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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 />
All Music Guide<br />
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 />
www.lesliepintchik.com<br />
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 />
TRUMPETS<br />
MONTCLAIR, NJ<br />
MAR. 22ND<br />
Lou Caputo & Chris White<br />
Interface<br />
A collaboration of two longtime friends<br />
with Don Stein (piano)<br />
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