasted.<br />

This album is an absolute pleasure and at last year’s<br />

end undoubtedly sat atop many “Best Of” lists.<br />

For more information, visit evolutionarymusic.com.<br />

Gilmore is at ShapeShifter Lab Mar. 18th. See Calendar.<br />

Tone Åse / omas Strønen<br />

Voxpheria<br />

“an incredible<br />

piece of work.”<br />

- Milk Factory (UK)<br />

“A beautiful and<br />

inventive achievement.”<br />

- All About Jazz (US)<br />

“could only have been made in 2012.”<br />

“could only have been made in 2012.”<br />

- Jazzwise (UK)<br />

Out now on<br />

GIGAFON! www.gigafon.no<br />

Eponymous<br />

Paul Giallorenzo 3<br />

(Not Two)<br />

by Clifford Allen<br />

Everything For Somebody<br />

Aram Shelton<br />

(Singlespeed Music)<br />

It’s interesting to think that today’s semi-veterans of<br />

the Chicago scene(s) were young upstarts not all that<br />

long ago. Bolstered by the environment around such<br />

esteemed musicians as reedman Ken Vandermark,<br />

players like percussionist Tim Daisy, pianist/electronic<br />

musician Paul Giallorenzo and saxophonist Keefe<br />

Jackson have been coming into their own over the past<br />

decade. Daisy has been active in Chicago since the mid<br />

‘90s and joined the Vandermark 5 in 2001 (he was the<br />

group’s last drummer). In the past 15 years he has<br />

grown tremendously not only as an instrumentalist<br />

(for this writer, his solo on the Bridge 61 rendition of<br />

“Various Fires” was a true statement) but also as a<br />

composer, as his work with Vox Arcana, a trio with<br />

clarinetist James Falzone and cellist/guitarist Fred<br />

Lonberg-Holm, testifies.<br />

One has only to listen to the isolated delicacy of<br />

his cymbal work and measured earthiness next to<br />

bassist Ingebrigt Håker Flaten’s robust pizzicato and<br />

Giallorenzo’s mercurial boppish suggestions on “The<br />

Sun’s Always Shining”, the opening track to the<br />

pianist’s eponymous trio album. In terms of an<br />

improvising unit as well as Giallorenzo’s pianism, the<br />

session is a fine statement. While the pianist’s earlier<br />

work, represented by the ragged but convincing<br />

quintet disc Get In To Go Out (482 Music), seemed to<br />

rely on group kinetics to keep the music shored up,<br />

Giallorenzo is out front here and able to let his<br />

scumbled, behind-the-beat eddies command their own<br />

shape and attention. One can hear echoes of Hasaan<br />

Ibn Ali, Valdo Williams, Burton Greene and Dave<br />

Brubeck in Giallorenzo’s approach, which balances<br />

crisp delicacy and charged muscularity. Yet this is<br />

decidedly trio music, wherein Daisy’s dry swing and<br />

temporal futzing is a magnificent asset and his<br />

unaccompanied or parallel playing is logical,<br />

authoritative and rendered with clattering flair.<br />

Everything For Somebody is the latest quartet disc<br />

from ex-Chicago alto saxophonist/clarinetist Aram<br />

Shelton, now residing in the Bay Area. He’s joined by<br />

Daisy, tenor saxophonist Keefe Jackson and bassist<br />

Anton Hatwich on a program of six original<br />

compositions. Shelton is one of those musicians for<br />

whom being an ‘acolyte’ is a respectful position; this<br />

writer hasn’t heard too many musicians, especially of a<br />

younger generation, take on the compositional tack<br />

and improvisational daring of Roscoe Mitchell. Shelton<br />

does that but he runs with it and has created a highly<br />

personal approach rooted in well-paced repetition and<br />

their abstracted (but highly melodic) outgrowths.<br />

Jackson’s more burred and quixotic phrasing is a<br />

fascinating foil, taking the same germs and contorting<br />

them into equally personal problem/solution<br />

dynamics. At heart - and not least due to the<br />

voluminous, dry activity of Daisy’s kit and the full<br />

tone and precise timing of Hatwich - this is swinging<br />

and accessible music, far from any rote exercise.<br />

Shelton and company balance formal rigor with bright<br />

and unruly nowness and that is something their<br />

esteemed forbears would appreciate.<br />

For more information, visit nottwo.com and<br />

singlespeedmusic.org. Tim Daisy is at Ibeam Brooklyn Mar.<br />

15th-16th with James Falzone. See Calendar.<br />

JAZZ at KITANO<br />

Music • Restaurant • Bar<br />

“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD<br />

LIVE JAZZ EVERY<br />

WEDNESDAY - SATURDAY<br />

$10 WED./THUR + $15 Minimum/Set.<br />

$25 FRI./SAT. + $15 Minimum/Set<br />

2 SETS 8:00 PM & 10:00 PM<br />

JAZZ BRUNCH EVERY SUNDAY<br />

TONY MIDDLETON TRIO<br />

11 AM - 2 PM • GREAT BUFFET - $35<br />

OPEN JAM SESSION MONDAY NIGHTS<br />

8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG<br />

TUES. MARCH 5, SOLO PIANO - STEVEN FEIFKE • 8 PM - 11 PM<br />

PRIVATE PARTY TUES. MARCH 12 & 19<br />

TUES. MARCH 26 • GRACE NOTES MUSIC PRESENTS<br />

SHELIA JORDAN MASTER CLASS<br />

SPECIAL EVENT FROM 7 PM TO 10 PM<br />

FRI. MARCH 1<br />

GENE BERTONCINI/<br />

MICHAEL MOORE DUO<br />

GENE BERTONCINI , MICHAEL MOORE<br />

$25 COVER + $15 MINIMUM<br />

SAT. MARCH 2<br />

PAUL MEYERS/<br />

FRANK WESS QUARTET<br />

FRANK WESS, PAUL MEYERS<br />

NEAL MINER, TONY JEFFERSON<br />

$25 COVER + $15 MINIMUM<br />

WED. MARCH 6<br />

JOE ALTERMAN TRIO<br />

JOE ALTERMAN, JAMES CAMMACK, ALLAN MEDNARD<br />

$10 COVER + $15 MINIMUM<br />

THURS. MARCH 7<br />

CHRIS MCNULTY QUARTET<br />

CHRIS MCNULTY, PAUL BOLLENBACK<br />

UGONNA OKEGWO, TBA - DRUMS<br />

$10 COVER + $15 MINIMUM<br />

FRI. & SAT. MARCH 8 & 9<br />

LEW TABACKIN QUARTET<br />

LEW TABACKIN, DAVID HAZELTINE<br />

PETER WASHINGTON, AARON KIMMEL<br />

$25 COVER + $15 MINIMUM<br />

WED. MARCH 13<br />

LAUREL MASSE/<br />

TEX ARNOLD DUO<br />

LAUREL MASSE, TEX ARNOLD<br />

$10 COVER + $15 MINIMUM<br />

THURS. MARCH 14<br />

LESLIE PINTCHIK TRIO<br />

LESLIE PINTCHIK, SCOT HARDY, MICHAEL SARIN<br />

$10 COVER + $15 MINIMUM<br />

FRI. MARCH 15<br />

ALEXIS COLE QUARTET<br />

ALEXIS COLE, JOHN DI MARTINO<br />

JAMES CAMMACK, DUANE “COOK” BROADNAX<br />

$25 COVER + $15 MINIMUM<br />

SAT. MARCH 16<br />

HELEN SUNG TRIO<br />

HELEN SUNG, REUBEN ROGERS, RODNEY GREEN<br />

$25 COVER + $15 MINIMUM<br />

WED. MARCH 20<br />

MARIANNE SOLIVAN QUARTET<br />

MARIANNE SOLIVAN, XAVIER DAVIS<br />

MATTHEW PARRIS, JEROME JENNINGS<br />

$10 COVER + $15 MINIMUM<br />

THURS. MARCH 21<br />

MARIA BACARDI SEPTET<br />

8 PM SHOW SOLD OUT<br />

MARIA BACARDI, DAVID OQUENDO<br />

PABLO VERGARA, ALEX HERNANDEZ<br />

VICENTE SANCHEZ, ROMAN DIAZ, ONEL MULET<br />

$10 COVER + $15 MINIMUM<br />

FRI. MARCH 22<br />

FRANK KIMBROUGH TRIO<br />

FRANK KIMBROUGH, JAY ANDERSON, JEFF HIRSHFIELD<br />

$25 COVER + $15 MINIMUM<br />

SAT. MARCH 23<br />

VALERIE CAPERS TRIO<br />

VALERIE CAPERS, JOHN ROBINSON, DOUG RICHARDSON<br />

$25 COVER + $15 MINIMUM<br />

WED. MARCH 27<br />

YOUNGJOO SONG TRIO<br />

YOUNGJOO SONG, YASUSHI NAKAMURA<br />

GREG HUTCHINSON<br />

$10 COVER + $15 MINIMUM<br />

THURS. MARCH 28<br />

MIKE CLARK & FRIENDS<br />

FEATURING RACHEL Z<br />

MIKE CLARK, RACHEL Z, MIKE ZILBER, JAMES GENUS<br />

$10 COVER + $15 MINIMUM<br />

FRI. & SAT. MARCH 29 & 30<br />

DON FRIEDMAN TRIO<br />

DON FRIEDMAN, GEORGE MRAZ, MATT WILSON<br />

$25 COVER + $15 MINIMUM<br />

RESERVATIONS - 212-885-7119<br />

VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork<br />

www.kitano.com • email: jazz@kitano.com ò 66 Park Avenue @ 38th St.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 35


Hell-Bent in the Pacific<br />

Lisa Mezzacappa/Vinny Golia/Marco Eneidi/<br />

Vijay Anderson (NoBusiness)<br />

by Ken Waxman<br />

Both a reunion and a new configuration, Hell-Bent in<br />

the Pacific brings alto saxophonist Marco Eneidi’s<br />

Shattered trio with bassist Lisa Mezzacappa and<br />

drummer Vijay Anderson together with Vinny Golia.<br />

Golia’s wide-ranging gigs have frequently put<br />

him in contact with Mezzacappa and Anderson, two of<br />

the Bay area’s busiest players, so his contributions are<br />

inspired not alienating. Meanwhile Eneidi, a<br />

Californian who has been in Vienna since 2004, easily<br />

locks into a groove with the bassist and drummer. In<br />

contrast, tracks such as “Pendulum” and “Fumbling<br />

Fulminations” demonstrate how curving chalumeau or<br />

flutter-tongued vibrations from Golia’s clarinet or bass<br />

clarinet tease the alto saxophonist’s tart tones so that<br />

their output twists around each other. Mezzacappa<br />

anchors the nine instant compositions with graceful<br />

power while Anderson is precise and tasteful.<br />

Probably the highpoint comes on the extended<br />

“Catholic comstocking smut-hound”. Slapping<br />

cymbals and Pops Foster-style slap bass easily define<br />

the tune’s head and recapped finale, leaving the<br />

frontline plenty of space. Each takes advantage of this<br />

jerry costanzo cd release party<br />

with Tedd Firth piano, Joe Cohn guitar,<br />

Neal Miner bass, Jonathan Mele drums,<br />

Brian Pareschi trumpet, with special guest Giada Valenti<br />

For tickets and information call 212-206-0440<br />

or visit metropolitanroom.com<br />

34 W 22nd St. NY, NY 10010<br />

www.jerrycostanzo.com<br />

36 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

with sharp bites and tactile slurs, as Golia’s tenor<br />

saxophone outlines the narrative, deconstructs it with<br />

screeches, snorts and split tones and then revives it,<br />

Eneidi darting around him with multiphonic reed<br />

vibrations. “Everything imaginable can be Dreamed”<br />

is Eneidi’s feature while “Prisoner of a gaudy and<br />

unlivable present” is another demonstration of Golia’s<br />

tenor saxophone prowess. Shadowed by Mezzacappa’s<br />

ringing bassline, the tenor saxist’s breathy lyricism on<br />

the latter plus heated triple tonguing honors both Ben<br />

Webster and John Coltrane. Meanwhile Eneidi’s<br />

timbres on the former demonstrate a familiarity with<br />

Bird-like licks as well as so-called avant garde playing.<br />

Hell-Bent in the Pacific is such a high quality piece<br />

of work that one hopes that geography won’t prevent<br />

the quartet from convening again.<br />

For more information, visit nobusinessrecords.com.<br />

Mezzacappa and Anderson are at Barbès Mar. 27th and<br />

ShapeShifter Lab Mar. 31st. See Calendar.<br />

The Facts<br />

George Colligan (SteepleChase)<br />

by Donald Elfman<br />

George Colligan’s tenth recording for SteepleChase<br />

beautifully encapsulates what has made this pianist<br />

Invitation<br />

14 Standards<br />

arranged by Tedd Firth<br />

Join us Tues,<br />

April 2 at 7pm<br />

such a dynamic force on the jazz scene. Colligan, as the<br />

album title suggests, offers the real and present account<br />

of the state of improvised music.<br />

The only tune that’s not a Colligan original is the<br />

pop classic by Joe Jackson, “Steppin’ Out”. The pianist<br />

is perceptive enough to realize that the tune is already<br />

‘pretty jazzy’ and with a touch of swing makes it feel<br />

like a whole new listening experience. Alto saxophonist<br />

Jaleel Shaw and Colligan bounce out the theme and<br />

then the leader bursts forth with a propulsive solo<br />

packed with the élan of the original. This is followed<br />

by Shaw mining it for melodic, harmonic and rhythmic<br />

riches before the theme reemerges over the pulsing<br />

bass groove of Boris Kozlov and Donald Edwards’<br />

powerhouse drumming.<br />

The enthusiasm of these four musical cohorts is in<br />

evidence throughout. “Blue State”, for example, is a<br />

simple tune with just the right kind of blowing vibe.<br />

Colligan opens the solo proceedings with the kind of<br />

no-nonsense pianism for which he is known, taking the<br />

appealing changes for a ride. And Shaw, who had<br />

never played any of this music until the session,<br />

displays a dexterity that has him headed towards the<br />

outer reaches and then working his way back in. The<br />

compositional skills of the leader abound: “Whadya<br />

Looking At?” is a curious and individual take on “Body<br />

And Soul” while “Missing” is a sad yet hopeful ballad,<br />

which Colligan says took about 10 minutes to write.<br />

Colligan directs his critics in the notes here to<br />

remember that fame is not equated with ability. A little<br />

false modesty, perhaps? He’s a solid, well-known<br />

presence in the jazz world. And as for ability, he’s got<br />

it and then some.<br />

For more information, visit steeplechase.dk. Colligan is at<br />

ShapeShifter Lab Mar. 27th. See Calendar.<br />

Ruth Wilhelmine Meyer - Helge Lien<br />

Memnon - sound portraits of Ibsen characters<br />

available at CDUniverse.com<br />

and retailers everywhere<br />

As exciting as a thriller –<br />

as clear as the starry sky<br />

Memnon is built around an equally<br />

simple and striking ambition:<br />

Keeping the music as pure as possible.<br />

Relying on nothing but voice and piano.<br />

Ruth Wilhelmine Meyer: vocal<br />

Helge Lien: piano<br />

The voice-piano synchronous alignment allows the<br />

archetypal Ibsen characters to arrive and spill like<br />

sonic ink dancing in the air, etching silky holograms of<br />

wanderers and those liberated from entrapment.<br />

-Katie Bull, The New York City Jazz Record<br />

www.ozellamusic.com


CALENDAR<br />

Friday, March 1<br />

êPreservation Hall Jazz Band Brooklyn Bowl 8 pm $20<br />

êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong<br />

Village Vanguard 9, 11 pm $25<br />

êGary Peacock, Marc Copland, Joey Baron<br />

Birdland 8:30, 11 pm $30-40<br />

êBilly Harper Quintet with Francesca Tanksley, Freddie Hendrix<br />

Smoke 7, 9, 10:30 pm $35<br />

êGene Bertoncini/Michael Moore Jazz at Kitano 8, 10 pm $25<br />

• Bill Evans Soulgrass with John Medeski, Jake Cinninger<br />

Blue Note 8, 10:30 pm $20-35<br />

• Ravi Coltrane Quartet with Jason Palmer, Christian McBride, Bill Stewart<br />

Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

• Keystone Korner Presents: Nicholas Payton XXX with Vicente Archer, Lenny White<br />

Iridium 8, 10:30 pm $30<br />

• Warren Wolf Quartet with Aaron Goldberg, Kris Funn, Billy Williams<br />

Dizzy’s Club 7:30, 9:30, 11:30 pm $30<br />

• Aaron Kimmel Quartet Dizzy’s Club 12:45 am $20<br />

êMiles Ahead: The Gil Evans-Miles Davis Masterwork In Honor of Gil Evans’s Centennial:<br />

Manhattan School of Music Jazz Orchestra with guest Dave Liebman<br />

Borden Auditorium 7:30 pm $12<br />

• Will Vinson The Jazz Gallery 9, 10:30 pm $20<br />

êLady Got Chops Festival: Teri Roiger sings Abbey Lincoln with Frank Kimbrough,<br />

John Menegon, Steve Williams Drom 9:30 pm $15<br />

êBern Nix Quartet with Francois Grillot, Matt Lavelle, Reggie Sylvester;<br />

Blood Trio: Sabir Mateen, Michael Bisio, Whit Dickey<br />

Clemente Soto Velez Cultural Center 8, 9:30 pm $11-16<br />

êLew Soloff Knickerbocker Bar and Grill 9:45 pm $5<br />

• Mary Foster Conklin; Junior Mance Trio<br />

Metropolitan Room 7, 11:30 pm $20<br />

• Ray Gallon Trio with Kiyoshi Kitagawa, Peter Van Nostrand; Sherman Irby Group<br />

Smalls 7:30, 10:30 pm $20<br />

• Petros Klampanis’ Contextual with Lefteris Kordis, John Hadfield, Maria Im,<br />

Maria Manousaki, Ljova Zhurbin, Julia MacLaine, Mavrothi Kontanis, Hadar Noiberg<br />

Cornelia Street Café 9, 10:30 pm $15<br />

• Pedro Giraudo Sextet Barbès 8 pm $10<br />

• Either/Or Ensemble The Firehouse Space 8 pm $10<br />

êDenman Maroney/Hans Tammen Spectrum 7 pm<br />

• killer BOB: Dave Scanlon, Max Jaffe, Steven Lugerner, Rob Lundberg; Guerilla Toss:<br />

Kassie Carlson, Ian Kovac, Peter Negroponte, Simon Hanes, Arian Shafiee<br />

The Stone 8, 10 pm $10<br />

• James Shipp with Jean Rohe, Gilad Hekselman, Rogério Boccato;<br />

Jeremy Udden’s Plainville with Pete Rende, Eivind Opsvik, RJ Miller, Ryan Scott<br />

ShapeShifter Lab 8, 9:30 pm<br />

• Two Sides Sounding + Zentripetal: Eleanor Taylor, Mila Henry, Lynn Bechtold,<br />

Jennifer DeVore Ibeam Brooklyn 8:30 pm $10<br />

• Sean Nowell and The King-Fu Masters<br />

The Greene Space 7 pm $15<br />

• Tone Road Ramblers: Ron Coulter, John Fonville, Eric Mandat, Morgan Powell,<br />

Ray Sasaki, Jim Staley and guest Ariane Alexander<br />

Roulette 8 pm $15<br />

• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Pereira<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Josh Deutsch’s Pannonia The Queens Kickshaw 9:30 pm<br />

• Bob Arthurs Quintet with Ted Brown, Steve LaMattina, Jon Easton, Joe Solomon;<br />

Aimee Allen Trio with Matt Baker; Chris McCarthy Trio with Isaac Levien,<br />

Russell Holzman Somethin’ Jazz Club 7, 9 , 11 pm $10<br />

• Tom Tallitsch Duo Tomi Jazz 9 pm $10<br />

• Stephanie Richards/Andrew Munsey<br />

Brooklyn LaunchPad 8 pm<br />

• Larry NewComb Quartet Cleopatra’s Needle 8 pm<br />

• Masami Ishikawa Trio; Dre Barnes Project<br />

The Garage 6, 10:30 pm<br />

Saturday, March 2<br />

êFrank Wess/Paul Meyers Quartet with Neal Miner, Tony Jefferson<br />

Jazz at Kitano 8, 10 pm $25<br />

• Jon Faddis Quartet Brooklyn Conservatory of Music 7:30, 9 pm $15-25<br />

• My Coma Dreams: Fred Hersch and Ensemble<br />

Miller Theatre 3, 8 pm $45<br />

êMonk in Motion - The Next Face of Jazz: Justin Brown<br />

Tribeca Performing Arts Center 8:30 pm $25<br />

êDave Liebman Quintet with Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz<br />

Cornelia Street Café 9, 10:30 pm $15<br />

• DarkMatterHalo: Hardedge, Brandon Ross, Doug Wieselman;<br />

(Yet...) Another Plane: Brandon Ross, Stephanie Richards, Hardedge<br />

Symphony Space Leonard Nimoy Thalia 8 pm $20<br />

êJoe McPhee solo; Charles Gayle Trio with Larry Roland, Michael TA Thompson<br />

Clemente Soto Velez Cultural Center 8, 9:30 pm $11-16<br />

êDonald Byrd Tribute Band: James Zollar, Greg Bandy, Frank Basile, Paul Beaudry,<br />

Chip Crawford Honeycomb Playhouse 7 pm $10<br />

• William Hooker Quintet; On Ka’a Davis and The Famous Original Djuke Music Players<br />

with Cavassa Nickens, Welf Dorr, Peter Barr, Nick Gianni<br />

Nublu 9 pm<br />

• The Life of Alberta Hunter York College Performing Arts Center 3, 7 pm $20<br />

• Kenneth Whalum Ginny’s Supper Club 8, 10 pm $15<br />

êLuis Perdomo Quartet with Miguel Zenón, Mimi Jones, Rodney Green<br />

The Jazz Gallery 9, 10:30 pm $20<br />

• Michael Brooks’ Take Berlin; Christof Knoche’s Restless with Miles Okazaki,<br />

Zach Lober, Damion Reid ShapeShifter Lab 7, 9:30 pm $10<br />

êEarth People: André Martinez, Francois Grillot, Jason Candler, Doug Principato,<br />

Stephen Haynes, Chris Forbes, Karen Borca, Frederika Krier, Tomas Ulrich,<br />

Mark Hennen, Sabir Mateen, Elliott Levin, Brian Groder; Open Music Ensemble<br />

The Firehouse Space 8, 9:30 pm $10<br />

êAmanda Monaco Three with Sam Trapchak, Vinnie Sperrazza<br />

Domaine Wine Bar 8:30 pm<br />

• Normal Love: Amnon Freidlin, Evan Lipson, Rachael Bell, Jessica Pavone, Max Jaffe;<br />

In One Wind: Angelo Spagnolo, Rob Lundberg, Mallory Glaser, Max Jaffe,<br />

Steven Lugerner The Stone 8, 10 pm $10<br />

• Fernando Otero’s Romance with Nicolas Danielson, Lev Zhurbin, Adam Fisher,<br />

Pablo Aslan, Ivan Barenboim, Josefina Scaglione, Kristin Norderval, Dana Hanchard<br />

92YTribeca 9 pm $15<br />

• Andrea Venziani Trio with Kenny Wessel, Robert Gatto<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Joseph Howell Quartet with Alex Brown, Danny Weller, Tyson Stubelek;<br />

Tuomo Uusitalo Trio with Norbert Farkas, Jay Sawyer<br />

Somethin’ Jazz Club 7, 9 pm $10<br />

• Dona Carter Quartet Cleopatra’s Needle 8 pm<br />

êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong<br />

Village Vanguard 9, 11 pm $25<br />

êGary Peacock, Marc Copland, Joey Baron<br />

Birdland 8:30, 11 pm $30-40<br />

êBilly Harper Quintet with Francesca Tanksley, Freddie Hendrix<br />

Smoke 7, 9, 10:30 pm $35<br />

• Bill Evans Soulgrass with John Medeski and guests<br />

Blue Note 8, 10:30 pm $20-35<br />

• Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake<br />

Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

38 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

• Keystone Korner Presents: Nicholas Payton XXX with Vicente Archer, Lenny White<br />

Iridium 8, 10:30 pm $30<br />

• Warren Wolf Quartet with Aaron Goldberg, Kris Funn, Billy Williams<br />

Dizzy’s Club 7:30, 9:30, 11:30 pm $40<br />

• Aaron Kimmel Quartet Dizzy’s Club 12:45 am $20<br />

êLew Soloff Knickerbocker Bar and Grill 9:45 pm $5<br />

• Lucas Pino No Net Nonet with Colin Stranahan, Glenn Zaleski, Matthew Jodrell,<br />

Desmond White, Alex LoRe, Rafal Sarnecki, Nick Finzer; Sherman Irby Group<br />

Smalls 7:30, 10:30 pm $20<br />

• The Black Butterflies Shrine 6 pm<br />

êLady Got Chops Festival: Bertha Hope Quartet<br />

1st Reformed Church of Jamaica Brunch 1 pm<br />

• Larry Newcomb Trio; Joanne Sternburg Trio; Akiko Tsuruga Trio<br />

The Garage 12, 6, 10:30 pm<br />

Sunday, March 3<br />

êPrez Fest - Celebrating Milt Hinton: Purchase Jazz Orchestra conducted by<br />

Todd Coolman with Catherine Russell, Frank Wess; Jay Leonhart; “The Judge Meets<br />

the Section”: Peter Dominguez, Mimi Jones, Douglas Weiss, Sue Williams, Elias Bailey;<br />

Ron Carter; Gerald Clayton, Rufus Reid, Rodney Green and guest;<br />

Rufus Reid Large Bass Choir Saint Peter’s 7:30 pm $15-25<br />

• Steven Lugerner Quartet with Myra Melford, Stephanie Richards, Matt Wilson;<br />

Cloud Becomes Your Hand: Stephen Cooper, Hunter Jack, Weston Minissali,<br />

Sam Sowyrda, Booker Stardrum The Stone 8, 10 pm $10<br />

êRyan Keberle’s Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob<br />

Barbès 7 pm $10<br />

• Jen Chapin and Rosetta Trio with Stephan Crump, Jamie Fox, Liberty Ellman and<br />

guest Martha Redbone ShapeShifter Lab 8 pm $15<br />

• Filip Novosel/Richard Boukas Cornelia Street Café 8:30 pm $10<br />

• Charles Owens Quartet Smalls 11 pm $20<br />

• Omoo: Emilie Weibel/Valentine Biollay; Rose Ellis with Daan Kleijn, Scott Colberg,<br />

Steve Piccatagio; Cristian Mendoza’s Lost In New York with Mike Moreno,<br />

Hans Glawischnig, Alex Kautz Somethin’ Jazz Club 5, 7, 9 pm $10<br />

êOut of Your Head: Yoni Kretzmer, Landon Knoblock, Nicolas Letman-Burtinovic,<br />

Matt Rousseau; Josh Sinton, Brad Henkel, Andrew Smiley<br />

The Backroom 9:30, 11 pm<br />

• Damien Olsen, Ras Moshe, Adam Dym, Stephan Keneas; Rocco John Iacovone Trio<br />

with Dalius Naujo, Dmitry Ishenko ABC No-Rio 7 pm $5<br />

• Shrine Big Band Shrine 8 pm<br />

êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong<br />

Village Vanguard 9, 11 pm $25<br />

• Bill Evans Soulgrass with John Medeski and guests<br />

Blue Note 8, 10:30 pm $20-35<br />

• Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake<br />

Jazz Standard 7:30, 9:30 pm $25<br />

• Keystone Korner Presents: Nicholas Payton XXX with Vicente Archer, Lenny White<br />

Iridium 8, 10:30 pm $30<br />

• Warren Wolf Quartet with Aaron Goldberg, Kris Funn, Billy Williams<br />

Dizzy’s Club 7:30, 9:30 pm $30<br />

• David Grollman, Ryan Krause, Yoni Kretzmer, James Ilgenfritz<br />

Downtown Music Gallery 6 pm<br />

• Ben Williams Trio Saint Peter’s 5 pm<br />

êMin Xiao-Fen Blue Pipa Trio with Steve Salerno, Dean Johnson<br />

Brooklyn Public Library Central Branch 4 pm<br />

• Kyoko Kitamura Moving Music Ensemble with Khabu Doug Young, Andrew Drury;<br />

Jessica Jones Quartet with Tony Jones and guests<br />

Clemente Soto Velez Cultural Center 2, 3 pm $11-16<br />

• Jamie Reynolds 92nd Street Y Weill Art Gallery 3 pm<br />

• Billy Drewes/Kenny Werner NYU Ensemble<br />

Blue Note 12:30, 2:30 pm $29.50<br />

• Frank Piombo; Alix Paige with Bennett Paster Trio<br />

Metropolitan Room 1, 11:30 pm $20<br />

• Roz Corral Trio with Yotam Silberstein, Harvie S<br />

North Square Lounge 12:30, 2 pm<br />

• Mayu Saeki Trio; David Coss Quartet<br />

The Garage 11:30 am 7 pm<br />

Monday, March 4<br />

êMingus Big Band Jazz Standard 7:30, 9:30 pm $25<br />

• Jason Marsalis Quartet with Austin Johnson, Will Goble, David Potter<br />

Dizzy’s Club 7:30, 9:30 pm $30<br />

• Tom Bruno Memorial Saint Peter’s 7:30 pm<br />

• Stephen Gauci’s Yardbird with Nick Demopoulos, Adam Lane, Jeremy Carlstedt;<br />

4 Women with an Ax to Grind: Tiffany Chang, Patricia Nicholson, Jean Cook, Kris Davis;<br />

Yuko Fujiyama Trio with Jennifer Choi, Newman Taylor Baker<br />

Clemente Soto Velez Cultural Center 7:30 pm $11-22<br />

êMatt Garrison with Jeff “Tain” Watts<br />

ShapeShifter Lab 8 pm $15<br />

• David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram<br />

Cornelia Street Café 8:30 pm $10<br />

êCharnett Moffett solo Smalls 7:30 pm $20<br />

êLady Got Chops Festival: Lakecia Benjamin Trio with Kim Clarke, Shirazette Tinnin<br />

For My Sweet Restaurant 7 pm<br />

• Women’s Jazz Festival: Alicia Hall Moran/Marcelle Davies Lashley<br />

The Schomburg Center 7 pm $25<br />

• Jane Irving Zinc Bar 7 pm $8<br />

• In The Spirit of Gil: Victor Jones/Jay Rodriguez Group<br />

Zinc Bar 9:30, 11 pm 1 am<br />

• Darkminster: Peter Hanson, Nathaniel Morgan, Brad Henkel; Géraldine Eguiluz,<br />

Angelica Sanchez, Michaël Attias Sycamore 8:30, 9:30 pm<br />

• Deanna Witkowski Trio with Marco Panascia, Scott Latsky<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Yuko Okamoto Quartet; Terry Vakirtzolgou Quartet with Tuomo Uusitalo,<br />

George Kostopoulos, Joao Mota Somethin’ Jazz Club 7, 9 pm $7-10<br />

• Howard Williams Jazz Orchestra The Garage 7 pm<br />

Tuesday, March 5<br />

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder<br />

Blue Note 8, 10:30 pm $30-45<br />

êCedar Walton Trio with David Williams, Willie Jones III<br />

Birdland 8:30, 11 pm $30-40<br />

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />

Village Vanguard 9, 11 pm $25<br />

ê“Killer” Ray Appleton All-Stars with Brian Lynch, Peter Bernstein,<br />

Ian Hendrickson-Smith, Todd Herbert, Rick Germanson, Robert Sabin,<br />

Little Johnny Rivero Jazz Standard 7:30, 9:30 pm $20<br />

• Grace Kelly Quintet with Pete McCann, Evan Gregor, Eric Doob and guest<br />

Dizzy’s Club 7:30, 9:30 pm $30<br />

• Alphonso Horne Dizzy’s Club 11 pm $10<br />

êWarren Smith and the Composer’s Workshop Orchestra<br />

NYC Baha’i Center 8, 9:30 pm $15<br />

êIngrid Laubrock’s Anti-House with Kris Davis, Mary Halvorson, Sean Conly, Tom Rainey<br />

Cornelia Street Café 8:30 pm $10<br />

• Jack Jeffers and the New York Classics with Antoinette Montague<br />

Zinc Bar 8, 10 pm<br />

• Kaoru Watanabe/Kenny Endo ShapeShifter Lab 8:30 pm $12<br />

• Thiefs: Christophe Panzani, Guillermo E. Brown, Keith Witty<br />

Joe’s Pub 9:30 pm $14<br />

• The Chives: Max Jaffe, Steven Lugerner, Matthew Wohl; Ashley Paul<br />

The Stone 8, 10 pm $10<br />

• Spike Wilner solo; Smalls Legacy Little Big Band with Josh Evans, Theo Hill,<br />

Frank Lacy; Kyle Poole Smalls 7, 9:30 pm 12 am $20<br />

• Perez/Anita Wardell Metropolitan Room 7 pm $20<br />

êBria Skonberg Trio with Matt Munisteri, Sean Cronin<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Leviticus: Michael Winograd, Daniel Blacksberg, Todd Neufeld, Tyshawn Sorey<br />

Stephen Wise Free Synagogue 7:30 pm $15<br />

• Cat Toren Band with Ryan Ferreira, Pat Reid, Nathan Ellman-Bell; Giacomo Merega with<br />

Noah Kaplan, Brian Drye, Mike Pride<br />

Korzo 9, 10:30 pm<br />

• Steven Feifke solo Jazz at Kitano 8 pm<br />

• Harvest: Andrae Murchison, Freddie Hendrix, Azemobo Audu, Sharp Radway,<br />

Corcoran Holt, Emanuel Harrold Somethin’ Jazz Club 7 pm $10<br />

• Akira Ishiguro Quartet Tomi Jazz 8 pm $10<br />

• The Legacy Trio with David Coss The Garage 7 pm<br />

• Tunk Trio: Chris Tunkel, Anders Nilsson, Curt Sydnor; Matt Snow Group<br />

Shrine 6, 8 pm<br />

MIN XIAO-FEN - DIM SUM<br />

Thanks to a generous grant from the Peter S. Reed Foundation<br />

Available from<br />

www.mmsies.com/clients/MinXiaoFen/Store<br />

www.downtownmusicgallery.com


Wednesday, March 6<br />

êHarold Mabern/Eric Alexander Quartet with Gerald Cannon, Joe Farnsworth<br />

An Beal Bocht Café 8, 9:30 pm<br />

êKeystone Korner Presents: Louis Hayes and the Jazz Communicators with<br />

Javon Jackson, Anthony Wonsey, Santi Debriano<br />

Iridium 8, 10:30 pm $30<br />

êRebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner<br />

Metropolitan Room 9:30 pm $30<br />

êInstant Strangers: Tim Berne, Mary Halvorson, Stephan Crump, Tomas Fujiwara<br />

Cornelia Street Café 8:30 pm $10<br />

• David Binney, Wayne Krantz, Nate Wood; Louis Cole/Genevieve Artadi;<br />

James Ilgenfritz with Anthony Coleman, Brian Chase; Kirk Knuffke/Mike Pride Duo<br />

ShapeShifter Lab 7, 9:30 pm $12<br />

êValery Ponomarev “Our Father Who Art Blakey” Big Band<br />

Zinc Bar 8 pm<br />

êMichael Dease Quintet with Anat Cohen, Adam Birnbaum, Linda Oh, Ulysses Owens Jr.<br />

Smoke 7, 9, 10:30 pm<br />

êDavid Weiss and Point of Departure with JD Allen, Matt Clohesy, Nir Felder,<br />

Kush Abadey Drom 9:45 pm $15<br />

êLage Lund Group; Roberto Gatto Group<br />

Smalls 9:30 pm 12 am $20<br />

• Joe Alterman Trio Jazz at Kitano 8, 10 pm $10<br />

• Juan P Carletti Trio with Tony Malaby, Christopher Hoffman<br />

Barbès 8 pm $10<br />

• Andrea Parkins/Okkyung Lee; Ryan Ferreira’s Music for Images with Chris Dingman<br />

Seeds 8:30, 10 pm<br />

• Malika Zarra Quartet with Francis Jacob, Jean-Christophe Maillard, Brahim Fribgane<br />

Terraza 7 9:30 pm $5<br />

êProtestMusic: Yoni Kretzmer, Pascal Niggenkemper, Weasel Walter; Carlo Costa,<br />

Eli Asher, Andrew Smiley, Nathaniel Morgan; Jonathan Moritz Secret Tempo with<br />

Shayna Dulberger, Mike Pride Goodbye Blue Monday 9 pm<br />

• Angelo Spagnolo; Dave Scanlon The Stone 8, 10 pm $10<br />

• David Engelhard Group with Assaf Kehati, Willie Harvey, Ronen Itzik; Emily Wolf Project<br />

with Satish Robertson, Leah Gough-Cooper, Andrew Baird, Jason Yeager,<br />

Danny Weller, Matt Rousseau Somethin’ Jazz Club 7, 9 pm $7-10<br />

• Ayumi Ishito Trio Tomi Jazz 8 pm $10<br />

• Josh Lawrence Quartet The Garage 7 pm<br />

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder<br />

Blue Note 8, 10:30 pm $30-45<br />

êCedar Walton Trio with David Williams, Willie Jones III<br />

Birdland 8:30, 11 pm $30-40<br />

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />

Village Vanguard 9, 11 pm $25<br />

ê“Killer” Ray Appleton All-Stars with Brian Lynch, Peter Bernstein,<br />

Ian Hendrickson-Smith, Todd Herbert, Rick Germanson, Robert Sabin,<br />

Little Johnny Rivero Jazz Standard 7:30, 9:30 pm $20<br />

• Grace Kelly Quintet with Pete McCann, Evan Gregor, Eric Doob and guest<br />

Dizzy’s Club 7:30, 9:30 pm $30<br />

• Alphonso Horne Dizzy’s Club 11 pm $10<br />

• Lady Got Chops Festival: Katie Cosco/Laura Dreyer Project<br />

Zinc Bar 6 pm<br />

• Gabe Valle Shrine 6 pm<br />

• Barry Harris, Murray Wall, Yaya Abdul<br />

Saint Peter’s 1 pm $10<br />

Thursday, March 7<br />

êAntonio Sanchez’ Migration with David Binney, John Escreet, Orlando Le Fleming<br />

Jazz Standard 7:30, 9:30 pm $25<br />

êWycliffe Gordon and Friends Present Bird and Diz with Adrian Cunningham,<br />

Michael Dease, Aaron Diehl, Yasushi Nakamura, Dion Parson and guests<br />

Dizzy’s Club 7:30, 9:30 pm $40<br />

• Alphonso Horne Dizzy’s Club 11 pm $10<br />

• Joel Harrison 8 with Gregoire Maret, Paul Hanson, Christian Howes, Dana Leong,<br />

Jacob Sacks, Stephan Crump, Rudy Royston<br />

Roulette 8 pm $15<br />

• New York Jazz Repertory Orchestra with guest Randy Brecker<br />

Iridium 8, 10 pm $25<br />

êJohn Yao Quintet with Jon Irabagon, Randy Ingram, Leon Boykins, Will Clark;<br />

Peter Brendler Quartet with Peter Evans, Rich Perry, Vinnie Sperrazza<br />

Cornelia Street Café 8:30, 10 pm $10<br />

• Chris McNulty Quartet with Paul Bollenback, Ugonna Okegwo<br />

Jazz at Kitano 8, 10 pm $10<br />

• Freeway 3: Carol Liebowitz, Adam Caine, Claire de Brunner; Anders Nilsson and the<br />

12 Houses with Mary Cherney, Matt Lavelle, Ras Moshe, Catherine Sikora,<br />

Claire de Brunner, Chris Forbes, Francois Grillot<br />

The Firehouse Space 8 pm $10<br />

• Géraldine Eguiluz, Michaël Attias, Angélica Sanchez; Omar Tamez/Angelica Sanchez<br />

Ibeam Brooklyn 8:30 pm $10<br />

• Lars Horntveth, RJ Miller, Ben Gerstein, Eivind Opsvik<br />

Nublu 9 pm<br />

• Eric Doob Quartet with Matt Stevens, Alex Brown, Hans Glawischnig<br />

The Jazz Gallery 9, 10:30 pm $15<br />

• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am<br />

• Danielle Freeman and The Sebastian Sky with Zach Brock, Lefteris Kordis,<br />

Petros Klampanis, Tomas Fujiwara; Rob Scheps Core-tet with Greg Gisbert,<br />

Jamie Reynolds, Cameron Brown, Anthony Pinciotti<br />

ShapeShifter Lab 8, 9:30 pm<br />

• Amy Cervini’s Jazz Country with Jesse Lewis, Matt Aronoff<br />

55Bar 7 pm<br />

• Jake Saslow Trio with Joe Martin, Jochen Rueckert<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Manhattan Vibes: Christos Rafalides, Sergio Salvatore, Mike Pope, Vince Cherico<br />

Terraza 7 9:30 pm $5<br />

• Bleeding Heart: Ross Gallagher, Danny Fisher-Lochhead, Kyle Wilson,<br />

Danny Lubin-Laden, Craig Weinrib; Aaron Roche<br />

The Stone 8, 10 pm $10<br />

• Kale Elk: Liz Kosack/Kyungmi Lee; Shayna Dulberger solo<br />

Lark Café 8 pm<br />

• Aki Ishiguro Caffe Vivaldi 9:30 pm<br />

• Yuko Yamamura’s Ajarria with Goro Masayuki, Sam Jun Lee, Arei Sekiguchi,<br />

Ryota Kataoka; Nelson Riveros Quartet<br />

Somethin’ Jazz Club 7, 9 pm $10<br />

• Tomoko Omura Duo Tomi Jazz 9 pm $10<br />

• Joanna Sternberg Trio Cleopatra’s Needle 7 pm<br />

êChampian Fulton Band with Stephen Fulton, Hide Tanaka, Fukushi Tainaka<br />

The Garage 7 pm<br />

êRebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner,<br />

Steven Feifke Big Band Metropolitan Room 9:30, 11:30 pm $20-30<br />

êLage Lund Group Smalls 9:30 pm $20<br />

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder<br />

Blue Note 8, 10:30 pm $30-45<br />

êCedar Walton Trio with David Williams, Willie Jones III<br />

Birdland 8:30, 11 pm $30-40<br />

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />

Village Vanguard 9, 11 pm $25<br />

• Scott Kulick Shrine 6 pm<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 39


Friday, March 8<br />

êPaquito D’Rivera’s “Charlie Parker with Strings” with Charles Pillow, Riza Printup,<br />

Alex Brown, Ben Williams, Vince Cherico<br />

Allen Room 7:30, 9:30 pm $55-65<br />

êJon Faddis Jazz Orchestra of New York with Lew Soloff, Greg Gisbert, Max Darche,<br />

Michael Philip Mossman, Mark Vinci, Steve Wilson, Walt Weiskopf, Ralph Lalama,<br />

Frank Basile, Ted Rosenthal, Todd Coolman and guests Ignacio Berroa, Jimmy Heath,<br />

Pedrito Martinez, Steve Turre Rose Hall 8 pm $30-120<br />

êLew Tabackin Quartet with David Hazeltine, Peter Washington, Aaron Kimmel<br />

Jazz at Kitano 8, 10 pm $25<br />

êBlowin’ the Blues Away: Mike LeDonne Quintet with Jeremy Pelt, Gary Smulyan,<br />

Ira Coleman, Louis Hayes Smoke 7, 9, 10:30 pm $35<br />

êJohn McNeil’s Hush Money with Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza<br />

Cornelia Street Café 9, 10:30 pm $15<br />

êWalter Smith III Quintet with Matt Stevens, Taylor Eigsti, Harish Raghavan,<br />

Clarence Penn The Jazz Gallery 9, 10:30 pm $20<br />

• Ches Smith Quartet with Mat Maneri, Jonathan Finlayson, Stephan Crump<br />

Greenwich House Music School 9 pm $12<br />

• Steve Lehman Trio Rubin Museum 7 pm $20<br />

• Radiance Festival 2013: Nioka Workman, Gwen Laster, Jennifer Axelson, Michi Fuji,<br />

Elektra Kurtis, Frederika Krier, Maryam Blacksher, Pamela Hamilton, Nicole Verdosa,<br />

Melissa Slocum, Riza Printup ShapeShifter Lab 8 pm $15<br />

• William Hooker with Mark Hennen, Larry Roland, Matt Lavelle<br />

The Firehouse Space 8 pm $10<br />

• Many Arms: Nick Millevoi, Ricardo Lagomasino, Johnny DeBlase; Sam Owens,<br />

Greg Albert, Max Almario The Stone 8, 10 pm $10<br />

• Harumi Hanafusa with Knickerbocker Chamber Orchestra<br />

Schimmel Center for the Arts 7:30 pm $35<br />

êDaryl Sherman/Scott Robinson Knickerbocker Bar and Grill 9:45 pm $5<br />

• Mary Foster Conklin Metropolitan Room 7 pm $20<br />

êNed Goold; Jay Collins Group Smalls 7:30, 10:30 pm $20<br />

• Rick Stone Trio with Harvie S, Tom Pollard<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Delilah Jackson Memorial Saint Peter’s 7 pm<br />

• Julien Hucq/Marius Duboule + 2 with Andrea Veneziani, Alex Ritz<br />

Ibeam Brooklyn 8:30 pm $10<br />

• Ryan Greer Group with Alex DeZenzo, Stephanie Wells, John Feliciano,<br />

Josh Schusterman; Kathleen Potton Band; Tunes from the 90s Quartet with<br />

Sean McCluskey, Milton Barreto Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Andrew Van Tassel Duo Tomi Jazz 9 pm $10<br />

• Will Terrilt Trio Cleopatra’s Needle 8 pm<br />

• Nick Moran Trio; Kevin Dorn and the Big 72<br />

The Garage 6, 10:30 pm<br />

êAntonio Sanchez’ Migration with David Binney, John Escreet, Orlando Le Fleming<br />

Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

êWycliffe Gordon and Friends Present Bird and Diz with Adrian Cunningham,<br />

Michael Dease, Aaron Diehl, Yasushi Nakamura, Dion Parson and guests<br />

Dizzy’s Club 7:30, 9:30, 11:30 pm $40<br />

• Alphonso Horne Dizzy’s Club 12:45 am $20<br />

êRebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner<br />

Metropolitan Room 9:30 pm $30<br />

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder<br />

Blue Note 8, 10:30 pm $30-45<br />

êCedar Walton Trio with David Williams, Willie Jones III<br />

Birdland 8:30, 11 pm $30-40<br />

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />

Village Vanguard 9, 11 pm $25<br />

Saturday, March 9<br />

êHomage to Louis Armstrong & Bix Beiderbecke: Randy Sandke Group with<br />

John Allred, Dan Levinson, Vince Giordano, Mark Shane, Raj Jayaweera<br />

Flushing Town Hall 8 pm $15<br />

êEarl McIntyre and Tribute! with Jim Seeley, Vincent Chancey, Sam Burtis, Warren Smith,<br />

Tommy Campbell Brooklyn Conservatory of Music 8 pm $10-15<br />

• Avery Sharpe Ginny’s Supper Club 8 , 10 pm $15<br />

• Eddie Allen/Sarah Bernstein St Augustine’s Church 7:30 pm $20<br />

• Amy Cervini/Bruce Barth; Janis Seigal/Edsel Gomez<br />

Cornelia Street Café 9, 10:30 pm $15<br />

êDavid Arner/Connie Crothers; Drunk Butterfly: Mark Whitecage, Adam Lane, Lou Grassi<br />

The Firehouse Space 8, 9:30 pm $10<br />

• Gilad Hekselman Trio with Joe Martin, Justin Brown<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• American Showstoppers - Jule Styne: Fred Barton Orchestra<br />

Schimmel Center for the Arts 7:30 pm $30-55<br />

• Pat Spadine’s Ashcan Orchestra with guests; Pet Bottle Ningen: Dave Miller,<br />

Dave Scanlon, Nonoko Yoshida The Stone 8, 10 pm $10<br />

• Cherry Davis Sistas’ Place 9, 10:30 pm $25<br />

• The Red Microphone: John Pietaro, Ras Moshe, Rocco John Iacovone,<br />

Nicolas Letman-Burtinovic 17 Frost Theater of the Arts 8 pm<br />

• Magda Giannikou’s Banda Magda Oceana Restaurant 9 pm<br />

• Feather on the Breath: Josh Sinton, Liz Kosack, Owen Stewart-Robertson;<br />

Fester: Dave Grollman/Sean Ali; Battle Trance: Travis Laplante, Jeremy Viner,<br />

Patrick Breiner, Matt Nelson; Mutasm: Will McEvoy, Dustin Carlson, Brad Henkel,<br />

Patrick Breiner, Nathaniel Morgan, Cody Brown<br />

Douglass Street Music Collective 8 pm $10<br />

• Matthew Whitaker Trio with Paul Beaudry, Nathan Webb; Nick Brust/Adam Horowitz<br />

Quintet with Matthew Sheens, James Quinlan, Dani Danor; James Robbins Quintet with<br />

Christoph Huber, Nat Janoff, Sharik Hassan, Charles Goold<br />

Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Miki Yamanaka Trio Tomi Jazz 8 pm $10<br />

• Kazu Trio Cleopatra’s Needle 8 pm<br />

êPaquito D’Rivera’s “Charlie Parker with Strings” with Charles Pillow, Riza Printup,<br />

Alex Brown, Ben Williams, Vince Cherico<br />

Allen Room 7:30, 9:30 pm $55-65<br />

êJon Faddis Jazz Orchestra of New York with Lew Soloff, Greg Gisbert, Max Darche,<br />

Michael Philip Mossman, Mark Vinci, Steve Wilson, Walt Weiskopf, Ralph Lalama,<br />

Frank Basile, Ted Rosenthal, Todd Coolman and guests Ignacio Berroa, Jimmy Heath,<br />

Pedrito Martinez Rose Hall 8 pm $30-120<br />

êLew Tabackin Quartet with David Hazeltine, Peter Washington, Aaron Kimmel<br />

Jazz at Kitano 8, 10 pm $25<br />

êBlowin’ the Blues Away: Mike LeDonne Quintet with Jeremy Pelt, Gary Smulyan,<br />

Ira Coleman, Louis Hayes Smoke 7, 9, 10:30 pm $35<br />

êWalter Smith III Quintet with Matt Stevens, Fabian Almazan, Harish Raghavan,<br />

Clarence Penn The Jazz Gallery 9, 10:30 pm $20<br />

êDaryl Sherman/Scott Robinson Knickerbocker Bar and Grill 9:45 pm $5<br />

êDon Friedman Quartet; Jay Collins Group<br />

Smalls 7:30, 10:30 pm $20<br />

êAntonio Sanchez’ Migration with David Binney, John Escreet, Orlando Le Fleming<br />

Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

êWycliffe Gordon and Friends Present Bird and Diz with Adrian Cunningham,<br />

Michael Dease, Aaron Diehl, Yasushi Nakamura, Dion Parson and guests<br />

Dizzy’s Club 7:30, 9:30, 11:30 pm $45<br />

• Alphonso Horne Dizzy’s Club 12:45 am $20<br />

• Maria Guida with James Weidman, Marcus McLaurine, Tony Jefferson;<br />

Rebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner<br />

Metropolitan Room 7, 9:30 pm $30<br />

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder<br />

Blue Note 8, 10:30 pm $30-45<br />

êCedar Walton Trio with David Williams, Willie Jones III<br />

Birdland 8:30, 11 pm $30-40<br />

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />

Village Vanguard 9, 11 pm $25<br />

• Glenn White Quartet Shrine 6 pm<br />

• Lady Got Chops Festival: Camille Gainer’s Hurricane<br />

Langston Hughes Library 2 pm<br />

• Daniela Schaechter Trio; Alex Layne Trio<br />

The Garage 12, 6 pm<br />

40 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

Sunday, March 10<br />

êJerry Granelli Trio with Briggan Krauss, J. Granelli and guest Jay Clayton; Chuck Bettis,<br />

Nonoko Yoshida, James Ilgenfritz; I Don’t Hear Nothin’ But The Blues: Jon Irabagon,<br />

Mike Pride, Mick Barr ShapeShifter Lab 8, 9:30 pm $10-15<br />

êKeystone Korner Presents: Louis Hayes Jazz Communicators with Javon Jackson,<br />

Anthony Wonsey, Santi Debriano Iridium 8, 10:30 pm $30<br />

• Hag: David Grollman, Brad Henkel, Sean Ali; Rapstar: Paul Wheeler, Justin Veloso,<br />

Arrien Zinghini The Stone 8, 10 pm $10<br />

• Yves Brouqui Quartet Smalls 11 pm $20<br />

• Sly5thave/Philip Manchaca; Bach and Forward: Hajnal Pivnick/Dorian Wallace;<br />

Ehud Ettun Quartet with Lihi Haruvi, Haruka Yabuno, Natti Blankett<br />

Somethin’ Jazz Club 5, 7, 9 pm $10<br />

• Tim Barr/Cliff Ferdon; Flin van Hemmen Ensemble<br />

ABC No-Rio 7 pm $5<br />

• Florencia Gonzalez’ Candombe Pianos 7, 9 pm<br />

• Yuko Okamoto Shrine 8 pm<br />

êAntonio Sanchez’ Migration with David Binney, John Escreet, Orlando Le Fleming<br />

Jazz Standard 7:30, 9:30 pm $25<br />

êWycliffe Gordon and Friends Present Bird and Diz with Adrian Cunningham,<br />

Michael Dease, Aaron Diehl, Yasushi Nakamura, Dion Parson and guests<br />

Dizzy’s Club 7:30, 9:30 pm $40<br />

êRebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner<br />

Metropolitan Room 9:30 pm $30<br />

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder<br />

Blue Note 8, 10:30 pm $30-45<br />

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash<br />

Village Vanguard 9, 11 pm $25<br />

• Galactic Sound Lab; Bonnie Kane/Chris Welcome<br />

Downtown Music Gallery 6 pm<br />

• Marianne Solivan Quartet Saint Peter’s 5 pm<br />

• Yoon Sun Choi and Friends Lark Café 4 pm<br />

• Riza Printup Ensemble Abyssinian Baptist Church 3 pm<br />

• The Sojourner Truth: Avery Sharpe Sextet with Jimmy Greene, Duane Eubanks,<br />

Onaje Allan Gumbs, Yoron Israel, Jeri Brown<br />

Brooklyn Public Library Central Branch 1:30 pm<br />

• Hendrik Meurkens Quartet Blue Note 12:30, 2:30 pm $29.50<br />

• Linda Ciofalo Trio with Mark Marino, Marcus McLaurine<br />

North Square Lounge 12:30, 2 pm<br />

• Lou Caputo Quartet; David Coss The Garage 11:30 am 7 pm<br />

Monday, March 11<br />

êMingus Big Band Jazz Standard 7:30, 9:30 pm $25<br />

• Amina Figarova Sextet with Bart Platteau, Ernie Hammes, Marc Mommaas,<br />

Jeroen Vierdag, Chris “Buckshot” Strik<br />

Dizzy’s Club 7:30, 9:30 pm $25<br />

êAdam Rudolph’s GO: Organic Orchestra<br />

ShapeShifter Lab 8 pm $15<br />

• Women’s Jazz Festival: Toshi Reagon and Allison Miller with Tamar Kali,<br />

Karma Mayet Johnson, Josette Newsman Marchak, Christelle Durandy, Mimi Jones,<br />

Shamie Royston The Schomburg Center 7 pm $25<br />

êPeter Bernstein solo Smalls 7 pm $20<br />

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson<br />

Metropolitan Room 7 pm $20<br />

• Danny Meyer, Ratzo Harris, Martin Urbach; Shane Endsley Trio with Matt Brewer,<br />

Ben Perowsky Sycamore 8:30, 9:30 pm<br />

• Holli Ross Trio with Dave Stryker, Dean Johnson<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Joshua Davis Love Salad with Thana Alexa, Natalie John, Nicole Zuraitis, Ronen Itzik<br />

55Bar 7 pm<br />

• Dana Lauren Zinc Bar 7 pm $8<br />

• Michael Eaton Trio with Rus Wimbish, Carter Bales; Tatiana Eva-Marie/Hyuna Park<br />

Somethin’ Jazz Club 7, 9 pm $10<br />

• New York Youth Symphony Jazz Band<br />

The Garage 7 pm<br />

Tuesday, March 12<br />

êEddie Daniels/Roger Kellaway Dizzy’s Club 7:30, 9:30 pm $30<br />

• Joe Saylor/Bryan Carter Dizzy’s Club 11 pm $10<br />

êAfro HORN: Sam Newsome, Abraham Burton, Aruán Ortiz, Rufus Reid, Roman Diaz,<br />

Francisco Mora–Catlett Jazz Standard 7:30, 9:30 pm $20<br />

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón,<br />

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux,<br />

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández,<br />

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González,<br />

Laura Lydia González Blue Note 8, 10:30 pm $30-45<br />

• Kevin Mahogany Birdland 8:30, 11 pm $30-40<br />

êFabian Almazan Trio with Linda Oh, Henry Cole<br />

Village Vanguard 9, 11 pm $25<br />

• Russ Kassoff Orchestra with Catherine Dupuis<br />

NYC Baha’i Center 8, 9:30 pm $15<br />

• Steve Lehman Trio with Matt Brewer, Damion Reid; Shakers n’ Bakers: Mary Larose,<br />

Miles Griffith, Jamie Saft, Allison Miller, Chris Lightcap, Jeff Lederer<br />

ShapeShifter Lab 8, 9:30 pm<br />

• Lainie Cooke with Peter Zak, Martin Wind, Ralph Peterson<br />

Cornelia Street Café 8:30 pm $15<br />

• Carlo De Rosa’s Cross-Fade with Mark Shim, Luis Perdomo, John Davis;<br />

Kaheri Quartet: Angelica Sanchez, Omar Tamez, Ratzo Harris, Satoshi Takeishi<br />

Korzo 10:30 pm<br />

• Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza<br />

Barbès 7 pm $10<br />

• Spike Wilner solo; Smalls Legacy Little Big Band with Josh Evans, Theo Hill,<br />

Frank Lacy; Kyle Poole Smalls 7, 9:30 pm 12 am $20<br />

• Craig Yaremko Trio with Matt King, Jonathon Peretz<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Travis Reuter with Peter Evans, Miles Okazaki, Jeremy Viner, Danny Sher;<br />

Zach Pruitt Chamber Works The Stone 8, 10 pm $10<br />

• Jazzmeia Horn Zinc Bar 8, 10 pm<br />

• Alicia Svigals/Patrick Farrell Stephen Wise Free Synagogue 7:30 pm $15<br />

• Marla Sampson/Matt Baker Somethin’ Jazz Club 9 pm $12<br />

• Lluis Capdevila Trio Tomi Jazz 8 pm $10<br />

• Ruslan Khain Trio The Garage 7 pm<br />

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson<br />

Metropolitan Room 7 pm $20<br />

• Tomoko Omura Shrine 6 pm<br />

Wednesday, March 13<br />

• Clarence Penn Quartet with Chris Potter, Adam Rogers, Ben Street<br />

Jazz Standard 7:30, 9:30 pm $20<br />

êLotte Anker with Tim Berne, Gerald Cleaver<br />

JACK 8 pm $10<br />

• Dayna Stephens Group Smalls 9:30 pm $20<br />

êJason Robinson’s Janus Quartet with Liberty Ellman, Drew Gress, Ches Smith<br />

Barbès 8 pm $10<br />

• Keystone Korner Presents: Brazilian Jazz All Stars - Jazz Samba & Jobim:<br />

Romero Lubambo, Claudio Roditi, Duduka Da Fonseca, Helio Alves, Maucha Adnet,<br />

Hans Glawischnig Iridium 8, 10 pm $30<br />

• Laurel Masse/Tex Arnold Jazz at Kitano 8, 10 pm $10<br />

• Rick Germanson Band with Gerald Cannon<br />

Smoke 7, 9, 10:30 pm<br />

• Ben Wendel/Dan Tepfer Duo Rubin Museum 7 pm $20<br />

• Wolfgang Gil; Alan Bjorklund with David Schnug, Jeremy Viner, Pascal Niggenkemper,<br />

Cody Brown, Bastard The Stone 8, 10 pm $10<br />

• Florian Hoefner Group with Mike Ruby, Sam Anning, Peter Kronreif; Alon Nechushtan<br />

with John Ellis, Aidan Carroll, Damion Reid<br />

Cornelia Street Café 8:30, 10 pm $10<br />

• Alan Hampton; Caswell Sisters: Rachel and Sara Caswell, Jeremy Allen, Bryson Kern<br />

ShapeShifter Lab 7, 8:30 pm<br />

• Lady Got Chops Festival: Whitney Marchelle Quartet with Champian Fulton,<br />

Kim Clarke, Sylvia Cuenca Zinc Bar 7 pm<br />

• Osmany Paredes Quartet Zinc Bar 9:30, 11 pm 1 am<br />

• Ben Van Gelder Trio with Craig Weinrib; Arthur Kell 4tet with Loren Stillman,<br />

Brad Shepik, Mark Ferber Seeds 8:30, 10 pm<br />

• Juan Felipe Mayorga Trio with Edward Perez, Nitzan Gavrieli<br />

Terraza 7 9:30 pm $5<br />

• Jane Irving/Kevin Hailey; Steve Picataggio Quintet with Mike Rodriquez, Daan Kleijn,<br />

Joe Alterman, Martin Wind Somethin’ Jazz Club 7, 9 pm $10<br />

• Marc Devine Trio The Garage 7 pm<br />

êEddie Daniels/Roger Kellaway Dizzy’s Club 7:30, 9:30 pm $30<br />

• Joe Saylor/Bryan Carter Dizzy’s Club 11 pm $10<br />

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón,<br />

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux,<br />

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández,<br />

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González,<br />

Laura Lydia González Blue Note 8, 10:30 pm $30-45<br />

• Kevin Mahogany Birdland 8:30, 11 pm $30-40<br />

êFabian Almazan Trio with Linda Oh, Henry Cole<br />

Village Vanguard 9, 11 pm $25<br />

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson<br />

Metropolitan Room 7 pm $20<br />

• Russ Kassoff Big Band Saint Peter’s 1 pm $10<br />

In Celebration of<br />

Women's History<br />

Month<br />

Lainie Cooke<br />

The Music and Lyrics of Women<br />

March 12, 2013<br />

Cornelia Street Cafe<br />

29 Cornelia Street, NYC<br />

Reservations 212 989 9319<br />

Cover $25 • includes one drink<br />

Lainie Cooke • vocals<br />

Peter Zak • piano<br />

Martin Wind • bass<br />

Ralph Peterson • drums<br />

"...Cooke still hasn't<br />

received either the<br />

visibility or the<br />

accolades that her vocal<br />

imagination deserves.<br />

But her passionate<br />

performances should<br />

be heard at every<br />

opportunity"<br />

—International Review of<br />

Music, Don Heckman<br />

Here's to Life and<br />

It's Always You<br />

can be purchased at<br />

www.lainiecooke.com,<br />

CDBaby and iTunes


Thursday, March 14<br />

êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street<br />

Dizzy’s Club 7:30, 9:30 pm $35<br />

• Joe Saylor/Bryan Carter Dizzy’s Club 11 pm $10<br />

êSFJazz Collective - The Music Of Chick Corea: Avishai Cohen, Miguel Zenón,<br />

David Sanchez, Robin Eubanks, Stefon Harris, Edward Simon, Matt Penman,<br />

Jeff Ballard Jazz Standard 7:30, 9:30 pm $30<br />

êAndrew Cyrille New School Arnhold Hall 8 pm $10<br />

êRenku: Michaël Attias, John Hébert, Satoshi Takeishi<br />

Greenwich House Music School 8 pm $12<br />

• Pedro Giraudo’s Expansions Big Band with Alejandro Aviles, Todd Bashore,<br />

Luke Batson, John Ellis, Carl Maraghi, Jonathan Powell, Tatum Greenblatt, Miki Hirose,<br />

Josh Deutsch, Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland,<br />

Jess Jurkovic, Eric Doob, Paulo Stagnaro<br />

Zinc Bar 9:30, 11 pm 12:30 am<br />

• Highlights In Jazz - Swing Memories: The Anderson Twins Orchestra; Warren Vaché,<br />

Howard Alden, Kenny Washington, Ehud Asherie, Peter Anderson, Will Anderson<br />

Tribeca Performing Arts Center 8 pm $37.50-40<br />

êEivind Opsvik’s Overseas with Tony Malaby, Jacob Sacks, Brandon Seabrook,<br />

Kenny Wollesen Nublu 9 pm<br />

• Rob Garcia’s American Songs with Scott Robinson, Tamar Korn, Nir Felder<br />

Cornelia Street Café 8:30 pm $10<br />

• Leslie Pintchik Trio with Scott Hardy, Michael Sarin<br />

Jazz at Kitano 8, 10 pm $10<br />

• Danny Grissett Group; Dayna Stephens Group<br />

Smalls 7:30, 9:30 pm $20<br />

• VaVatican: Weston Minissali, Nathaniel Morgan, Owen Stewart-Robertson,<br />

Booker Stardrum; Eli Keszler and guests<br />

The Stone 8, 10 pm $10<br />

• Chris Forbes Trio with Hilliard Greene, Michael TA Thompson; Ras Moshe Unit with<br />

Ken Filiano, Anders Nilsson, John Pietaro, Andrew Drury<br />

The Firehouse Space 8, 9:30 pm $10<br />

• Dave Miller; PascAli: Sean Ali/Pascal Niggenkemper<br />

Lark Café 8 pm<br />

• Vadim Neselovskyi’s Agricultural Dreams 6tet with Tammy Scheffer, Tomoko Omura,<br />

Davy Mooney, Dan Foose, Ronen Itzik; Geoff Vidal Quintet with Tatum Greenblatt,<br />

Nir Felder, Aidan Carroll, Jochen Reuckert; Tom Guarna’s Speak with Oteil Burbridge,<br />

Danny Grissett, Obed Calvaire ShapeShifter Lab 7, 8, 9:30 pm<br />

• Matt Otto Trio with Danton Boller, Otis Brown III<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, John Lenis, Yutaka Uchida<br />

Somethin’ Jazz Club 9 pm $10<br />

• Senri Oe Tomi Jazz 9 pm $10<br />

• Masami Ishikawa Organ Trio Cleopatra’s Needle 7 pm<br />

• George Weldon Trio The Garage 7 pm<br />

• Keystone Korner Presents: Brazilian Jazz All Stars - Jazz Samba & Jobim:<br />

Romero Lubambo, Claudio Roditi, Duduka Da Fonseca, Helio Alves, Maucha Adnet,<br />

Hans Glawischnig Iridium 8, 10 pm $30<br />

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón,<br />

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux,<br />

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández,<br />

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González,<br />

Laura Lydia González Blue Note 8, 10:30 pm $30-45<br />

• Amanda Brecker Birdland 6 pm $20<br />

• Kevin Mahogany Birdland 8:30, 11 pm $30-40<br />

êFabian Almazan Trio with Linda Oh, Henry Cole<br />

Village Vanguard 9, 11 pm $25<br />

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson; Frank Kohl Quartet with<br />

Tom Kohl, Steve LaSpina, Jon Doty<br />

Metropolitan Room 7, 11:30 pm $20<br />

• Yuki Shibata Quartet Shrine 6 pm<br />

Friday, March 15<br />

êCharles Lloyd New Quartet with Jason Moran, Reuben Rogers, Eric Harland and guests<br />

Maria Farantouri, Sokratis Sinopoulos, Alicia Hall Moran<br />

Metropolitan Museum of Art Temple of Dendur 7 pm $50<br />

• Dave Eggar/Fred Hersch Duo Rubin Museum 7 pm $20<br />

• Eric Reed Quartet with Grant Stewart, Matt Clohesy, Willie Jones III<br />

Smoke 7, 9, 10:30 pm $35<br />

• Lady Got Chops Festival: Musi-Arti-Copia Flash Mob with Mem Nahadr,<br />

Meg Montgomery, Andrea Brachfeld, Sheryl Renee, Nikita White, Claudia Hayden,<br />

Lisette Santiago, Bertha Hope, Kim Clarke<br />

Zeb’s 8 pm<br />

êJames Falzone’s Klang with Jason Adasiewicz, Jason Roebke, Tim Daisy<br />

Ibeam Brooklyn 8:30 pm $10<br />

• Mike Rodriguez Quartet with John Ellis, Kiyoshi Kitagawa, Rodney Green<br />

The Jazz Gallery 9, 10:30 pm $20<br />

êGabriel Alegría Afro-Peruvian Sextet with Freddy “Huevito” Lobatón, Hugo Alcazar,<br />

Shirazette Tinnin, Yuri Juarez, John Benitez<br />

Drom 9:30 pm $30<br />

• WORKS: Michel Gentile, Daniel Kelly, Rob Garcia<br />

Brooklyn Conservatory of Music 8 pm $15<br />

êNels Cline/Greg Saunier; The InBetweens: Mike Gamble, Noah Jarrett, Conor Elmes<br />

ShapeShifter Lab 8, 9:30 pm $10<br />

• Bobby Avey Group with Chris Speed, Thomson Kneeland, Jordan Perlson<br />

Cornelia Street Café 9, 10:30 pm $15<br />

• Alexis Cole Quartet with John di Martino, James Cammack, Dwayne “Cook” Broadnax<br />

Jazz at Kitano 8, 10 pm $25<br />

• Ken Peplowski Group Smalls 10:30 pm $20<br />

êDaryl Sherman, Will and Peter Anderson<br />

Knickerbocker Bar and Grill 9:45 pm $5<br />

• Rogério Boccato Quarteto University Settlement 7:30 pm<br />

• Valerie Kuehne; Kouno Youji The Stone 8, 10 pm $10<br />

• Sean Nowell and The King-Fu Masters<br />

The Bitter End 7 pm $10<br />

• Joe Giglio Trio with Ratzo Harris, Eric Peters<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Redrocks: Matteo Ramon Arevalos/Chiara Zenzani<br />

The Firehouse Space 8 pm $10<br />

• Les Grant 5 with John Chin, John Ellis, Matt Pavolka, Dan Rieser; Reine Sophie with<br />

David Cordeiro; Daniel Weiss Group with Chris Laybourne, Eitan Kenner, Yoni Marianer,<br />

Brad Koegel Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Roos Plaatsman Trio Tomi Jazz 9 pm $10<br />

• Seth Myers Trio Cleopatra’s Needle 8 pm<br />

• Fukushi Tainaka Trio; Hot House The Garage 6, 10:30 pm<br />

êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street<br />

Dizzy’s Club 7:30, 9:30, 11:30 pm $35<br />

• Joe Saylor/Bryan Carter Dizzy’s Club 12:45 am $20<br />

êSFJazz Collective - The Music Of Chick Corea: Avishai Cohen, Miguel Zenón,<br />

David Sanchez, Robin Eubanks, Stefon Harris, Edward Simon, Matt Penman,<br />

Jeff Ballard Jazz Standard 7:30, 9:30, 11:30 pm $35<br />

• Keystone Korner Presents: Brazilian Jazz All Stars - Jazz Samba & Jobim:<br />

Romero Lubambo, Claudio Roditi, Duduka Da Fonseca, Helio Alves, Maucha Adnet,<br />

Hans Glawischnig Iridium 8, 10 pm $30<br />

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón,<br />

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux,<br />

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández,<br />

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González,<br />

Laura Lydia González Blue Note 8, 10:30 pm $30-45<br />

• Kevin Mahogany Birdland 8:30, 11 pm $30-40<br />

êFabian Almazan Trio with Linda Oh, Henry Cole<br />

Village Vanguard 9, 11 pm $25<br />

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson; Kay Matsukawa<br />

Metropolitan Room 7, 11:30 pm $20<br />

Saturday, March 16<br />

êChristian McBride Big Band with Freddie Hendrix, Frank Greene, Nabate Isles,<br />

Brandon Lee, Michael Dease, James Burton, Douglas Purviance, Carl Maraghi,<br />

Todd Bashore, Loren Schoenberg, Ron Blake, Xavier Davis, Ulysses Owens, Jr.,<br />

Melissa Walker 92nd Street Y 8 pm $40<br />

• Dr. John and The Lower 911; Allen Toussaint<br />

Town Hall 8 pm $45-55<br />

êFreddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd<br />

Brooklyn Center for the Performing Arts 8 pm $36<br />

êHelen Sung Trio Jazz at Kitano 8, 10 pm $25<br />

êLady Got Chops Festival: Kali. Z. Fasteau, JD Parran, Ron McBee<br />

Brecht Forum 8 pm $15<br />

êLady Got Chops Festival: Mal Waldron Tribute: Mala Waldron Trio with Mimi Jones,<br />

Sylvia Cuenca Sistas’ Place 9, 10:30 pm $25<br />

êTony Malaby Reading Band with Ralph Alessi, Drew Gress, Billy Drummond<br />

Cornelia Street Café 9, 10:30 pm $15<br />

êJoseph C. Phillips, Jr.’s Numinous and Imani Uzuri<br />

Merkin Concert Hall 7:30 pm $25<br />

• Freddie Bryant Trio with Peter Bernstein, Cafe<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Adam Lane’s Blue Spirit Band with Roy Campbell, Avram Fefer; Omar Tamez,<br />

Angelica Sanchez, Ratzo Harris, Lou Grassi<br />

The Firehouse Space 8, 9:30 pm $10<br />

• John Zorn Improv Night The Stone 8, 10 pm $25<br />

• Nir Felder The Jazz Gallery 9, 10:30 pm $20<br />

• Donald Vega Trio Oceana Restaurant 9 pm<br />

• Tribute to Dinah Washington: Lillie Bryant-Howard with Joe Vincent Tranchina,<br />

Christopher Dean Sullivan, Bobby Sanabria<br />

Afrikan Poetry Theatre 8, 9:15 pm $20<br />

• Sophia Rei; Alsarah Apollo Music Café 9 pm $20<br />

• Maria Jacobs with Ed Leonard, Paul Beaudry, Will Terrill<br />

Metropolitan Room 9:30 pm $20<br />

• Christian Finger Band with Jon Gordon, Vadim Neselovskyi, Adam Armstrong;<br />

Takeshi Asai New York Trio with Daniel Ori, Rob Garcia; James Robbins Quintet with<br />

Christoph Huber, Nat Janoff, Sharik Hassan, Charles Goold<br />

Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Kuni Mikami Trio Cleopatra’s Needle 8 pm<br />

• Eric Reed Quartet with Grant Stewart, Matt Clohesy, Willie Jones III<br />

Smoke 7, 9, 10:30 pm $35<br />

êJames Falzone’s Klang with Jason Adasiewicz, Jason Roebke, Tim Daisy<br />

Ibeam Brooklyn 8:30 pm $10<br />

• John di Martino Group; Ken Peplowski Group<br />

Smalls 7:30, 10:30 pm $20<br />

êDaryl Sherman, Will and Peter Anderson<br />

Knickerbocker Bar and Grill 9:45 pm $5<br />

êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street<br />

Dizzy’s Club 7:30, 9:30, 11:30 pm $45<br />

• Joe Saylor/Bryan Carter Dizzy’s Club 12:45 am $20<br />

êSFJazz Collective - The Music Of Chick Corea: Avishai Cohen, Miguel Zenón,<br />

David Sanchez, Robin Eubanks, Stefon Harris, Edward Simon, Matt Penman,<br />

Jeff Ballard Jazz Standard 7:30, 9:30, 11:30 pm $35<br />

• Keystone Korner Presents: Brazilian Jazz All Stars - Jazz Samba & Jobim:<br />

Romero Lubambo, Claudio Roditi, Duduka Da Fonseca, Helio Alves, Maucha Adnet,<br />

Hans Glawischnig Iridium 8, 10 pm $30<br />

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón,<br />

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux,<br />

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández,<br />

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González,<br />

Laura Lydia González Blue Note 8, 10:30 pm $30-45<br />

• Kevin Mahogany Birdland 8:30, 11 pm $30-40<br />

êFabian Almazan Trio with Linda Oh, Henry Cole<br />

Village Vanguard 9, 11 pm $25<br />

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson<br />

Metropolitan Room 7 pm $20<br />

êLittle Orchestra Society with Min Xiao-Fen<br />

Avery Fisher Hall 11 am 1 pm<br />

• Larry Newcomb Trio; Mark Marino Trio; Jason Prover Sneak Thievery Orchestra<br />

The Garage 12, 6, 10:30 pm<br />

Sunday, March 17<br />

• Keystone Korner Presents: Horacio “El Negro” Hernandez Italuba Quartet<br />

Iridium 8, 10 pm $30<br />

êNEC Contemporary Improvisation 40th: Tanya Kalmanovitch, Anthony Coleman,<br />

Ted Reichman Cornelia Street Café 8:30 pm $10<br />

• Vortex: Shoko Nagai/Satoshi Takeishi; The Restrictor: Adam Dym, Damien Olsen,<br />

Kevin Rozza, Anthony Delio The Firehouse Space 8, 9 pm $10<br />

• Grant Stewart Quartet Smalls 11 pm $20<br />

• Sheryl Bailey 4 with Jim Ridl, Gary Wang, Joe Strasser<br />

Fat Cat 9 pm<br />

• Casimir Liberski Trio with Louis de Mieulle, Jeff Witherell; Luce Trio: Jon De Lucia,<br />

Ryan Ferreira, Chris Tordini ShapeShifter Lab 8, 9:30 pm $10<br />

• Kind Of Orange: Mitch Guido, Jacob Gelber, Wes Troeger, Orange Julius;<br />

Alex Clough Group with Nora Ritchie, Daniel Foose, John Hubbell; Terry Vakirtzolgou/<br />

Tuomo Uusitalo Somethin’ Jazz Club 5, 7, 9 pm $10<br />

• Emanuel Cremer solo; Trismegistus: Joe Moffett, Ben Gerstein, Sean Ali, Devin Gray<br />

ABC No-Rio 7 pm $5<br />

• Out of Your Head: Ben Syversen, Travis Reuter, Mara Rosenbloom, Devin Gray;<br />

Matt Plummer, Liz Kosack, David Grollman<br />

The Backroom 9:30, 11 pm<br />

êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street<br />

Dizzy’s Club 7:30, 9:30 pm $35<br />

êSFJazz Collective - The Music Of Chick Corea: Avishai Cohen, Miguel Zenón,<br />

David Sanchez, Robin Eubanks, Stefon Harris, Edward Simon, Matt Penman,<br />

Jeff Ballard Jazz Standard 7:30, 9:30 pm $30<br />

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón,<br />

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux,<br />

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández,<br />

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González,<br />

Laura Lydia González Blue Note 8, 10:30 pm $30-45<br />

êFabian Almazan Trio with Linda Oh, Henry Cole<br />

Village Vanguard 9, 11 pm $25<br />

• Emanuel Cremer solo; Tasos Stamou<br />

Downtown Music Gallery 6 pm<br />

• Ras Moshe/Shayna Dulberger Duo; Music Now Expanded Unit: Ras Moshe,<br />

Tor Yochai Snyder, John Pietaro, Dafna Naphtali, Chris Forbes, Steve Cohn,<br />

Max Johnson, Nicolas Letman-Burtinovic, Shayna Dulberger, Mike Noordzy,<br />

Gil Selinger, Matt Lavelle Brecht Forum 6 pm $11<br />

• Zaccai Curtis Quartet Saint Peter’s 5 pm<br />

• Juilliard Jazz Brunch Blue Note 12:30, 2:30 pm $29.50<br />

• Michelle Walker Trio with Ron Affif, Michael O’Brien<br />

North Square Lounge 12:30, 2 pm<br />

• Joonsam Lee Trio; David Coss Quartet<br />

The Garage 11:30 am 7 pm<br />

Monday, March 18<br />

êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25<br />

• John Williams/John Etheridge Zankel Hall 7:30 pm $75-85<br />

• Acoustic Alchemy Blue Note 8, 10:30 pm $15-25<br />

• New York Youth Symphony Jazz Classic with guest Brian Lynch<br />

Dizzy’s Club 7:30, 9:30 pm $25<br />

• Matt Garrison/David Gilmore; Adam Larson Quintet with Nils Weinhold,<br />

Robert Langslet, Harish Raghavan, Jason Burger<br />

ShapeShifter Lab 8, 9:30 pm $15<br />

êJacob Garchik solo; Two of Anything: JP Schlegelmilch, Jeremy Viner, Eivind Opsvik,<br />

Jason Nazary Sycamore 8:30, 9:30 pm<br />

• Foolish Hearts Duo: Peter Eldridge/Matt Aronoff<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Jill McCarron Trio Smalls 7:30 pm $20<br />

• Women’s Jazz Festival: Spelman Jazz Ensemble<br />

The Schomburg Center 7 pm $25<br />

• Nancy Harms Zinc Bar 7 pm $8<br />

• Andrew Swift Quartet with Matthew Garrison<br />

Somethin’ Jazz Club 9 pm $7<br />

• Howard Williams Jazz Orchestra The Garage 7 pm<br />

LESLIE PINTCHIK TRIO<br />

Thursday, March 14th 8:00 PM & 10:00 PM<br />

The Kitano Hotel<br />

66 Park Ave @ 38th St. NYC<br />

(212) 885-7119 for reservations<br />

“...enormous gifts as a composer, arranger and pianist.”<br />

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Leslie Pintchik - piano<br />

Scott Hardy - bass<br />

MIchael Sarin - drums<br />

DVD/CD Combo<br />

LESLIE PINTCHIK QUARTET<br />

LIVE IN CONCERT<br />

available now at Amazon.com<br />

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THE NEW YORK CITY JAZZ RECORD | March 2013 41


Tuesday, March 19<br />

êJoseph Bowie’s Big Band Funk ShapeShifter Lab 8 pm<br />

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner<br />

Village Vanguard 9, 11 pm $25<br />

• Tierney Sutton Band Birdland 8:30, 11 pm $30-40<br />

êLuis Bonilla’s Trombonilla! with Ivan Renta, Bruce Barth, Andy McKee, John Riley<br />

Dizzy’s Club 7:30, 9:30 pm $35<br />

• Sammy Bronowski Dizzy’s Club 11 pm $10<br />

êJohnathan Blake Eleventh Hour Band with Jaleel Shaw, Mark Turner, Ben Street<br />

Jazz Standard 7:30, 9:30 pm $20<br />

• Robben Ford Blue Note 8, 10:30 pm $20-30<br />

• Mike Longo NY State of the Art Jazz Ensemble with Dee Daniels<br />

NYC Baha’i Center 8, 9:30 pm $15<br />

• Jeremy Manasia Trio; Steve Einerson Trio<br />

Jazz at Kitano 8, 10 pm $10<br />

• Spike Wilner solo; Smalls Legacy Little Big Band with Josh Evans, Theo Hill,<br />

Frank Lacy; Kyle Poole Smalls 7, 9:30 pm 12 am $20<br />

• Jed Levy Trio with Thomson Kneeland, Alvester Garnett<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Aural Dystopia: Louise DE Jensen, Brandon Seabrook, Tom Blancarte, Kevin Shea;<br />

Matt Nelson JACK 8 pm $10<br />

• James Carney Trio with Chris Lightcap, Ted Poor; Hashem Assadullahi Band with<br />

Alan Ferber, Leonard Thompson, Tyler Abbott, Matt Wilson<br />

Korzo 9, 10:30 pm<br />

• Akiko Pavolka and House of Illusion with Matt Renzi, Nate Radley, Matt Pavolka,<br />

Bill Campbell Barbès 7 pm $10<br />

• Matt Herskowitz Drom 7:15 pm $20<br />

• Benjamin Scheuer; Peter Lerman Cornelia Street Café 8:30, 10 pm $10<br />

• Jean Rohe Band Rockwood Music Hall 9:30 pm<br />

• New York Jazz Academy; Dorian Wallace Big Band with Cam Collins, Lynn Ligammari,<br />

Tim McDonald, Zach Mayer, Frank London, Wayne Tucker, Alphonso Horne,<br />

John Raymond, Andy Hunter, Frank Niemeyer, Joe McDonough, Frank Cohen,<br />

Tim Basom, Dmitri Kolesnik, Mike Campenni, Madison Cano<br />

Somethin’ Jazz Club 7, 9 pm $10<br />

• Stafford Hunter Quartet The Garage 7 pm<br />

• Jacob Deaton Trio; Uncharted Territory<br />

Shrine 6, 8 pm<br />

Wednesday, March 20<br />

êToday’s Jewish Music: From NEC to the Downtown Scene: Frank London,<br />

Hankus Netsky, Greg Wall, Lily Henley, Marty Ehrlich, Matt Darriau, Anthony Coleman<br />

Symphony Space Leonard Nimoy Thalia 7 pm $22<br />

êSidney Bechet Society: Jim Cullum Jazz Band with Alan Vaché, Mike Pittsley,<br />

John Sheridan, Hal Smith Symphony Space Peter Jay Sharp Theatre 7:15 pm $35<br />

êKeystone Korner Presents: George Cables Songbook with Victor Lewis<br />

Iridium 8, 10:30 pm $30<br />

• Donny McCaslin Group; Noah Preminger Quartet with Glenn Zaleski, Matt Pavolka,<br />

Colin Stranahan Smalls 9:30 pm 12 am $20<br />

êEllery Eskelin/Devin Grey Barbès 8 pm $10<br />

• Sonic Overload: Peter Evans, Jim Altieri, Dan Peck, Jeff Snyder, Tom Blancarte,<br />

Sam Pluta; Daria Binkowski The Stone 8, 10 pm $10<br />

• Cynthia Holiday Quintet Smoke 7, 9, 10:30 pm<br />

• Marianne Solivan Quartet with Xavier Davis, Matthew Parris<br />

Jazz at Kitano 8, 10 pm $10<br />

• The Checkout Live: Todd Sickafoose’s Tiny Resistors; Stephan Crump’s Rosetta Trio<br />

with Liberty Ellman, Jamie Fox 92YTribeca 8 pm $12<br />

• Camila Meza Quartet Jazz Standard 7:30, 9:30 pm $20<br />

CD LAUNCH<br />

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MAR. 22ND<br />

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Interface<br />

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Payton Crossley (drums)<br />

Warren Smith (vibraphone)<br />

Leopoldo Fleming (percussion)<br />

CDs available at CDbaby,<br />

Amazon And Itunes<br />

Previous album:<br />

Lou Caputo “Not So Big Band”<br />

Loucaputo.com; CaputoJazz@Twitter<br />

42 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

• Edward Perez Trio Terraza 7 9:30 pm $5<br />

• Ananda Gari Quartet with Tim Berne, Rez Abbasi, Michael Formanek<br />

Greenwich House Music School 9 pm $12<br />

• Matt Holman’s Diversion Ensemble with Michael McGinnis, Nate Radley,<br />

Christopher Hoffman, Ziv Ravitz Cornelia Street Café 8:30 pm $10<br />

êEmilie Weibel solo; Amanda and the Michaels: Amanda Monaco, Michael Bates,<br />

Michael Pride Seeds 8:30, 10 pm<br />

• Lady Got Chops Festival: Frederkia Krier/Dana Hanchard<br />

Zinc Bar 7 pm<br />

• Freddie Bryant and Kaleidoscope with Yosvany Terry, Patrice Blanchard, Willard Dyson<br />

Zinc Bar 9, 10:30 pm 12 am<br />

• Simona De Rosa Trio with Marco Di Gennaro<br />

Somethin’ Jazz Club 9 pm $10<br />

• Ayumi Ishito Trio Tomi Jazz 8 pm $10<br />

• John Chin Trio The Garage 7 pm<br />

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner<br />

Village Vanguard 9, 11 pm $25<br />

• Tierney Sutton Band Birdland 8:30, 11 pm $30-40<br />

êLuis Bonilla’s Trombonilla! with Ivan Renta, Bruce Barth, Andy McKee, John Riley<br />

Dizzy’s Club 7:30, 9:30 pm $35<br />

• Sammy Bronowski Dizzy’s Club 11 pm $10<br />

• Robben Ford Blue Note 8, 10:30 pm $20-30<br />

• Hajime Yoshida Shrine 6 pm<br />

• Eugene Marlow Heritage Ensemble Saint Peter’s 1 pm $10<br />

Thursday, March 21<br />

êStanley Clarke/George Duke Band Blue Note 8, 10:30 pm $30-45<br />

êMichael Carvin Experience with Anthony Wonsey, Jansen Cinco, Keith Loftis<br />

Dizzy’s Club 7:30, 9:30 pm $35<br />

• Sammy Bronowski Dizzy’s Club 11 pm $10<br />

êChris Speed Trio with Chris Tordini, Dave King<br />

Cornelia Street Café 8:30 pm $10<br />

• Oz Noy, Bill Lee, Dave Weckl Iridium 8, 10 pm $35<br />

• Contemporary Improvisation Festival: Anthony Coleman, Ashley Paul, Matt Darriau,<br />

Frank London, Cuddle Magic, Mat Maneri, Andrew Hock, Judith Berkson<br />

Barbès 7 pm $10<br />

êHenry Butler solo Jazz Standard 7:30, 9:30 pm $25<br />

• Maria Bacardi Septet with David Oquendo, Alex Hernandez, Vicente Sanchez,<br />

Roman Diaz, Onel Mulet Jazz at Kitano 8, 10 pm $10<br />

• Tony Moreno Trio with Angelica Sanchez<br />

55Bar 7 pm<br />

• Jason Yeager Trio with guest Noah Preminger<br />

Metropolitan Room 11:30 pm $20<br />

• Jacam Manricks Trio with Des White, Ross Pederson<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Adam Schatz, Dave LeBleu, Eivind Opsvik<br />

Nublu 9 pm<br />

• Glenn Zaleski Quintet with Matt Jodrell, Lucas Pino, Desmond White, Cory Cox<br />

The Jazz Gallery 9, 10:30 pm $15<br />

• Send Out Signals meets Jack Desalvo with Ras Moshe, Matt Lavelle,<br />

Thomas Zlabinger; Catherine Sikora Ensemble with Ross Hammond, Michael Lytle,<br />

Ken Filiano The Firehouse Space 8, 9:30 pm $10<br />

• Kenny Warren’s All the King’s Horses with Jake Henry, Rick Parker, Matt Plummer,<br />

Ben Stapp, Kate Pittman; Ben Gerstein, Gian Luigi Diana, Mike Pride<br />

Lark Café 8 pm<br />

• Jonathan Saraga Quintet with Michael Eaton, Peter Park, Jeff Dingler, Gusten Rudolph;<br />

Rob Reich Somethin’ Jazz Club 7, 9 pm $10<br />

• Justin Lees Trio Cleopatra’s Needle 7 pm<br />

• Rick Stone Trio The Garage 7 pm<br />

• Donny McCaslin Group Smalls 9:30 pm $20<br />

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner<br />

Village Vanguard 9, 11 pm $25<br />

êLouis Hayes Quintet Birdland 6 pm $20<br />

• Tierney Sutton Band Birdland 8:30, 11 pm $30-40<br />

• Tim Chernikoff Band Shrine 6 pm<br />

Friday, March 22<br />

êA Tribute to Paul Motian: Bill Frisell, Joe Lovano, Andrew Cyrille, Ben Monder,<br />

Ravi Coltrane, Ben Street, Billy Drewes, Jerome Harris, Billy Hart, Chris Cheek,<br />

Ed Schuller, Geri Allen, Marilyn Crispell, Gary Peacock, Bill McHenry, Greg Osby,<br />

Tim Berne, Ethan Iverson, Jakob Bro, Joey Baron, Larry Grenadier, Mark Turner,<br />

Petra Haden, Steve Cardenas, Masabumi Kikuchi, Tony Malaby<br />

Symphony Space Peter Jay Sharp Theatre 7 pm $45<br />

• Min Xiao-Fen, Max Pollack, Jin Hi Kim<br />

Museum of Chinese in America 8 pm $15<br />

êHarold Mabern 77th Birthday Celebration with John Webber, Joe Farnsworth<br />

Smoke 7, 9, 10:30 pm $35<br />

• Madeleine Peyroux Allen Room 7:30, 9:30 pm $55-65<br />

êFrank Kimbrough Trio with Jay Anderson, Jeff Hirshfield<br />

Jazz at Kitano 8, 10 pm $25<br />

êCory Weeds Group with Ian Hendrickson Smith, Spike Wilner, Sean Cronin,<br />

Brian Floody; Ralph Peterson Group<br />

Smalls 7:30, 10:30 pm $20<br />

êO’Farrill Brothers Band: Adam O’Farrill, Livio Almeida, Gabe Schnider,<br />

Adam Kromelow, Raviv Markovitz, Zack O’Farrill<br />

The Jazz Gallery 9, 10:30 pm $20<br />

• Larry Corban Trio with Harvie S, Steve Williams<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Sara Serpa with André Matos, Jacob Sacks, Eivind Opsvik, Tommy Crane<br />

Cornelia Street Café 9, 10:30 pm $15<br />

• Pat Carroll Quartet with Glenn Zaleski, Joe Sanders, Colin Stranahan;<br />

John Raymond Quartet with Shai Maestro, Joe Martin, Austin Walker<br />

ShapeShifter Lab 8, 9:30 pm $10<br />

• Peter and Will Anderson Quintet with Ehud Asherie, Mike Karn, Phil Stewart<br />

Church of the Intercession 7 pm $20<br />

• Alan Blackman Quintet with Max Murray, Frank Russo, Donny McCaslin,<br />

Rogério Boccato Ibeam Brooklyn 8:30 pm $10<br />

• Willie Mae Perry Zeb’s 7 pm<br />

• Nicole Lund Band with Paul Olsen, Alex Vargas; Somethin’ Vocal with Matt Baker Trio;<br />

Elevations: George Heid III, Benny Benack III, Michael Stephenson, Brett Williams,<br />

Anton DeFade Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Jacob Deaton Duo Tomi Jazz 9 pm $10<br />

• Fukushi Tainaka Trio Cleopatra’s Needle 8 pm<br />

• Joel Perry Trio; Kevin Dorn and the Big 72<br />

The Garage 6, 10:30 pm<br />

êStanley Clarke/George Duke Band Blue Note 8, 10:30 pm $30-45<br />

• Dara Tucker Blue Note 12:30 am $10<br />

êMichael Carvin Experience with Anthony Wonsey, Jansen Cinco, Keith Loftis<br />

and guest Sonny Fortune Dizzy’s Club 7:30, 9:30, 11:30 pm $35<br />

• Sammy Bronowski Dizzy’s Club 12:45 am $20<br />

êHenry Butler solo Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

• Oz Noy, Bill Lee, Dave Weckl Iridium 8, 10 pm $35<br />

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner<br />

Village Vanguard 9, 11 pm $25<br />

• Tierney Sutton Band Birdland 8:30, 11 pm $30-40<br />

• Blues for Smoke: Lonnie Holley; Cooper-Moore<br />

Whitney Museum 6 pm


Saturday, March 23<br />

êJenny Scheinman Trio with Bill Frisell, Brian Blade<br />

Zankel Hall 9 pm $40-50<br />

êValerie Capers Trio with John Robinson, Doug Richardson<br />

Jazz at Kitano 8, 10 pm $25<br />

êCI at 40: Hankus Netsky, Greta DiGiorgio McAndrew, Ran Blake, Dominique Eade,<br />

The Claudia Quintet, Christine Correa, Sarah Jarosz, John Medeski, Anthony Coleman,<br />

Eden MacAdam-Somer Symphony Space Peter Jay Sharp Theatre 7:30 pm $28-38<br />

• Ask Your Mama - 12 Moods for Jazz: Jessye Norman; Black Thought; Nnenna Freelon;<br />

?uestlove; Ask Your Mama Apollo Theater 8 pm $35-125<br />

êMichael Formanek’s Cheating Heart with Tim Berne, Peter Formanek, Jacob Sacks,<br />

Jim Black Cornelia Street Café 9, 10:30 pm $15<br />

• Charenee Wade Sistas’ Place 9, 10:30 pm $25<br />

• Joe Sanders The Jazz Gallery 9, 10:30 pm $20<br />

êMax Johnson Trio with Kirk Knuffke, Ziv Ravitz; Aaron Shragge, Daniel Carter,<br />

Alexi David Ibeam Brooklyn 8:30 pm $10<br />

• Jacob Deaton Trio with Michael Feinberg, Dana Hawkins; Michael Webster’s<br />

Momentus with Ingrid Jensen, Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig<br />

ShapeShifter Lab 7:30, 8:30 pm<br />

êNate Wooley Quintet Omega with Josh Sinton, Matt Moran, Eivind Opsvik,<br />

Harris Eisenstadt; Will Mason Sextet; Rafiq Bhatia Trio<br />

The Backroom 10 pm $10<br />

• Rory Stuart Trio with Aidan Carroll, Colin Stranahan<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Kristine Mills with Bruce Edwards, Scott Ritchie, Jacob Melchior<br />

Metropolitan Room 7 pm $20<br />

• Vadim Neselovskyi’s Agricultural Dreams 6tet<br />

Caffe Vivaldi 9 pm<br />

• Emiko Mizoguchi/Derek Hood Zeb’s 8 pm<br />

• Charles Sibirsky; Tuomo Uusitalo/Olli Hirvonen; Brett Sandler Trio with<br />

Peter Longofono, Adam Pin Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Marisa Dargahi Quintet Tomi Jazz 8 pm $10<br />

• Satchamo Mannan Quartet Cleopatra’s Needle 8 pm<br />

• Danny Jonokuchi Sextet; Florencia Gonzalez Candombe Project<br />

Shrine 6, 8 pm<br />

êHarold Mabern 77th Birthday Celebration with John Webber, Joe Farnsworth<br />

Smoke 7, 9, 10:30 pm $35<br />

• Madeleine Peyroux Allen Room 7:30, 9:30 pm $55-65<br />

êPete Malinverni Trio with Lee Hudson, Jason Brown; Ralph Peterson Group<br />

Smalls 7:30, 10:30 pm $20<br />

êStanley Clarke/George Duke Band Blue Note 8, 10:30 pm $30-45<br />

êMichael Carvin Experience with Anthony Wonsey, Jansen Cinco, Keith Loftis<br />

and guest Sonny Fortune Dizzy’s Club 7:30, 9:30, 11:30 pm $45<br />

• Sammy Bronowski Dizzy’s Club 12:45 am $20<br />

êHenry Butler Trio Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

• Oz Noy, Anthony Jackson, Dave Weckl<br />

Iridium 8, 10 pm $35<br />

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner<br />

Village Vanguard 9, 11 pm $25<br />

• Tierney Sutton Band Birdland 8:30, 11 pm $30-40<br />

• Latin Jazz - New York Faces: Ricardo Rodriquez Quintet; Victor Prieto;<br />

Chia’s Dance Party Flushing Town Hall 6 pm $20<br />

• Marsha Heydt Quartet; Ben Benack Quartet; Virginia Mayhew Quartet<br />

The Garage 12, 6, 10:30 pm<br />

Sunday, March 24<br />

êIva Bittová solo Le Poisson Rouge 7:30 pm $20<br />

• Nick Finzer Sextet; Lucas Pino No Net Nonet<br />

ShapeShifter Lab 8, 9:30 pm<br />

• Curtis Macdonald Quartet with Bobby Avey, Chris Tordini, Tommy Crane;<br />

Ideal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Chad Taylor;<br />

Jasmine Lovell-Smith’s Towering Poppies with Russell Moore, Cat Toren, Pat Reid,<br />

Kate Pittman Douglass Street Music Collective 8 pm $10<br />

• Broc Hempel, Sam Trapchak, Christian Coleman with guest Rich Perry<br />

Dominie’s Astoria 9 pm<br />

• Falkner Evans Quintet with Marc Mommaas, Ron Horton, Belden Bullock, Matt Wilson;<br />

Alex Norris Smalls 4:30, 11 pm $20<br />

• Jesse Stacken, Peter Van Huffel, Nate Wooley, Tom Rainey; Secret Architecture:<br />

Fraser Campbell, Wade Ridenhour, Julian Smith, Zach Mangan<br />

Caffe Vivaldi 8, 9:30 pm $10<br />

• Lee Feldman and his Problems with Byron Isaacs, Bill Dobrow; Ali Carter<br />

Somethin’ Jazz Club 5, 7 pm $10<br />

êStanley Clarke/George Duke Band Blue Note 8, 10:30 pm $30-45<br />

êMichael Carvin Experience with Anthony Wonsey, Jansen Cinco, Keith Loftis<br />

and guest Sonny Fortune Dizzy’s Club 7:30, 9:30 pm $35<br />

êHenry Butler Trio Jazz Standard 7:30, 9:30 pm $25<br />

• Oz Noy, Anthony Jackson, Dave Weckl<br />

Iridium 8, 10 pm $35<br />

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner<br />

Village Vanguard 9, 11 pm $25<br />

• Ross Hammond/Catherine Sikora; Anne Rhodes/Kyoko Kitamura<br />

Downtown Music Gallery 6 pm<br />

• Amy Cervini/Heather Bambrick 55Bar 6 pm<br />

• Chanda Rule Band Saint Peter’s 5 pm<br />

• Anita Wardell Perez Jazz 3 pm $20<br />

• Lenore Raphael Trio with Jack Wilkins, Kelly Friesen<br />

Blue Note 12:30, 2:30 pm $29.50<br />

Gunhild Seim &<br />

Time Jungle with Marilyn<br />

Crispell<br />

Elephant Wings<br />

“An exceptional highlight<br />

of European jazz in 2012” -Jazznytt<br />

“Elephant Wings is another excellent set<br />

of compositions...” -allaboutjazz.com<br />

Available at<br />

Downtown Music Gallery<br />

Jazz Record Center<br />

J&R Music World<br />

Amazon.com<br />

CDUniverse.com<br />

gunhildseim.com<br />

• Roz Corral Trio with Freddie Bryant, Edward Perez<br />

North Square Lounge 12:30, 2 pm<br />

• Iris Ornig Quartet; David Coss Quartet<br />

The Garage 11:30 am 7 pm<br />

Monday, March 25<br />

êMike Stern with The Les Paul Trio Iridium 8, 10 pm $35<br />

êMingus Big Band Jazz Standard 7:30, 9:30 pm $25<br />

ê3rd Annual James Moody Scholarship Benefit Concert: Andres Boiarsky,<br />

Sharel Cassity, Bill Charlap, Cyrus Chestnut, Anat Cohen, Todd Coolman,<br />

Paquito D’Rivera, Greg Gisbert, John Lee, Adam Nussbaum, Gregory Porter,<br />

Renee Rosnes, Yotam Silberstein, Gary Smulyan, Steve Turre, Diego Urcola<br />

Blue Note 8, 10:30 pm $35-100<br />

• Florida State University Jazz Ensemble<br />

Dizzy’s Club 7:30, 9:30 pm $25<br />

êAdam Rudolph’s GO: Organic Orchestra<br />

ShapeShifter Lab 8 pm $15<br />

• Vital Vox Festival: Philip Hamilton; Sabrina Lastman; Unearthish: Sarah Bernstein/<br />

Satoshi Takeishi Roulette 8 pm $15<br />

• Women’s Jazz Festival: Lizz Wright/Nikky Finney<br />

The Schomburg Center 7 pm $25<br />

êPaul Flaherty/Steve Swell; Don Dietrich/Jim Sauter<br />

JACK 8 pm $10<br />

êLuis Perdomo solo Smalls 7:30 pm $20<br />

• Empyrean Atlas; All The Kings Horses: Jake Henry, Kenny Warren, Rick Parker,<br />

Jeremy Thal, Ben Stapp, Kate Pittman<br />

Sycamore 8:30, 9:30 pm<br />

• Dorian Devin Trio with Lou Rainone, Tom Hubbard<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Ashley Gonzalez; Tine Bruhn/Johnny O’Neal<br />

Zinc Bar 7, 9 pm<br />

• New York Jazz Academy; Tomoko Omura Quintet with Will Graefe, Glenn Zaleski,<br />

Thomas Morgan, Colin Stranahan Somethin’ Jazz Club 7, 9 pm $10<br />

• Tomoko Omura Quintet Tomi Jazz 8 pm $10<br />

• Cecilia Coleman Big Band The Garage 7 pm<br />

Tuesday, March 26<br />

êLions Trio: Arild Andersen, Yelena Eckemoff, Billy Hart<br />

Birdland 8:30, 11 pm $30-40<br />

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery,<br />

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake<br />

Village Vanguard 9, 11 pm $25<br />

• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser;<br />

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard<br />

Blue Note 8, 10:30 pm $20-30<br />

• Terri Lyne Carrington’s Money Jungle with Tia Fuller, Nir Felder, Gerald Clayton,<br />

James Genus Dizzy’s Club 7:30, 9:30 pm $30<br />

êMelissa Aldana Dizzy’s Club 11 pm $10<br />

• Kendrick Scott Oracle with John Ellis, Mike Moreno, Taylor Eigsti, Joe Sanders<br />

Jazz Standard 7:30, 9:30 pm $20<br />

• Warren Chiasson George Shearing Tribute<br />

NYC Baha’i Center 8, 9:30 pm $15<br />

• Kenny Werner ShapeShifter Lab 8 pm<br />

êKris Davis/Ingrid Laubrock Korzo 9 pm<br />

• Chelsea Baratz Birthday Bash with Maurice Brown, Willerm Delisfort, Ben Williams,<br />

Joe Blaxx Grissett Zinc Bar 8, 10 pm<br />

• Shelia Jordan Master Class Jazz at Kitano 7 pm<br />

êNate Wooley/Ben Vida Duo JACK 8 pm $10<br />

• Spike Wilner solo; Smalls Legacy Little Big Band with Josh Evans, Theo Hill,<br />

Frank Lacy; Kyle Poole Smalls 7, 9:30 pm 12 am $20<br />

• Steve Bloom Trio with Danton Boller, Jeremy Carlstedt<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Vital Vox Festival: Lisa Karrer/David Simons; Sasha Bogdanowitsch with<br />

Loom Ensemble; Pamela Z Roulette 8 pm $15<br />

• Sean Nowell and The King-Fu Masters meet the NY Gypsy All-Stars<br />

Drom 9:30 pm<br />

• Metis 9: Han-Earl Park, Josh Sinton, Catherine Sikora<br />

The Backroom 8:30 pm<br />

• Joshua Kwassman Group with Gilad Hekselman<br />

Rockwood Music Hall 7 pm $15<br />

• Scott Sharon Septet with Bruce Harris, Jeremy Weldon, Mark Sullivan, Nial Djuliarso,<br />

Paul Gill, Aaron Kimmel; Matt Panayides Group with Rich Perry, Bob Sabin, Jeff Davis<br />

Somethin’ Jazz Club 7, 9 pm $10<br />

• Lluis Capdevila Trio Tomi Jazz 8 pm $10<br />

• Nobuki Takamen Trio The Garage 7 pm<br />

Wednesday, March 27<br />

êClaudia Acuña Harlem Stage Gatehouse 7:30 pm<br />

êBarry Harris solo Weill Recital Hall 8 pm $35<br />

êKeystone Korner Presents: Bucky Pizzarelli All-Stars<br />

Iridium 8, 10:30 pm $30<br />

• Orrin Evans Birthday Bash with JD Walters<br />

Zinc Bar 9, 10:30 pm 12 am<br />

• YoungJoo Song Trio with Yasushi Nakamura, John Davis<br />

Jazz at Kitano 8, 10 pm $10<br />

• George Colligan Band; Sean Wayland Band<br />

ShapeShifter Lab 8 pm<br />

êAnat Fort Trio with Gary Wang, Yaaki Levy<br />

Cornelia Street Café 8:30 pm $10<br />

• José James; Taylor McFerrin Music Hall of Williamsburg 9 pm $25<br />

• Jesse Stacken, Peter Van Huffel, Flin Van Hemmen; Peter Van Huffel, Michael Bates,<br />

Jeff Davis Ibeam Brooklyn 8:30, 10 pm $10<br />

• Gilad Hekselman Group; David Bryant Trio<br />

Smalls 9:30 pm 12 am $20<br />

• Pedro Giraudo Sextet Terraza 7 9:30 pm $5<br />

• Aki Yashiro and Trio with guest Helen Merrill<br />

Birdland 7, 9:30 pm $30-40<br />

• Dee Daniels Quintet with TK Blue, Carlton Holmes, Paul Beaudry, Alvester Garnett<br />

Smoke 7, 9, 10:30 pm<br />

• Ted Brinkley’s Sour Note Seven with Evan Francis, Rob Sudduth, Rob Ewing,<br />

Graham Connah, John Finkbeiner, Lisa Mezzacappa, Vijay Anderson<br />

Barbès 8 pm $10<br />

• Matt Renzi Trio with Dave Ambrosio, Russ Meissner; Todd Neufeld, Rema Hasumi,<br />

Dan Weiss Seeds 8:30, 10 pm<br />

• David Shively; Jonathan Hepfer The Stone 8, 10 pm $10<br />

• Big Machine: Aaron Burnett, Andy Berman, Carlos Homs, Nick Jozwiak,<br />

Tyshawn Sorey Somethin’ Jazz Club 7 pm $10<br />

• Kyoko Oyobe Trio The Garage 7 pm<br />

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery,<br />

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake<br />

Village Vanguard 9, 11 pm $25<br />

• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser;<br />

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard<br />

Blue Note 8, 10:30 pm $20-30<br />

• Terri Lyne Carrington’s Money Jungle with Tia Fuller, Nir Felder, Gerald Clayton,<br />

James Genus Dizzy’s Club 7:30, 9:30 pm $30<br />

êMelissa Aldana Dizzy’s Club 11 pm $10<br />

• Kendrick Scott Oracle with John Ellis, Mike Moreno, Taylor Eigsti, Joe Sanders<br />

Jazz Standard 7:30, 9:30 pm $20<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 43


Thursday, March 28<br />

êClaire Daly’s Baritone Monk with Steve Hudson, Maryann McSweeney, Peter Grant<br />

Birdland 6 pm $20<br />

êTomasz Stanko New Quartet with David Virelles, Thomas Morgan, Gerald Cleaver<br />

Birdland 8:30, 11 pm $30-40<br />

êBen Wolfe Quintet with JD Allen, Orrin Evans, Donald Edwards and guest<br />

Nicholas Payton Dizzy’s Club 7:30, 9:30 pm $35<br />

êMelissa Aldana Dizzy’s Club 11 pm $10<br />

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston<br />

and guest Aoife O’Donovan Jazz Standard 7:30, 9:30 pm $25<br />

• Mike Clark and Friends with Rachael Z, Mike Zilber, James Genus<br />

Jazz at Kitano 8, 10 pm $10<br />

êNouveau Stride: Lorraine Feather/Stephanie Trick; Zach Resnick Quintet<br />

Metropolitan Room 9:30, 11:30 pm $20<br />

• Harlem Lives!: Manhattan School of Music Afro-Cuban Jazz Orchestra directed by<br />

Bobby Sanabria Borden Auditorium 7:30 pm $12<br />

• Sanda Weigl with Gael Rouilhac, Jake Shulman-Ment, Pablo Aslan, Nick Anderson;<br />

JP Schlegelmilch Cornelia Street Café 8:30, 10 pm $10<br />

• Larry Ham/Woody Witt Duo Smalls 7:30 pm $20<br />

• Sharel Cassity Trio with Dezron Douglas, EJ Strickland<br />

Bar Next Door 8:30, 10:30 pm $12<br />

• Eivind Opsvik’s Overseas with Jacob Sacks, Brandon Seabrook, Kenny Wollesen<br />

Nublu 9 pm<br />

• Matt Lavelle and the 12 Houses with Chris Forbes, Ryan Sawyer, Francois Grillot,<br />

Laura Ortman, Gil Selinger, Anders Nilsson, Mary Cherney, Charles Waters,<br />

Claire de Brunner, Ras Moshe, Catherine Sikora, Tim Stocker<br />

The Firehouse Space 8 pm $10<br />

• Lisa Mezzacappa/Fay Victor Trio with John Finkbeiner<br />

55Bar 7 pm<br />

• Matt Renzi Trio with Dave Ambrosio, Russ Meissner<br />

ShapeShifter Lab 8 pm $8<br />

• Rebecca Martin Rockwood Music Hall 7 pm $15<br />

• Miho Hazama m_unit with Cam Collins, Ryoji Ihara, Andrew Gutauskas,<br />

Matthew Jodrell, Bert Hill, Sara Caswell, Olivia De Prato, Lois Martin, Meaghan Burke,<br />

James Shipp, Sam Harris, Sam Anning, Jake Goldbas and guest Steve Wilson<br />

The Jazz Gallery 9, 10:30 pm $15<br />

• Vadim Neselovskyi Caffe Vivaldi 9:30 pm<br />

• Nicolas Letman-Burtinovic/Cheryl Pyle; Jonathan Goldberger<br />

Lark Café 8 pm<br />

• Chiemi Nakai Latin Jazz Trio with Luques Curtis, Mauricio Herrera; Allegra Levy;<br />

New York Bakery Connection: Antonello Parisi, Joseph Han, Luiz Ebert and guest<br />

Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Steve Elmer Trio Cleopatra’s Needle 7 pm<br />

• Carl Bartlett Jr. The Garage 7 pm<br />

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery,<br />

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake<br />

Village Vanguard 9, 11 pm $25<br />

• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser;<br />

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard<br />

Blue Note 8, 10:30 pm $20-30<br />

Friday, March 29<br />

êFrank Wess Quintet Smoke 7, 9, 10:30 pm $35<br />

êDon Friedman Trio with George Mraz, Matt Wilson<br />

Jazz at Kitano 8, 10 pm $25<br />

êIgBo Duet: Joseph Bowie/Adam Rudolph; Defunkt!: Joseph Bowie, Kim Clarke,<br />

Alex Harding, Tobias Ralph, Adam Klipple<br />

ShapeShifter Lab 8, 9:30 pm $12<br />

êJeff Davis Trio and Friends with Russ Lossing, Eivind Opsvik, Oscar Noriega,<br />

Kirk Knuffke Cornelia Street Café 9, 10:30 pm $15<br />

• Miles Okazaki Quartet with Ben Wendel, Hans Glawischnig, Dan Weiss<br />

The Jazz Gallery 9, 10:30 pm $20<br />

• Marcus Strickland Quartet Smalls 10:30 pm $20<br />

• Jack Wilkins Trio with Andy McKee, Mike Clark<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Nicky Parrott Knickerbocker Bar and Grill 9:45 pm $5<br />

• Benny Benack Band with Adam Larson, Armand Hirsch, Emmet Cohen,<br />

Raviv Markovitz, Jimmy Macbride Metropolitan Room 9:30 pm $20<br />

• Kristin Norderval, Kevin Norton, Katherine Liberovskaya<br />

Experimental Intermedia 9 pm<br />

• Paula Jaakkola; Samantha Carlson Jazz’tet with Joe Alterman, Nathaniel Schroeder;<br />

Justin Purtill and Trio with Dan Blake, Haggai Cohen Milo, Lee Fish<br />

Somethin’ Jazz Club 7, 9, 11 pm $10<br />

• Sam Kulok Trio Tomi Jazz 9 pm $10<br />

• Joonsam Lee Trio Cleopatra’s Needle 8 pm<br />

• Rob Edwards Quartet; Joey Morant Trio<br />

The Garage 6, 10:30 pm<br />

êTomasz Stanko New Quartet with David Virelles, Thomas Morgan, Gerald Cleaver<br />

Birdland 8:30, 11 pm $30-40<br />

êBen Wolfe Quintet with JD Allen, Orrin Evans, Donald Edwards and guest<br />

Nicholas Payton Dizzy’s Club 7:30, 9:30, 11:30 pm $35<br />

êMelissa Aldana Dizzy’s Club 12:45 am $20<br />

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston<br />

and guest Aoife O’Donovan Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

• Eugene Marlow Heritage Ensemble Nuyorican Poets Café 7:30 pm $15<br />

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery,<br />

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake<br />

Village Vanguard 9, 11 pm $25<br />

• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser;<br />

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard<br />

Blue Note 8, 10:30 pm $20-30<br />

• Kendra Shank Quartet with Frank Kimbrough, Dean Johnson, Tony Moreno<br />

55Bar 6 pm<br />

Saturday, March 30<br />

êPapo Vazquez BAMCafé 9 pm<br />

êKris Davis Cornelia Street Café 9, 10:30 pm $15<br />

• David Arner, Pauline Oliveros, Doug Van Nort and FILTER<br />

Roulette 8 pm $15<br />

• Underground Horns; Brown Rice Family<br />

92YTribeca 9 pm $12<br />

• Lil Phillips Sistas’ Place 9, 10:30 pm $25<br />

• De Akokán: Pavel Urkiza, Ricardo Pons, Yunior Terry, Tony Rosa<br />

The Jazz Gallery 9, 10:30 pm $20<br />

êJerome Sabbagh Trio with Joe Martin, Billy Drummond<br />

Bar Next Door 7:30, 9:30, 11:30 pm $12<br />

• Chardavoine Quintet Metropolitan Room 11:30 pm $20<br />

• Freeman Runs the Voodoo Down: David Freeman, Mike Noordzy, Mike Tichy,<br />

Hayes Greenfield and guests Branded Saloon 9 pm<br />

• Ryan Hayden’s Exploring Silver Quintet with Paul Nedzela, Bruce Harris,<br />

Rick Germanson, Yasushi Nakamura<br />

Oceana Restaurant 9 pm<br />

• New Jazz Messengers: Liam Werner, Coleman Hughes, Ryan Park-Chan, Jacob Gelber,<br />

Wes Troeger, Orange Julius; Fredrick Levore; Ervin Dhimo Trio with Steve Hunt,<br />

Vancil Cooper Somethin’ Jazz Club 5, 7, 9 pm $10<br />

• Renaud Penant Trio Cleopatra’s Needle 8 pm<br />

êFrank Wess Quintet Smoke 7, 9, 10:30 pm $35<br />

êDon Friedman Trio with George Mraz, Matt Wilson<br />

Jazz at Kitano 8, 10 pm $25<br />

êIgBo Duet: Joseph Bowie/Adam Rudolph; Moving Pictures Octet: Adam Rudolph,<br />

Joseph Bowie, Graham Haynes, Ralph Jones, James Hurt, Kenny Wessel,<br />

Jerome Harris, Matt Kilmer ShapeShifter Lab 8, 9:30 pm $12<br />

• Peter and Williams Anderson Octet; Marcus Strickland Quartet<br />

Smalls 7:30, 10:30 pm $20<br />

• Nicky Parrott Knickerbocker Bar and Grill 9:45 pm $5<br />

44 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

êTomasz Stanko New Quartet with David Virelles, Thomas Morgan, Gerald Cleaver<br />

Birdland 8:30, 11 pm $30-40<br />

êBen Wolfe Quintet with JD Allen, Orrin Evans, Donald Edwards and guest<br />

Nicholas Payton Dizzy’s Club 7:30, 9:30, 11:30 pm $45<br />

êMelissa Aldana Dizzy’s Club 12:45 am $20<br />

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston and<br />

guest Aoife O’Donovan Jazz Standard 7:30, 9:30, 11:30 pm $30<br />

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery,<br />

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake<br />

Village Vanguard 9, 11 pm $25<br />

• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser;<br />

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard<br />

Blue Note 8, 10:30 pm $20-30<br />

• Manu Koch and Filtron M with Panagiotis Andreou, Mauricio Zottarelli,<br />

Sebastian Nickoll Blue Note 12:30 am $10<br />

• Dave Kain Group; Champian Fulton Trio; Virginia Mayhew Quartet<br />

The Garage 12, 6, 10:30 pm<br />

Sunday, March 31<br />

êSean Moran Small Elephant Band with Mike McGinnis, Chris Dingman,<br />

Reuben Radding, Harris Eisenstadt<br />

Barbès 7 pm $10<br />

êDarius Jones’ Man’ish Boy Trio with Cooper-Moore, Jason Nazary; Lisa Mezzacappa’s<br />

Bait & Switch with Matt Nelson, John Finkbeiner, Vijay Anderson<br />

ShapeShifter Lab 8, 9 pm $12<br />

• Rachel Brotman Quartet with Yago Vazuez, Zach Lane, Anthony Taddeo;<br />

Maria Neckham Cornelia Street Café 8:30, 10 pm $10<br />

• Jorge Sylvester Ace Collective with Nora McCarthy, Waldron “Mahdi” Ricks,<br />

Pablo Vergara, Donald Nicks, Kenny Grohowski<br />

Arlene’s Grocery 7 pm $10<br />

• Broc Hempel, Sam Trapchak, Christian Coleman with guest Greg Ward<br />

Dominie’s Astoria 9 pm<br />

• Mike Rood Trio with Rick Rosato, Rogério Boccato<br />

Bar Next Door 8, 10 pm $12<br />

• Timaeus: Douglas Bradford, Zack Lober, Cody Brown; Secret Architecture:<br />

Fraser Campbell, Wade Ridenhour, Julian Smith, Zach Mangan<br />

Caffe Vivaldi 7, 9 pm $10<br />

• Alejandro T. Acierto; Billy Stein/Michael Moss<br />

ABC No-Rio 7 pm $5<br />

• Roots and Fruits Of Jazz: Boris Kurganov, Alexander Ratmansky, Dmitri Kolesnik,<br />

Joe Goretti, Cafe Somethin’ Jazz Club 9 pm $10<br />

• Ben Wolfe Quintet with JD Allen, Orrin Evans, Donald Edwards and guest<br />

Nicholas Payton Dizzy’s Club 7:30, 9:30 pm $35<br />

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston and<br />

guest Aoife O’Donovan Jazz Standard 7:30, 9:30 pm $25<br />

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery,<br />

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake<br />

Village Vanguard 9, 11 pm $25<br />

• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser;<br />

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard<br />

Blue Note 8, 10:30 pm $20-30<br />

• Cheryl Pyle/Nicolas Letman-Burtinovic; Jake Henry/Sean Ali<br />

Downtown Music Gallery 6 pm<br />

• Ike Sturm Ensemble Saint Peter’s 5 pm<br />

• Amy Cervini’s Jazz Kids! 55Bar 2 pm $5<br />

• Takuya Kuroda Sextet with Corey King, Jamaal Sawyer, Takeshi Ohbayashi,<br />

Rashaan Carter, Adam Jackson Blue Note 12:30, 2:30 pm $29.50<br />

• Roz Corral Trio with Gilad Hekselman, Boris Kozlov<br />

North Square Lounge 12:30, 2 pm<br />

Nora McCarthy<br />

Voice Music Words<br />

Classic●Contemporary●Free Jazz●Poetry<br />

www.noramccarthy.com<br />

●New CD Available @CD Baby<br />

In The Language of Dreams<br />

“In The Language of Dreams is an explosion of<br />

imagination, a dazzling display of music and words, as<br />

well as philosophy.” Florence Wetzel 2012<br />

www.asmalldreaminred.com<br />

Nora McCarthy - Nu Jazz Projects<br />

Teaching/Workshops<br />

www.thezenofsinging.com<br />

Free Consultation<br />

Private Lessons/Ensemble Work<br />

@McARTMusic<br />

REGULAR ENGAGEMENTS<br />

MONDAYS<br />

• Tom Abbott Big Bang Big Band Swing 46 8:30 pm<br />

• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am<br />

• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125<br />

• Bryan Beninghove’s Hangmen ZirZamin 9:30 pm<br />

• Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm<br />

• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm<br />

• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm<br />

• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm<br />

• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)<br />

• Joel Forrester solo Brandy Library 8 pm<br />

• George Gee Swing Orchestra Gospel Uptown 8 pm<br />

• Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE)<br />

• Grove Street Stompers Arthur’s Tavern 7 pm<br />

• JFA Jazz Jam Local 802 7 pm<br />

• Jam Session Cleopatra’s Needle 8 pm<br />

• Les Paul Trio with guests Iridium 8, 10 pm $35<br />

• Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm<br />

• Stan Rubin All-Stars Charley O’s 8:30 pm<br />

• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30<br />

• Diego Voglino Jam Session The Village Lantern 9:30 pm<br />

• Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm)<br />

TUESDAYS<br />

• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)<br />

• Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI)<br />

• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm<br />

• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN)<br />

• George Gee Swing Orchestra Swing 46 8:30 pm<br />

• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT)<br />

• Art Hirahara Trio Arturo’s 8 pm<br />

• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm<br />

• Sandy Jordan and Larry Luger Trio Notaro 8 pm<br />

• Mike LeDonne Quartet; Mike DiRubbo B3-3 Smoke 7, 9, 10:30, 11:30 pm<br />

• Metro Room Jazz Jam with guests Metropolitan Room 11:30 pm $10<br />

• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm<br />

• Annie Ross The Metropolitan Room 9:30 pm $25<br />

• Jam Session Cleopatra’s Needle 8 pm<br />

• Slavic Soul Party Barbès 9 pm $10<br />

• Diego Voglino Jam Session The Fifth Estate 10 pm<br />

WEDNESDAYS<br />

• Joe Alterman Caffe Vivaldi 9:30 pm<br />

• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm<br />

• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm<br />

• Brianna Thomas Quartet Smoke 11:30 pm<br />

• Walter Fischbacher Trio Water Street Restaurant 8 pm<br />

• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm<br />

• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm<br />

• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12<br />

• Guillaume Laurent Trio Bar Tabac 7 pm<br />

• Jake K. Leckie Trio Kif Bistro 8 pm<br />

• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI)<br />

• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm<br />

• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)<br />

• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm<br />

• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM)<br />

• Alex Obert’s Hollow Bones Via Della Pace 10 pm<br />

• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20<br />

• Saul Rubin Vocalist Series Zeb’s 8 pm $10<br />

• Stan Rubin Orchestra Swing 46 8:30 pm<br />

• David Schnug Papa’s Gino’s Restaurant 8:30 pm<br />

• Alex Terrier Trio Antibes Bistro 7:30 pm<br />

• Justin Wert/Corcoran Holt Benoit 7 pm<br />

• Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm<br />

• Bill Wurtzel Duo Velour Lounge 6:30 pm<br />

THURSDAYS<br />

• Jason Campbell Trio Perk’s 8 pm<br />

• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT)<br />

• Eric DiVito The Flatiron Room 8 pm<br />

• Gregory Generet Smoke 7, 9, 10:30 pm<br />

• Jazz Open Mic Perk’s 8 pm<br />

• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm<br />

• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)<br />

FRIDAYS<br />

• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm<br />

• Deep Pedestrian Sintir 8 pm<br />

• Charles Downs’ Centipede The Complete Music Studio 7 pm<br />

• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm<br />

• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10<br />

• Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm<br />

• Tommy Igoe Birdland Big Band Birdland 5 pm $25<br />

• Kengo Nakamura Trio Club A Steakhouse 11 pm<br />

• Brian Newman Quartet Duane Park 10:30 pm<br />

• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)<br />

• Richard Russo Quartet Capital Grille 6:30 pm<br />

• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT)<br />

• Bill Saxton and Friends Bill’s Place 9, 11 pm $15<br />

• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT)<br />

• Rakiem Walker Project Shrine 6 pm<br />

SATURDAYS<br />

• Cyrille Aimee The Cupping Room 8:30 pm<br />

• Avalon Jazz Quartet Matisse 8 pm<br />

• Candy Shop Boys Duane Park 8, 10:30 pm<br />

• Jesse Elder/Greg RuggieroRothmann’s 6 pm<br />

• Joel Forrester solo Indian Road Café 11 am<br />

• Guillaume Laurent/Luke Franco Casaville 1 pm<br />

• Johnny O’Neal Smoke 11:45 pm<br />

• Frank Owens Open Mic Zeb’s 1 pm<br />

• Skye Jazz Trio Jack 8:30 pm<br />

• Michelle Walker/Nick Russo Anyway Café 9 pm<br />

• Bill Wurtzel Duo Henry’s 12 pm<br />

SUNDAYS<br />

• Avalon Jazz Quartet The Lambs Club 11 am<br />

• Birdland Jazz Party Birdland 6 pm $25<br />

• Marc Devine Trio TGIFriday’s 6 pm<br />

• JaRon Eames/Emme Kemp Eats 6 pm<br />

• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm<br />

• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm<br />

• Sean Fitzpatrick and Friends Ra Café 1 pm<br />

• Joel Forrester solo Grace Gospel Church 11 am<br />

• Nancy Goudinaki’s Trio Kellari Taverna 12 pm<br />

• Enrico Granafei solo Sora Lella 7 pm<br />

• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm<br />

• Annette St. John; Allan Harris; Roxy Coss Smoke 11:30 am, 7, 11:30 pm<br />

• Bob Kindred Group Café Loup 12:30 pm<br />

• Nate Lucas All Stars Ginny’s Supper Club 7 pm<br />

• Alexander McCabe Trio CJ Cullens Tavern 5 pm<br />

• Junior Mance Trio Café Loup 6:30 pm<br />

• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30<br />

• Lu Reid Jam Session Shrine 4 pm<br />

• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm<br />

• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm<br />

• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm<br />

• Cidinho Teixeira Zinc Bar 10, 11:30 1 am<br />

• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm<br />

• Brian Woodruff Jam Blackbird’s 9 pm


CLUB DIRECTORY<br />

• 1st Reformed Church of Jamaica 159-29 90th Avenue<br />

Subway: J, Z to 75th Street<br />

• 17 Frost Theater of the Arts 17 Frost Street (646-389-2017)<br />

Subway: L to Bedford Avenue www.17frost.com<br />

• 55Bar 55 Christopher Street (212-929-9883)<br />

Subway: 1 to Christopher Street www.55bar.com<br />

• 92nd Street Y Weill Art Gallery Lexington Avenue at 92nd Street<br />

(212-415-5500) Subway: 6 to 96th Street www.92y.org<br />

• 92YTribeca 200 Hudson Street<br />

(212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org<br />

• ABC No-Rio 156 Rivington Street (212-254-3697)<br />

Subway: J,M,Z to Delancey Street www.abcnorio.org<br />

• Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street<br />

(212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org<br />

• Afrikan Poetry Theatre 176-03 Jamaica Avenue, Queens<br />

(718-523-3312) Subway: F to 179th Street<br />

• Allen Room Broadway at 60th Street, 5th floor (212-258-9800)<br />

Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org<br />

• American Folk Art Museum 45 W 53rd Street (212-265-1040)<br />

Subway: E to 53rd Street www.folkartmuseum.org<br />

• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street<br />

www.anbealbochtcafe.com<br />

• Antibes Bistro 112 Suffolk Street (212-533-6088)<br />

Subway: J, Z to Essex Street www.antibesbistro.com<br />

• Anyway Café 34 E. 2nd Street (212-533-3412)<br />

Subway: F to Second Avenue<br />

• Apollo Theater & Music Café 253 W. 125th Street (212-531-5305)<br />

Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org<br />

• Ardesia Wine Bar 510 W. 52nd Street<br />

(212-247-9191) Subway: C to 50th Street www.ardesia-ny.com<br />

• Arlene’s Grocery 95 Stanton Street<br />

(212-358-1633) Subway: F, V to Second Avenue<br />

• Arthur’s Tavern 57 Grove Street (212-675-6879)<br />

Subway: 1 to Christopher Street www.arthurstavernnyc.com<br />

• Arturo’s 106 W. Houston Street (at Thompson Street)<br />

(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street<br />

• Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue<br />

• Avery Fisher Hall (at Lincoln Center) 1941 Broadway at 65th Street<br />

(212-875-5030) Subway: 1 to 66th Street www.lincolncenter.org<br />

• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn<br />

(718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5<br />

to Atlantic Avenue www.bam.org<br />

• Bflat 277 Church Street (between Franklin and White Streets)<br />

Subway: 1, 2 to Franklin Streets<br />

• The Backroom 627 5th Avenue (718-768-0131)<br />

Subway: D, N, R to Prospect Avenue www.freddysbar.com<br />

• Bar Next Door 129 MacDougal Street (212-529-5945)<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com<br />

• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)<br />

Subway: F to 7th Avenue www.barbesbrooklyn.com<br />

• Benoit 60 W. 55th Street<br />

Subway: F to 57th Street, N, Q, R,W to 57th Street<br />

• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)<br />

(212-281-0777) Subway: 2, 3 to 125th Street<br />

• Birdland 315 W. 44th Street (212-581-3080)<br />

Subway: A, C, E, to 42nd Street www.birdlandjazz.com<br />

• Blackbird’s 41-19 30th Avenue (718-943-6898)<br />

Subway: R to Steinway Street www.blackbirdsbar.com<br />

• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com<br />

• Borden Auditorium Broadway and 122nd Street<br />

(212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu<br />

• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and<br />

Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com<br />

• Brandy Library 25 N. Moore Street<br />

(212-226-5545) Subway: 1 to Franklin Street<br />

• Brecht Forum 451 W. Street (212-242-4201)<br />

Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org<br />

• Brooklyn Bowl 61 Wythe Avenue<br />

(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com<br />

• Brooklyn Center for the Performing Arts 2900 Campus Road<br />

Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.com<br />

• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn<br />

Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org<br />

• Brooklyn LaunchPad 721 Franklin Avenue<br />

(718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org<br />

• Brooklyn Public Library Central Branch<br />

Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue<br />

• CJ Cullens Tavern 4340 White Plains Road, Bronx<br />

Subway: 2 to Nereid Avenue/238th Street<br />

• Café Carlyle 35 E. 76th Street (212-744-1600)<br />

Subway: 6 to 77th Street www.thecarlyle.com<br />

• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues<br />

(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com<br />

• Caffe Vivaldi 32 Jones Street<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com<br />

• Capital Grille 120 Broadway<br />

(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com<br />

• Casaville 633 Second Avenue<br />

(212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com<br />

• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace<br />

(212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com<br />

• Charley O’s 1611 Broadway at 49th Street (212-246-1960)<br />

Subway: N, R, W to 49th Street<br />

• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484)<br />

Subway: C to Clinton-Washington Avenues www.bistrolola.com<br />

• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250)<br />

Subway: C to Lafayette Avenue www.chezoskar.com<br />

• Church of the Intercession 550 W. 155th Street<br />

(212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org<br />

• Clemente Soto Velez Cultural Center 107 Suffolk Street<br />

Subway: F, J, M, Z to Delancey Street www.csvcenter.com<br />

• Cleopatra’s Needle 2485 Broadway (212-769-6969)<br />

Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com<br />

• Club A Steakhouse 240 E. 58th Street (212-618-4190)<br />

Subway: 4, 5, 6 to 59th Street www.clubasteak.com<br />

• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue<br />

• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn<br />

(718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com<br />

• Cornelia Street Café 29 Cornelia Street (212-989-9319)<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com<br />

• The Counting Room 44 Berry Street (718-599-1860)<br />

Subway: L to Bedford Avenue www.thecountingroombk.com<br />

• Creole 2167 3rd Avenue at 118th Street<br />

(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com<br />

• The Cupping Room 359 West Broadway between Broome and Grand Street<br />

(212-925-2898) Subway: A, C, E to Canal Street<br />

• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)<br />

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org<br />

• Domaine Wine Bar 50-04 Vernon Boulevard<br />

(718-784-2350) Subway: 7 to Vernon Boulevard-Jackson Avenue<br />

www.domainewinebar.com<br />

• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue<br />

• Douglass Street Music Collective 295 Douglass Street<br />

Subway: R to Union Street www.295douglass.org<br />

• Downtown Music Gallery 13 Monroe Street (212-473-0043)<br />

Subway: F to East Broadway www.downtownmusicgallery.com<br />

• Drom 85 Avenue A (212-777-1157)<br />

Subway: F to Second Avenue www.dromnyc.com<br />

• Duane Park 157 Duane Street (212-732-5555)<br />

Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com<br />

• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)<br />

Subway: C, E to Spring Street www.earinn.com<br />

• Eats Restaurant 1055 Lexington Avenue<br />

(212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com<br />

• Experimental Intermedia 224 Centre Street at Grand, Third Floor<br />

(212-431-5127) Subway: 6 to Canal Street<br />

www.experimentalintermedia.org<br />

• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)<br />

Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org<br />

• The Fifth Estate 506 5th Avenue, Brooklyn<br />

(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com<br />

• The Firehouse Space 246 Frost Street<br />

Subway: L to Graham Avenue www.thefirehousespace.org<br />

• The Flatiron Room 37 West 26th Street<br />

(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com<br />

• Flushing Town Hall 137-35 Northern Boulevard<br />

(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org<br />

• For My Sweet Restaurant 1103 Fulton Street at Claver Place<br />

(718-857-1427) Subway: C to Franklin Avenue<br />

• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn<br />

(718-625-9339) Subway: G to Fulton Street<br />

• The Garage 99 Seventh Avenue South (212-645-0600)<br />

Subway: 1 to Christopher Street www.garagerest.com<br />

• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard<br />

(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com<br />

• Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343)<br />

Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com<br />

• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard<br />

(212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com<br />

• Grace Gospel Church 589 E. 164th Street<br />

(718-328-0166) Subway: 2, 5 to Prospect Avenue<br />

• The Greene Space 44 Charlton Street<br />

(646-829-4400) Subway: 1 to Houston Street www.thegreenespace.org<br />

• Greenwich House Music School 46 Barrow Street<br />

(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org<br />

• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street<br />

(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org<br />

• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street<br />

• Honeycomb Playhouse 735a Saint Nicholas Avenue<br />

(917-328-9342) Subway: A, B, C, D to 145th Street<br />

• Ibeam Brooklyn 168 7th Street between Second and Third Avenues<br />

Subway: F to 4th Avenue www.ibeambrooklyn.com<br />

• Indian Road Café 600 W. 218th Street @ Indian Road<br />

(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com<br />

• Iridium 1650 Broadway at 51st Street (212-582-2121)<br />

Subway: 1,2 to 50th Street www.theiridium.com<br />

• JACK 505 Waverly Avenue<br />

(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org<br />

• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street<br />

• Jazz 966 966 Fulton Street<br />

(718-638-6910) Subway: C to Clinton Street www.jazz966.com<br />

• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)<br />

Subway: 4, 5, 6 to Grand Central www.kitano.com<br />

• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)<br />

Subway: N, R to 28th Street www.jazzgallery.org<br />

• Jazz Museum in Harlem 104 E.126th Street (212-348-8300)<br />

Subway: 6 to 125th Street www.jazzmuseuminharlem.org<br />

• Jazz Standard 116 E. 27th between Park and Lexington Avenue<br />

(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net<br />

• Joe G’s 244 W. 56th Street (212-765-3160)<br />

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle<br />

• Joe’s Pub 425 Lafayette Street (212-539-8770)<br />

Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com<br />

• Juilliard School Peter Jay Sharp Theater 155 W. 65th Street<br />

(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu<br />

• Kellari Taverna 19 W. 44th Street (212-221-0144)<br />

Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us<br />

• Knickerbocker Bar & Grill 33 University Place (212-228-8490)<br />

Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com<br />

• Korzo 667 5th Avenue, Brooklyn (718-285-9425)<br />

Subway: R to Prospect Avenue www.korzorestaurant.com<br />

• The Lambs Club 132 W. 44th Street<br />

212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com<br />

• Langston Hughes Library 100-01 Northern Boulevard, Queens<br />

Subway: 7 to 103rd Street<br />

• Lark Café 1007 Church Avenue, Brooklyn<br />

(718-469-0140) Subway: Q to Beverly Road www.larkcafe.com<br />

• Le Poisson Rouge 158 Bleecker Street (212-228-4854)<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com<br />

• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues<br />

(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org<br />

• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114)<br />

Subway: 1 to 145th Street www.londelsrestaurant.com<br />

• L’ybane 709 8th Avenue (212-582-2012)<br />

Subway: A, C, E to 42nd Street-Port Authority www.lybane.com<br />

• McDonald’s 160 Broadway between Maiden Lane and Liberty Street<br />

(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com<br />

• Matisse 924 Second Avenue<br />

(212-546-9300) Subway: 6 to 51st Street www.matissenyc.com<br />

• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam<br />

(212-501-3330) Subway: 1 to 66th Street-Lincoln Center<br />

www.kaufman-center.org<br />

• Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street<br />

(212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org<br />

• Metropolitan Room 34 W. 22nd Street (212-206-0440)<br />

Subway: N, R to 23rd Street www.metropolitanroom.com<br />

• Miller Theatre 2960 Broadway and 116th Street<br />

(212-854-7799) Subway: 1 to 116th Street-Columbia University<br />

www.millertheater.com<br />

• Museum Of Chinese In America 215 Centre Street<br />

(212-619-4785) Subway: J, N, Q, Z, 6 to Canal Street www.mocanyc.org<br />

• Music Hall of Williamsburg 66 North 6th Street<br />

(718-486-5400) Subway: L to Bedford Avenue<br />

www.musichallofwilliamsburg.com<br />

• NYC Baha’i Center 53 E. 11th Street (212-222-5159)<br />

Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org<br />

• New School Arnhold Hall 55 West 13th Street<br />

(212-229-5600) Subway: F, V to 14th Street www.newschool.edu<br />

• Nino’s Tuscany 117 W. 58th Street (212-757-8630)<br />

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com<br />

• North Square Lounge 103 Waverly Place (212-254-1200)<br />

Subway: A, B, C, E, F to West 4th Street www.northsquareny.com<br />

• Notaro Second Avenue between 34th & 35th Streets (212-686-3400)<br />

Subway: 6 to 33rd Street<br />

• Nublu 62 Avenue C between 4th and 5th Streets<br />

(212-979-9925) Subway: F, M to Second Avenue www.nublu.net<br />

• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C<br />

(212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org<br />

• Oceana Restaurant 120 W. 49th Street (212-759-5941)<br />

Subway: B, D, F, M to 47-50 Streets - Rockefeller Center<br />

www.oceanarestaurant.com<br />

• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and<br />

160th Streets (212-781-6595) Subway: C to 155th Street<br />

www.parlorentertainment.com<br />

• Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway<br />

• Pianos 158 Ludlow Street Subway: F, V to Second Avenue<br />

• The Players Club 16 Gramercy Park South<br />

(212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org<br />

• The Plaza Hotel Rose Club Fifth Avenue at Central Park South<br />

(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com<br />

• The Queens Kickshaw 40-17 Broadway (718-777-0913)<br />

Subway: E, M, R to Steinway Street www.queenskickshaw.com<br />

• Rockwood Music Hall 196 Allen Street (212-477-4155)<br />

Subway: F, M to Second Avenue www.rockwoodmusichall.com<br />

• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800)<br />

Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org<br />

• Roulette 509 Atlantic Avenue<br />

(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org<br />

• Rubin Museum 150 W. 17th Street (212-620-5000)<br />

Subway: A, C, E to 14th Street www.rmanyc.org<br />

• St Augustine’s Church 290 Henry Street<br />

(212-673-5300) Subway: F to East Broadway www.staugnyc.org<br />

• Saint Peter’s Church 619 Lexington Avenue at 54th Street<br />

(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org<br />

• San Martin Restaurant 143 E. 49 Street between Lexington and Park<br />

Avenues (212-832-0888) Subway: 6 to 51st Street<br />

• Sapphire NYC 333 E. 60th Street (212-421-3600)<br />

Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com<br />

• Schimmel Center for the Arts 3 Spruce Street<br />

(212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street www.pace.edu<br />

• The Schomburg Center 515 Macolm X Boulevard<br />

(212-491-2200) Subway: 2, 3 to 135th Street<br />

www.nypl.org/research/sc/sc.html<br />

• Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza<br />

www.seedsbrooklyn.org<br />

• ShapeShifter Lab 18 Whitwell Place<br />

(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com<br />

• Showman’s 375 W. 125th Street at Morningside) (212-864-8941)<br />

Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com<br />

• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)<br />

Subway: B, 2, 3 to 135th Street www.shrinenyc.com<br />

• Sintir 424 E. 9th Street between Avenue A and First Avenue<br />

(212-477-4333) Subway: 6 to Astor Place<br />

• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn<br />

(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org<br />

• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)<br />

Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com<br />

• Smoke 2751 Broadway between 105th and 106th Streets<br />

(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com<br />

• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street<br />

• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657)<br />

Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street<br />

www.somethinjazz.com/ny<br />

• Sora Lella 300 Spring Street (212-366-4749)<br />

Subway: C, E to Spring Street www.soralellanyc.com<br />

• Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue<br />

• Stephen Wise Free Synagogue 30 W. 68th Street<br />

(212-877-4050) Subway: 1 to 66th Street www.swfs.org<br />

• The Stone Avenue C and 2nd Street<br />

Subway: F to Second Avenue www.thestonenyc.com<br />

• Swing 46 349 W. 46th Street (646-322-4051)<br />

Subway: A, C, E to 42nd Street www.swing46.com<br />

• Sycamore 1118 Cortelyou Road (347-240-5850)<br />

Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com<br />

• Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre<br />

2537 Broadway at 95th Street (212-864-5400)<br />

Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org<br />

• Tea Lounge 837 Union Street, Brooklyn (718-789-2762)<br />

Subway: N, R to Union Street www.tealoungeNY.com<br />

• Terraza 7 40-19 Gleane Street (718-803-9602)<br />

Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com<br />

• Tomi Jazz 239 E. 53rd Street<br />

(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com<br />

• Town Hall 123 W. 43rd Street (212-997-1003)<br />

Subway: 1, 2, 3, 7 to 42nd Street-Times Square www.the-townhall-nyc.org<br />

• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460)<br />

Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org<br />

• University of the Streets 130 E. 7th Street<br />

(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org<br />

• University Settlement 184 Eldridge Street (212-674-9120)<br />

Subway: F, M to Second Avenue www.universitysettlement.org<br />

• Velour Lounge 297 10th Avenue<br />

(212-279-9707) Subway: C, E to 23rd Street www.velournyc.com<br />

• Via Della Pace 48 E. 7th Street and Second Avenue<br />

(212-253-5803) Subway: 6 to Astor Place<br />

• The Village Lantern 167 Bleecker Street<br />

(212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street<br />

• The Village Trattoria 135 W. 3rd Street (212-598-0011)<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com<br />

• Village Vanguard 178 Seventh Avenue South at 11th Street<br />

(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com<br />

• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens<br />

(718-721-3010) Subway: N to Ditmars Blvd-Astoria<br />

• Walker’s 16 North Moore Street (212-941-0142)<br />

Subway: A, C, E to Canal Street<br />

• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)<br />

Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com<br />

• Water Street Restaurant 66 Water Street (718-625-9352)<br />

Subway: F to York Street, A, C to High Street<br />

• Weill Recital Hall at Carnegie Hall 154 W. 57th Street at Seventh Avenue<br />

(212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org<br />

• Whitney Museum 1845 Madison Avenue at 75th Street<br />

(800-944-8639) Subway: 6 to 77th Street www.whitney.org<br />

• Williamsburg Music Center 367 Bedford Avenue<br />

(718-384-1654) Subway: L to Bedford Avenue<br />

• York College Performing Arts Center 94-20 Guy R. Brewer Blvd., Queens<br />

Subway: E to Jamaica Center www.york.cuny.edu<br />

• Zankel Hall 881 Seventh Avenue at 57th Street<br />

(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org<br />

• Zeb’s 223 W. 28th Street<br />

212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com<br />

• Zinc Bar 82 W. 3rd Street (212-477-8337)<br />

Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com<br />

• ZirZamin 90 West Houston Street<br />

(646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street<br />

www.zirzaminnyc.com<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 45


(INTERVIEW CONTINUED FROM PAGE 6)<br />

TNYCJR: Then, in 2004, with Arturo O’Farrill and his<br />

Afro Latin Jazz Orchestra, you turned out a very<br />

different type of Latin jazz album. Can you talk a bit<br />

about what led up to this collaboration?<br />

CA: Arturo and I had the experience to work together<br />

when he and the orchestra were part of Lincoln Center.<br />

With that experience there were a lot of people<br />

[involved in the recording] Una Noche Inolvidable,<br />

which was a tribute to some of the greatest Spanish<br />

singers.<br />

Through that Arturo and I talked about<br />

collaborating. The [producer] wanted an approach that<br />

was very, very Latin, trying to do a crossover record.<br />

So I agreed to collaborate because I love Arturo and his<br />

music. We’re very good friends and I was open to<br />

trying something different, in collaboration with other<br />

people and in other styles of music. It was a very<br />

interesting experience to have a coach and sing some<br />

of the songs on that album, that I maybe never would<br />

have chosen personally.<br />

TNYCJR: In 2008 you recorded an almost all-Spanish<br />

album, En Este Momento for Marsalis Music, produced<br />

by Branford Marsalis. What was that like?<br />

CA: I was honored to be called by Joey Calderazzo,<br />

who is Branford’s piano player. He was doing an album<br />

and wanted me to collaborate with him on writing a<br />

couple of songs and singing. Branford was producing<br />

and through that Branford approached me to see if I’d<br />

be interested to be on his label. It was a dream come<br />

true and an honor to have met him, to be approached<br />

by him to be the first vocalist and first female on his<br />

46 March 2013 | THE NEW YORK CITY JAZZ RECORD<br />

label and also to have the chance to work as closely as<br />

I did with him and learn so much.<br />

TNYCJR: Your recordings over the years have become<br />

more personal in their expression. Would you agree?<br />

CA: Yes. It comes with the territory and the confidence<br />

you get on your own, [when] you’re more comfortable<br />

in your own skin. At the beginning I was very shy at<br />

the possibility of showing my compositions. I wanted<br />

to show my perspective about the tradition of jazz and<br />

bring in my roots. And that’s why I chose to sing<br />

standards, a lot of them with a slight introduction to<br />

the rhythm parts of traditional music from more of<br />

South America - not necessarily salsa or Brazilian<br />

music. I’m influenced by that, but that’s not the<br />

tradition where I come from.<br />

TNYCJR: You became a parent not too long ago. How<br />

has this affected your career?<br />

CA: I was very blessed to have [my son, Daniel] now,<br />

when I already have a career built. I don’t know if I<br />

would have felt the same way if I would have had him<br />

12-13 years ago, because the body of work I’ve done<br />

until now has allowed me to take this time and not be<br />

so anxious. But I don’t want to forget that I’m a<br />

performer, an artist, a woman, that I need to write<br />

songs. I have reached out to women musicians who are<br />

mothers and they give me advice because I’m new and<br />

there’s no book. We have a very unusual career. So<br />

with that advice I’ve been pretty much taking him<br />

everywhere and making him part of this life. v<br />

For more information, visit claudiaacuna.com. Acuña is at<br />

Harlem Stage Gatehouse Mar. 27th. See Calendar.<br />

Recommended Listening:<br />

• Claudia Acuña - Wind from the South (Verve, 1999)<br />

• Claudia Acuña - Rhythm of Life (Verve, 2001)<br />

• Claudia Acuña - Luna (MAXJAZZ, 2003)<br />

• Afro-Latin Jazz Orchestra (with Arturo O’Farrill) -<br />

Una Noche Inolvidable (An Unforgettable Night)<br />

(Palmetto, 2004)<br />

• Arturo O’Farrill/Claudia Acuña - In These Shoes<br />

(ZoHo Music, 2007)<br />

• Claudia Acuña - En Este Momento<br />

(Marsalis Music, 2008)<br />

(LABEL CONTINUED FROM PAGE 12)<br />

While Fujii and Tamura do record for other<br />

imprints, so far Libra’s only CD under someone else’s<br />

leadership is 2004’s Yamabuki by Japanese vocalist Koh.<br />

“She is so amazing, that I wanted to introduce her from<br />

Libra,” the pianist says. Fujii also played on the session<br />

and composed some of the material (along with<br />

accordion player Ted Reichman). However Koh’s CD<br />

remains an anomaly. “Sometimes we get emails from<br />

musicians we don’t know asking if Libra can put out<br />

their CDs,” Fujii states. “But we don’t have enough<br />

time and money for that. However if in the future we<br />

find someone we would like to record like Koh we’ll<br />

do so.”<br />

But they may be too busy. Already planned for<br />

Libra’s 2013 schedule are new solo discs by both Fujii<br />

and Tamura, another KAZE CD plus a new recording<br />

by Fujii’s New York Orchestra, which will be the<br />

group’s fourth outing. v<br />

For more information, visit librarecords.com<br />

Sandy Sasso’s latest release “Hands On”<br />

Always swinging,<br />

Always eclectic,<br />

Always Sasso<br />

Available at www.cdbaby.com<br />

or www.sandysasso.com


CHARLES BELL - The pianist was an obscure<br />

figure in ‘60s jazz but did release four albums<br />

between 1960-64, including a pair on Atlantic<br />

and Columbia Records by his Contemporary<br />

Jazz Quartet, and was commissioned to write<br />

a jazz concerto performed by the Pittsburgh<br />

Symphony in 1963. Later he moved from<br />

Pittsburgh to New York to teach music.<br />

Drummer Poogie Bell is his son. Bell died<br />

Dec. 4th at 79.<br />

BRIAN BROWN - A stalwart on the<br />

Australian jazz scene going back to the ‘50s,<br />

primarily in Melbourne, Brown played<br />

soprano and tenor saxophones, flutes,<br />

synthesizers, panpipes and a leather bowhorn.<br />

He released a number of albums as a leader<br />

during the ‘70s-90s, then tripled his<br />

discography over the last decade after retiring<br />

from the Victorian College of the Arts. Brown<br />

died Jan. 27th at 79.<br />

RAHN BURTON - A regular performer at the<br />

Upper West Side club Cleopatra’s Needle, the<br />

pianist had a fateful meeting as a young man<br />

in Columbus, Ohio, hearing saxophonist<br />

Roland Kirk for the first time. Burton would<br />

go on to play with Kirk during the ‘50s, again<br />

for several years during the ‘60s and through<br />

the ‘70s, appearing on albums like The Inflated<br />

March 1<br />

†Glenn Miller 1904-44<br />

†Teddy Powell 1906-1993<br />

†Benny Powell 1930-2010<br />

Gene Perla b.1940<br />

Ralph Towner b.1940<br />

Vinny Golia b.1946<br />

Norman Connors b.1947<br />

Elliott Sharp b.1951<br />

March 2<br />

†Eddie “Lockjaw” Davis<br />

1921-86<br />

†Doug Watkins 1934-62<br />

Buell Neidlinger b.1936<br />

Bob Neloms b.1942<br />

Wolfgang Muthspiel b.1965<br />

March 3<br />

†Barney Bigard 1906-80<br />

†Cliff Smalls 1918-2008<br />

†Jimmy Garrison 1934-76<br />

Luis Gasca b.1940<br />

March 4<br />

Don Rendell b.1926<br />

†Cy Touff 1927-2003<br />

†Barney Wilen 1937-96<br />

David Darling b.1941<br />

Jan Garbarek b.1947<br />

Kermit Driscoll b.1956<br />

Albert Pinton b.1962<br />

Dana Leong b.1980<br />

March 5<br />

†Gene Rodgers 1910-87<br />

†Bill Pemberton 1918-84<br />

†Dave Burns 1924-2009<br />

†Lou Levy 1928-2001<br />

†Wilbur Little 1928-87<br />

†Pee Wee Moore 1928-2009<br />

David Fiuczynski b.1964<br />

Vol. 2<br />

Julius Watkins Sextet (Blue Note)<br />

March 20th, 1955<br />

This was French horn player Julius<br />

Watkins’ second album as a leader<br />

after an August 1954 debut (and<br />

second and final session for Blue<br />

Note). Rejoining Watkins from that<br />

first session are obscure guitarist<br />

Perry Lopez and bassist Oscar<br />

Pettiford, with Hank Mobley<br />

replacing Frank Foster on tenor, Duke<br />

Jordan for George Butcher on piano<br />

and Art Blakey in the drum chair<br />

instead of Kenny Clarke. Watkins<br />

wrote three of the five tunes, the<br />

others a tune by Bennie Harris and an<br />

early version of Jordan’s “Jordu”.<br />

March 6<br />

†Red Callender 1916-92<br />

†Howard McGhee 1918-87<br />

†Wes Montgomery 1925-68<br />

†Ronnie Boykins 1935-80<br />

Charles Tolliver b.1940<br />

Peter Brötzmann b.1941<br />

†Robin Kenyatta 1942-2004<br />

Flora Purim b.1942<br />

Dom Minasi b.1943<br />

Ayelet Rose Gottlieb b.1979<br />

March 7<br />

Alexander von Schlippenbach<br />

b.1938<br />

Herb Bushler b.1939<br />

March 8<br />

†George Mitchell 1899-1972<br />

Dick Hyman b.1927<br />

George Coleman b.1935<br />

†Gabor Szabo 1936-82<br />

†James Williams 1951-2004<br />

Biggi Vinkeloe b.1956<br />

Anat Fort b.1970<br />

March 9<br />

Ornette Coleman b.1930<br />

Keely Smith b.1932<br />

Kali Z. Fasteau b.1947<br />

Zakir Hussain b.1951<br />

†Thomas Chapin 1957-1998<br />

Erica von Kleist b.1982<br />

March 10<br />

†Bix Beiderbecke 1903-31<br />

†Pete Clarke 1911-75<br />

†Don Abney 1923-2000<br />

Louis Moholo b.1940<br />

Mino Cinelu b.1957<br />

Bill Gerhardt b.1962<br />

Ofer Assaf b.1976<br />

Tear and Volunteered Slavery. Burton also<br />

collaborated with other saxophonists, such as<br />

George Adams, Charlie Rouse and Archie<br />

Shepp. He released one album as a leader in<br />

1992 and died Jan. 25th at 79.<br />

JACK DIÉVAL - The pianist’s nickname was<br />

the Debussy of Jazz. In addition to his own<br />

trio, quartet and Jazz Aux Champs-Elysées<br />

All-Stars, he was a member of the Quintette<br />

Du Hot Club De France in the mid ‘40s and<br />

hosted radio and television programs during<br />

the ‘50s-60s. Diéval died Oct. 31st at 91.<br />

STANLEY GREIG - His father was a<br />

drummer and piano tuner and the younger<br />

Greig would go on to play both during a<br />

more-than-50-year career in London, working<br />

with Ken Colyer, Humphrey Lyttelton (during<br />

the ‘50s and again in the ‘80s-90s) and Acker<br />

Bilk. He formed the London Jazz Big Band in<br />

1975 and later mostly helmed his own trio.<br />

Greig died Nov. 18th at 82.<br />

GEORGE GRUNTZ - Possibly the most<br />

famous musician to come out Switzerland,<br />

after some fascinating early recordings - jazz<br />

interpretations of Baroque music; a<br />

collaboration with Tunisian musicians; an<br />

avant garde trio with himself on organ - the<br />

March 11<br />

†Miff Mole 1898-1961<br />

†Mercer Ellington 1919-96<br />

Ike Carpenter b.1920<br />

†Billy Mitchell 1926-2001<br />

†Leroy Jenkins 1932-2007<br />

Vince Giordano b.1952<br />

Judy Niemack b.1954<br />

March 12<br />

Sir Charles Thompson b.1918<br />

†Hugh Lawson 1935-97<br />

Ned Goold b.1959<br />

Peter Knight b.1965<br />

Vinson Valega b.1965<br />

March 13<br />

†Dick Katz 1924-2009<br />

Roy Haynes b.1926<br />

†Blue Mitchell 1930-79<br />

Michael Jefry Stevens b.1951<br />

Akira Tana b.1952<br />

Terence Blanchard b.1962<br />

Shoko Nagai b.1971<br />

March 14<br />

†Joe Mooney 1911-75<br />

†Les Brown 1912-2001<br />

†Sonny Cohn 1925-2006<br />

Mark Murphy b.1932<br />

†Shirley Scott 1934-2002<br />

Dred Scott b.1964<br />

March 15<br />

†Jimmy McPartland 1907-91<br />

†Spencer Clark 1908-1998<br />

†Harry James 1916-83<br />

Bob Wilber b.1928<br />

Charles Lloyd b.1938<br />

Marty Sheller b.1940<br />

Joachim Kühn b.1944<br />

Anne Mette Iversen b.1972<br />

Legends Live<br />

Cannonball Adderley (Jazzhaus)<br />

March 20th, 1969<br />

Saxist Cannonball Adderley first<br />

worked with his brother, cornetist<br />

Nat, on their shared 1955 debut under<br />

Kenny Clarke. Pianist Joe Zawinul<br />

became a fixture in their band starting<br />

in 1961. By 1966, bassist Victor Gaskin<br />

and drummer Roy McCurdy<br />

completed the quintet that appears on<br />

this newly issued 1969 concert<br />

recording from Stuttgart, Germany.<br />

Nat Adderley and Joe Zawinul’s<br />

compositions make up most of the<br />

program, the remainder filled out by<br />

Leonard Bernstein, Roebuck Staples<br />

and Dizzy Gillespie.<br />

IN MEMORIAM<br />

BIRTHDAYS<br />

March 16<br />

†Ruby Braff 1927-2003<br />

†Tommy Flanagan 1930-2001<br />

Keith Rowe b.1940<br />

John Lindberg b.1959<br />

Woody Witt b.1969<br />

March 17<br />

Paul Horn b.1930<br />

†Grover Mitchell 1930-2003<br />

Karel Velebny b.1931<br />

Jessica Williams b.1948<br />

Abraham Burton b.1971<br />

Daniel Levin b.1974<br />

March 18<br />

†Al Hall 1915-88<br />

†Sam Donahue 1918-74<br />

Bill Frisell b.1951<br />

Joe Locke b.1959<br />

March 19<br />

†Curley Russell 1917-86<br />

†Lennie Tristano 1919-78<br />

Bill Henderson b.1930<br />

Mike Longo b.1939<br />

David Schnitter b.1948<br />

Chris Brubeck b.1952<br />

Michele Rosewoman b.1953<br />

Eliane Elias b.1960<br />

March 20<br />

Marian McPartland b.1920<br />

Sonny Russo b.1929<br />

Harold Mabern b.1936<br />

Jon Christensen b.1943<br />

March 21<br />

†Hank D’Amico 1915-65<br />

Mike Westbrook b.1936<br />

Herbert Joos b.1940<br />

Amina Claudine Myers b.1942<br />

ON THIS DAY<br />

by Andrey Henkin<br />

Flight<br />

Howard Riley (Turtle-FMR)<br />

March 20th, 1971<br />

Among the most interesting, though<br />

somewhat lost to history, entries in<br />

mid-period British jazz were the trio<br />

works of pianist Howard Riley. With<br />

bassist Barry Guy (and a revolving<br />

cast of drummers), the group released<br />

six albums between 1967’s impossibleto-find<br />

Discussions to the 1974-75<br />

release Overground. This session, on<br />

the short-lived Turtle imprint (briefly<br />

reissued in the ‘90s on FMR), includes<br />

Tony Oxley on drums for the sidelong<br />

tune “Motion” and the four<br />

tunes of the B-side, including the title<br />

track.<br />

pianist/composer/arranger focused his<br />

energies on his Concert Big Band, which<br />

performed and recorded regularly starting in<br />

the ‘70s and featured luminaries of both the<br />

European and American jazz scenes, as well<br />

as guests like Elvin Jones. For 22 years, Gruntz<br />

was the Artistic Director of the Berlin Jazz<br />

Festival (where he often appeared) and was a<br />

regular recipient of commissions from various<br />

large ensembles. Gruntz died Jan. 10th at 80.<br />

LAWRENCE D. “BUTCH” MORRIS - The<br />

cornetist coined the term “Conduction”, a<br />

directed system for ensemble improvisation,<br />

which he applied to groups as diverse as jazz<br />

big bands, ethnic string orchestras and<br />

choruses of poets. Brother of bassist Wilbur<br />

Morris, he worked early on as a sideman with<br />

David Murray (whose Big Band Morris would<br />

later direct), Frank Lowe and later Billy Bang,<br />

before devoting himself fully to his nowoften-imitated<br />

method, working with<br />

numerous ensembles throughout the world<br />

(many documented on a series released by<br />

New World Records) and, more locally and<br />

recently, Nublu and The Stone. Morris died<br />

Jan. 29th at 65.<br />

CLAUDE NOBS - It was at age 31 that the<br />

Montreux, Switzerland native organized the<br />

March 22<br />

†Fred Anderson 1929-2010<br />

John Houston b.1933<br />

†Masahiko Togashi 1940-2007<br />

George Benson b.1943<br />

March 23<br />

†Johnny Guarnieri 1917-85<br />

Dave Frishberg b.1933<br />

Dave Pike b.1938<br />

Masabumi Kikuchi b.1940<br />

Gerry Hemingway b.1950<br />

Stefon Harris b.1973<br />

March 24<br />

†King Pleasure 1922-81<br />

Dave MacKay b.1932<br />

Kalaparusha Maurice McIntyre<br />

b.1936<br />

Steve Kuhn b.1938<br />

Paul McCandless b.1947<br />

Steve LaSpina b.1954<br />

Renee Rosnes b.1962<br />

Dave Douglas b.1963<br />

Joe Fiedler b.1965<br />

March 25<br />

Cecil Taylor b.1929<br />

†Paul Motian 1931-2011<br />

†Larry Gales 1936-95<br />

†Lonnie Hillyer 1940-85<br />

Makoto Ozone b.1961<br />

March 26<br />

Abe Bolar b.1908<br />

†Flip Phillips 1915-2001<br />

†Andy Hamilton 1918-2012<br />

†Brew Moore 1924-73<br />

†James Moody 1925-2010<br />

Maurice Simon b.1929<br />

Lew Tabackin b.1940<br />

Hiromi b.1979<br />

On The Korner<br />

Zoot Sims (Pablo)<br />

March 20th, 1983<br />

The inspiration for the sax-playing<br />

Muppet, Zoot Sims began his career<br />

with Woody Herman’s Orchestra in<br />

1947 at the age of 22. Hundreds of<br />

sessions later, Sims worked up to the<br />

end of his life, dying in 1985 at the age<br />

of 59. This live set from San Francisco’s<br />

Keystone Korner was among his last<br />

recordings, Sims appearing with<br />

drummer Shelly Manne’s trio of the<br />

period with pianist Frank Collett and<br />

bassist Monty Budwig. The seventune<br />

program is all standards, music<br />

Sims had played for his whole career<br />

in his inimitable swinging style.<br />

first Montreux Jazz Festival, which has<br />

continued to this day, though “diversifying”<br />

away from jazz, and resulted in live albums<br />

by Bobby Hutcherson, Don Pullen, Dizzy<br />

Gillespie, McCoy Tyner, Miles Davis and Sun<br />

Ra, among others. Nobs also worked for the<br />

European division of Warner, Elektra and<br />

Atlantic Records starting in the ‘70s. Nobs<br />

died Jan. 10th at 76 after a skiing accident.<br />

ROSS TAGGART - The Canadian pianist<br />

was a regular on the Vancouver scene,<br />

working with Hugh Fraser, Cory Weeds and<br />

many other local groups, in addition to<br />

performing and recording with his own. But<br />

Taggart’s career was an international one and<br />

he worked with a number of American<br />

musicians, such as Charles McPherson, both<br />

in Canada and the States, since the ‘90s.<br />

Taggart died Jan. 9th at 45.<br />

FRODE THINGNÆS - The Norwegian<br />

trombonist may not have been as<br />

internationally known as the countrymen<br />

with whom he came up in the early ‘60s (such<br />

as collaborators like Terje Rypdal) but<br />

Thingnæs went on to a solid career leading<br />

various big bands and orchestras throughout<br />

Norway and becoming a prolific composer.<br />

Thingnæs died Nov. 15th at 72.<br />

March 27<br />

†Pee Wee Russell 1906-69<br />

†Ben Webster 1909-73<br />

†Sarah Vaughan 1924-90<br />

†Harold Ashby 1925-2003<br />

†Bill Barron 1927-89<br />

†Burt Collins 1931-2007<br />

Stacey Kent b.1968<br />

March 28<br />

†Paul Whiteman 1890-1967<br />

†Herb Hall 1907-96<br />

†Thad Jones 1923-86<br />

Bill Anthony b.1930<br />

†Tete Montoliu 1933-97<br />

Barry Miles b.1947<br />

Donald Brown b.1954<br />

Orrin Evans b.1975<br />

Jen Shyu b.1978<br />

March 29<br />

†George Chisholm 1915-97<br />

†Pearl Bailey 1918-90<br />

Allen Botschinsky b.1940<br />

†Michael Brecker 1949-2007<br />

March 30<br />

†Ted Heath 1900-69<br />

Lanny Morgan b.1934<br />

Karl Berger b.1935<br />

Marilyn Crispell b.1947<br />

Dave Stryker b.1957<br />

Frank Gratkowski b.1963<br />

Dan Peck b.1983<br />

March 31<br />

†Santo “Mr. Tailgate” Pecora<br />

1902-84<br />

†Red Norvo 1908-99<br />

†Freddie Green 1911-87<br />

†Jimmy Vass 1937-2006<br />

Christian Scott b.1983<br />

MARIAN MCPARTLAND<br />

March 20th, 1918<br />

Last November, the pianist<br />

stepped down as host of Piano<br />

Jazz, ending a run of 33 years, 5<br />

months and 6 days at the helm<br />

of NPR’s longest running jazz<br />

program. Prior to her role as a<br />

broadcaster/interviewer/<br />

duet partner on the airwaves,<br />

the British-born Margaret<br />

Marian Turner (McPartland<br />

came from her husband,<br />

cornetist Jimmy) began her<br />

musical career entertaining<br />

troops during World War II.<br />

After moving to the States, she<br />

established a trio, which<br />

became the house band at<br />

New York City’s The Hickory<br />

House from 1952-60. In the<br />

mid ‘60s, she had a radio<br />

program on W-BAI, which led<br />

to her later work on NPR. The<br />

grand dame of jazz made it<br />

official in 2010, when she was<br />

appointed Officer of the Order<br />

of the British Empire -AH<br />

Detroit’s Jazz Piano Legacy Vol. 1<br />

Marcus Belgrave (DJM)<br />

March 20th, 1993<br />

The Motor City has produced quite a<br />

number of legendary jazz pianists<br />

over the decades, starting with Hank<br />

Jones. It’s no slouch with other<br />

instruments as well - trumpeter<br />

Marcus Belgrave, for example (though<br />

he was born in Pennsylvania). He<br />

appears here with a triumvirate of<br />

Detroit pianists from different eras -<br />

Tommy Flanagan, Geri Allen and<br />

Gary Schunk - recorded live at the<br />

Kerrytown Concert House some 50<br />

miles west of Detroit in Ann Arbor.<br />

Belgrave’s tune “All My Love” was a<br />

commissioned tribute to Detroit.<br />

THE NEW YORK CITY JAZZ RECORD | March 2013 47


presents<br />

John Williams, Guitar<br />

John Etheridge,<br />

Guitar<br />

Monday, March 18 at 7:30 PM | Zankel<br />

Legendary classical guitarist John Williams<br />

and jazz-fusion guitarist John Etheridge<br />

perform an eclectic mix of music for duo<br />

guitar from numerous musical genres.<br />

Jenny Scheinman Trio<br />

featuring Bill Frisell and Brian Blade<br />

Saturday, March 23 at 9 PM | Zankel<br />

SongS With and Without WordS<br />

This concert and The Shape of Jazz series are made possible by The Joyce and George Wein Foundation in memory of Joyce Wein.<br />

Presented by Carnegie Hall in partnership with Absolutely Live Entertainment LLC.<br />

carnegiehall.org | 212-247-7800<br />

Box Office at 57th and Seventh<br />

Photos: Etheridge by Eamonn McAbe, Jenny Scheinman Trio by John Rogers.<br />

Artists, programs, and dates subject to change. © 2013 CHC.<br />

Proud Season Sponsor<br />

Jenny Scheinman Trio<br />

John Williams John Etheridge

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