JENNY SCHEINMAN

March 2013 | No. 131 

CLAUDIA 

ACUÑA 

Your FREE Guide to the NYC Jazz Scene 

• 

MIN 

• 

VALERIE 

• 

LIBRA 

• 

XIAO-FEN CAPERS RECORDS 

nycjazzrecord.com 

JENNY SCHEINMAN 

Bringing It All Together 

“WOMEN 

IN JAZZ” 

ISSUE 

EVENT 

CALENDAR

“BEST JAZZ CLUBS OF THE YEAR 2012” 

SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK 

FEATURED ARTISTS / 7pm, 9pm & 10:30 

Friday & Saturday March 1 & 2 

BILLY HARPER QUINTET 

featuring Francesca Tanksley 


“BLOWIN’ THE BLUES AWAY” 

MIKE LEDONNE QUINTET FEAT. 

LOUIS HAYES 

Jeremy Pelt (tr) • Gary Smulyan (bar sax) • Ira Coleman (b) 


ERIC REED QUARTET 

Grant Stewart (sax) • Matt Clohesy (b) • Willie Jones III (d) 


CELEBRATING HAROLD 

MABERN’S 77TH BIRTHDAY 

HAROLD MABERN TRIO 

John Webber (b) • Joe Farnsworth (d) 


FRANK WESS QUINTET 

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

Wednesday March 6 

Michael Dease Quintet 


Rick Germanson Quintet 


Cynthia Holiday 

Wednesday Feb 27 

Dee Daniels 

LATE NIGHT RESIDENCIES 

Mon The Smoke Jam Session 

Tue Mike DiRubbo B3-3 

Wed Brianna Thomas Quartet 

Thr Nickel and Dime OPS 

Fri Patience Higgins Quartet 

Sat Johnny O’Neal & Friends 

Sun Roxy Coss Quartet 

RESIDENCIES / 7pm, 9pm & 10:30 

Mondays March 4, 18 

Captain Black Big Band 

Mondays March 11, 25 

Jason Marshall Big Band 

Tuesdays March 5, 12, 19, 26 

Mike LeDonne 

Groover Quartet 

Eric Alexander (sax) • Peter Bernstein (g) • Joe Farnsworth (dr) 

Thursdays March 7, 14, 21, 28 

Gregory Generet 

Sundays March 3, 10 

SaRon Crenshaw Band 

Sunday March 17, 31 

Allan Harris Band 

Sunday March 24 

Scott Sharrard Blues & Bugaloo Soul Revue 

featuring Ian Hendrickson-Smith 

Sundays 

Jazz Brunch 

With vocalist Annette St. John and her Trio 

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

4 

6 

7 

9 

10 

11 

12 

14 

38 

45 

47 

New York@Night 

Interview: Claudia Acuña 

by Suzanne Lorge 

Artist Feature: Min Xiao-Fen 

by Kurt Gottschalk 

On The Cover: Jenny Scheinman 

by Sean Fitzell 

Encore: Lest We Forget: 

Valerie Capers Patti Bown 

by Brad Farberman by Suzanne Lorge 

Megaphone VOXNews 

by Kali. Z. Fasteau by Katie Bull 

Label Spotlight: Listen Up!: 

Libra Records 

by Ken Waxman 

Roxy Coss & Lakecia Benjamin 

CD Reviews: Kris Davis, Champian Fulton, Marilyn Crispell, 

Karin Krog, Lorraine Feather, Ig Henneman, Claire Daly and more 

Event Calendar 

Club Directory 

Miscellany: In Memoriam • Birthdays • On This Day 

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

We are certainly not the first to highlight the contributions of women in the history 

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

Month to debunk the notion that women should be thought of as separate from 

their male musician counterparts. Women in jazz, frankly, are nothing new (wider 

acceptance, perhaps, may be). Not even mentioning all the important vocalists of 

the past century, female instrumentalists have been active in jazz as far back as the 

‘20s and only gaining prominence in the subsequent decades, from Mary Lou 

Williams and Lil Hardin Armstrong to Mary Halvorson and Nicole Mitchell. Next 

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

their three favorite soprano saxophonists and watch them squirm. 

We have dedicated much of our coverage to this theme (as well as reaffirming 

the international nature of this music). West Coast violinist Jenny Scheinman (On 

The Cover) is both a compelling leader and valued collaborator with Bill Frisell. 

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

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

scenes. She brings her group to Harlem Stage Gatehouse. And Chinese pipa player 

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

player on an unfamiliar instrument. She celebrates a new album at Brooklyn Public 

Library and also appears at Avery Fisher Hall and Museum of Chinese in America. 

We also have features on pianist Valerie Capers (Encore, appearing at Jazz at 

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

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

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

up-and-coming women, Roxy Coss and Lakecia Benjamin, featured in our Listen 

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

new albums from a wide swathe of female jazzers. 

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

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

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

Globe Unity: Slovenia triple review included an introductory paragraph that spoke 

of Slovakia and Slovakian musicians. We deeply regret the error. 

Submit Letters to the Editor by emailing feedback@nycjazzrecord.com 

US Subscription rates: 12 issues, $30 (International: 12 issues, $40) 

For subscription assistance, send check, cash or money order to the 

address below or email info@nycjazzrecord.com. 

The New York City Jazz Record 

www.nycjazzrecord.com / twitter: @nycjazzrecord 

Managing Editor: Laurence Donohue-Greene 

Editorial Director & Production Manager: Andrey Henkin 

Staff Writers 

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

Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, 

Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, 

Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, 

Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts, 

John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman 

Contributing Writers 

Duck Baker, Brad Farberman, Kali Z. Fasteau, Laurel Gross, George Kanzler, Suzanne Lorge 

Contributing Photographers 

Tom Greenland, Alan Nahigian, John Rogers, Monika Sziladi, Jack Vartoogian 

To Contact: 

The New York City Jazz Record 

116 Pinehurst Avenue, Ste. J41 

New York, NY 10033 

United States 

Laurence Donohue-Greene: ldgreene@nycjazzrecord.com 

Andrey Henkin: ahenkin@nycjazzrecord.com 

General Inquiries: info@nycjazzrecord.com 

Advertising: advertising@nycjazzrecord.com 

Editorial: editorial@nycjazzrecord.com 

Calendar: calendar@nycjazzrecord.com 

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

THE NEW YORK CITY JAZZ RECORD | March 2013 3

NEW YORK @ NIGHT 

FEATURING 

DANILO PEREZ 

JOHN PATITUCCI 

BRIAN BLADE 

“A band of spellbinding intuition, 

with an absolute commitment to 

the spirit of discovery, it has had 

an incalculable infl uence on the 

practice of jazz in the 21st century” 

— New York Times 

New Album Available Now 

itunes.com/wayneshorter 

itunes.com/wayneshorter 

4 March 2013 | THE NEW YORK CITY JAZZ RECORD 

Photo by Monika Sziladi 

It can’t be easy to say the words “2013 could be my last 

year.” But that’s what the audience heard when Fred 

Ho’s Green Monster Big Band performed at Ginny’s 

Supper Club (Feb. 9th). Ho seemed in good spirits and 

conducted the band with vigor, but he played no 

baritone sax (a role given to Ben Barson, the club’s 

co-manager). The early set erupted from the start with 

Ho’s first big band piece, “Liberation Genesis” (1975), 

which took on new meaning in light of the composer’s 

cancer fight. Keyboardist Art Hirahara, bassist Ken 

Filiano and drummer-percussionist Royal Hartigan 

laid the foundation for an edifice of reeds and brass, 

including the paired altos of Bobby Zankel and Marty 

Ehrlich and the bass trombones of Earl McIntyre and 

Dave Taylor. The band was obstreperous yet tightly 

coordinated, marrying modernist harmony and raw 

groove, breaking away on occasion to free-improvising 

duos (one of them led off the Ellington ballad “In a 

Sentimental Mood”). Ho took a moment before “Iron 

Man Meets the Black Dog Meets Dave Taylor” to 

recount how he met the remarkable Taylor during his 

days as a sub with the Gil Evans Orchestra. Aspects of 

Evans’ approach, Ho explained, have decisively 

impacted his own. “Float Like a Butterfly, Sting Like an 

AfroAsian Bumblebee”, a movement from Sweet Science 

Suite (Big Red Media), found Ho speaking about future 

plans in spite of his illness: the “music and martial arts 

extravaganza”, as he described it, will be staged at 

BAM in the fall of this year. - David R. Adler 

Fred Ho @ Ginny’s Supper Club 

By tradition, the winner of the annual Thelonious 

Monk Competition is the first to play in the Tribeca 

Performing Arts Center’s annual Monk in Motion 

series. Jamison Ross, the 2012 victor, obliged with a 

strong showcase of his Joy Ride sextet (Feb. 2nd). Ross’ 

swing feel was spry and deeply interactive; his take on 

the postbop language of Harold Mabern, Cedar Walton 

and Joe Henderson was without flaw. But this Florida 

native and current New Orleanian had a swampier 

rhythmic element, a deep affinity for the blues, at the 

heart of his sound. He opened the first set with the 

funky “It Ain’t My Fault”, by legendary New Orleans 

drummer Smokey Johnson, and closed with a stirring 

vocal rendition of Muddy Waters’ “Deep Down in 

Florida”. The funk surfaced in a different way on 

“Sandy Red” (Ross’ variation on “Cantaloupe Island”), 

a feature for fired-up percussionist Nate Werth. 

Trumpeter Alphonso Horne and tenor saxophonist 

Troy Roberts were consistently solid in the frontline, 

although the most interesting moment was the slow 

trio reading of “Stompin’ at the Savoy”, featuring just 

Ross, pianist Chris Pattishall and bassist Corcoran 

Holt. One could call it an anti-orchestration, sparse as 

can be, with Ross’ delicate breaks on brushes replacing 

parts of the main melody. It was clear enough what 

wowed the competition judges: Ross knows the jazz 

tradition cold and uses what he loves from every time 

period, every genre, to bring his own voice into focus. 

(DA) 

Introducing the Zmiros Project at Symphony Space 

(Feb. 6th), World Music Institute Director of Marketing 

and Programs Alexa Burneikis referred to the venue’s 

Leonard Nimoy Thalia theater as her organization’s 

“living room on the Upper West Side”, which proved 

to be an apt descriptor for the trio’s recital of songs of 

devotion and gratitude. It described the setting, that is, 

even if it may have been an opportunity for a living 

room the band never had. “I grew up on Long Island in 

a very reformed household,” Frank London said to an 

audience that was quick to complete the musicians’ 

thoughts when introducing songs and even came 

together to sing when a title was mentioned without 

the band’s accompaniment. Through a selection of 

Sabbath songs, they held sway, Rob Schwimmer on 

piano and London on keyboard and trumpet with 

Lorin Sklamberg’s sonorous tenor (and some additional 

accordion and guitar) steadying the course. The concert 

hit a peak with the impromptu addition of Michael 

Winograd on piano and singer Sarah Gordon, but the 

real high point came with a lovely, nearly a cappella 

piece sung by Sklamberg with London and Schwimmer 

chiming in on off-mic harmonies. That piece was 

dedicated to the late Symphony Space Founding 

Artistic Director Isaiah Sheffer. When the three played 

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

familiar, the familiarity one might reasonably expect to 

find among three friends sitting in a living room on the 

Upper West Side. - Kurt Gottschalk 

Zmiros @ Symphony Space Leonard Nimoy Thalia 

Tyshawn Sorey’s musical course changes direction as 

easily as he himself changes instruments. He can be 

setting rhythm for a driving jazz group one moment 

and guiding another ensemble through glacially paced 

chamber compositions the next. Or he might be 

drumming in an extended avant jazz improv duet with 

vocalist Fay Victor and then four months later (Feb. 

5th), leading a driving brass quintet in a late-night set 

at Korzo. The group opened with a swell of New 

Orleans harmonies before quickly ramping up into a 

healthy maelstrom held steady by Dan Peck’s tuba 

then slowly - in no rush despite the tempo - descending 

into a brass morass. It would be too easy to liken it to a 

New Orleans funeral march, but the emotional range 

of the brass family - so often overlooked - was on full 

display. Especially satisfying was Peter Evans pulling 

out his piccolo trumpet and undercutting the trombones 

(Sorey and Ben Gerstein), playing well below the 

instrument’s usual range. As the set progressed the 

group’s sound (completed by second trumpeter Dave 

Ballou) was further augmented with horns taken apart 

and the trombonists switching to melodicas before 

they eventually fell into a wonderful passage of pops 

and drones. There were some eardrum-wringing 

midrange battles that shook the bar’s backroom and a 

certain amount of bluster and blunderbuss was to be 

expected, but they found that crucial groupthink that 

carried them through the set. With all he does, it’s good 

to see Sorey just having fun. (KG) 

© 2013 Jack Vartoogian/FrontRowPhotos

Tom Greenland, Midnight Son Music 

Heavy snow piles and plunging temperatures 

dissuaded all but the faithful few from the fourth 

annual birthday celebration of Joe Maneri’s passing at 

Douglas Street Music Collective (Feb. 9th). Still the 

event made up in fortitude what it lacked in multitude. 

Hosted by son Abe, who set the musical mise en scene 

with remembrances of his father and a piano soliloquy, 

the round-robin affair saw contributions from 

vibraphonist Matt Moran, acoustic bassist Ed Schuller, 

tenor saxophonist Ben Jaffe, pianist Lucian Ban, 

drummer Juan Pablo Carletti, poet Steve Dalachinsky, 

guitarist Sten Hostfalt, dancer Savina Theodorou, 

baritone saxist Josh Sinton, electric bassist Simon 

Germyn, alto saxophonists Nicole Kampgen and Noah 

Kaplan and pianists Sekai Ishizuka and Jesse Stacken, 

culminating in an 11-part free-for-all that aptly 

captured Maneri’s enduring spirit and message. Along 

the way, participants offered anecdotes and 

observations of Maneri - his urging to students, “Don’t 

let the music die!” or his high praise for musical “love 

lines” (as opposed to “burgers”) - that revealed how 

he’d touched each of them. High-points were Schuller’s 

rock-tinged bass solo, soon joined by Jaffe’s brawny 

tenor; Dalachinsky’s recitation of poetry and 

autobiographical sketches; Hostfalt and Theodorou’s 

visually dramatic duets; Sinton and Jermyn’s equally 

dynamic duet; Kaplan’s operatic microtonalism and 

the final soiree, an extended tribute to Maneri’s living 

memory. - Tom Greenland 

Ed Schuller @ Douglass Street Music Collective 

Sunday nights at ABC No-Rio are always 

unpredictable, but the Feb. 10th benefit (to help fund 

new building construction) was particularly 

carnivalesque, mainly because host/alto saxophonist 

Blaise Siwula scheduled each act into 10- and 12-minute 

sets, ensuring variety yet forcing performers to make 

their musical ‘points’ succinctly. After an informal 

opening jam, multi-instrumentalists Kali. Z. Fasteau 

and Daniel Carter set a high bar for those following. 

Stand-out moments included: five taut sketches by 

tenor saxophonist Jason Candler and tuba player Jesse 

Dulman; three pieces by soprano saxist Rocco John 

Iacovone and bassist Nicolas Letman-Burtinovic; a 

duet by cellist Diana Wayburn and duduk (Armenian 

double-reed) player Edith Lettner; an exciting matchup 

with Siwula and guitarist Cristian Amigo; an 

impromptu set with four saxophonists (Carter, Siwula, 

Candler, Iacovone) and pianist Constance Cooper; a 

‘free-funk’ outing with guitarist On Ka’a Davis and 

drummer Vin Scialla; the avant-improv theater of Anne 

Bassen and Emmanuelle Zagoria; a challenging but 

riveting piece by guitarist Chris Welcome; Dikko 

Faust’s trombone painting; flutist Cheryl Pyle’s trio 

with Carter and Letman-Burtinovic; a low-end duet by 

bassoonist Claire de Brunner and bassist Jochem Van 

Dijk; Siwula and Iacovone’s sax summit; pianist Evan 

Gallagher and drummer David Gould’s rowdy têtê-àtêtê 

and the gentle closure of violinist Cecile Broche 

and bassist Francois Grillot. (TG) 

In his debut as a leader at the Village Vanguard pianist 

David Virelles performed compositions from his 

critically acclaimed new CD Continuum (Pi), a bold 

amalgam of folkloric traditions from his native Cuba 

and avant garde jazz under the influence of mid 20th 

Century iconoclasts like Cecil Taylor and the Art 

Ensemble of Chicago, music that more than almost any 

other today matched the latter’s pronouncement of 

being from “ancient to the future”. Unfolding 

dramatically, the young leader’s set (Feb. 2nd) freely 

developed around the percussion and vocal chants of 

Ogduardo Roman Diaz, who opened with a traditional 

Yoruba canto that flowed into his own original Spanish 

language poetry, as bassist Ben Street and drummer 

Andrew Cyrille embellished his earthy rhythms with 

their own delicate cadences. This set the stage for 

Virelles’ vigorously rumbling piano, which slowly 

evolved into the jagged melody of his Monkish “One”. 

The group improvised collectively, all but abandoning 

the concept of soloist, each player interjecting creative 

ideas and contributing equally to the totality of sound, 

which moved from intriguing to spellbinding on “El 

Brujo and The Pyramid” and “The Executioner”. The 

music’s intensity grew with the addition of alto 

saxophonist Román Filiú, his piercing tone and jagged 

lines at times recalling Henry Threadgill (who guested 

with the group earlier in the week) as he dynamically 

expanded the tonal environment on “To Know” and 

the closer “Unseen Mother”. - Russ Musto 

David Virelles @ Village Vanguard 

Long heralded as much for his compositional skills as 

for his prowess as an instrumentalist, it was perhaps 

inevitable that the day would come that one would 

find the name of Wayne Shorter along with those of 

Beethoven and Charles Ives on a program at Carnegie 

Hall’s Stern Auditorium (Feb. 1st). The evening, 

celebrating the 40th Anniversary of the Orpheus 

Chamber Orchestra, paired the innovative classical 

ensemble with Shorter’s long-standing quartet of 

pianist Danilo Pérez, bassist John Patitucci and 

drummer Brian Blade on the concert’s second half, 

following the orchestra’s recitals of pieces by the 

aforementioned classical masters. Opening with 

“Pegasus”, a Shorter composition previously 

developed in concert with the Imani Winds, Orpheus 

and the quartet joined forces to expand the subtle 

dynamics of the music, built upon a recurring threenote 

motif, reinforced by Shorter’s soprano and Pérez’ 

piano, with Patitucci’s rich sound providing a tonal 

center and Blade’s interjections modulating the tempo. 

Flutes and woodwinds with strings filled out the lush 

harmonics of “The Three Marias”, as the quartet’s 

sound took center stage with organically developed 

explorations. The world premiere of “Lotus”, the set’s 

centerpiece, utilized the orchestra’s full dynamic range 

to expound upon the exotic Eastern-tinged melody, 

setting the stage for Shorter’s most impassioned solo. 

The show concluded in a delicately melancholic mood 

with “Prometheus Unbound”. (RM) 

©John Rogers/WBGO 

WHAT’S NEWS 

The winners of the 2012 Grammy Awards have been 

announced. Bassist Charlie Haden received the Lifetime 

Achievement Award. Other relevant winners were: Best 

R&B Album: Robert Glasper Experiment - Black Radio 

(Blue Note); Best Improvised Jazz Solo: Gary Burton & 

Chick Corea - “Hot House” (Hot House, Concord); Best 

Jazz Vocal Album: Esperanza Spalding - Radio Music 

Society (Heads Up International); Best Jazz Instrumental 

Album - Pat Metheny - Unity Band (Nonesuch); Best Large 

Jazz Ensemble Album: Arturo Sandoval - Dear Diz (Every 

Day I Think Of You) (Concord); Best Latin Jazz Album: 

Clare Fischer Latin Jazz Big Band - Ritmo! (Clare Fischer 

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

(Nonesuch); Best Instrumental Composition: Chick Corea 

- “Mozart Goes Dancing” (Chick Corea & Gary Burton - Hot 

House, Concord); Best Instrumental Arrangement: “How 

About You” (Gil Evans Centennial Project - Newly 

Discovered Works of Gil Evans, ArtistShare); Best 

Instrumental Arrangement Accompanying Vocalist(s): 

“City Of Roses” (Thara Memory & Esperanza Spalding - 

Radio Music Society, Heads Up International); Best 

Compilation Soundtrack for Visual Media: Various Artists - 

Midnight In Paris (Madison Gate Records). For more 

information, visit grammy.com. 

As part of the 40th anniversary celebration of the founding 

of New England Conservatory’s Contemporary 

Improvisation department by Gunther Schuller and Ran 

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

Cornelia Street Café, Symphony Space and Barbès, 

featuring such musicians as Blake, Anthony Coleman, 

Hankus Netsky and John Medeski. For more information, 

visit necmusic.edu/ci40. 

The Brooklyn Conservatory of Music is the recipient of 

a $25,000 award from the Amy Winehouse Foundation in 

support of its Teen Jazz Scholarship, which “provides 

weekly private lessons, music theory classes, large and 

small ensemble rehearsals, and performance opportunities 

to young music students in need who demonstrate 

dedication to their music studies and strong moral 

character, for little or no cost.” The foundation is 

administered by the parents of the late pop singer, whose 

mother was born in Brooklyn. For more information, visit 

bqcm.org. 

Legendary Dutch drummer Han Bennink has been named 

the recipient of the eighth annual Jazzahead! Škoda- 

Award, worth €15,000. The 70-year-old Bennink joins such 

past winners as Joe Zawinul, Norma Winstone and John 

McLaughlin. For more information, visit jazzahead.de. 

In addition to the festivities of this year’s Prez Fest, 

celebrating Milt Hinton and taking place Mar. 3rd at Saint 

Peter’s Church (including musical performances and a film 

and panel discussion), photographs taken by the late 

bassist will be on display at the Living Room of Saint 

Peter’s through the day of the concert. For more 

information, visit saintpeters.org. 

The Vilcek Foundation has named Armenian jazz pianist 

Tigran Hamasyan one of the winners of its Prizes for 

Creative Promise in Contemporary Music, in order to 

“recognize a younger generation of foreign-born artists.” 

The prize amount is $35,000 and follows Hamasyan’s 

winning the Thelonious Monk Jazz Piano Competition and 

second place showing at the Martial Solal International 

Jazz Competition. For more information, visit vilcek.org. 

The Seattle Women’s Jazz Orchestra has announced its 

first annual Jazz Ensemble Composition Contest for 

Women Composers. The winning piece will be performed 

and recorded live at the 2013 Earshot Jazz Festival. For 

more information, visit swojo.org. 

The 2013 Women in Jazz Festival will take place at Saint 

Peter’s Church Apr. 13th. For more information, visit 

internationalwomeninjazz.org. 

Submit news to info@nycjazzrecord.com 


Photo: by Alan Nahigian 

INTERVIEW 

Claudia Acuña moved to New York City from Santiago, 

Chile in 1995. She’d been working as a singer with some 

success in her home country, but American jazz is what 

captured her imagination. She worked her way up through 

the New York club scene during the late ‘90s, impressing 

many influential personalities in the jazz world with her 

compelling voice and rhythmic acuity. Her first record deal 

came from Verve in 1999 and other companies and producers 

soon followed - MAXJAZZ, ZoHo Music and Marsalis 

Music. Acuña spoke with The New York City Jazz Record 

about how she turned her career visions into reality. 

The New York City Jazz Record: What were your early 

days as an unknown jazz singer in New York like, 

newly arrived from a foreign country? 

Claudia Acuña: My first years here, I didn’t know at 

the time much English. I couldn’t afford to go to school 

and I didn’t know how to apply for scholarships. So I 

started going a lot to places like Smalls, where I met 

[pianist] Harry Whitaker, an amazing musician and 

composer. We used to get together almost every day at 

Smalls and we’d just do repertoire or arrangements. 

He was the first one to encourage me to arrange and 

write. 

TNYCJR: Who were your other teachers and mentors? 

CA: I participated in the workshops of Barry Harris 

and one of the first drummers I worked with, Jeff 

Ballard, used to teach me. Then I worked with people 

like Jason Lindner, who became a very strong 

collaborator. We co-wrote songs and worked 

consistently for almost 12 to 13 years. I also had the 

fortune [to meet] people with so much history, like 

Frank Hewitt, Jimmy Lovelace and Stanley Turrentine. 

And also to work with [bassist] Avishai Cohen and Avi 

Leibowitz and Pablo Ziegler - it just doesn’t stop. It’s a 

beautiful journey of having the honor and blessings 

and working with people who have been very patient 

and generous. 

TNYCJR: And the singers? 

CA: I had the amazing blessing to meet one of my 

idols, which was Abbey Lincoln. She really opened her 

world to me. She had a lot of stories and experiences 

and just thoughts. Just to be in her presence was a 

master class. A few of [these singers] I have been very 

blessed to get to know and call them even friends, like 

Dianne Reeves, someone who is an amazing singer and 

also a mentor. We became friends and [she is] someone 

where I can pick up the phone and ask a question. 

TNYCJR: Your music contains many different elements. 

Do you draw more on your Chilean musical sensibilities 

or on your American influences? 

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


Claudia 

Acuña 


country, I would never have had the opportunity to 

meet the people who were my teachers, who inspired 

me and motivated me to work harder to become the 

artist or singer or songwriter that I’m dreaming to 

become. I would not ever have been influenced or 

learn about so many [different types of] music. I 

consider myself a New Yorker and I do also consider 

myself an ambassador from my country. Because ever 

since I moved from Chile I promised to myself and I 

think that’s why I’ve always made an effort, from my 

first album, to have even one song in Spanish. [With 

these songs] I’ve paid tribute to people like Violetta 

Parra, who was a great inspiration and one of the 

greatest singer-songwriters from Chile, along with 

Víctor Jara and others. Even though I’ve been here for 

17 years, my roots are from Chile. 

TNYCJR: Parra and Jara were part of the politicallyinfluential 

La Nueva Canción Chilena [New Chilean 

Song] movement. Do you identify with them personally 

as an artist or is your interest more broadly cultural? 

CA: Violetta Parra was the first musician, female 

singer, that I heard in my life, in my consciousness. I 

was very intrigued and she had a very strong impact 

on my life as a child. At the time I was too little to 

understand what exactly the words and what the 

movement was, in a country that was taken by a 

dictator. I was a little baby and had no knowledge or 

understanding about what was going on in my country. 

For some reason I was very attracted to people like her 

and like Víctor Jara. Along the way, when I left my 

country and came here to do what I was doing, I 

decided that I was going to tribute the first couple of 

singers who influenced my life. As I grew up, I could 

sympathize with a lot of the words that they express 

and a lot of them touch a deep part of how I think or 

feel about life and about my country. 

TNYCJR: How did you start working with Verve? 

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

to the Vanguard and from one jam session to another. 

…I started singing and doing things with different 

bands, doing my little gigs and getting little reviews 

here and there and the word started to spread out. 

Someone said you should try to get a record deal, but it 

didn’t even occur to me that there was even a 

possibility, because I was very discouraged at the 

beginning. At the time Sweet Basil was open...and the 

[A&R] person who signed me came to see me at the 

club. It was an amazing experience to go into the studio 

with that kind of support, with the history of that label 

and being a Spanish-speaking, South American person, 

making the dream come true and going a little further 

than maybe I could have imagined. 

TNYCJR: On your first two recordings, for Verve, you 

perform mostly standards, but when you moved to 

MAXJAZZ in 2003 you recorded almost all Latin jazz 

in Spanish. What was behind the shift? 

CA: I’ve always tried to be respectful of where I am 

musically. I felt because that’s the beauty of the 

recording, the possibility of documenting a moment in 

your life as much as you can. At the time on the first 

two records I was singing a lot of standards and I loved 

them. I felt that the idea of what I wanted to accomplish 

later was to get back to my roots, to the emotion of that 

repertoire and with the concept that, yes, I am a Chilean 

singer. So by the time I signed with MAXJAZZ I was 

stronger and ready to present [myself like this]. 

(CONTINUED ON PAGE 46) 

JERRY GRANELLI TRIO 

Briggan Krauss (sax) / J. Granelli (bass) 

SPECIAL GUEST: JAY CLAYTON 

SUNDAY, MARCH 10TH 8PM (ONE SET ONLY) 

SHAPESHIFTER LAB 

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

© Jack Vartoogian/FrontRowPhotos 

ARTIST FEATURE 

Last month, pipa player Min Xiao-Fen was at Flushing 

Town Hall in Queens, playing a matinee concert with 

the Momenta Quartet in a program that included her 

own compositions as well as a piece by the celebrated 

Chinese composer Tan Dun, one of the first 

contemporary composers she worked with after 

moving to San Francisco 13 years ago. Playing Tan’s 

concerto for pipa and string quartet she fell in with the 

staccato of the string quartet and played so fast 

sometimes that her plectra against the pipa strings 

sounded like the scratching of a bow pulled lightly 

over violin strings. On her solo piece “ABC (American 

Born Chinese)”, she played with a slide, coaxing ‘blue’ 

notes and half- and quarter-tone wavers from her 

instrument. She further explored those bent tones in 

her “Tan Tan, Chang Chang”, a piece that borrowed 

from Southeast Chinese traditions as well as American 

blues and bluegrass, played on the banjo-like sanxian. 

A week later - on Chinese New Year - she played 

solo for the Jazz Vespers Sunday evening service at 

Saint Peter’s Church. Opening the service with a sort 

of improvised meditation, she steadily ramped up to a 

level that may have surprised some for a house of 

worship. The corners of her mouth betrayed a smile as 

she ululated in an improvised lingo inspired by her 

native tongue. After the service she played again, this 

time with her Blue Pipa Trio, a jazzier setting with 

acoustic guitar and upright bass. 

While the sources Xiao-Fen drew from in those 

two appearances ranged from Chinese folk and 

classical music to jazz, blues and bluegrass and the 

lessons she’s learned collaborating with free 

improvisers around the world, what’s notable about 

her artistry isn’t the diversity but the fluidity with 

which she moves between different streams. 

It’s the music of a virtuosic performer certainly, 

but it also may be the product of a restless spirit. Even 

as a child in a family of musicians – a pipa master 

father, a sister who is a celebrated erhu player and an 

orchestra conductor brother – her interests were often 

diverted. “I played erhu, then finger-painted,” she 

said. “Somehow I’m not the kind of person - like my 

father, like my sister - that can focus on one thing. But 

society, family, only want you to do one thing. I’m not 

the kind of person who wants to stay on one thing.” 

As a child, she interspersed music lessons with her 

father - who was forbidden from teaching under 

Chairman Mao’s rule - with art lessons (she still paints 

and designs her album covers), but as a teenager 

dedicated herself to the instrument her father played. 

“My father was my teacher,” she said. “I remember I 

was kind of a little bit afraid of him. And I had a very 

famous sister so my father had very high expectations. 

I studied six years with him, strict traditional music. I 

was pretty lucky because just as I graduated from high 

school the Cultural Revolution was about to end but 

the colleges were not ready; they were closed and my 

father focused on me. ” 

Under her father’s tutelage she found a talent for 

Min 

Xiao-Fen 


the Chinese lute and when musical ensembles finally 

awoke from their state-imposed dormancy, Xiao-Fen 

was quickly able to find work with the Nanjing 

Traditional Music Orchestra. She stayed with the 

orchestra for a decade before again growing restless 

and relocating to San Francisco, where she was soon 

working with some of the great innovators of 

contemporary Chinese composition, including Tan 

Dun, Zhou Long and Chen Yi. She began touring the 

country playing their music and found herself playing 

solo in Chicago on a program with a composition by 

trumpeter Wadada Leo Smith. After the concert he 

approached her and said he wanted to write a piece for 

her. That piece, “Lake Biwa”, was featured on the first 

recording she made after moving to America. She also 

began playing with him, learning improvisation and 

cementing one of her closest musical relationships. 

“His music is like ‘take time, follow your feelings,’” 

she said. “I had to tell him I don’t improvise, I don’t 

know how to improvise. And his score was graphic, it 

was hard for me. I was already scared and then he 

looked at me and said ‘improvise’ and I was, like, 

sinking into a hole. I was so sweaty, my hand just 

stopped. I never had that experience before. We were 

trained that you can’t make mistakes.” “I didn’t like 

improvisation,” she added. “It took me like 10 years 

before I started to like it, started to feel comfortable.” 

A similar meeting after moving to New York City 

in 1996 led to two other formative relationships. After 

a concert at the old Knitting Factory she was 

approached by John Zorn, who had an idea for a 

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

remembered, “And I said ‘I don’t do it, I don’t 

improvise.’ He gave me CDs and said, ‘I’ll give you 

one week.’ I told myself, ‘I have to take a chance, 

otherwise I’ll never change.’” She went to the studio 

without ever having met the guitarist and while the 

resulting Viper isn’t the record she’s proudest of (her 

second session with Bailey, Flying Dragons, is stronger), 

she said she has a fondness for it. “I can feel it, my 

innocence. I was a little bit careful and just followed 

him. It was a very innocent experience.” 

Last year she released her boldest album yet. Dim 

Sum, on her own Blue Pipa imprint, employs such 

devices as string preparations and a distortion box for 

her most experimental effort to date (made possible by 

a grant from the Peter S. Reed Foundation). “I went to 

China this year and showed my father my new CD. He 

listened to the whole thing and he said, “This is very 

interesting.” He was so happy. I dedicated it to him 

and he said it’s a little strange for him but at least he 

listened to the whole thing. I told him, ‘This is myself, 

I came to America, I found myself. I was always so 

nervous in China. You have to be perfect. 

“Little by little I feel more comfortable and more 

competent and little by little I feel so happy to be 

onstage,” she added. “A door totally opened for me. 

This is what’s so great about being in New York and 

being in America. You can always do what you want.” v 

For more information, visit bluepipa.org. Xiao-Fen is at 

Brooklyn Public Library Central Branch Mar. 3rd, Avery 

Fisher Hall Mar. 16th and Museum of Chinese in America 

Mar. 22nd. See Calendar. 

Recommended Listening: 

• John Zorn - Filmworks VIII (Tzadik, 1997) 

• Derek Bailey/Min Xiao-Fen - Flying Dragons 

(Incus, 1999) 

• Ned Rothenberg - Ghost Stories (Tzadik, 1999-2000) 

• Leroy Jenkins - The Art Of Improvisation (Mutable, 2004) 

• Wadada Leo Smith Mbira - Dark Lady of the Sonnets 

(TUM, 2007) 

• Min Xiao-Fen - Dim Sum (Blue Pipa, 2012) 

JSnycjr0313 2/14/13 3:18 PM Page 1 

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

FRI-SUN MAR 1-3 

3 

RAVI COLTRANE: QUARTETS 

FRI MAR 1 WITH JASON PALMER - CHRISTIAN McBRIDE - BILL STEWART 

SAT-SUN MAR 2-3 WITH DAVID VIRELLES - DEZRON DOUGLAS - JOHNATHAN BLAKE 

TUE-WED MAR 5-6 

KILLER RAY APPLETON’S 

BRIAN LYNCH - IAN HENDRICKSON-SMITH - TODD HERBERT - PETER BERNSTEIN 

RICK GERMANSON - ROBERT SABIN - LITTLE JOHNNY RIVERO 

THU-SUN MAR 7-10 

& 

ANTONIO SANCHEZ 

DAVID BINNEY - DONNY McCASLIN - JOHN ESCREET - ORLANDO LE FLEMING - THANA ALEX 

TUE MAR 12 

AFROHORN: 

ROMAN DIAZ - FRANCISCO MORA–CATLETT 

WED MAR 13 

CLARENCE PENN QUARTET 

SAM NEWSOME - ABRAHAM BURTON - ARUAN ORTIZ - RUFUS REID 

CHRIS POTTER - ADAM ROGERS - BEN STREET 


SFJAZZ COLLECTIVE 

AVISHAI COHEN - MIGUEL ZENÓN - DAVID SANCHEZ - ROBIN EUBANKS 

STEFON HARRIS - EDWARD SIMON - MATT PENMAN - OBED CALVAIRE 

TUE MAR 19 

JOHNATHAN BLAKE 

JALEEL SHAW - MARK TURNER - BEN STREET 

WED MAR 20 

THE 3RD 

INCARNATION 

CAMILA MEZA QUARTET 

FEATURING AARON GOLDBERG 


SOLO 

ROOTS & 3/21-22 

TRIO 

HENRY BUTLER: BEYOND 3/23-24 

TUE-WED MAR 26-27 

MINGUS BIG BAND 

MIGRATION 

ELEVENTH 

HOUR BAND 

KENDRICK SCOTT: ORACLE 

JOHN ELLIS - MIKE MORENO - TAYLOR EIGSTI - JOE SANDERS 


DAVE DOUGLAS QUINTET 

JON IRABAGON - MATT MITCHELL - LINDA OH - RUDY ROYSTON 

MON MAR 4, 11 & 25 

MON MAR 18 

NAPTOWN 

LEGACY 

ALL-STARS 

50TH 

B’DAY 

WEEK 

THE MUSIC OF 

CHICK 

COREA 

MINGUS ORCHESTRA 

JAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAYAT2PM [EXCEPT MAR 3 & 31] -DIRECTEDBYDAVIDO’ROURKE 


ON THE COVER 

JENNY SCHEINMAN 

Bringing It All Together 

by Sean Fitzell 

During a typically rollicking show with her band 

Mischief & Mayhem in February 2012, a visibly 

pregnant Jenny Scheinman told the crowd it would be 

her last New York City appearance for a while. After 13 

years, the violinist was moving back to California and 

taking time off from touring. This news came after the 

band played one of the most talked-about sets of 

Winter JazzFest 2012 and was prepared to release their 

first CD with the lineup of guitarist Nels Cline, bassist 

Todd Sickafoose and drummer Jim Black. From a career 

standpoint the timing wasn’t ideal. But Scheinman has 

often confounded others’ expectations in pursuing the 

music that inspires her. 

She’s built a loyal following and received critical 

notice as composer and player over the course of seven 

releases as a leader. Her work in several of guitarist 

Bill Frisell’s groups and alongside singer-songwriter 

Bruce Cockburn has been praised and brought her to 

wider attention. The recent change of scenery proved 

inspiring for Scheinman, who wrote 20 “fiddle songs” 

and decided finally to join her two musical personas - 

instrumental improviser and singer-songwriter. This 

month she makes her Carnegie Hall debut, joined by 

Frisell and drummer Brian Blade, in a program that 

combines her vocal songs and instrumentals. 

“A lot of it came from Bill’s encouragement; I’ve 

always sort of segregated my singing music from the 

instrumental music,” Scheinman says. In January, the 

group played two shows in Oregon and recorded new 

music. Of the experience, she says, “it just seemed to 

be a really exciting, unusual show that didn’t jerk me 

around the way I always thought it would; it just 

flowed right together.” 

The trio made its debut during a stint at the Village 

Vanguard in December 2011. At the time, Scheinman 

chose tunes from her instrumental catalogue that she 

thought would work for the players. Since she hadn’t 

previously performed with Blade, she wanted a relaxed 

atmosphere to put the focus on playing rather than the 

compositions. Enjoying the results, Scheinman wanted 

to explore future possibilities for the trio and when she 

decided to do “songs with words and songs without”, 

the lineup seemed ideal. 

“My feeling was I didn’t see why they couldn’t 

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

problem with things being put up against each other 

that maybe on the surface [are] being opposed or 

something. Somehow you’re always going to find 

some relationship between it.” Frisell’s career has 

exemplified that idea and in many ways, so has 

Scheinman’s. 

She grew up the daughter of folk musicians in a 

remote part of Humboldt County in northwestern 

California. She took piano and violin lessons in the 

nearest town, some two hours away. Scheinman also 

competed in fiddle festivals, gave solo piano recitals 

and attended chamber music workshops. Piano was 

her focus until she was 17 years old and became drawn 

to the violin’s more vocal and intimate qualities. She 

studied at Oberlin Conservatory before graduating 

from UC Berkeley with an English literature degree. 

With this swirl of influences, she started playing 

around the Bay area in the Hot Club of San Francisco, 

a take on guitarist Django Reinhardt and violinist 

Stephane Grappelli’s music. She also performed with 

the Rova Saxophone Quartet and with experimentalists 

like clarinetist Ben Goldberg, guitarist John Schott and 

fellow singer-violinist Carla Kihlstedt. Composing 

more often, Scheinman formed her own bands, often 

with drummer Scott Amendola and guitarist Adam 

Levy. “I was attracted to her composing, which I felt 

was very original and, kind of like mine, was 

uncategorizable,” says Cline, who first noticed and 

then played with Scheinman in Amendola’s band. 

In 1999, Scheinman moved to New York and built 

a reputation within the creative improvising scene. 

Favoring long melodic lines and clean tones over 

vibrato and pyrotechnic displays, her playing has a 

lyrical elegance. Her debut CD Live at Yoshi’s (Avant) 

was recorded in 1999 and featured her compositions, 

displaying a range of influences and crisp performances. 

The Rabbi’s Lover for Tzadik’s Radical Jewish Culture 

series followed two years later. It explored Jewish 

modes and themes with moments of sweeping drama, 

combining originals and arrangements of two 

traditional songs. Shalagaster (Tzadik, 2003) also 

experimented with Eastern modes and Scheinman 

paired with Myra Melford’s piano and harmonium. It 

included a thrilling arrangement of a Turkish melody 

on “Zeynebim” and her “American Dipper” themes, 

which she has returned to in other settings. 

Her fourth release, 12 Songs (Cryptogramophone, 

2004), had an immediacy and cohesive ambiance with 

familiar song forms embellished with improvisation. 

Scheinman wrote with Frisell in mind. She plumbed 

folk and blues to conjure memorable melodies and 

coaxed dynamic contributions from the group. The 

music distilled many of her disparate influences into a 

more developed personal sound. 

“My music in general has a real folk foundation. 

But with words added, they definitely sound like folk 

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

general term to mean music that doesn’t have too much 

color in the chords in the harmony and is a sort of 

stable structure.” Scheinman also started a weekly 

residency at the Brooklyn club Barbès, which became 

an incubator for ideas and a chance to play with 

different musicians and instrumentation. For example, 

she tried out chamber music with other string players 

and later brought Cline and Black together for the first 

time. In this comfortably supportive atmosphere, 

Scheinman started singing songs more frequently. 

The Barbès workshops provided seeds for her next 

three albums. 2008 saw the near-simultaneous releases 

of Crossing the Field and her eponymous vocal debut 

(Koch). For those not frequenting the weekly Barbès 

shows, the latter was a surprise. Combining her own 

heartfelt songs with covers of notable songwriters like 

Tom Waits and Lucinda Williams, the album had an 

earthy veracity with accessibly sincere vocals. Known 

for his extensive work as a bassist for Sex Mob and 

Frisell, Tony Scherr is also a singer-songwriter and 

assisted Scheinman. His gritty slide guitar work and 

effective backing vocal harmonies combined for a rich 

sound: at times roadhouse rough or hauntingly 

atmospheric. In reality, the release wasn’t a drastic 

departure, as Scheinman had worked on vocal records 

by Williams and Scherr, as well as Norah Jones’ 

breakout debut. Even her instrumental writing was 

taking song forms, as was her work with Frisell. 

It “brought her closer to her love of singersongwriter 

music and folk music and blues music; and 

I think that when she started singing, I think that was 

a bold move and one that made total sense to me,” 

Cline observes of her work with Frisell. 

Schedules permitting, she also worked with the 

lineup of Cline, Black and Sickafoose that emerged 

from Barbès and became Mischief & Mayhem. Initially 

taking music from her earlier records, Scheinman later 

wrote new music with a band feel. The interaction 

among players draws out different aspects of their 

talents: Cline and Black temper their wilder proclivities 

to suit the songs while their company elicits sparks 

from the violinist. 

But Scheinman felt it was time for another change 

and during her break from the road wrote new 

instrumental music and refined vocal songs, gradually 

joining them for a unified personal expression. “In 

contrast to all my other records, I wanted a record 

where I was really the person singing the song,” she 

says. “I’ve been criticized for being an overgenerous 

musician, where it’s all about the other players and 

where I don’t take the center quite enough.” Putting 

herself out front, Scheinman needed the right musical 

complement and both Frisell and Blade have worked 

extensively with singers and in improvising bands. 

“They’re really committed musicians and create a lot 

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

passionate about finding a feel as they are when they 

have 10 minutes to solo.” 

Tentatively titled The Littlest Prisoner, the new trio 

CD may be out this summer. Scheinman will also be 

recording with Frisell’s 858 joined by drummer Rudy 

Royston and joining a project with country guitarist 

Will Kimbrough. She thrives on the diversity and not 

staying in one place. “It’s just something about 

breaking things up a little, sometimes brings out 

creative stuff I think. I don’t know, I’m still guessing,” 

she muses. “If I knew where I could go to write good 

music, I’d go there all the time.” v 

For more information, visit jennyscheinman.com. 

Scheinman is at Zankel Hall Mar. 23rd with Bill Frisell and 

Brian Blade. See calendar. 


• Jenny Scheinman - Live at Yoshi’s (Avant, 1999) 

• Jenny Scheinman - The Rabbi’s Lover (Tzadik, 2001) 

• Bill Frisell - Richter 858 (Songlines, 2002) 

• Jenny Scheinman - Shalagaster (Tzadik, 2003) 

• Scott Amendola Band - Believe 

(Cryptogramophone, 2005) 

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

THE NEW YORK CITY JAZZ RECORD | March 2013 9 

John Rogers/Johnrogersnyc.com

ENCORE 

Valerie Capers 

by Brad Farberman 

30 seconds into the 

piano solo from 

“Bebop”, captured on 

the recorded-in-1981 

Dizzy Gillespie concert 

film In Redondo, the 

leader yells, “Whoa!”, 

smiles at trombonist Tom McIntosh, plays a little air 

keyboard and laughs. That’s high praise coming from a 

man who, by that point, had worked with ivoryticklers 

like Bud Powell, Thelonious Monk, Mary Lou 

Williams and Chick Corea, but Valerie Capers earns it. 

Over the guitar of Ed Cherry, the bass of Michael 

Howell, and the drums of Tommy Campbell, the 

singer-pianist scurries, shimmers, splashes and 

dazzles, pouring her all into the eighty-eight keys 

afforded her that night in Southern California. All said 

and done, though, Dizzy’s approval that evening is 

merely one highlight from a five-decade career that’s 

full of bright moments. And Capers is still on the case. 

A lifelong resident of the Bronx, Capers, who has 

been blind since the age of six, entered the jazz world 

in the early ’60s, after finishing up at Juilliard. Her 

brother, the late saxophonist Bobby Capers, had just 

joined Mongo Santamaria’s band and encouraged her 

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

“El Toro”, which opens the 1963 LP Mongo at the Village 

Gate, was her first effort. Other tunes for the bandleader, 

like “Chili Beans” and “La Gitana”, followed. 

“Bobby said, ‘Mongo, I’m gonna get my sister to 

write something for you’,” remembers Capers fondly. 

“And Mongo said, ‘Okay.’ And then Mongo loved [‘El 

Toro’]. So Mongo swore after that that I had to have 

had some spiritual existence in another world - another 

Latin world - to come up with ‘El Toro’.” 

After getting started with Santamaria, Capers 

scored a record date for Atlantic through famed 

producer Joel Dorn. Her resulting debut album, 1965- 

66’s Portrait in Soul, was a stirring exploration of Latin 

music, soul jazz and postbop featuring players like 

saxophonists Frank Perowsky and Robin Kenyatta. 

The questing, John Coltrane-like “Odyssey” towers 

above the other tracks in both length and intensity. 

“I like Greek mythology and different things like 

that,” explains Capers about the inspiration behind 

“Odyssey”. “I remember The Odyssey being Ulysses 

and his journey. [The song] wasn’t about Ulysses 

particularly, it was the idea of journey. A moving- 

LEST WE FORGET 

Patti Bown (1931-2008) 


Little has been written about Patti Bown. Even so, she 

stands out for her prolific body of work as a pianist, 

accompanist and arranger for some of the foremost 

jazz and soul performers of the 20th century. (Bown’s 

lack of recognition might have contributed to a 

common misspelling of her name, which in turn makes 

it harder to find her in this digital age; even Columbia 

Records, which released her first and only solo album 

in 1958, Patti Bown Plays Big Piano, spelled her name as 

“Patti Brown” on one version of the album cover.) 

Patricia Ann Bown was born on Jul. 26th, 1931, in 

Seattle, Washington. Her parents encouraged her 

musical interests and Bown began her piano studies 

early, demonstrating a keen ear for jazz especially. She 

continued her music education on scholarship at 


about.” 

In terms of studio time, though, the pianist stood 

still between the mid ’60s and early ’80s. Capers 

wouldn’t cut her sophomore album, Affirmation, until 

1982, due to a pileup of personal issues. 

“I’d had a fall and I injured my back,” recalls 

Capers about the era between her first and second LPs. 

“And that came right on top of my brother and father 

dying. And I just wasn’t able to [work on a recording]. 

So when I finally decided that I was gonna go ahead 

and do that album, that’s why I call it Affirmation. 

Because I figured that this album would represent 

affirming myself to be a musician and just to get back 

into life.” 

Another long wait ensued between Capers’ second 

and third albums, but 1995’s Come on Home came in like 

a lion. Featuring trumpeter Wynton Marsalis, 

saxophonist Paquito D’Rivera, bassist Bob Cranshaw 

and Santamaria, among others, Come on Home houses 

an update on “Odyssey”, the tender Capers original 

“Out of All (He’s Chosen Me)” and a take on Gillespie’s 

“A Night in Tunisia” in an unusual time signature. 

“[Gillespie] had just gotten back from his first trip 

to Africa when he came and had lunch with me and he 

told me how excited he was about the fact that he 

heard this African group play ‘A Night in Tunisia’ with 

one of the Yoruba 6/8 rhythms,” remembers Capers 

about stumbling upon the arrangement of “A Night in 

Tunisia” she recorded for Come on Home. “And so he 

sat down at the piano and showed it to me! And I said, 

‘Oh, Dizzy, that’s fantastic.’ So I said to him, ‘Listen, 

I’m getting ready to do an album. Would you allow me 

to use that 6/8 rhythm playing ‘A Night in Tunisia’?’ 

In his own inimitable fashion, he said, ‘Oh, yeah!’” 

Concurrent to her life as a performer and recording 

artist, Capers has enjoyed a long career in music 

education, instructing at the Manhattan School of 

Music for a stretch in the ’70s and at Bronx Community 

College from 1971-95. Though she has focused on her 

own sounds since retiring, she continues to take on the 

odd private student and conduct workshops in the US 

and beyond. 

“It’s bringing the awareness of music to people,” 

says Capers on teaching. “All kinds of music. The other 

thing, of course, is to help students develop a sense of 

dedication, focus and discipline in their music. Things 

are so fast these days. You got American Idol. If you go 

on a computer and you don’t get to the internet in less 

than two seconds, then things are slow. And then what 

you have to do there with the students, who are so 

eager, is let them know that this is a long process. This 

doesn’t happen overnight. You’ll be learning and 

growing all of your life.” v 

Seattle University and later at the University of 

Washington and by the late ‘40s she was thoroughly 

enmeshed in the Seattle jazz scene. There she 

established one of her most formative professional 

collaborations, with childhood playmate Quincy Jones. 

In 1959, the year after the release of her solo 

album, Bown toured Europe in the Harold Arlen jazz 

musical, Free and Easy, as the pianist in Jones’ jazz 

orchestra and, in 1961, Jones released a recording based 

on this work - The Quintessence (Impulse) - with Bown 

playing on six of the eight cuts. The orchestra 

performed with Jones at the Newport Jazz Festival that 

same year and the live recording of that performance 

includes Bown’s primary contribution as a composer, 

the blues tune “G’won Train”. 

From the late ‘50s onward, Bown, now in New 

York City, remained active in the studio, recording 

albums with saxophonists Gene Ammons and Oliver 

Nelson; trumpeters Art Farmer, Harry Edison and Cal 

Massey; reed player Roland Kirk; drummer Ed 

For more information, visit valeriecapers.com. Capers is at 

Jazz at Kitano Mar. 23rd. See Calendar. 


• Valerie Capers - Portrait in Soul (Atlantic, 1965-66) 

• Valerie Capers - Affirmation (KMArts, 1982) 

• Valerie Capers - Come on Home (Sony-Columbia, 1995) 

• Valerie Capers - Wagner Takes The ‘A’ Train 

(Elysium, 1998) 

• Valerie Capers - Limited Edition (Valcap Music, 2001) 

March 5th 

Warren Smith and the 

Composer’s Workshop Orchestra 

March 12th 

Russ Kassoff Orchestra 

with Catherine Dupuis 

March 19th 

Mike Longo’s NY State of the Art Jazz 

Ensemble with Dee Daniels 

March 26th 

Vibraphonist Warren Chiasson 

George Shearing Tribute 

New York Baha’i Center 

53 E. 11th Street 

(between University Place and Broadway) 

Shows: 8:00 & 9:30 PM 

Gen Adm: $15 Students $10 

212-222-5159 

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

Shaughnessy and bandleaders Duke Ellington and 

George Russell. Bown also worked with many singers 

throughout her career: Dinah Washington, Aretha 

Franklin, James Brown, Etta Jones, Sarah Vaughan and 

Leon Redbone among them. 

When jazz slipped from the popular music charts 

in the ‘60s, Bown sought out other performing 

opportunities. She worked as a pit musician/musical 

director on Broadway and gigged locally at highprofile 

jazz clubs like The Village Gate and Weston’s. 

She played at Carnegie Hall in 1985 in the Kool Jazz 

Festival and, in 1997, at the Kennedy Center in 

Washington, DC, as part of the second Mary Lou 

Williams Women in Jazz Festival. In 2006 this same 

organization granted Bown the Festival’s Achievement 

Award for her “lifetime of service to jazz”. 

In her later years, Bown continued to perform but 

also taught and spoke publicly about her jazz career. 

She died from diabetes-related conditions on Mar. 21st, 

2008, in a nursing home in Media, Pennsylvania. v

MEGAPHONE 

Spontaneous Composition 

in the Round 

by Kali. Z. Fasteau 

Music offers a sweet alternative to the mundane, 

transporting us to a non-logical enjoyment of being. If 

you read this journal, you feel the power of music. We 

musicians are lucky making music that feels good to us. 

Rather than ‘improvising’ (improving) upon a 

preset structure, I prefer composing music in real time, 

shaping the sound energy coming through me without 

forethought. The body and spirit seem electrified by 

the high-voltage energy of contouring sound live. 

Spontaneous composition is almost magical, producing 

amazing results when the musicians are well chosen. 

Since our society awards predictability, spontaneous 

music may benefit from a theoretical basis for what I 

and others do naturally. Long ago, I applied the 

philosophy of Taoism, the moving dance of opposites, 

yin and yang, to music. Music lives in a multidimensional 

sphere encompassing all possible sounds: 

high and low, soft and loud, slow and fast, smooth and 

rough, legato and staccato. The spontaneous composer 

is free at every moment to create and juxtapose these 

yin and yang parameters of sound so as to enhance 

their unique qualities moving through time. 

Transcending this dynamic balance, the vital power of 

heart energy animates the sound so it can be felt and 

savored. Chops are required but to resonate in others, 

the sounds must carry deep spirit and sincere emotion. 

Society and culture both reflect and create each 

other. Music influences thought. The mind follows 

sound consciously and unconsciously. New shapes of 

sound can create new cellular connections in the brain. 

Awakening consciousness with music involves more 

than changing the lyrics to conventional song forms or 

expanding preset forms. Sailing uncharted sonic 

waters provides a musical template for living in the 

moment. 

It’s said that women usually initiate lateral, 

egalitarian, informal (yin) communication of ideas, 

outside the constraints of patriarchal ‘chains of 

command’. Although I certainly admire and enjoy 

many large ensemble works and have led and 

participated in some, at this time I have no desire to 

control or direct other musicians’ energy flow. Neither 

the (yang) hierarchical organization of orchestras and 

big bands, nor the division of labor separating 

composer, performer and conductor, prevalent in most 

‘Western’ music of recent centuries, suits my creative 

by Katie Bull 

VOXNEWS 

In honor of this month’s Women In Jazz theme, singers 

highlighted here embody consummate skill and 

unbridled freedom of expression. Focusing on gender 

can invite the risk of perpetuating the division between 

women and men; the conversation is important and 

needs to evolve. We must seize opportunities to 

celebrate the vibrancy and persistence of women in 

jazz as an ode to the force of liberation itself. Let’s 

focus on a new paradigm in which the primary point 

is: individuals making music deserve to be viewed 

solely on the merits of strong musicianship, regardless 

of gender. 

To that end, the Evolving Music Series is back and 

manifests the healthy paradigm shift most clearly. The 

series is a long-time champion of a diverse array of 

experimental jazz vocalists. This month the quicksilver 

Kyoko Kitamura and her Moving Music Ensemble will 

be featured in a Sunday matinee at the Clemente Soto 

temperament. Many musicians are comfortable and 

happy working toward their desired sound through 

these structures and/or must for financial reasons. I 

prefer action composing live and direct from the 

source, the bliss of instantaneous communion in sound 

creation with other musicians of similar aesthetic. 

Our experiences, both inherited and selected, 

inform our musical vocabularies. From a deeply 

musical and ‘free-thinking’ family and steeped in 

Euro-classical, blues, soul and some world music, I 

found free/avant garde jazz to be a perfect fit. After 

eight years of piano lessons with Olga Heifetz, I had 

dreamed and then played freely from age 14. Multiinstrumentality 

is natural for me since studying piano, 

cello, flute and singing in childhood. I’ve always loved 

bringing forth the uniquely beautiful sounds of each 

family of instruments: woodwinds, strings, percussion 

and the voice. For decades, I navigated the rivers of 

music on four continents, performing, living and 

enjoying the work of my brother and sister musicians. 

My music is the elixir of an adventurous life. Generalist, 

multi-instrumentalist, world traveler, musicologist, 

flute-maker, I also practice Tai-Chi and Chi-Gong, 

research health and nutrition, love nature, audio 

engineer and produce recordings, use Feng-Shui 

principles for interior and exterior design and graphic 

arts, swim long distances and much more. Versatility is 

yin; specialization is yang. We are all individuals with 

infinite capacities. 

You can create yourself at every moment. Don’t let 

others define you. The open arms of jazz have embraced 

motifs, timbres, rhythms and instruments from many 

musics of the world. Innovation is its unique attribute 

and source of vitality. Creating in the moment, 

forgetting the box, energy is strong. 

The sounds of animals and natural forces, although 

rhythmic, never repeat exactly. They are very refreshing 

to hear and inspire appreciation and ongoing invention. 

Crickets, frogs, waves, birds, rocky streams all create 

beautiful intricate non-repeating sound designs. 

Nature always changes. 

Your body is your first instrument - tune and tone 

it kindly. Whether you play or listen (we need you too), 

cultivate your health, your posture, slow breathing, 

relaxation, positive thoughts and research your food. 

When your musical mind seeks familiarity, relish your 

joys of recreating and listening to old and new 

favorites. If your musical mind relishes creating on the 

threshold of the unknown, then hone your chops and 

let the life energy stream sound through you. In the 

moving circle of Tao, yin maxes into yang and yang 

maxes into yin, change is the only constant. Do your 

best work, help others and wear at least a little smile. v 

Velez Cultural Center’s LES gallery, a true bastion for 

fresh vocal innovation (Mar. 3rd). Kitamura’s voice is 

an instrument of crystalline tonal purity and moves 

like a hummingbird’s wings. 

The Vital Vox Series at the edgy Roulette features 

cream of the crop inter-arts avant garde jazz vocalists. 

Hear an equitable balance of male/female sounds with 

Sabrina Lastman, Philip Hamilton and Sarah 

Bernstein (Mar. 25th-26th). 

Jay Clayton is a pioneer of jazz vocal envelopeexpansion, 

who sings in layers of contrasting texture 

and exquisite nuance. She can be heard with legendary 

drummer Jerry Granelli’s trio at the hip Shapeshifter 

Lab (Mar. 10th). 

In the more straightahead vein, the Lady Got 

Chops Festival features a steady stream of solid, gutsy 

vocalists (and instrumentalists) at various locations, 

including the fun Sistas’ Place. Hear the deep currents 

of singer/pianist Mala Waldron there (Mar. 16th). 

Seasoned Greek-rooted goddess Maria Farantouri 

For more information, visit kalimuse.com. Fasteau is at 

Brecht Forum Mar. 16th as part of Lady Got Chops Festival. 

See Calendar. 

Kali. Z. Fasteau composes and performs on piano, nai flutes, 

voice, drum set, viola, mizmars, soprano sax and more. For 

14 years she lived in Europe, India and Africa, playing in 

music festivals and concerts, radio, TV and film soundtracks. 

Fasteau has recorded 18 albums as a leader, 12 on her Flying 

Note label. 

KARIN KROG & 

MORTEN GUNNAR 

LARSEN 

IN A RAG BAG 

(MEANTIME RECORDS) 

“A great partnership between singer 

and pianist… Karin’s singing 

embraces almost every style of 

jazz and popular song from the 

days of Irving Berlin to today’s 

avant garde” 

(from liner notes) 

AVAILABLE ON 

ITUNES, SPOTIFY, 

AMAZON.COM, 

MUSIKKOPERATORENE.NO 

KARINKROG.NO 

sings with saxophonist Charles Lloyd’s quartet at the 

Metropolitan Museum of Art’s Temple of Dendur (Mar. 

15th) in the New York debut of their disarmingly 

beautiful collaboration Athens Concert (ECM). 

Over in the classy Metropolitan Room the licks 

will be tight: hear scat vocalese connoisseur Anita 

Wardell in a double bill with warm, smokey Perez 

(Mar. 5th); bouncing-in-the-pocket Rebecca Kilgore/ 

Harry Allen Quartet (Mar. 6th-10th) and one of our 

greatest singer/lyricists - Lorraine Feather – who will 

celebrate the CD release of Fourteen (Relarion) by 

Nouveau Stride, her innovative and humorous duo 

with killer 26-year-old stride pianist, Stephanie Trick 

(Mar. 28th). 

Speaking of strides, this March let’s applaud the 

ways jazz has made progress towards trumping 

gender-based division. If you go to a gig, regardless of 

the gender of those performing, during Women’s 

History Month, remember - as all the jazz greats say - 

“It’s about the music.” v 


LABEL SPOTLIGHT 

Libra Records 

by Ken Waxman 

“All projects have their own stories and I now have 

more than 60 stories I can tell,” explains pianist/ 

composer/bandleader Satoko Fujii when asked about 

her recording career. More than 32 of these stories are 

available from Tokyo-based Libra records, a label she 

and her husband, trumpeter Natsuki Tamura, founded 

in 1996. Although the pair occasionally record for other 

imprints, Libra reflects Fujii’s most personal projects: 

duets and trios with Tamura and other Japanese and 

Western musicians; solo albums; records by her New 

York and Tokyo big bands; her avant-rock-free jazz 

combo and a quartet in which she plays accordion. 

Although Fujii, who attended both Berklee 

College of Music and New England Conservatory 

during the mid ‘80s and early ‘90s, respectively, and 

Tamura, who had been a member of Toshiyuki 

Miyama’s New Herd Orchestra, one of Japan’s best 

known jazz bands, had extensive recording experience 

- “the biggest reason we started this label was that we 

got tired of looking for labels that would release our 

recordings,” she reveals. At that time most record 

companies had certain fixed ideas of how jazz sessions 

should sound and look. She recalls one firm suggesting 

she wear a fancy dress and surround herself with 

“good looking guys as sidemen.” 

Libra is a small operation, which usually presses 

1,000 copies of each release, with tasteful CD covers 

Zakopane 

Satoko Fujii Orchestra Tokyo 

LISTEN UP! 

Saxophonist/flutist ROXY COSS has become one of 

the most unique voices of her generation. A native of 

Seattle, WA, Coss graduated in 2008 from William 

Paterson University on a full Presidential Scholarship. 

She then moved to New York where she played with 

Louis Hayes and the Clark Terry and Claudio Roditi 

Big Bands. She is also on trumpeter Jeremy Pelt’s latest 

record (Water and Earth, HighNote). Her eponymous 

debut, featuring all original material, came out in 2010. 

Teachers: Rich Perry, Gary Smulyan, Clark Terry, 

Harold Mabern, Mark Taylor, Anne Drummond, Rich 

DeRosa, Ingrid Jensen, Nathan Davis, Rufus Reid. 

Influences: Dexter Gordon, Hank Mobley, John 

Coltrane, Wayne Shorter, Sonny Rollins, Miles Davis, 

Art Blakey, Count Basie, Duke Ellington, Lee Morgan, 

Brad Mehldau, Joshua Redman, Mark Turner, Kenny 

Garrett, Roy Hargrove’s RH Factor, Bach. 

Current Projects: Working on a Miles Davis songbook 

project for the spring; Jeremy Pelt Band; DIVA Jazz 

Orchestra; Roxy Coss Quintet; Colleen Clark Trio; 

Danny Rivera/Matt Chiasson Big Band. 

By Day: Practice, play, compose, teach. 

Eto 

Satoko Fujii Orchestra New York 

I knew I wanted to be a musician when... I realized 

everything else was so boring! 

Dream Band: Nat King Cole, Freddie Hubbard, Kurt 


designed by Masako Tanaka. To devote full attention to 

the music, Fujii produces Tamura’s CDs and he hers. 

Sessions recorded in NYC are done at Brooklyn’s 

Systems Two studio because Fujii likes its piano. 

Business dealings are straightforward as well. For a 

project under Fujii or Tamura’s leadership, they hire 

the musicians and pay all expenses. For other CDs, 

such as Under the Water, Fujii’s duo piano record with 

Myra Melford, or Rafale with French musicians who 

helped compose the material, costs are shared and 

profits divided accordingly. Available from a variety of 

distributors in Japan, Europe and the US or from its 

website, Libra is officially located in Tokyo because 

that’s where a close friend of Fujii’s has the key to a 

small warehouse and can send out requested discs. 

Named Libra for Fujii’s astrological sign - “Natsuki 

is Leo and as you know there is a Leo label already,” 

she jokes - the imprint’s idiosyncrasies extend to its 

numbering system. “The first three numbers tell whose 

project it is and how big the band is and the last three 

numbers are continuous,” Fujii notes. “For example: 

Satoko Fujii Orchestra Tokyo, Zakopane is Libra 216- 

027; 2 means a Satoko project - Natsuki’s project is a 1 

- 16 means there are 16 musicians in the band and 027 

means this is the 27th Libra CD.” Vulcan is probably 

the label’s bestseller. It features the trumpeter and 

pianist with two Japanese rock musicians, including 

drummer Tatsuya Yoshida of The Ruins. All Libra CDs 

can be downloaded from iTunes and while there are no 

Libra LPs yet, “we’d love to do one,” says Fujii. 

Other well-received Libra CDs include discs made 

with Fujii’s American trio of drummer Jim Black and 

Rosenwinkel, Bobby Timmons, Paul Chambers, Art 

Blakey. 

Did you know? I have a soft spot for The Beatles, 

Michael Jackson, Britney Spears, ‘90s hip-hop/R&B 

and gangsta rap. 

For more information, visit roxycoss.com. Coss is at Smoke 

Sundays. See Regular Engagements. 

Roxy Coss 

Watershed 

Satoko Fujii Min-Yoh Ensemble 

Lakecia Benjamin 

A streetwise New York City native born and raised in 

Washington Heights, LAKECIA BENJAMIN has 

become one of the most highly sought-after players in 

soul and funk music. Charismatic and dynamic as both 

a saxophonist and bandleader, she has worked with 

David Murray, Stevie Wonder, Alicia Keys, The Roots, 

Macy Gray and more. She has performed on four 

continents and her extensive recording credits include 

saxophone and arrangements for Santigold, Maurice 

Brown, Clark Terry Big Band, Krystle Warren and Talib 

bassist Mark Dresser. “She has fantastic performance 

energy, a great ear, a musical fearlessness that allows 

her to travel into new territories, has an amazing work 

ethic and is constantly building bridges,” notes 

Dresser. “Her label is dedicated to releasing her various 

projects, which makes it part of a long tradition of 

improviser/composer/performers self-producing.” 

Although the pianist tells most of her stories via 

Libra, she won’t turn down the opportunity to work 

with other labels “if we find a label that loves our 

music and that we can trust,” she avers. For instance 

the newest disc by her Ma-do ensemble is on Poland’s 

Not Two. Another departure was KAZE’s Rafale, put 

out cooperatively in 2011 by Libra and Circum-Disc, 

the label of the Muzzix musicians’ collective, based in 

Lille, France. KAZE consists of Fujii, Tamura plus two 

French musicians: drummer Peter Orins and trumpeter 

Christian Pruvost. 

“The most important fact about Libra and Circum- 

Disc is that both record companies are headed by 

musicians, so there’s passion in the way things are 

done and freedom that we don’t find elsewhere,” 

explains Orins. “Nowadays musicians almost always 

lead their project from the beginning to the release, so 

I think that running our own record company lets us 

manage the way we want to do it. Working with Satoko 

is one of the simplest musical experiences I know. Even 

if the music we make is highly elaborate and 

purposeful, the way we do it is very natural and 

without pressure. We simply play while being very 

focused on one another.” 

(CONTINUED ON PAGE 46) 

Forever 

Gato Libre 

Kweli, among others. 

Rafale 

KAZE 

Teachers: Wessell Anderson, Steve Wilson, Gary Bartz, 

Bruce Williams, Reggie Workman, Billy Harper, Bill 

Saxton. 

Influences: Jackie McLean, Maceo Parker, John 

Coltrane, Kirk Whalum, Charlie Rouse, Sly and the 

Family Stone, Earth, Wind & Fire, Alice Coltrane. 

Current Projects: I have been working extensively 

with my band Soulsquad, promoting songs off my 

debut album Retox (Motéma). 

By Day: Practice, compose, meetings and rehearsals. 

I knew I wanted to be a musician when... the first time 

I laid eyes on a saxophone. My best friend had an alto 

saxophone and from that moment on I became fixated 

with it. 

Dream Band: Bootsy Collins, Herbie Hancock, Eddie 

Hazel, Greg Errico, Earth, Wind & Fire horn section, 

Rachelle Ferrell. 

Did you know? I only eat pizza crust. It’s my fave. I 

dislike the taste of pizza and garlic knots. 

For more information, visit lakeciabenjamin.com. Benjamin 

is at For My Sweet Restaurant Mar. 4th as part of Lady Got 

Chops Festival. See Calendar.

HUGH MASEKELA 

Sat., April 20 | 7:30pm 

THE KNICKERBOCKER ORCHESTRA 

FEATURING HARUMI HANAFUSA 

Fri., March 8 | 7:30pm 

Photo: Kevin Yatarola 

AMERICAN 

SHOWSTOPPERS 

JULE STYNE 

Sat., March 9 | 7:30pm 

Coming Up 

Next at 

schimmel.pace.edu or call 866.811.4111

CD REVIEWS 

Capricorn Climber 

Kris Davis (Clean Feed) 

by John Sharpe The Song That Sings You Here 

Pianist Kris Davis has perfected a great trick, dressing 

her elaborate compositions in the guise of improvisation 

so successfully it’s barely possible to tell one from the 

other. By doing so she retains the freshness and 

unpredictability of unscripted interaction while at the 

same time keeping a taut conceptual grasp. In this 

she’s abetted by an allstar cast, including frequent 

collaborators like saxophonist Ingrid Laubrock and 

drummer Tom Rainey. 

Davis sets the mood with her purposefully 

intelligent promptings, only cutting loose herself on 

“Pass The Magic Hat”, before setting up the sort of 

involved interplay characteristic of all the pieces here. 

For her contribution Laubrock alternates between 

flowing but asymmetric rounded tones and heated 

timbral distortion, but meshes well with her frontline 

partner, violist Mat Maneri, during some tricky 

unisons. Elsewhere Maneri is angular and abrasive, 

sliding between notes in a way that ups the surprise 

quotient. In fact, it’s impossible to anticipate the 

trajectory of any of the selections. Much credit for such 

flexibility falls to the rhythmic ingenuity of Rainey 

allied to the nimble yet assertive bassist Trevor Dunn. 

Each number is event-strewn but cohesive. The 

title cut provides as good an example as any: Maneri 

and the leader pontificate dreamily to start, before 

building to an energetic crescendo of intersecting 

layers. A saxophone/viola theme emerges from the 

swirling chaos, providing a cooling interlude, which 

morphs into a tappy coda of sustained drones, 

culminating in a chiming conclusion recalling an oldfashioned 

clock. While highlights are too many to 

enumerate, one that sticks in the mind is Laubrock’s 

forceful tenor solo on “Trevor’s Luffa Complex”, 

goosed by some explosive comping from the leader. 

One of the treats of this tremendous album is to 

savor the appealing blend of the cerebral and affecting, 

with new quirks revealed on every listen. 

For more information, visit cleanfeed-records.com. Davis is 

at Clemente Soto Velez Cultural Center Mar. 4th, Cornelia 

Street Café Mar. 5th with Ingrid Laubrock and 30th as a 

leader and Korzo Mar. 26th. See Calendar. 

AMANDA 

& THE MICHAELS 

AMANDA MONACO - GUITAR 

MICHAEL BATES - BASS 

MICHAEL PRIDE - DRUMS 

SEEDS BROOKLYN 

617 VANDERBILT AVENUE 

WED, MAR. 20TH, 10 PM $10 

AMANDAMONACO.COM 


Chris McNulty (Challenge) 

Champian Sings and Swings 

Champian Fulton (Sharp Nine) 

Mississippi Belle (Cole Porter in the Quarter) 

Daryl Sherman (Audiophile) 

by Marcia Hillman 

The Great American Songbook - tunes mostly from 

the ‘20s-50s written by the Tin Pan Alley masters for 

Broadway shows or movies - is the mother lode for 

singers in all genres in search of material to express 

themselves. Three different songbirds have recently 

mined it for their respective albums, testifying once 

again to its inexhaustible richness. 

Australian-born vocalist Chris McNulty possesses 

a mature, expressive voice and sings a little behind the 

beat, which allows her to explore some innovative 

phrasing on The Song That Sings You Here, accompanied 

by bassist Ugonna Okegwo, drummer Marcus Gilmore, 

guitarist Paul Bollenback, pianists Andrei Kondakov 

and Graham Wood, tenor/soprano saxophonist Igor 

Butman and guest vocalist Anita Wardell. McNulty 

opens with a lightly swinging version of “How Little 

We Know” (featuring Butman’s high-flying tenor solo) 

and continues with a soft and easy rendition of “How 

Are Things in Glocca Morra?”, proving that she can 

handle both sides of the emotional coin. Most notable 

is the inclusion of Fats Waller’s “Jitterbug Waltz”. Who 

ever knew there were lyrics to this song? There are, by 

Richard Maltby Jr., and just as playful as Waller’s 

personality. McNulty has a lot of fun with this one. 

Champian Fulton is a double-threat performer, 

possessing a powerful voice and some heavy piano 

chops, both captured on Champian Sings and Swings, 

where she is joined by Hide Tanaka (bass) and Fukushi 

Tainaka (drums), with the addition (on selected tracks) 

of trumpeter Stephen Fulton and tenor saxophonist 

Eric Alexander. The album is nicely paced, with 

opportunities to show off her vocal talent (edgy at 

times and softer at others) and her instrumental ability, 

with several tracks (“I Cover The Waterfront” and Bud 

Powell’s “Celia”, for example) done in a piano trio 

setting. Fulton’s two skills meet on “Samba de Orfeo”, 

the leader first singing a wordless lyric and then 

scatting along with her playing. On “It’s Too Late 

(Baby Too Late)”, Fulton gets especially bluesy, aided 

and abetted by wailing tenor work from Alexander 

(who also smokes on an uptempo version of “It’s 

Alright With Me”). Stephen Fulton contributes inspired 

horn on “You’re Getting To Be A Habit With Me”. 

Vocalist/pianist Daryl Sherman is no stranger to 

the club scene as a singer of standards, but on 

Mississippi Belle she has chosen to focus exclusively on 

the Cole Porter songbook, presenting a program of 

underdone and even obscure songs. Recorded in New 

Orleans in salute to the resilience of the city after 

Katrina, Sherman’s group is a trio with tenor 

saxophonist/clarinetist Tom Fischer and bassist Jesse 

Boyd, with a guest appearance by New Orleans vocalist 

Banu Gibson on “By The Mississinewah”, a duet in 

English and French. Sherman’s skill as a storyteller 

stands out, as does her close musical connection with 

Boyd, starting with the opener, “Let’s Do It”, where 

she goes through the multi-choruses of the song with 

just bass and a touch of piano behind her. Other 

highlights include Fisher’s sax on “Looking At You” 

and his clarinet work on “Who Wants To Be A 

Millionaire?”. The combination of some freshly done 

material and Sherman’s straightforward approach 

make this album delightful. 

This triumvirate of CDs by a trio of ladies, each 

with their respective talents and styles, once again 

demonstrates why the Great American Songbook 

deserves the superlative! 

For more information, visit challengerecords.com, 

sharpnine.com and jazzology.com/audiophile_records.php. 

Chris McNulty is at Jazz at Kitano Mar. 7th. Champian 

Fulton is at The Garage Mar. 7th and 30th. Daryl Sherman 

is at Knickerbocker Bar and Grill Mar. 8th-9th and 

15th-16th. See Calendar. 

UNEARTHED GEM 

Bigbands Live 

Benny Goodman Orchestra (feat. Anita O’Day) 

(Jazzhaus) 

by Andrew Vélez 

This is only one part of a treasure trove of live 

recordings from the archives of the German Southwest 

Broadcasting Company. The 3,000 hours in its 

archives represent possibly the most comprehensive 

reservoir of unpublished jazz recordings worldwide. 

In this instance it’s a performance at the Stadthalle 

Freiburg, West Germany from 1959. So here’s a 

Jewish-American bandleader performing in a 

country where his Swing Era music was once banned 

by the Nazis as “decadent”. 

Showcasing a first-rank lineup including Red 

Norvo (vibes), Russ Freeman (piano), Flip Phillips 

(tenor sax) and some luscious vocals from Anita 

O’Day, this is first-class big band music just as rock 

‘n roll was about to explode popular music into a 

new era. But for now Goodman’s clarinet blending 

with Norvo’s ever-swinging vibes on “Air Mail 

Special” evoke a still thrilling whiff of peak Swing 

Era sounds. If this is not quite the Goodman and 

Company of his legendary 1938 Carnegie Hall 

Concert, it still packs a swinging punch. 

The distilled simplicity of Red Wooten’s bass 

makes a perfect nest for the succulent sweetness of 

O’Day on “Honeysuckle Rose”. A medley of 

Gershwin’s “But Not for Me”, “Four Brothers” and 

“Blues” has O’Day swinging ever so easily. She 

veers from seductive to rambunctious highstratosphere 

scatting, all unique and all captivating. 

“Raise the Riff” is an opportunity for Goodman 

to swing big time with Wooten and Freeman each 

taking hot turns until Norvo sweeps in like the 

Swing Era master he was. There’s a taste of Goodman 

as composer with “Breakfast Feud”, on which he 

wails against trumpeter Jack Sheldon and again 

those Norvo vibes, each taking a piece of the action 

before a happy finish by the whole gang. For a taste 

of Goodman at his sweetest, there’s his old favorite, 

“Memories of You”. 

The closing medley - including “Stompin’ at the 

Savoy”, an irresistible “Moonglow” and “Bei mir bist 

du schein” - brings to a tumultuous close a session 

that demonstrates what had made Goodman “The 

King of Swing” decades earlier was still at play. 

For more information, visit jazzhaus-label.com

Elephant Wings 

Gunhild Seim & Time 

Jungle with Marilyn 

Crispell (Drollehala) 

by Stuart Broomer 

Play Braxton 

Marilyn Crispell/ 

Mark Dresser/Gerry 

Hemingway (Tzadik) 

Marilyn Crispell is a pianist of special vision and 

tremendous lyric sweep, with a capacity for finding 

passion in a keyboard that has linked all of the different 

musical dimensions she has explored since emerging 

in the early ‘80s. She was initially associated with Cecil 

Taylor for her dense, high-speed improvisations, but 

Crispell is a complete musician who, over time, has 

revealed myriad facets to her work, from spacious 

ballad playing to concentrated rhythmic interplay. 

Crispell has worked extensively with Scandinavian 

musicians and on Elephant Wings she joins Norwegian 

trumpeter Gunhild Seim and her quartet Time Jungle. 

Seim has a capacity for brevity and focus whether it’s a 

composition reduced to dramatic gestures or the clarity 

of her trumpet phrases. Time Jungle is an effective 

instrument for her compositions. Alto saxophonist 

Arild Hoem is a good foil, whether contributing 

abstract, out-of-tempo squiggles or long-lined solos in 

contrast to Seim’s economy. It’s a conversational group 

and bassist John Lilja and drummer Dag Magnus 

Narvesen choose their notes carefully, complementing 

the melodic focus or developing a web of overlapping 

rhythmic figures. It’s a band with a distinctive 

conception and Crispell raises it to another level, not 

by doing a guest-star turn but by burrowing into the 

music, adding optimum framing to the other musicians’ 

lines and turning in solos that sparkle in their aptness, 

like the fleetly floating invention she brings to “Joni”. 

Crispell’s gift for collective creation first flowered 

in the Anthony Braxton Quartet between 1983-95 with 

bassist Mark Dresser and drummer Gerry Hemingway, 

a genuinely great band in which Braxton mixed and 

matched scores from his entire body of compositions, 

solo to orchestra. Somehow the four managed to find 

ways to negotiate that shifting terrain and make 

coherent art. The trio reunited to pay tribute to Braxton 

on his 65th birthday and this recording came about as 

a result. There may be music as complex or as playful, 

but not both. This CD includes many of the moods of 

Braxton, from the densely layered rhythms and 

harmonies that live in synch on “Composition 116” to 

LIBRA 

Records 

32 CDs of limitless creative vision by 

pianist/composer Satoko Fujii & 

trumpeter/composer Natsuki Tamura. 

Solo, duo, trio, quartet, big band and 

orchestra. Artist owned! 

Stay tuned for more releases soon! 

www.librarecords.com 

the atonal bop of “Composition 23C” and the hanging 

isolated tones of “Composition 40N”. Crispell is 

magnificent, displaying the breadth of her playing, 

from the flying clusters of “Composition 69B [8.2]” 

(Crispell sounds most like Cecil Taylor when reading 

an excerpt from a through-composed Braxton piano 

solo) to the weird block-chord groove of “Composition 

40B”. Dresser and Hemingway play at a level of 

thought and interaction most can only imagine and all 

three navigate this music with an intimacy that blurs 

compositional and improvisational methodologies into 

indivisible music. It’s a masterpiece in itself, as well as 

an invitation to investigate all the original quartet’s 

recordings, spread over more than a decade, with 

notable performances on Leo, hatHUT and Victo. 

For more information, visit gunhildseim.com and tzadik.com. 

Crispell is at Symphony Space Peter Jay Sharp Theatre Mar. 

22nd as part of a Paul Motian Tribute. See Calendar. 

Down Here Below 

Ran Blake/Christine 

Correa (Red Piano) 

by George Kanzler 

Aurora 

Sara Serpa/Ran Blake 

(Clean Feed) 

Ran Blake is a pianist who never plays a superfluous 

note. He can be spare and angular, but always 

satisfyingly complete. Few pianists in jazz have been 

as masterful, or comfortable, playing alone or in duos. 

Blake has made duo albums with vocalists before, 

including Jeanne Lee and Dominique Eade, as well as 

two others with Indian singer Christine Correa and 

one other with Portuguese singer Sara Serpa. The two 

are poles apart as vocalists and stylists. 

Correa brings an immediacy and raw edge to her 

delivery, as if melding method acting with singing. 

Down Here Below honors Abbey Lincoln, who also 

brought an acting sensibility to her singing. The title 

song bookends the album, the first track beginning 

with highly charged wordless chanting, followed by a 

piano solo suffused with mystery before Correa returns 

with Lincoln’s lyrics, delivered in a conspiratorial tone 

rising to a devotional pitch. The album closes with 

Correa’s very different a cappella and low-key 

performance of the song. Correa can be raw and angry, 

as on “Freedom Day” (two versions, with and without 

Blake), adding petulance to the anger on “Retribution”. 

Her tone can be dry and harsh, as she bends melodies 

to extremes on “Little Niles” and “African Lady”, slide 

from steely to cool on “Bird Alone” or be downright 

sweet and engaging on the winsome “How I Hoped for 

Your Love”. Correa and Blake make “Brother, Can You 

Spare a Dime?” as singular and heart-wrenching as 

Lincoln did, but in their own unique way. 

Serpa is, to say the least, an acquired taste. She 

doesn’t emote much. Her a cappella version of “Strange 

Fruit” on Aurora is freeze-dried. Her delivery of torch 

songs like “Saturday” and “When Autumn Sings” are 

wooden, staid and calm. In fact, on the latter, Blake 

brings the passion with his piano jabs as Serpa’s voice 

flattens and sours. 

The most successful duo track is the wordless “Dr. 

Mabuse”, co-written by Blake and featuring a threenote 

motif and pleasing blend of deep piano chords 

and trilling vocal vowels. The longest track is Blake’s 

masterful, brooding piano solo on his own “Mahler 

Noir”, a worthy addition to his growing body of “Noir” 

pieces. Three standards on this outing are vehicles for 

deconstruction. “The Band Played On” lurches on an 

off-kilter waltz rhythm for the opening vocal, followed 

by some stride from Blake, Serpa then returning in a 

higher key, or just purposely over-singing until she is 

performing wordless, operatic-like vocal scales. “Fine 

and Dandy” also has hints of stride piano and a vocal 

that shreds the melody with weird sharps and flats 

close to caterwauling. “Last Night When We Were 

Young” is best in the piano intro, worst in the fey and 

strained vocal. 

For more information, visit redpianorecords.com and 

cleanfeed-records.com. Blake and Correa are at Symphony 

Space Peter Jay Sharp Theatre Mar. 23rd as part of “CI at 

40”. See Calendar. 

IN PRINT 

Shall We Play That One Together?: The Life and Art 

of Jazz Piano Legend Marian McPartland 

Paul de Barros (St. Martin’s Press) 

by Ken Dryden 

English pianist Marian McPartland’s professional 

jazz career spanned over 60 years and she became a 

jazz icon thanks to her multi-award-winning, longrunning 

NPR radio series Piano Jazz. Paul de Barros, 

a renowned jazz journalist, did in-depth research 

and conducted many interviews to craft a detailed 

portrait of the witty yet complex musician. 

McPartland’s early life covers a difficult 

relationship with her mother over abandoning 

classical studies to play jazz, prompting a comment 

that the pianist often shared with her audiences: 

“You’ll come to no good. You’ll marry a musician 

and live in an attic,” followed by, “And she was 

right!” While touring with the USO in World War II, 

she met Chicago cornetist Jimmy McPartland. After 

she joined her new husband in America, he 

encouraged her career, though she would become 

the more widely known player, thanks to her 

extended gig at The Hickory House in New York 

City and later the Piano Jazz program. 

Not all was rosy in McPartland’s life. Her 

ongoing affair with her (married) drummer Joe 

Morello caused problems as did sparse recording 

opportunities in the early ‘60s and bouts with 

depression. But she rebounded with jazz writing 

and education, launch of her record label Halcyon, 

the NPR series and her signing to Concord Records. 

The author’s insights as a jazz journalist help 

him document McPartland’s growth as a pianist. 

Not one to establish a set repertoire and remain 

stagnant, she continuously explored new material 

and took chances on Piano Jazz, playing with new 

people from diverse backgrounds. One of her 

triumphs was playing duets with Cecil Taylor, not at 

all intimidated by his wild improvising and showing 

off her own considerable abstract chops. 

With over 700 Piano Jazz programs recorded 

between 1978-2010 (she formally retired in 2011), 

much of the book is devoted to her broadcasts. Sadly 

only a few dozen have been commercially issued 

and a fraction of the others made available as 

podcasts; it is a shame that there wasn’t room in the 

appendix to list all of her guests. 

For more information, visit us.macmillan.com/SMP.aspx 


GLOBE UNITY: NORWAY 

Memnon: Sound Portraits of Ibsen Characters 

Ruth Wilhelmine Meyer/Helge Lien (Ozella Music) 

In A Rag Bag 

Karin Krog/Morten Gunnar Larsen (Meantime) 

Voxpheria Tone Åse/Thomas Strønen (Gigafon) 

by Tom Greenland 

Jazz fans familiar with ECM recordings know about 

a certain slice of the country’s ‘cool’ school but 

perhaps know little of artists like Bugge Wesseltoft, 

the rhythm team of Ingebrigt Håker Flaten and Paal 

Nilssen-Love, Jaga Jazzist, Supersilent, The Core 

and legions more that comprise Norway’s active 

and eclectic modern jazz scene. 

Memnon: Sound Portraits of Ibsen Characters 

features vocalist Ruth Wilhelmine Meyer and pianist 

Helge Lien in a series of composed improvisations 

inspired by the great Norwegian playwright’s 

protagonists. The pair’s modus operandi seems 

Stanislavski-ian, deeply immersing themselves in a 

character’s emotions before letting the creative 

sparks fly. Lien’s touch is gentle and ethereal, 

marking a zone for Meyer’s plaintive, searching 

vocal flights, which range from whispers, growls 

and squelched notes with pinched upper partials to 

wailing helicopter yodels and ululations, the latter 

reaching powerful climaxes on “Hedvig”, “Hedda” 

and “Peer and the Mountain King”. “Ellida”, “Åse” 

and “Nora” are all notable for their Billy Strayhornesque 

chromatic lyricism. 

Another vocal/piano pairing, veteran Karin 

Krog’s duo with Morten Gunnar Larsen In a Rag 

Bag, explores ragtime and traditional jazz repertoire, 

particularly Bix Beiderbecke and Fats Waller. A 

versatile singer and Norway’s first internationally 

known jazz musician, Krog phrases effortlessly with 

a slightly smoky and breathy tone, never oversinging 

where a subtler touch will do, serving up a 

saucy scat solo on “Spanish Steps”. Larsen is a 

marvel, a fine technician who deftly tackles the 

complex rhythmic convolutions of Scott Joplin’s 

“Euphonic Sounds”, his own “Olympia Rag” and 

Waller and Clarence Williams’ “Wild Cat Blues”, 

instantly adjusting his timing to accommodate rag, 

stride or boogie, often within the same piece, yet 

always maintaining his forward momentum. 

On Voxpheria, vocalist Tone Åse and 

percussionist Thomas Strønen take the duo concept 

one step further, into the realm of improvised 

electronica. The ‘50s-era cover, looking like a setpiece 

from The Twilight Zone, aptly telegraphs the 

music within, a pastiche of textures - radio static, 

fizzling power-lines, crackling hearth-fires, howling 

wind, leaky faucets, subterranean drones, 

shimmering chimes, tearing paper, rusty springs, 

twanging rubberbands, boiling kettles, shuffling 

cards and the like - that create a synthetic soundscape 

through which Åse wends her way with poetry 

bytes (by e.e. cummings or Rolf Jacobsen) and 

wordless ad-libs, often harmonized and digitally 

looped in spontaneous counterpoint. 

For more information, visit ozellamusic.com, karinkrog.no 

and gigafon.no 


Fourteen 

Nouveau Stride 

(Relarion) 

by Ken Dryden 

Tales of the Unusual 

Lorraine Feather 

(Jazzed Media) 

Vocalist Lorraine Feather’s gift for writing witty 

lyrics has put her on the map and garnered her both 

Grammy and Oscar nominations. Feather pens lyrics 

for decades-old gems by jazz greats with an engaging, 

at times conversational, singing style. 

Pianist Dick Hyman previously worked with 

Feather and recommended that she listen to Stephanie 

Trick, a young St. Louis stride pianist. Once they met 

and played a few numbers, they discovered it was a 

perfect match, christening themselves Nouveau Stride. 

Fourteen includes new Feather lyrics and some of her 

earlier works, all played with gusto by the talented 

Trick. James P. Johnson’s “Caprice Rag” becomes “Pour 

on the Heat”, a historic narrative on the development 

of stride, Feather alternating between rapid-fire 

singing and narration as Trick provides romping 

accompaniment. Trick delivers a powerful rendition of 

Johnson’s “Carolina Shout”, long considered an acid 

test for stride pianists. “Vive Le Boogie Woogie” is an 

infectious boogie-woogie penned by Trick (which she 

plays with as much authority as stride) with a playful 

Feather lyric. Willie “The Lion“ Smith’s “Spanish Rag” 

reemerges as “The Tango Lesson”, imagining a young 

lady’s discovery of the sensuous dance while Duke 

Ellington’s “Dancers in Love” transforms into 

“Imaginary Guy”, a hilarious solution to a lady’s 

problems with various boyfriends. Fats Waller’s “Bond 

Street” began life as his impression of a day in the life 

of a London streetwalker; Feather’s “California Street” 

transforms it into a nostalgic love story. Nouveau 

Stride will delight both jazz vocal and piano fans, due 

to the pair’s tremendous chemistry. 

Tales of the Unusual blends humor and an 

occasionally eerie flavor as Feather collaborates with 

some of her favorite musicians, which include Russell 

Ferrante or Shelly Berg (piano), violinist Charles 

Bisharat and either Grant Geissman or Mike Miller 

(guitar). The captivating alto is a terrific storyteller, 

crafting lyrics that take on a more introspective nature 

in this collection while adding to the exotic air of the 

music. “The Hole in the Map”, with music by Ferrante, 

is Feather’s amusing story of exploring the Amazon. 

“Where is Everybody?” combines mystery and humor, 

with Bisharat spicing his solo with gypsy flavor. “Five” 

features music by Tony Morales (Feather’s husband) 

and creative use of overdubbed vocals in a song about 

a young girl’s obsession with the number five. “Get a 

Room” is a hilarious tale of opposites attracting with 

plenty of romantic fireworks, with Berg’s engaging 

music and lively solos all around supporting Feather’s 

engaging vocal. She revisits “Indiana Lana”, an earlier 

work adding words to Duke Ellington’s “Jubilee 

Stomp”, singing a lively duet with Berg (a masterful 

stride piano player, among many things) about a 

female runner who outruns everyone and everything. 

Feather’s imagery in the haunting “To Lie Another 

Day” describes loneliness in an atypical fashion. With 

the diverse Tales of the Unusual, Feather reaffirms her 

status as one of the most gifted lyricists and compelling 

vocalists. 

For more information, visit lorrainefeather.com and 

jazzedmedia.com. Nouveau Stride is at Metropolitan Room 

Mar. 28th. See Calendar. 

Bouquet 

Charlotte Hug/Frédéric 

Blondy (Emanem) 

by Ken Waxman 

Live @ The Ironworks, 

Vancouver 

Ig Henneman Sextet (Wig) 

What’s the difference between a dog and a viola? The 

dog knows when to stop scratching. Of all the stringed 

instruments, it’s the viola that gets the least respect, 

with this joke only one of hundreds. Yet because of its 

unique intonation the viola has become a favored 

method of expression for inventive improvisers like 

Switzerland’s Charlotte Hug and the Netherlands’ Ig 

Henneman. 

The selections on Bouquet by Hug and Paris-based 

pianist Frédéric Blondy are perfectly designed to 

confuse types whose allegiance is to contemporary 

so-called classical music. Both have enough academic 

expertise to work in the notated milieu, but the dozen 

tracks here are improvisations, off-handedly displaying 

exquisite technical smarts while cooperating to create 

sound pictures that are extravagant without being 

egocentric. Most tracks consist of inside and outside 

piano tropes ranging from methodical to stratospheric, 

plus fiddle sweeps that encompass mangling, melding 

and mixing textures. The overlapping cadences create 

a genuinely moving program. 

A track such as “Thalia Remontant” finds Blondy 

vibrating miniature cymbals resting on the top of the 

piano’s internal string set, complementing Hug’s lowpitched 

spiccato swipes. In contrast, “Rosa moyesii” is 

completed with a (faux?) sexy sigh from Hug after the 

two have methodically exposed parallel tonal chords, 

with the violist’s instrument attaining cello-like 

resonance as she roughens her attack. Blondy is so 

skillful that on “Sombreuil” he creates a cavern-deep 

ostinato from pure pedal motion alone and then uses 

broken-octave keyboard jumps to define a response to 

Hug’s melodic invention. Elsewhere embroidered 

textures oscillate so quickly and are so opaque that 

ascribing them to a particular instrument is nearly 

impossible. 

The six Henneman compositions that make up 

Live @ The Ironworks, Vancouver include so-called 

classical references as well. Her international sextet is 

made up of bassist Wilbert de Joode and multi-reedist 

Ab Baars from the Netherlands; Berlin-based trumpeter 

Axel Dörner and two Canadians: Montreal clarinetist 

Lori Freedman and Toronto pianist Marilyn Lerner. 

Note the versatile turns on the final “A ‘n B”, with 

the exposition moving from straightforward swing, 

replete with graceful trumpet lines and contrapuntal 

cascades from Lerner, to tougher sequences when 

honking bass clarinet explosions from Freeman and 

angled riffs from the violist take over. De Joode’s 

steady pumping personalizes the title of “Bold 

Swagger”. Henneman’s gift for descriptive lines are on 

display with “Prelude for the Lady with the Hammer”, 

which could serve as a film noir theme. The group’s 

abstract turn arrives with the deceptively titled “Light 

Verse”. More like a dramatic epic, the juddering 

exposition include whinnying trumpet flutters, 

unaccompanied, altissimo reed squeals and jittery 

lines from Henneman. 

More sessions like these and eventually there may 

be a dearth of jokes like: Why is a viola like a lawsuit? 

Everyone’s happy when the case is closed. 

For more information, visit emanemdisc.com and 

stichtingwig.com

Money Jungle 

Terri Lyne Carrington 

(Concord) 


Baritone Monk 

Claire Daly 

(North Coast Brewing) 

Two prominent female jazz artists honor jazz icons on 

these albums. Drummer Terri Lyne Carrington 

reimagines the music of one of the most celebrated allstar 

trio LPs in jazz while baritone saxophonist Claire 

Daly essays a program of Monk compositions in one of 

his favorite performing contexts. 

50 years ago last month, United Artists released 

Money Jungle, a Duke Ellington album with bassist 

Charles Mingus and drummer Max Roach, a one-off 

trio assembled by producer Alan Douglas. Ellington 

wrote eight mostly blues-based tunes for the date, 

which also included three Ellington standards. 

Carrington jettisons those in favor of originals and 

augments her basic trio, with bassist Christian McBride 

and pianist Gerald Clayton, on some of the eight Money 

Jungle tunes. She also interpolates some soundbite 

quotes about our economic problems from the likes of 

Martin Luther King Jr., Barack Obama, George W. Bush 

and the Clintons onto the opening title track, which 

otherwise adheres closely to the original, right down 

to McBride’s choked, upper register Mingus bass 

technique. The album also ends with spoken words: 

Duke Ellington’s in his poem “Music”, an extended 

metaphor of music as a woman (voiced by Shea Rose) 

and his comments about jazz, music and money (voiced 

by Herbie Hancock). In between, Carrington and her 

cohort inhabit and reinvigorate the spirit of the music 

originally created by that allstar trio in 1962. 

Some of Ellington’s pieces receive radical 

makeovers. “Backward Country Boy Blues” adds 

ethereal wordless vocals from Lizz Wright as well as 

Nir Felder’s gritty electric guitar and some Rhodes 

from Clayton. “Fleurette Africain”, a delicate pastel on 

the original LP, becomes a colorful Romare Beardenlike 

collage, adding Clark Terry’s “mumbles” vocals 

and some mouthpiece brays as well as his trumpet 

solo, plus flutes and trombone. “Switch Blade” begins 

similar to the original, with deep groove blues piano 

referencing Ellington, but expands to include Tia 

Fuller’s alto sax, Antonio Hart’s flute and Robin 

Eubanks’ trombone in Mingus-y polyphony. The trio 

tracks are an inspired amalgam of tribute and creativity 

and Clayton’s “Cut Off” is a deft pastiche of Ellington’s 

“Solitude”, suggesting just how much this trio has 

absorbed the lessons of Money Jungle. 

After a spate of ‘novel’ Monk repertoire albums 

including organ and guitar trios and Monk mid-size 

bands without a piano, it is refreshing to hear a 

straightforward tribute in the manner of Monk’s most 

frequent working band, a quartet. Daly’s group, much 

like that early and suave Monk tribute band Sphere, 

plays Monk’s music without aping the composer or his 

bands. Like Sphere, Daly’s quartet is more aware of 

nuance and structure than the anarchic quirks and 

humor of Monk’s tunes, but aside from a couple of too 

bland takes, this CD delivers with moderate Monk-ish 

spice. The title is reflected in the bass clef favoritism of 

the best tracks, from “Light Blue”, wherein Daly’s 

baritone begins phrases completed by Mary Ann 

McSweeney’s arco bass, to “Ruby, My Dear”, a 

deliciously slow, sinuous version with plucked bass 

obbligati to the baritone lead. Also appealing to Monk 

fans should be the care and detail applied to 

singularizing such tunes as “Let’s Cool One”, with 

accelerating A sections and a slinky sax solo entrance, 

and “Bright Mississippi”, as an appropriately bright 

tempo is complemented by a drum solo accompanied 

by shards of sax melody. “Pannonica” features Daly on 

flute and a waltz tempo while “Green Chimneys” is a 

baritone sax and piano (Steve Hudson) duet that 

invokes Monk’s fondness for stride with its two-beat 

flavor. But this album triumphs on the expressive and 

Monk-informed vivacity of baritone sax and bass. 

For more information, visit concordmusicgroup.com and 

northcoastbrewing.com. Carrington’s Money Jungle is at 

Dizzy’s Club Mar. 26th-27th. Daly’s Baritone Monk is at 

Birdland Mar. 28th. See Calendar. 

ON DVD 

Solo•Duo•Poetry 

Cecil Taylor + Pauline Oliveros (EMPAC) 


Listening requires some effort on the part of the 

listener - at the least, a certain receptivity. This kind 

of interactive communication lies at the heart of 

Pauline Oliveros’ work as a musician, professor and 

philosopher. Her music can only be described as 

such if one understands that all sound is music. 

This is the message that Oliveros offered 

listeners in her 2008 concert with pianist Cecil Taylor 

at Rensselaer Polytechnic Institute, where she 

teaches. The occasion was the dedication of the 

university’s Curtis R. Priem Experimental Media 

and Performance Arts Center (EMPAC), a bright, 

open space of glass and wood for avant garde artists 

of all stripes. The DVD, with almost three hours of 

spontaneous composition and improvised poetry, 

not only shows off the Center’s stages to best 

advantage but gives lovers of free improv a visceral 

experience of the evening - not easy to do, given the 

immediate nature of that musical process. 

Oliveros and Taylor are experts at turning 

themselves inside out during their solos; one can 

almost hear their thoughts a second before they play 

them. Each improvised separately before 

collaborating on a 22-minute improv. In their solo 

performances the musicians followed their 

respective internal cues through the twists and turns 

of their composition, changing musical direction at 

will. When the two performed together, however, 

they synched these internal cues nonverbally, 

moving together the way birds do. The duo section 

is a lesson in how to work together. 

Taylor also improvises with words (the “poetry” 

part of the title). In a separate performance in the 

EMPAC’s theater, he read (or created spontaneously) 

phrases and verses that questioned the nature of 

existence - just what are these racial, sexual, cultural, 

biological, cosmological structures all about, 

anyway? As with the music, the answer seems to lie 

somewhere in between the sounds. 

This DVD is not for the passive viewer looking 

to be pleased or entertained, even though there are 

many pleasant, entertaining moments on the disc. 

It’s for those looking to have their psyches prodded. 

For more information, visit empac.rpi.edu. Oliveros is at 

Roulette Mar. 30th. See Calendar. 


New Blues Aki Takase (Enja/Yellowbird) 

En Corps 

Eve Risser/Benjamin Duboc/Edward Perraud 

(Dark Tree) 

Games and Improvisations (Homage à György Kurtág) 

Katharina Weber/Barry Guy/Balts Nill (Intakt) 

Orchestre Idéal Johanna Borchert (WhyPlayJazz) 

by John Sharpe 

Right from the time when most women in the 

entertainment business were either singers or dancers, 

the piano supplied one of the few acceptable entrees 

for female instrumentalists to the world of jazz. Even 

though such prejudices have been left way behind, the 

keyboard remains where women are most strongly 

represented on the bandstand. 

Berlin-based Japanese pianist Aki Takase creates a 

beguiling mix of the old and the modern day, with her 

original compositions rubbing shoulders with tunes by 

Fats Waller, Jelly Roll Morton and WC Handy. In many 

ways New Blues is a follow up to 2003’s Plays Fats 

Waller (Enja), with almost the same lineup, including 

the spirited yet knowing vocals by maverick guitarist/ 


banjo player Eugene Chadbourne. Some of the pianist’s 

numbers sit well alongside the standards, such as the 

jaunty “Seven Eleven”, featuring quicksilver interplay 

between the bass clarinet of Rudi Mahall and the 

boisterous trombone of Nils Wogram, while others 

boast a barreling vivacity and angular unisons, as well 

as bursts of piano dissonance from the leader. There is 

a madcap edge to the polyphony, which bursts out of 

the confines of “The Joint Is Jumpin’”, “Dr. Jazz” and 

“Dead Man Blues”, even though the last comes 

complete with a funeral march introduction. 

Very different but equally enthralling, En Corps 

features the French triumvirate of pianist Eve Risser 

working with the seasoned bass and drums of Benjamin 

Duboc and Edward Perraud. Remarkably selfless, 

Risser tempers her keyboard with all manner of 

preparations, including wooden and metal blocks, 

accentuating the percussive nature of her instrument. 

Over two lengthy excursions the trio indulge in what 

might be termed tantric jazz: mysterious, veiled, slow 

burning and perfectly judged. Indeterminate sounds 

flicker like stars in the cosmic void, as brief shards of 

rhythmic patter form part of a larger arc that 

disjointedly moves to a stunning crescendo, without a 

hint of tune or steady tempo, before Risser’s distant 

hammered tremolo sees the energy slowly dissipate. 

On Games and Improvisations, Swiss pianist 

Katharina Weber interprets 11 brief (mainly less than a 

minute) piano works by contemporary Hungarian 

composer György Kurtág. She follows each one, in the 

company of compatriot percussionist Balts Nill and 

English bass virtuoso Barry Guy, with a reaction to the 

initial work. Weber, who studied with Kurtág, is a 

precise and self-contained practitioner, balanced by 

Nill who is as much sound sculptor as percussionist 

while Guy’s astonishing range of textures act as the 

NEW FROM RED HOUSE RECORDS! 

glue between them. At times the links between 

inspiration and resultant extemporization are clear, as 

with “Palm Stroke”, where the ensuing improvisation 

is correspondingly thorny and energetic, while 

elsewhere the connection becomes more oblique, as 

with “Hommage à Szervánszky: Silence”, melodic but 

interspersed with quiet, which draws an initially lowkey, 

lower case response before the three voices 

variously overlap and mesh. The set can be enjoyed on 

several different levels: Kurtág’s pieces, spare to the 

point of haiku, can be savored in their own right; or 

inviting investigation of the relationships to the 

corresponding exploration or as an extended suite. 

German pianist Johanna Borchert extracts the 

essence of the orchestra from her piano, harpsichord 

and autoharp over the course of 13 short tracks on 

Orchestre Idéal. Like Risser, she also makes extensive 

use of preparations but to very different ends. At times, 

such as on the tolling “Obertöne”, she evokes 

minimalism, provoking contemporary classical 

comparisons. Elsewhere she summons Erik Satie, 

especially on the dreamy “Lillies”. The latter is one of 

four pieces improvised on her own compositions, more 

lyrical than the unpremeditated cuts. In her 

explorations of texture, layers and moods, several 

events often happen simultaneously, such as the 

pointillist plucked notes and dramatic piano sweep of 

“Königlicher Schlafgang” or the ghostly ape-like hoots, 

percussive taps and isolated keystrokes that comprise 

“Gemolkene Stäbchen”. Many of the pieces are left 

hanging and this, combined with the general austerity 

of conception, means that a similarly unresolved air 

hangs over the album as a whole. 

For more information, visit enjarecords.com, 

darktree-records.com, intaktrec.ch and whyplayjazz.de 

HEATHER MASSE AND DICK HYMAN 

LOCK MY HEART 

www.redhouserecords.com 

“a coalescence of musical vision and sound.” 

– ALL ABOUT JAZZ 

“timeless...makes old school new cool.” 

–@CRITICALJAZZ 

The surprise duo fi rst heard on public 

radio’s A Prairie Home Companion! 

The brilliant honey-voiced alto and 

songwriter from The Wailin’ Jennys 

meets the legendary pianist in a stunning 

new recording of classic jazz vocals. 

The sound quality and performances 

are astounding! 

AVAILABLE IN BOTH REGULAR CD AND 

SUPER AUDIO CD (HYBRID SACD) FORMATS. 

RECORDED IN HI-REZ DIRECT STREAM DIGITAL.

Centennial: Newly Discovered Works of Gil Evans 

Ryan Truesdell (ArtistShare) 


Heralded as both a large ensemble and debut album 

of 2012, this exquisite and sumptuous mounting of ten 

previously unrecorded charts found among the late Gil 

Evans’ papers is a fittingly grand tribute to the late 

composer-arranger on his centennial. Ryan Truesdell 

assembled enough musicians to bring to life charts 

ranging from a woodwind-string-trombones-plus 

rhythm octet accompanying a vocal and the ‘40s 

Claude Thornhill Orchestra to a full 24-piece ensemble 

replicating a “dream band” Evans led at the 1971 Berlin 

Jazz Festival. He even adds a tabla player to the 

16-piece instrumentation Evans had used on his 1964 

Individualism of Gil Evans album to realize a chart 

intended for that recording. 

That piece, “Punjab”, is the most cinematic track. 

Truesdell, after listening to the (rejected) rehearsal 

takes, added Dan Weiss on tabla - an instrument Evans 

never used - and its sound informs the unique feel of 

the 15-minute track, from the long prelude, where it is 

joined by tenor violin, drums, guitar and flutes, to the 

main sections, part of the underpinnings to the 

whirling melody along with deep tuba-trombone 

chords. Solos by pianist Frank Kimbrough and alto 

saxophonist Steve Wilson weave in and out of the rich 

orchestral tapestry. As this music demonstrates time 

and again, Evans was about much more than melody 

and harmony in arrangements. Those rich tapestries 

depended on exotic textures, hence his novel voicings 

and lushly dramatic transitional passages, sustained 

notes and chords that floated free of themes and 

conventional linearity. The longest track here (19 

minutes) is a medley, “Waltz/Variation on the Misery/ 

So Long”, resembling a rhapsody moving through 

myriad tones and colors in multiple tempos, touching 

down on wisps of melody but held together by the 

gossamer transitions and suspended rhythms. 

There are three vocal tracks, each featuring a 

different singer and differing instrumentation, which 

reveal Evans’ restless inventiveness at work behind 

singers and five charts originally written for Thornhill 

over 60 years ago. They show how creative Evans was 

dealing with Swing band vocabulary, but the real 

revelation is an early “The Maids of Cadiz”, more 

expansive than the version fashioned for Miles Davis a 

decade later on Miles Ahead. 

For more information, visit artistshare.com. A Gil Evans 

tribute is at Borden Auditorium Mar. 1st. See Calendar. 

Some More Love Songs 

Marc Copland Trio (Pirouet) 

by Joel Roberts 

Marc Copland started his career as a saxophonist in 

the ‘70s, but he’s long since developed into one of the 

more creative and accomplished, if underrated, 


pianists in jazz. His lyrical, expressive style puts him 

loosely in the Bill Evans-Keith Jarrett wing of modern 

jazz piano, but he has a sound that’s easily identifiable. 

Copland’s new release is a followup, seven years 

and at least that many albums removed, to 2005’s Some 

Love Songs. He has reassembled the same trio from the 

first outing (in-demand bassist Drew Gress and the 

fine German-born drummer Jochen Rueckert) and 

features a similar setlist of all love songs, mostly very 

familiar ones. But it’s not the tunes themselves that 

stand out here; it’s what Copland and company do 

with them, as he and his mates find new harmonic and 

melodic angles to explore in these chestnuts. 

The opener is a Joni Mitchell number, “I Don’t 

Know Where I Stand”, which Copland approaches 

with a quiet but firm command, sharing solo space (as 

he does throughout the album) with Gress. Two wellworn 

standards are given slightly offbeat twists: the 

usually bleak “My Funny Valentine” is taken at a 

swinging pace while the usually swinging “I’ve Got 

You Under My Skin” loses its Sinatra-esque bounce 

and becomes a slow, somewhat gloomy ballad that 

goes off in unexpected directions. “Rainbow’s End”, 

the only original composition by Copland here, is the 

album’s emotional core, evoking equal parts romance 

and sorrow. 

Though it’s an album of love songs, the overall 

tone of the session is blue (like the great Joni Mitchell 

album of the same name), but Copland doesn’t exactly 

play the blues. His vision of love - or at least his vision 

of love songs - is a complicated and refreshingly adult 

one, as much about longing and loss as it is about 

sweetness and bliss. 

For more information, visit pirouet.com. Copland is at 

Birdland Feb. 26th-Mar. 2nd. See Calendar. 

#BAM Live at Bohemia Caverns 

Nicholas Payton (BMF) 

by Sean O’Connell 

Trumpeter Nicholas Payton has made waves lately 

more on the heels of his social media prowess than 

with his trumpet. His BAM (Black American Music) 

movement has prompted more late-night, off-therecord 

conversations than one could have ever 

imagined. As the leader of a bold idea, naturally, his 

recorded output has been held to higher scrutiny. His 

last release, Bitches, was a foray into cathartic R&B but 

for this album, his first for his BMF record label, he 

returns to an instrumental sound with a stripped-down 

band of bassist Vicente Archer and drummer Lenny 

White. Curiously, what rises to the surface on this 

record is Payton’s way with a keyboard. Throughout 

the live date, the smooth but talkative leader spends as 

much time seated at the Rhodes as blasting his horn. 

The album kicks off with Payton in duet with 

himself, his plaintive trumpet cry matched by sparse 

chords. He alternates between pinched trumpet and a 

plucky Rhodes solo before briefly riding Wayne 

Shorter’s quartal “Witch Hunt” riff on his trumpet 

with punchy electricity. On “Catlett Outta the Bag”, a 

White original, Payton gets downright funky on the 

Rhodes, digging into a distorted stride as White beats 

the hell out of his kit. It’s an impressive display that 

seems to take the audience a bit by surprise. The 

applause is spacious and hesitant. They get a confident 

solo from Archer to sort things out. If that surprised 

them, then who knows what “The African Tinge” did. 

The 14-minute jam is a non-stop barrage of screaming 

Rhodes, somersaulting backbeats and rocketing 

trumpet pyrotechnics. “Frankie and Johnny” closes the 

set with a smooth swing. Archer takes a rumbling solo 

over White’s effortless brushes as the band takes their 

time with the mellow blues. 

The set runs a high-energy 80 minutes over just 7 

tracks with clinking silverware and Payton’s quiet 

storm patter tying it all together, an engaging live date 

that reminds us why Payton’s opinions are given the 

weight they are in the first place. 

For more information, visit nicholaspayton.com. This 

project is at Iridium Mar. 1st-3rd. See Calendar. 

RECOMMENDED 

NEW RELEASES 

• Barry Altschul - The 3Dom Factor (TUM) 

• Ben Goldberg - Subatomic Particle Homesick Blues 

(BAG Production) 

• Eric Hofbauer - American Grace (Creative Nation) 

• Jonathan Kreisberg - One (New For Now) 

• Jeremy Manasia - Green Dream (Cellar Live) 

• David Weiss & Point of Departure - 

Venture Inward (Posi-Tone) 

David Adler, New York@Night Columnist 

• Jeremiah Cymerman Amplified Quartet - 

Sky Burial (s/r) 

• Mats Eilertsen Trio - Sails Set (Hubro) 

• Champian Fulton - Champian Sings and Swings 

(Sharp Nine) 

• Billy Martin’s Wicked Knee - Heels Over Head 

(Amulet) 

• Ruth Wilhelmine Meyer/Helge Lien - Memnon: 

Sound Portraits of Ibsen Characters (Ozella Music) 

• Neil Welch - Twelve Tiny Explosions (Table & Chairs) 

Laurence Donohue-Greene 

Managing Editor, The New York City Jazz Record 

• John Butcher/Guillaume Viltard/Eddie Prévost - 

Meeting with Remarkable Saxophonists Volume 2 

(Matchless) 

• Silke Eberhard/Ulrich Gumpert - 

Peanuts & Variations (Jazzwerkstatt) 

• Ben Goldberg - Subatomic Particle Homesick Blues 

(BAG Production) 

• Ibrahim Electric - “Isle of Men” (Target) 

• JC Jones - Citations (Solo Bass) (Kadima Collective) 

• The O’Farrill Brothers Band - Sensing Flight 

(ZoHo Music) 

Andrey Henkin 

Editorial Director, The New York City Jazz Record

Play the music of 

Benny Carter 

Count Basie 

(Roulette-Fresh Sound) 

by Duck Baker 

Opus De Blues 

Frank Wess & Thad Jones 

Septets (Savoy/Roulette - 

Fresh Sound) 

Here are two excellent reissues to delight Basie fans, 

both those who love the big band and those with a 

taste for the winning style of small-group mainstream 

swing that his sidemen served up through the ‘50s and 

early ‘60s. And you needn’t be a specialist to enjoy 

these releases; having ears that work properly is the 

only prerequisite for that reaction. 

No pairing of LPs could be more logical than 

Kansas City Suite and The Legend, the 1960 and 1961 

sessions arranged by Benny Carter for a Basie band 

that had, in the opinion of many, hit its postwar peak 

with The Atomic Mr. Basie in 1958. There were only a 

couple of personnel changes between the Atomic and 

Kansas City sessions. Eddie Lockjaw Davis was replaced 

by Billy Mitchell on tenor saxophone, but Frank Foster 

and Frank Wess remained, as did trumpet stars Joe 

Newman, Thad Jones and Snooky Young and 

trombonists Al Grey, Seldon Powell and Henry Coker. 

The section playing was still sensational and of course 

the rhythm section of Basie, guitarist Freddie Green, 

bassist Eddie Jones and drummer Sonny Payne was 

nonpareil. By the time The Legend was recorded, 

Newman and Grey had left, Budd Johnson had replaced 

Billy Mitchell and Sam Herman was subbing for Green. 

The soloists throughout are great, with Foster and 

Jones making, perhaps, the strongest impressions. 

Several of these tunes became standards and “Katy 

Do” is in the band’s book to this day, but there’s no 

sane way to single out individual tracks when every 

one is a classic. Carter’s writing is wonderful and 

draws things out of the band that Basie’s regular 

arrangers didn’t, especially from the sax and trombone 

sections. Carter did lead a good few dates during this 

period, but the only one that found him leading a big 

band was the magnificent Aspects (1958) and the 

similarity to the writing here is immediately apparent. 

The Frank Wess date Opus De Blues was recorded 

in 1959 but remained unissued, somehow, until 1991. 

The Thad Jones tracks were originally part of an 

unwieldy two-LP set called The Birdland Story, so the 

packaging of these two slightly out-of-the-way sessions 

Pugs & Crows - Fantastic Pictures 

“This is music of great strength and beauty.” 

- Alexander Varty, The Georgia Straight (Vancouver, B.C) 

Meredith Bates - violin / Cat Toren - piano / Cole Schmidt - guitar 

Russell Sholberg - bass / Ben Brown - drums 

recipient of Galaxie Rising Star Award at 2010 Vancouver Jazz Festival 

Available now: pugsandcrows.com 

is again good thinking, especially as seven of the nine 

tracks are Jones originals. The first session features 

fellow Basie hand Charlie Fowlkes on baritone sax and 

Curtis Fuller on trombone, with Hank Jones heading a 

three-piece rhythm section that manages the right 

swing feel while adding a few modern flourishes. 

Hank’s soloing is particularly tasty and his sense of 

humor is in evidence, the sly quote of “Star Eyes” at 

the beginning of his solo on “Boop De Doop” a 

noteworthy example. Though he’s listed as playing 

tenor and flute, Wess also plays alto on the opening “I 

Hear Ya Talkin’”. On the Birdland date (not sure what 

the reasoning behind that title was, since it was mostly 

a collection of unrelated studio sessions), our two 

protagonists are joined by Al Grey and Billy Mitchell. 

Is the cast sounding familiar yet? They certainly sound 

familiar to one another, making Thad’s charts sound as 

easy to play as they are to listen to, which is easy 

indeed! Brother Hank returns with more great piano 

comping and soloing and we get another rare chance to 

hear Wess’ alto, on “Friday the 13th”. Fans of his fine 

flute work and fluid tenor will find lots to like 

throughout the two sessions as well, of course. 

Opus De Blues is certainly a worthwhile addition 

to any collection but the Carter/Basie collaborations 

rank among the very greatest postwar big band 

records. You’ll like the former and you need the latter. 

For more information, visit freshsoundrecords.com. Wess is 

at Jazz at Kitano Mar. 2nd, Saint Peter’s Mar. 3rd as part of 

Prez Fest and Smoke Mar. 29th-30th. See Calendar. 

The Loneliest Woman 

Joe McPhee Po Music (Corbett vs. Dempsey) 

by Marc Medwin 

This version of Ornette’s classic composition blossoms 

into one of the best ever. Recorded in Basel, Switzerland 

in 1981 with some of European improvisation’s leading 

lights, it’s a wonder that the lonely 13-minute track is 

only seeing the light of day for the first time. 

Bassist François Méchali’s solo is indicative, 

gaining in momentum before settling down to a drone 

similar to Coleman’s 1959 version. Michael Overhage’s 

cello and Raymond Boni’s guitar emerge from the 

drone, providing a timbral and harmonic cushion 

where Coleman emphasizes the melody’s starkness. As 

in late-period Coltrane, there is a transparent layer of 

percussion, courtesy of bells and cymbals from Pierre 

Favre. While some room is provided midway for solos, 

notably a scorcher from trombonist Radu Malfatti, 

much of this music is collective in nature. It is as if Joe 

McPhee, or whoever was responsible for the lush and 

constantly morphing arrangement, realized Coleman’s 

harmolodic implications, bringing the music to the 

next level. Parts of the head are non-contiguously 

juxtaposed with others, giving the form the same 

freedom that meter and solos enjoyed in the original. 

Despite the present transfer obviously coming 

from a fairly high-generation copy, the recording is 

superb. Each detail is audible while not necessarily 

being realistically presented. Witness the hazy echo on 

certain saxophone passages as contrasted with the 

forward positioning of cymbals and Irène Schweizer’s 

piano. McPhee fans needn’t hesitate. 

For more information, visit corbettvsdempsey.com. McPhee 

is at Clemente Soto Velez Cultural Center Mar. 2nd. See 

Calendar. 

JAZZ AT LINCOLN CENTER 

MAR 

MAR 8–9 

7:30PM 

& 9:30PM 

MAR 8–9 

8 PM 

MAR 15–16 

7:30PM 

& 9:30PM 

MAR 22–23 

7:30PM 

& 9:30PM 

25 YEARS OF JAZZ 

charlie parker & dizzy gillespie 

Photo courtesy of the Frank Driggs Collection 

DIZZY & BIRD FESTIVAL 

PAQUITO D’RIVERA’S 

‘CHARLIE PARKER WITH 

STRINGS’ 

D’Rivera honors the work of 

Charlie Parker, imparting a Latin 

twist to the familiar standard 

Free pre-concert festival, 6:30pm 

DIZZY & BIRD FESTIVAL 

CELEBRATING DIZZY 

GILLESPIE 

Master trumpeter Jon Faddis 

leads The Jon Faddis Jazz 

Orchestra of New York through 

new transcriptions of Dizzy 

Gillespie repertoire 

Free pre-concert festival, 6:30pm 

CHARLIE MUSSELWHITE 

Blues master Charlie 

Musselwhite brings his bourbonsmooth 

tenor voice and 

masterful harmonica commentary 

to The Allen Room 

MADELEINE PEYROUX 

Vocalist and guitarist 

Madeleine Peyroux reprises 

originals and classics from 

artists such as Bessie Smith, 

Bob Dylan, Joni Mitchell, 

and more 

BOX OFFICE BROADWAY AT 60 TH 

CENTERCHARGE 212-721-6500 

JALC.ORG 

Preferred Card of Jazz at Lincoln Center 

Lead Corporate Sponsor 



Channels of Consciousness 

William Hooker 

(NoBusiness) 

by Ken Waxman 

Duo (feat. Mark Hennen) 

William Hooker 

(Nacht) 

With a career that stretches back to NYC’s Loft Era, 

drummer William Hooker tries to create something 

unique with each CD. The challenge of a Hooker 

session is how well his concept succeeds. Both recorded 

live, Channels of Consciousness and Duo couldn’t be 

more different. The former, although inspired by an 

unfinished novel, is fully formed with sterling work 

from a quintet of percussionist Sanga, bassist Adam 

Lane, trumpeter Chris DiMeglio and guitarist Dave 

Ross. Duo captures solos from Hooker and a long-time 

associate, pianist Mark Hennen, but only gels when 

the two finally improvise together. 

Based on Richard Wright’s posthumously 

published A Father’s Law, the quintet CD is an extended 

meditation on power and violence. Hooker quotes 

from Wright’s book in two instances but the emotion 

expressed by Ross’ whining bottleneck guitar alongside 

Hooker’s timed cowbell smacks expresses more drama 

than the out-of-context phrases. In the same way, the 

quintet’s emotionally affecting instrumental smarts 

trump thematic storytelling. This is made clear with 

“Connected” and “Three Hexagons”. Earlier, DiMeglio 

expresses himself with clarion calls and note bending, 

but on these climatic tunes he reaches back to bedrock 

jazz; likewise, Lane’s most comprehensive solo unrolls 

on “Three Hexagons”, as sul ponticello strokes and 

chiming scrubs hold their own alongside Ross’ sharp 

picking, the trumpeter’s poised grace notes and 

polyrhythms from the dual drummers. 

Hooker and Sanga’s patterning and blunt strokes 

reference African, AfroCuban and jazz inflections. But 

unlike a solipsistic Max Roach percussion ensemble, 

the drum pounding is strictly transformative. The 

music’s full spectrum wouldn’t exist if not for the 

guitarist’s intense blues or DiMeglio’s elevated 

timbres, often sounding like a baroque trumpet. 

Hooker also verbalizes a metaphysically oriented 

poem on Duo, but, especially with dodgy recording, 

more rewarding sentiments come from his spot-on 

playing. Minutely timing his options during his solo 

track, he intertwines press rolls, gong resonation and 

rat-tat-tats with assurance, calmly slowing down and 

speeding up the result without hesitation. 

Hennen’s calm is the defining factor in his playing. 

Known for his work with hard-nosed ensembles like 

the Collective 4tet, here Hennen reveals a lyrical side. 

His sweeping harmonies and tinkling key dusting 

reveal sound nuances and shading. These components 

came into play in the final duet as Hennen’s linear key 

motions meander tortoise-like through the exposition 

as Hooker leaps hare-like through a series of boisterous 

buzzing and resounding percussion displays. Without 

losing his subtle voicing, midway through Hennen 

variations turn to Cecil Taylor-like contrasting 

dynamics, which eventually corral the drummer’s 

agitated pummeling into a more cooperative interface. 

Although Hooker never attains the ingenious pianist’s 

level of unhurried syncopation, his output remains 

tasteful even as he maintains propulsive rhythms. 

For more information, visit nobusinessrecords.com and 

nachtrecords.com. Hooker’s Quintet is at Nublu Mar. 2nd 

and his Quartet with Mark Hennen is at The Firehouse 

Space Mar. 8th. See Calendar.

Music is Emotion 

Ryan Keberle and Catharsis (Alternate Side) 

by Elliott Simon 

Music is Emotion is evidence that there is a lot going 

on in both trombonist Ryan Keberle’s heart and head. 

Without delving into the two-factor theory of emotion, 

Keberle is clearly in sync with music being both a 

reflection of a performer’s emotion and eliciting a 

visceral response from the listener. That is not all that 

Keberle is in synch with, however; his interplay with 

trumpeter Mike Rodriguez is thrilling. 

The self-penned compositions are the truest to the 

session’s beliefs and on an emotional level opener “Big 

Kick Blues” is filled with happiness while “Need Some 

Time” is subtly complex as it mixes in some fear with 

an upbeat feel. The trombone is custom made for this 

role and Keberle is a nuanced player who rarely goes 

over the top. He promotes a group atmosphere that 

engenders a tight improvisational framework and 

blends in phenomenally well with Rodriguez for what 

are some great voicings. 

Bassist Jorge Roeder is like-minded and his long 

arco intro to the environmentally friendly “Carbon 

Neutral” elicits a profound sadness that drummer Eric 

Doob skillfully converts into anger. “Nowhere to Go, 

Nothing to See” drifts into a lovely exotica soundscape 

with harmonic horn interplay while “Key Adjustment” 

is a cleverly composed vehicle featuring an expressive 

drum and bass duet. While a few of the non-originals 

don’t fit into the overall concept, both Billy Strayhorn’s 

“Blues in Orbit” and Art Farmer’s “Blueport” are right 

on. Saxophonist Scott Robinson joins the quartet on 

these two cuts and lends ample support to Keberle’s 

theory with a rich bluesy wail on the former and 

swinging adrenaline-pumping bop on the latter. 

For more information, visit ryankeberle.com. This group is 

at Barbès Mar. 3rd. See Calendar. 

New Myth/Old Science 

Living By Lanterns (Cuneiform) 

by Jeff Stockton 

The spirit of Sun Ra hovers over New Myth/Old Science. 

His spectral voice processed electronically, as if being 

received on a frequency coursing through the Milky 

Way, opens the CD with some brief philosophizing and 

rhetorical profundities. This is something of a tribute 

to the bandleader/pianist/composer/intergalactic 

traveler, but not quite, given that the tunes here are 

originals based on a tape drummer Mike Reed and his 

partner, vibraphonist Jason Adasiewicz, plucked from 

over 700 hours in an El Saturn archive. On the tape 

from 1961, Ra, longtime tenor associate John Gilmore 

and stalwart bassist Ronnie Boykins could be heard 

rehearsing a series of roughly sketched musical 

thoughts. Adasiewicz, a member of Reed’s band Loose 

Assembly, fleshed out the arrangements for that fivepiece 

band, which ultimately expanded into the nine- 

member Living By Lanterns. In Chicago, Loose 

Assembly is rounded out by bassist Josh Abrams, 

cellist Tomeka Reid and alto saxophonist Greg Ward. 

From New York, add cornetist Taylor Ho Bynum, 

guitarist Mary Halvorson, drummer Tomas Fujiwara 

and tenor saxophonist Ingrid Laubrock. 

These compositions reflect Ra’s approach by 

combining melody with a deep sense of swing, 

peppering that foundation with experimental touches, 

and each number offers a showcase for one or two 

players. “Think Tank” lets Halvorson slather skronky 

notes over Adasiewicz’ tasteful reverberations while 

“2000 West Erie” is typically jaunty, but Ward and 

Laubrock scrape and clash in the foreground. The 

lovely, gently lilting melody of “Shadow Boxer’s 

Delight” gives way to cello before the rhythm section 

recedes and the tune takes on a soft glow, like an old 

light bulb under a browning lampshade. 

The back half of the record, divided into thirds, 

finds the tunes blending one into the next, with 

Adasiewicz featuring on “Forget B” (along with a 

Laubrock solo) and Bynum and Abrams handling the 

midpoint impressionism of “Glow Lights”. Finally, a 

three-way conversation among the strings becomes the 

drum-propelled “Old Science”, setting Halvorson 

against Reid, sidestepping guitar versus cello chops. 

When Ward comes in, his alto stretches like a sprinter 

before stepping into the starting blocks. Then he’s off 

and the band is right there with him as they break the 

tape, moving forward the legacy of the great Ra. 

For more information, visit cuneiformrecords.com. Ingrid 

Laubrock, Mary Halvorson and Tomas Fujiwara are at Cornelia 

Street Café Mar. 5th or 6th, Jason Adasiewicz is at Ibeam 

Brooklyn Mar. 15th-16th with James Falzone and Greg Ward is 

at Dominie’s Astoria Mar. 31st. See Calendar. 

The Soul of my ALTO 

Ian Hendrickson-Smith (Cellar Live) 

by Ken Dryden 

Ian Hendrickson-Smith has a different take on the 

typical saxophone-with-organ session. Many of the 

greats of the tenor sax of the ‘60s regularly recorded 

with organists, including Eddie “Lockjaw” Davis, 

Gene Ammons, Stanley Turrentine and Sonny Stitt. 

Hendrickson-Smith, besides being an alto player, also 

has a different twist: he omits the frequently present 

guitarist and sticks with just organ and drums (Adam 

Scone and Charles Ruggiero, respectively). The 

saxophonist also conceived a sparser, lush sound while 

still injecting a bit of soulfulness into this ballad date. 

“The End of a Love Affair” is one of those forgotten 

gems that used to be staples of romantic jazz albums; 

the trio recaptures its magic with a gorgeous 

interpretation, as the leader’s big tone is well supported 

by Scone and Ruggiero’s soft brushwork. Benny 

Golson’s “Park Avenue Petite”, a beautiful ballad, is 

one of the composer’s songs from The Jazztet’s debut 

album. Hendrickson-Smith caresses its melody in a 

spacious manner, with Scone’s sensitive accompaniment 

and Ruggiero’s adept percussion complementing his 

rich sound. The leader’s impassioned playing of “My 

Silent Love” conveys its message without needing the 

lyrics, though it’s a safe bet that he, like Ben Webster, 

probably knew them before he stepped to the 

microphone. Billy Eckstine’s “I Want to Talk About 

You” became the cornerstone of the vocalist’s repertoire 

and was acknowledged by instrumentalists with John 

Coltrane’s landmark recording. Hendrickson-Smith’s 

arrangement is no less powerful with the alto 

saxophonist’s carefully crafted statement and the 

bluesy Scone solo that follows. 

The date wraps with Hendrickson-Smith’s moving 

original “Butterbean”, a deliberate, conversational 

ballad with a theme that stands well in comparison to 

the well-known works that make up the rest of the 

album. This is the perfect release to cue up for latenight 

listening with someone special. 

For more information, visit cellarlive.com. Hendrickson-Smith 

is at Jazz Standard Mar. 5th-6th with “Killer” Ray Appleton 

and Smalls Mar. 22nd with Cory Weeds. See Calendar. 


Fri, Mar 1 PETROS KLAMPANIS’ CONTEXTUAL 9PM & 10:30PM 

Lefteris Kordis, John Hadfield, Maria Im, Maria Manousaki, 

Ljova Zhurbin, Julia MacLaine, Mavrothi Kontanis, Hadar Noiberg 

Sat, Mar 2 DAVE LIEBMAN QUINTET 9PM & 10:30PM 

Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz 

Sun, Mar 3 NEW BRAZILIAN PERSPECTIVES: 

FILIP NOVOSEL-RICHARD BOUKAS DUO 8:30PM 

Tue, Mar 5 INGRID LAUBROCK’S ANTI-HOUSE - 

CD RELEASE: STRONG PLACE 8:30PM 

Mary Halvorson, Kris Davis, Sean Conly, Tom Rainey 

Wed, Mar 6 INSTANT STRANGERS 8:30PM 

Tim Berne, Mary Halvorson, Stephan Crump, Tomas Fujiwara 

Thu, Mar 7 JOHN YAO QUINTET 8:30PM 

Jon Irabagon, Randy Ingram, Leon Boykins, Will Clark 

PETER BRENDLER QUARTET 10PM 

Rich Perry, Peter Evans, Vinnie Sperrazza 

Fri, Mar 8 HUSH MONEY 9PM & 10:30PM 

John McNeil, Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza 

Sat, Mar 9 VOXIFY: AMY CERVINI 9PM 

Amy Cervini/Bruce Barth 

VOXIFY: JANIS SIEGEL 10:30PM 

Janis Siegel/Edsel Gomez; Nicky Schrire, host 

Tue, Mar 12 LAINIE COOKE 8:30PM 

Peter Zak, Martin Wind, Ralph Peterson 

Wed, Mar 13 FLORIAN HOEFNER GROUP 8:30PM 

Mike Ruby, Sam Anning, Peter Kronreif 

ALON NECHUSHTAN 10PM 

John Ellis, Aidan Carroll, Damion Reid 

Thu, Mar 14 ROB GARCIA’S AMERICAN SONGS 8:30PM 

Scott Robinson, Tamar Korn, Nir Felder 

Fri, Mar 15 BOBBY AVEY GROUP 9PM & 10:30PM 

Chris Speed, Thomson Kneeland, Jordan Perlson 

Sat, Mar 16 TONY MALABY’S READING BAND 9PM & 10:30PM 

Ralph Alessi, Drew Gress, Billy Drummond 

Sun, Mar 17 TANYA KALMANOVITCH/ANTHONY COLEMAN/ 

TED REICHMAN TRIO 8:30PM 

Tue, Mar 19 BENJAMIN SCHEUER 8:30PM 

PETER LERMAN 10PM 

Wed, Mar 20 MATT HOLMAN’S DIVERSION ENSEMBLE - 

CD RELEASE: WHEN FLOODED 8:30PM 

Michael McGinnis, Nate Radley, Christopher Hoffman, Ziv Ravitz 

Thu, Mar 21 CHRIS SPEED TRIO 8:30PM 

Chris Tordini, Dave King 8:30PM 

Fri, Mar 22 SARA SERPA 9PM & 10:30PM 

André Matos, Jacob Sacks, Eivind Opsvik, Tommy Crane 

Sat, Mar 23 MICHAEL FORMANEK 9PM & 10:30PM 

Tim Berne, Peter Formanek, Jacob Sacks, Jim Black 

Tue, Mar 26 MARGARET GLASPY 8:30PM 

Talia Billig, host 

Wed, Mar 27 ANAT FORT TRIO 8:30PM 

Gary Wang, Yaaki Levy 

Thu, Mar 28 SANDA WEIGL 8:30PM 

Gael Rouilhac, Jake Shulman-Ment, Pablo Aslan, Nick Anderson 

JP SCHLEGELMILCH, CD RELEASE: THROUGHOUT 10PM 

Fri, Mar 29 JEFF DAVIS TRIO AND FRIENDS - LIVE RECORDING FOR 

FRESH SOUND RECORDS! 9PM & 10:30PM 

Russ Lossing, Eivind Opsvik, Oscar Noriega, Kirk Knuffke 

Sat, Mar 30 KRIS DAVIS 9PM & 10:30PM 

Sun, Mar 31 RACHEL BROTMAN QUARTET 8:30PM 

Yago Vazuez, Zach Lane, Anthony Taddeo 

MARIA NECKAM 10PM 


Spiritual Nature Donald Vega (Resonance) 

Turn of Phrase Paul Kogut (Blujazz) 

The Highest Mountain 

Lewis Nash Quintet (Cellar Live) 

by Russ Musto 

Perhaps the most in-demand drummer in mainstream 

jazz today, Lewis Nash is best known for his long 

tenures as a sideman with some of the music’s greatest 

masters, from Betty Carter and Tommy Flanagan to 

Ron Carter and Joe Lovano, as well as his appearances 

with a wide array of artists who call on his talent to 

raise the level of their own dates. 

Nash’s versatility is put to good use on fellow Ron 

Carter band colleague Donald Vega’s sophomore effort 

Spiritual Nature. The date features the pianist with 

bassist Christian McBride and Nash in a wide variety 

of settings, from straightahead jazz to titles from the 

Brazilian, European classical and AfroCaribbean 

songbooks. The drummer contributes immeasurably to 

the success of this disc, swinging relentlessly on the 

leader’s opening Messenger-ish anthem “Scorpion” 

(spurring on the sextet’s trumpet-tenor-trombone 

frontline of Gilbert Castellanos, Bob Sheppard and Bob 

McChesney) then demonstrating his peerless brush 

artistry on Ron Carter’s soulfully grooving “First Trip” 

with a quartet featuring guitarist Anthony Wilson. His 

subtle accents on Neils-Henning Ørsted Pedersen’s 

“Future Child”, featuring Christian Howes’ violin, are 

the epitome of tasteful accompaniment while his bossa 

beat on Vega’s title track is genuinely stimulating. The 

date’s remaining eight compositions - by Monty 

Alexander, Alexander Scriabin, Antonio Carlos Jobim, 

Benny Golson and two more of the pianist’s own tunes 

- utilize Nash’s resourceful drumming to make this a 

most satisfying outing. 

Guitarist Paul Kogut’s Turn of Phrase reunites 

Nash with his former Tommy Flanagan colleague, 

bassist George Mraz. In the context of the spare sonic 

tapestry of the pianoless guitar trio, the inventive 

nuances of Nash’s playing take on added importance, 

creating an ever-shifting environment, which enhances 

the collective harmonic inventiveness of Kogut and 

Mraz. The guitarist’s ability to put his own stamp on 

chestnuts such as “Body and Soul”, “Days Of Wine 

And Roses” and “Blue And Green” and create engaging 

new melodies from the well-known chord changes of 

other standards signal him as a largely unheralded 

original. Particularly resourceful playing from Nash 

makes this record one that should bring more 

recognition to its talented leader. 

Fortunately, Nash regularly takes time out from 

his busy schedule working with others to lead his own 

groups. The Highest Mountain, recorded live at The 

Cellar, in Vancouver, British Columbia, finds him 

fronting a fiery quintet comprised of some of the best 

players of their respective generations. The frontline of 

trumpeter Jeremy Pelt and saxophonist Jimmy Greene, 

driven to impressive heights by Nash’s regular rhythm 

section mates pianist Renee Rosnes and bassist Peter 

Washington, burn through some of the hottest hardbop 

playing since the glory days of Blue Note Records as 

well as mature interpretations of a pair of old and new 

ballads (Gordon Jenkins’ evergreen “Goodbye” and 

Rosnes’ appealing “From Here To A Star”) and the 

beautiful James Williams jazz waltz “Arioso”. Hardswinging 

arrangements by Rosnes set this date apart. 

Beginning with the crisp drum volley that opens Bobby 

Hutcherson’s “Teddy”, Nash persistently swings his 

unit, finding all the right places to interject bombs, 

rolls and other rhythmic devices that contribute to, 

rather than distract from, each songs’ musicality. His 

playing on the Clifford Jordan title track, Ornette 

Coleman’s “Blues Connotation” and Thad Jones’ “Ain’t 

Nothin’ Nu” invigorates the classic melodies with 

insightful percussive commentary. This is the kind of 

vital jazz one hopes to get with the price of admission 

to any jazz club in the world. 

For more information, visit resonancerecords.org, 

blujazz.com and cellarlive.com. Nash is at Village Vanguard 

Mar. 5th-10th with Renee Rosnes. See Calendar. 

Powers 

Nilsson/Fonda/Nilsson 

(Konnex) 


Hogwild Manifesto 

Hot & Cold 

(Jungulous) 

Guitarists who use distortion in the realms of 

improvised music are almost without fail labeled 

“rockers”. For some, the tag rings true, others of course 

not. Anders Nilsson is among the latter, those who 

know the lingo and aren’t just saddled by the 

descriptors that come with stompboxes. Nilsson has 

got the chops to pull off jazz, blues, rock and noise and 

much of what lies in between. What’s more notable, 

though, is that he’s got enough sense not to overuse his 

skills. Two recent releases may not find him discovering 

new territory but showing himself to be easily 

conversant in familiar terrain. 

Powers, a trio album with brother Peter Nilsson on 

drums and bassist Joe Fonda, opens with a driving - 

softly pounding even, it might be said - rocker with 

deft guitar soloing over a metered loop while Fonda 

wonderfully complements (not undermines) the jam 

with an arco/scat solo. Peter Nilsson’s “Melodrone” 

provides opportunity for some pedal point pulse à la 

Jimmy Garrison and some nice chordal guitar soloing. 

Fonda’s “China” is a lovely, airy ballad in which all 

three members take distinct approaches to the gently 

loping tempo while his “I’ve Been Singing” borders on 

a Wes Montgomery R’n’B groove. Anders’ bluesy 

“Vodka Meditations” rambles through phrases and 

filigrees without wanting for a map. 

With Hogwild Manifesto, Nilsson and fellow 

guitarist Aaron Dugan explore ground previously 

covered by a number of improvising skronkmeisters, 

almost paying homage to such axe-wielders as Derek 

Bailey, Eugene Chadbourne, Chris Cochrane, Henry 

Kaiser and Arto Lindsay. Muted strings and a crankedup 

fuzzbox can make some wonderful sounds and 

what those champions have in common is knowing 

they need to do something more than flail around in it. 

Nilsson and Dugan get this too - the title could even be 

taken as declaration of proper proceeding. If it were a 

manual, a few instructions might be gleaned from the 

disc: keep moving (not just pounding but changing 

course often); provide a respite (the two 10+-minute 

tracks are separated by a quiet[er], ambling interlude) 

and don’t overstay your welcome (the disc clocks in at 

a quick half hour and doesn’t need to be any longer). 

For more information, visit konnex-records.de and 

aarondugan.bandcamp.com. Anders Nilsson is at Shrine 

Mar 5th with Tunk Trio and The Firehouse Space Mar. 7th, 

14th and 28th with various groups. See Calendar.

The Exterminating Angel 

Kirk Knuffke/Mike Pride (Not Two) 

by John Sharpe 

Duets offer the purest form of communication. For 

both drummer Mike Pride and cornetist Kirk Knuffke, 

such situations hold a special attraction. The latter’s 

first real experience of improvising came in a duo with 

a drummer in high school while the former finds the 

setup one that promotes deeper relationships - witness 

his fertile pairing with saxophonist Jon Irabagon. That 

shared pleasure comes through loud and clear on this 

excellent 68-minute studio session, which forms 

Knuffke’s first completely improvised recording. 

Unscripted or not, Knuffke’s abstractly lyrical 

lines feature a strong rhythmic dimension as he flows 

over Pride’s choppy contours, almost as if he could 

veer into bebop at any second. But he never loses his 

cool, no matter what provocation the drummer throws 

his way, remaining mostly pure-toned, singing some 

tune only he can hear. Always responsive, Pride takes 

his time, exploring all the textures available to him in 

purposeful interweaving patterns, though leaving 

abundant space for the cornet between the intersections 

of his loose pulse. 

Each of the six pieces evolves organically, with the 

opening “Appeasing the Geezer” setting the template, 

mutablemusic 

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Thomas Buckner, J.D. Parran, Mari Kimura, 

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as cornet and drums whirl and pirouette around one 

another in perfect balance. Pride’s sound placement is 

spot on, usually simpatico, but occasionally providing 

the grit that creates the pearl, as on the title track, 

where he counters Knuffke’s plaintive appeals by 

unleashing what recalls a barrow load of percussive 

devices being dumped on the floor. Unperturbed, the 

cornetist draws more timbral variety from his horn 

with droning screeches and wavering whistles, all 

executed with a pleasing musical sensibility, until his 

rapid-fire runs develop a throbbing intensity. Similarly 

adventurous on “Benstein”, Knuffke pontificates 

blearily in sustained tones in contrast to Pride’s thorny 

undercurrent, but still manages to sign off with 

honeyed epigrams. This disc reveals another facet of 

Knuffke’s artistry and one that should be exposed 

more often. 

For more information, visit nottwo.com. This duo is at 

ShapeShifter Lab Mar. 6th. See Calendar. 

New Life 

Antonio Sanchez (CAMJazz) 

by David R. Adler 

Antonio Sanchez, Pat Metheny’s drummer of choice, 

is steadily building his presence as a leader and up to 

now he’s made clear his taste for two-saxophone 

lineups sans chordal instrument. His debut Migration 

featured tenor saxophonists Chris Potter and David 

Sanchez; his two-disc follow-up Live In New York 

paired Sanchez with alto saxophonist Miguel Zenón. 

On New Life, the roster shifts to Donny McCaslin on 

tenor and David Binney on alto. All of the above are 

formidable leaders in their own right. 

Part of what makes New Life new is the inclusion 

of a pianist, the budding master John Escreet, who 

plays on all eight tracks of an all-original program. The 

harmony flows and shifts and expands, whether it’s 

the pastoral waltz feel of “Nighttime Story” (with a 

deft McCaslin quote of “Blues on the Corner”), the 

churning 7/4 minor-modal flavor of the opening 

“Uprisings and Revolutions” or the more elusive 

Rhodes sonority of “Minotauro” and “The Real 

McDaddy”. Singing melodies, big statements, 

deceptive endings, an urge toward more development 

and variation: this is Sanchez’ writing voice, buoyed in 

every way by his approach as a drummer, complex and 

yet flawlessly in the pocket. 

“Medusa” and “Family Ties” stand out as widely 

contrasting and beautifully played. “Air”, a dark and 

mystical ballad with soprano sax (though no soprano 

credit appears on the sleeve), is one of Escreet’s key 

moments - not just his rubato introduction but his 

dramatic impact with the sparest and most ambiguous 

whole-note chords. 

Sanchez is after something altogether different 

with the title track, a 14-minute opus with marked 

emphasis on the layered wordless vocals of Thana 

Alexa (the leader’s fiancée). His experience in the Pat 

Metheny Group, widely known for its wordless vocal 

textures and soaring sonic expanses, has to be relevant 

here, but the drummer is fresh and not imitative in his 

approach. Even if the result has its indulgent side, it 

still showcases the band’s emotional power and unified 

purpose. 

For more information, visit camjazz.com. This project is at 

Jazz Standard Mar. 7th-10th. See Calendar. 

JAZZ AT LINCOLN CENTER 

SWING 

UNIVERSITY 

SPRING 2013 TERM 

Learn about jazz from the 

musicians who make 

the music and the scholars 

who have mastered it 

CLASSES START MARCH 19 

ENROLL TODAY / 212-258-9922 

JALC.ORG / SWINGU 

Lead Corporate Sponsor 

CLASSES INCLUDE 

RAGTIME with Terry Waldo 

Mar 19–Apr 16; 4 Tuesdays 

FREE JAZZ with Ben Young 

Mar 27–May 15; 8 Wednesdays 

JAZZ 301 with Phil Schaap 

Mar 27–May 8; 7 Wednesdays 

Optional exam on May 22 

JAZZ 101 with Vincent Gardner 

Apr 1–May 20; 8 Mondays 

CHARLIE CHRISTIAN with Vincent Pelote 

Apr 1–22; 4 Mondays 

JAZZ 201 with Phil Schaap 

Apr 2–May 21; 8 Tuesdays 

LENNIE’S LISTENING LESSONS 

with Connie Crothers 

Apr 2–May 21; 8 Tuesdays 

THE NEW YORK CITY JAZZ RECORD | March 2013 25 

billie holiday Courtesy of the Frank Driggs collection

In the Now 

John Yao Quintet (Innova) 

by Donald Elfman 

Trombonist John Yao understands the improvisational 

music tradition and its attendant vocabulary with the 

ability to assemble elements in fresh and different 

ways. His avowed modus operandi explores the way 

opposites work together and, with that, comes, as in all 

jazz groupings, the relationship between the individual 

and the group. 

Such exploration can be heard in several instances 

where Yao takes what first sounds like a free floating 

melody and places it over a soon-recognizable groove. 

On “Funky Sunday”, the groove emerges first with 

Randy Ingram’s Hammond organ, Leon Boykins’ bass 

and Will Clark’s drums, then the horns - Yao and 

frontline partner Jon Irabagon on alto or soprano 

saxophone - send forth a sinuous and beautifully exotic 

theme. Suddenly, there is a stop and the organ pulses 

an even funkier foundation as Yao plays a solo both in 

the pocket as well as flying out into the open air. Tunes 

like “Snafu” and “Not Even Close” have a jeu d’esprit 

that moves them beyond convention and into playful 

new areas. 

The ballads are something else again. “For NDJ” 

begins as an ethereal waltz for trombone and drums, 


but as bass and Fender Rhodes enter, there’s a deep, 

romantic sensibility coming to the fore. It’s a love song 

- plaintive and wistful - but it moves forward with an 

energy beyond the standard ballad. 

The intriguingly titled “Shorter Days” - a possible 

double entendre referring both to winter and the 

compositional approach of Wayne Shorter - is bold and 

expressive, holding its languorous and sensual pace 

even as the solos become animated. Powerful trombone 

opens the tune a cappella then the rest of the band digs 

down with great individual contributions. 

On his debut, Yao has created a vital and 

communicative approach, modern yet expanding upon 

what has come before. 

For more information, visit innova.mu. This group is at 

Cornelia Street Café Mar. 7th. See Calendar. 

Eponymous 

Many Arms (Tzadik) 

by Wilbur MacKenzie 

The latest release from Philadelphia trio Many Arms 

is their first for the Spotlight series on John Zorn’s 

Tzadik label and their third to date. An intense, 

virtuosic update of the classic rock power trio, Many 

Arms is made up of guitarist Nick Millevoi, electric 

bassist Johnny DeBlase and drummer Ricardo 

Lagomasino. As with previous releases, this album 

favors long-form compositions, which effortlessly 

integrate complex written material with very loose, 

high-energy improvisational excursions. Amazingly, 

their albums consistently convey the energy and 

intensity of their live performances. 

The album features one track from each member 

of the trio. Millevoi’s “Beyond Territories” opens, the 

first few minutes a series of jarring arrhythmic unison 

repetitive lines, ultimately giving way to high-energy 

free playing, intermittently returning to the seemingly 

endless parade of anti-riffs over the course of the 

piece’s 16 minutes. The middle track, “In Dealing with 

the Laws of Physics on Planet Earth”, written by 

DeBlase, is an extended ruminative journey through 

twisted sonorities and hard-edged punctuations, as 

repetitive arpeggios are underscored by heavy 

ensemble passages. Ironically, in this case, the quietest 

moments on this recording are by far the most 

delightfully unsettling. Proceeding at a glacial pace, 

the tune eventually builds to a robust crescendo of 

shifting odd-time signatures. Lagomasino’s “Rising 

Artifacts in a Five-Point Field” opens with some of the 

most abstract sonic explorations on the disc, from 

which emerge a series of long, lightning-speed unison 

riffs and wailing guitar melodies floating over the 

torrential storm created by bass and drums. 

On their latest release, Many Arms continue to 

refine their radical approach to integrating loud rock 

with expansive free improvisation and rigorous 

compositional pursuits, reaching new levels of 

creativity, concept and execution. 

For more information, visit tzadik.com. This group is at The 

Stone Mar. 8th. See Calendar. 

Cobi Narita presents: now at Zeb’s 

EVERY SATURDAY 

At Zeb’s, from 1 p.m. to 6 p.m., Cobi Narita presents MOVIES & OPEN MIC SESSION. 

From 1 p.m., MOVIES of legendary Black Artists, shown by WALTER TAYLOR; 

followed by OPEN MIC SESSION for Singers, Tap Dancers & Instrumentalists, 

hosted by FRANK OWENS, Music Director & piano, from 3 to 6 p.m. $10. AUDIENCE WELCOME! 

FRIDAY, MARCH 15 

At ZEB’s, from 8 p.m. to 12 midnight, Paul Ash and Cobi Narita present, in cooperation with 

Women (In) Jazz and the Jazz Foundation, one concert of the 11th Annual LADY GOT CHOPS Women’s 

History Month Music & Arts Festival: “MUSI-ARTI-COPIA”, flash mob round robin jazz plus project, 

featuring Mem Nadahr, vocals; Meg Montgomery, trumpet; Andrea Brachfeld, flute; 

Sheryl Renee, vocals; Lisette Santiago, percussion; Nikita White, vocals; Bertha Hope, piano; 

Claudia Hayden, flute; and Kim Clarke, bass 

FRIDAY, MARCH 22 

At Zeb’s, from 7 p.m., Cobi Narita presents 

WILLIE MAE PERRY in Concert, “SomeoneTo Watch Over Me”, 

with the Frank Owens Trio, with Frank Owens, Music Director & piano; 

Paul West, bass; Greg Bufford, drums. $15 

SATURDAY, MARCH 23 

At Zeb’s, from 8 p.m., Cobi Narita presents 

EMIKO MIZOGUCHI and DEREK HOOD in Concert, 

with the Frank Owens Trio, with Frank Owens, Music Director & piano; 

Paul West, bass; Greg Bufford, drums. $15 

ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues) 

2nd Fl walk-up. Info: 516-922-2010

Sojourner Truth (1797?-1883) led a life that was at once 

humble and heroic. She jettisoned the bonds of slavery 

and paternalism to become an indomitable voice for 

the abolition of slavery and the advocacy of women’s 

rights. Bassist Avery Sharpe crafts a heartfelt tribute to 

a truly extraordinary woman. 

In a sense, Truth is a silent collaborator on this 

album as Sharpe incorporates some of her words into 

the narrative. The title cut is a spoken-word version of 

her watershed speech “Ain’t I A Woman?”, set to a 

gospel theme. Truth also was a lyricist, in spite of her 

illiteracy, and Sharpe wrote music for her poem 

“Pleading for My People”. Sharpe’s arrangement of the 

traditional “Motherless Child”, a favorite of Truth’s, 

underscores the homage by invoking John Coltrane’s A 

Love Supreme. All of these songs, as well as “The Way 

Home” and “Son of Mine”, feature singer Jeri Brown as 

the embodiment of Truth’s spirit and whose earthy 

vocals are as elemental and poignant as the woman 

herself. 

The band recounts other elements of Truth’s story 

quite eloquently through straightahead songs like 

“Isabella’s Awakening” and “Truth Be Told”. Craig 

m A R ch 1-3 

warren wolf group 

m A R ch 4 

jason marsalis quartet 

m A R ch 5-6 

grace kelly quintet 

cD release –Live at Scullers 

m A R ch 7-10 dizzy & bird festival 

wycliff gorD o n & frienD s 

the Dizzy Birds: Bebop then & now 

m A R ch 11 

Sojourner Truth “...ain’t I a Woman?” 

Avery Sharpe (JKNM) 

by Terrell Holmes 

amina figarova sextet 

music of twelve 

m A R ch 12-13 

e DDi e D a niels & roger kellaway 

m A R c h 14-17 

B i lly hart quartet 

m A R ch 18 

new york youth symphony 

jazz classic 

m A R ch 19-20 

luis B o nilla quintet 

m A R ch 21-24 

michael carvin experience 

featuring sonny fortune (3/22-24 only) 

m A R ch 25 

floriD a state university 

jazz ensemB le 

m A R ch 26-27 

terri lyne carrington’s 

m O NEy juN g L E 

cD release 

m A R ch 28-31 

B e n wolfe quintet 

featuring nicholas payton 

RESERVATIONS 212-258-9595 / 9795 jalc.org/dizzys 

Handy’s passionate tenor saxophone drives the 

distinctly African rhythm on “Bomefree”, a tribute to 

Truth’s father, who was sold into slavery from what is 

now Ghana. Duane Eubanks’ flugelhorn is honey 

smooth on drummer Yoron Israel’s “Virtuous She Is”. 

And the mingled voices of Onaje Allan Gumbs’ piano, 

Sharpe’s bass and Eubanks’ trumpet form a stunning 

chorus that captures the themes of alienation, loneliness 

and tumult on “NYC 1800s”. 

Throughout his career Sharpe has made it a point 

to honor his heroes, whether they are other musicians 

(see his album Legends & Mentors) or historical figures 

and the profound respect he feels for Truth comes out 

in this excellent music. Sojourner Truth “…ain’t I a 

Woman?” is a bold praise shout to someone whose 

fierce dedication to the pursuit of equality, justice and 

humanity remains timeless. 

For more information, visit jknmrecords.com. Sharpe is at 

Ginny’s Supper Club Mar. 9th and Brooklyn Public Library 

Central Branch Mar. 10th with this project. See Calendar. 

Live at Smalls 

Grant Stewart (smallsLIVE) 

by Alex Henderson 

Pianist Spike Wilner, who co-owns Smalls Jazz Club in 

the West Village, is among jazz’ more ambitious 

entrepreneurs. Since launching his smallsLIVE label in 

2010, Wilner has released more than 30 CDs from a 

long list of artists, including this recent date by Grant 

Stewart, who plays a brawny tenor saxophone along 

the lines of Sonny Rollins, Don Byas, Coleman Hawkins 

and Wardell Gray. 

Leading a quartet of Tardo Hammer (piano), 

David Wong (bass) and brother Phil Stewart on drums 

(all Smalls regulars, with Hammer a regular participant 

in Stewart’s recordings), the saxman swings hard and 

passionately on material ranging from Henry Mancini’s 

“Mr. Lucky”, Billy May’s “Somewhere in the Night” 

and Jule Styne’s “Make Someone Happy” to a Latintinged 

take on Cole Porter’s “Get Out of Town” and 

energetic, rather than sentimental, “Tea for Two”, the 

Vincent Youmans standard. 

In the ‘50s, saxophonists like Hawkins, Rollins, 

Byas and Gray were not only known for their 

barnburners but also for being excellent ballad players. 

And that fact isn’t lost on Stewart, who demonstrates 

his own abilities in that realm with takes on Bobby 

Troup’s “The Meaning of the Blues”, Jerome Kern’s 

“Smoke Gets in Your Eyes” and Thelonious Monk’s 

“Reflections”. 

Stylistically, Live at Smalls could have been 

recorded 60 years ago, given its material and aesthetic 

sensibilities. Stewart has never claimed to be 

groundbreaking, but what the saxophonist may lack in 

originality, he more than makes up for with warmth, 

good taste and a healthy sense of swing, which could 

be the motto for Smalls Jazz Club as well. 

For more information, visit smallslive.com. Stewart is at 

Smoke Mar. 15th-16th with Eric Reed and Smalls Mar. 17th 

as a leader. See Calendar. 


12_Fimav_TheNewYorkCityJazz_B&W_F01.pdf 1 13-02-12 13:29 


Brooklyn Lines... 

Chicago Spaces 

Klang (Allos Documents) 

by Clifford Allen 

Soft Focus 

Vox Arcana 

(Relay Records) 

Clarinetist James Falzone is an artist who decidedly 

works between and across boundaries. In addition to 

composing and playing in a variety of improvising 

ensembles, Falzone has been active with throughcomposed 

and liturgical music and exploring non- 

Western instrumentation and forms. As a soloist 

Falzone is concentrated but wonderfully liberated, 

with what one might call a ‘classical’ tone that readily 

spirals into fierce multiphonics, whirls and dives or an 

acerbic, nearly electronic lack of wavering. 

When it comes to what one might otherwise deem 

a strictly ‘jazz-derived’ group like Klang (with 

vibraphonist Jason Adasiewicz, bassist Jason Roebke 

and drummer Tim Daisy), the range of Falzone’s 

interests and influences become clear and actualized. 

Importantly, that diversity doesn’t complicate 

proceedings; rather, Klang have a wealth of possibilities 

at their disposal that advance and recede in the split 

seconds of improvisational choice. Brooklyn Lines… 

Chicago Spaces is the quartet’s fourth disc to date and 

consists of 11 pieces, 2 which are group improvisations 

while the rest are the clarinetist’s tunes. Importantly, 

while written by Falzone, they were conceived for this 

ensemble and are actualized collectively as “Klangmusic”. 

These range from the Rolf Kühn-like 

“Ukrainian Village” to the Farmer Alfalfa homage (in 

sound if not literally) “Carol’s Burgers”. Though many 

of the pieces move through a range of colors and 

structures, the set does have a suite that should be 

called out: dedicated to longtime Chicago jazz writer 

Larry Kart, the pieces “Alone at the Brain”, “Jazz 

Searching Self” and “It Felt as if Time had Stopped” are 

a portrait of presence and history. The final movement 

is absolutely gorgeous, limned by delicate woody 

footfalls and Adasiewicz’ glassy rows and eddies that 

recall Walt Dickerson in dreamlike, fluttering 

aggression, closing in a wistfully funereal march. 

Falzone is the sole reed voice in Daisy’s Vox 

Arcana, a trio that also includes cellist/guitarist Fred 

Lonberg-Holm. This is the group that most clearly 

represents Daisy’s compositional acumen; as one might 

infer, the compositions and improvisations inform one 

another, thus exploring the continual process of crossbreeding 

that occurs in the works’ development. Soft 

Focus is the trio’s third disc and its eight pieces clock in 

economically at a shade over a half-hour. Vox Arcana 

finds Daisy at perhaps his most texturally rangy - in 

addition to a standard kit, he employs a variety of 

gongs, marimba and what sound like roto-toms and 

tuned bongos. While slinky tone poems and chamber 

studies are, in part, endemic to this trio’s music, that 

doesn’t mean that opportunities to stretch don’t arise 

- witness the toothy opener, “De Grote Olifant” and its 

panoply of athletic rattles. Daisy has chosen his 

compatriots perfectly, as both Falzone and Lonberg- 

Holm are as rigorous in their compositional acumen as 

they are in open improvisation and Daisy’s writing 

might as well be theirs. It’s a fine tightrope walk that 

Vox Arcana are testing and being ‘in the middle’ is 

profoundly rewarding. 

For more information, visit allosmusica.org and timdaisy. 

wordpress.com. Klang is at Ibeam Brooklyn Mar. 15th-16th. 

See Calendar.

It would be hard to overstate the excellence of On 

Broadway, Vol. 1,2,3,4,5, a anthology release of late 

drummer Paul Motian’s 20-year project to reenvision 

and ‘re-roast’ those famous and not-quite-as-famous 

chestnuts of the Great American Songbook. Whereas 

Ella Fitzgerald’s previous interpretations of Tin Pan 

Alley tunes were faithful renditions that even exhumed 

long forgotten introductory sectional verses, Motian’s 

approach is decidedly heterodox, often ignoring vital 

rhythms, melodies and harmonies in favor of 

interaction and improvisation. 

The five albums divide into two groups, the first 

three recorded in 1988, 1989 and 1991 with tenor 

saxophonist Joe Lovano, guitarist Bill Frisell and 

bassist Charlie Haden (Vol. 3 adds alto/soprano 

saxophonist Lee Konitz), all musicians that share 

Motian’s penchant for group interplay, ability to say 

more with less and deconstructionist attitude towards 

composition and improvisation. The last two volumes 

were recorded considerably later, in 2005 and 2008, 

with a younger generation of musicians: saxophonist 

Chris Potter and bassist Larry Grenadier with vocalist 

Rebecca Martin and veteran pianist Masabumi Kikuchi 

NEW 

On Broadway, Vol. 1,2,3,4,5 

Paul Motian (Winter & Winter) 

by Tom Greenland 

236 West 26 Street, Room 804 


Monday-Saturday, 10:00-6:00 

Tel: 212-675-4480 

Fax: 212-675-4504 

Email: jazzrecordcenter@verizon.net 

Web: jazzrecordcenter.com 

LP’s, CD, Videos (DVD/VHS), 

Books, Magazines, Posters, 

Postcards, T-shirts, 

Calendars, Ephemera 

Buy, Sell, Trade 

Collections bought 

and/or appraised 

USED 

Also carrying specialist labels 

e.g. Fresh Sound, Criss Cross, 

Ayler, Silkheart, AUM Fidelity, 

Nagel Heyer, Eremite, Venus, 

Clean Feed, Enja and many more 

(Vol. 4) and saxophonists Loren Stillman and Michäel 

Attias, bassist Thomas Morgan and Kikuchi (Vol. 5). 

The lack of guitar, charismatic presence of Kikuchi and 

an extreme generation gap (Morgan was born 50 years 

after Motian) give these latter two albums a different 

character, though the leader’s overarching ethos is still 

very much to the fore. Indeed, it would have been out 

of character for Motian to revisit his own work after a 

13-year break only to retread previous patterns. The 

earlier three albums also differ from the later two in 

that their setlist concentrates on a few iconic tunesmiths 

- in particular George Gershwin, Cole Porter and 

Jerome Kern - while Vols. 4 and 5 feature a wider 

selection of writers and less canonized melodies such 

as Frank Loesser’s “Sue Me”, Jay Gorney’s “Brother, 

Can You Spare a Dime?” and Jack Little-John Siras’ “In 

a Shanty in Old Shanty Town”. Finally, the sonic 

‘canvas’ of the three initial albums (engineered by Joe 

Ferla) differs from that of the last two albums 

(engineered by Adrian Von Ripka): Motian’s drum 

colors overlap and blend seamlessly with the total 

audio backdrop on the earlier recordings whereas the 

component sounds of his drumkit are panned and 

separated more distinctly on the later ones. 

Vol. 1 sets the tone for the two to follow, employing 

various strategies to draw fresh water from the well. 

To begin with, Motian never ‘lays down’ the time, but 

rather implies or plays around it, preferring the role of 

co-soloist to that of metronome. Likewise, Haden finds 

ways to break up obvious bass patterns and while 

either Lovano or Frisell usually ‘leads’ a statement of 

the song’s melody, they are most often in dialogue 

with each other, akin to the heterophonic (multiple 

solos at once) blowing of traditional jazz. Many of the 

cuts eschew an obvious introduction to the tune, 

instead referring to it only in passing or in abstraction, 

so that a listener only gradually realizes that they are 

listening to “Liza” or “Someone To Watch Over Me”. 

Lovano and Frisell are in fine form throughout, the 

former burning with quiet fire and fluid intensity, 

producing dense but relaxed statements that push 

gently towards the outré limits (listen to his work on 

“My Heart Belongs To Daddy” from Vol. 1, “I Got 

Rhythm” from Vol. 2 or “Weaver of Dreams” from Vol. 

3) while the latter employs an encyclopedia of 

Americana guitar techniques with his idiosyncratic 

touch, rendering sparse-but-full chord solos on “What 

Is This Thing Called Love?” and “Last Night When We 

Were Young” from Vol. 1 or “I Wish I Knew” from Vol. 

3 and slow-hand soul on “You and the Night and the 

Music” from Vol. 2. Konitz’ alto is an integral part of 

Vol. 3, particularly on “How Deep Is the Ocean” and 

“Weaver of Dreams”. Together, these elements continue 

an aesthetic approach Motian made famous with Bill 

Evans, ensuring that these covers of classics avoid the 

‘aging process’ so common to repertory projects. 

The fourth and fifth volumes are marked by the 

presence of Kikuchi who, like Bill Evans, exudes deep 

musicality in his lightest, most minimalist touches, 

bringing an unfakeable sincerity to “The Last Dance”, 

“Never Let Me Go”, “I Loves You Porgy” (all from Vol. 

4), “Something I Dreamed Last Night” and especially 

“I See Your Face Before Me” (from Vol. 5), though at 

times his spontaneous vocalizations overshadow his 

sensitive playing. On Vol. 4, Potter is a fountain of 

ideas, delivered with taut logic and a dry, almost 

vibrato-less tone, often in counterpoint to Martin, who 

brings life to the lyrics, hitting her stride on “How 

Long Has This Been Going On”, which closes the set. 

Vol. 5 is notable for the interweavings of Stillman and 

Attias, particularly on “Midnight Sun” when, after 

four minutes of free-form interaction, the melody 

finally materializes from the musical mists, creating an 

‘aha!’ moment for listeners. 

For more information, visit winterandwinter.com. A tribute 

to Paul Motian is at Symphony Space Peter Jay Sharp 

Theatre Mar. 22nd. See Calendar. 



Wisława 

Tomasz Stanko New York Quartet (ECM) 

by Stuart Broomer 

Polish trumpeter Tomasz Stanko’s first recording 

since 2009 is a two-CD set and it’s also a tale of two 

cities. The Wisława of the title is the late Polish poet 

Wisława Szymborska, who inspired Stanko’s 

compositions here, both in his own reading and in a 

2009 Krakow performance in which he improvised 

accompaniments to her reciting new poems. The 

second city is New York, where Stanko resides part of 

the year and where he assembled the dynamic new 

band heard here. 

Stanko has a significant gift for putting together 

excellent bands (or just finding them, in the case of the 

Marcin Wasilewski Trio) and he’s done that here, with 

the young Cuban pianist David Virelles, bassist 

Thomas Morgan and distinctive drummer Gerald 

Cleaver. There’s great rapport evident here among all 

four musicians and it shows in the kinds of developed 

dialogues that develop around Stanko’s often balladic 

themes, like the ending of Stanko’s solo on “Tutaj - 

Here”, in which Virelles and Morgan pick up the 

conversation with the sustained echoing of Stanko’s 

final note, or Cleaver‘s extended passage of leading the 

conversation (it’s not a drum solo) on “Faces”. 

The set opens and closes with Stanko’s pensive 

title track, a piece that seems to begin almost as a 

reflective dirge but which ultimately floods with light 

in the final version, Stanko’s tautly introspective 

trumpet phrases etched with complex emotions, then 

framed and levitated by the delicacy of Virelles’ touch, 

resonant high harmonics bursting from Morgan’s bass 

and metallic shimmer and rattle of Cleaver’s brushed 

cymbals and snare. Virelles’ occasional ominous bass 

clusters seem to be receding into the past even as he 

articulates them. The final version runs 13:13 and every 

second of it is beautiful. 

For more information, visit ecmrecords.com. This group is 

at Birdland Mar. 28th-30th. See Calendar. 

One 

Jonathan Kreisberg (New For Now Music) 

by Sharon Mizrahi 

Jonathan Kreisberg clutches his guitar in a tight, 

closed-eyed embrace on the cover of his solo debut. 

This marks Kreisberg’s move from stage left to center 

spotlight, giving a glimpse into his eclectic creativity 

as he establishes his own voice. 

Kreisberg storms into the opening second of 

“Canto de Ossanha” with a gloomy chord - but the rest 

of the sublime piece is smooth sailing. The title loosely 

translates into “Song of the Spirits”, more specifically, 

the spirits responsible for casting the spell of love. 

Kreisberg breathes a mellow vibe into the AfroBrazilian 

composition, though in this case mellow doesn’t just 

translate into stagnant. This piece is a perfect sunset 

soundtrack, echoing a sultry undertone beneath each 

carefree, breezy refrain. On “Hallelujah”, Kreisberg’s 

stripped-down style strongly resembles the late Jeff 

Buckley version of the Leonard Cohen original. As 

soon as the first few chords unfold, one half-expects 

Buckley’s darkly evocative voice to emerge and take 

the lead. Kreisberg, however, clears the fog to weave 

his own melancholic yet subtly uplifting lullaby. The 

result is equal parts nostalgia and intrigue. 

Kreisberg takes a playful approach to Juan Tizol’s 

“Caravan”. His billowing chords resonated from the 

album all the way to his Jazz Standard release concert 

last month. Kreisberg, perched on a corner of the stage, 

radiated the quick versatility of a banjo player. A new 

dimension of whimsy also bubbled to the surface, 

infusing the denser album version with a light-hearted 

sensibility. 

Surprisingly, his solo performance was the outlier 

of the evening, as saxophonist Will Vinson (featured on 

Kreisberg’s quartet release Shadowless), bassist Rick 

Rosato and drummer Colin Stranahan accompanied 

him throughout the rest of set. Yet at times, Kreisberg 

appeared to accompany Vinson, particularly in a synth 

piece that resembled “Escape From Lower Formant 

Shift” from the album. His guitar chords pounded in 

hypnotic discord with Rosato and Stranahan’s speedy 

rhythm - but all was overshadowed by a frenzy of 

erratic sax slurs. Kreisberg made a dynamic comeback 

in “Zeibekiko”, named for a genre of Greek 

improvisational dance music. The lively guitar melody, 

interwoven with edgy electronics, was irresistible and 

made for dancing. And this time, Vinson offered warm 

accentuation on the piano, perfectly complementing 

Kreisberg’s hearty style. 

For more information, visit jonathankreisberg.com

Ellington Saxophone Encounters 

Mark Masters Ensemble (feat. Gary Smulyan) (Capri) 


The classic big band sax section of two altos, two 

tenors and a baritone provides the template for this 

project, rounded out to an octet by piano, bass and 

drums. It’s a format that was actually used by Duke 

Ellington on some of his ‘private’ recordings and one 

employed by Benny Carter on his celebrated Impulse 

recording Further Definitions. Mark Masters proves 

equal to those examples, producing inspired sax 

section arrangements that belie the simplicity of the 

material: fully half of the tunes are 12-bar blues; 

another two based on “I Got Rhythm” changes, the 

others in standard pop AABA form. Masters and 

baritone saxophonist Gary Smulyan wanted to make 

an Ellingtonian album with a difference and they have 

definitely succeeded. They feature tunes written alone, 

or co-written with Ellington, by famous members of 

his saxophone section, some for Duke’s orchestra, but 

others for outside projects or at times when the 

composers were not working for Ellington. 

Masters invokes the sound of the Ellington sax 

section throughout this recording, from the familiar 

launching pad riffs and rhythmic kicks of “Rockin’ In 

Rhythm” to the clarinet obbligato of Don Shelton over 

DEBORAH LATZ 

FIG TREE Deborah’s third album will be released 

May 7, 2013 on June Moon Productions 

PRE-RELEASE GIGS: 

CORNELIA ST. CAFE 

Saturday, April 20 / 6pm 

Deborah Latz, vox 

Jon Davis, piano 

Zach Brock, violin 

Ray Parker, Bass 

Willard Dyson, drums 

Reservations (212) 989 9319 

“Deborah is a beautiful singer 

and a great talent. Fig Tree is 

wonderful. Really wonderful!” 

— Sheila Jordan, 

2012 NEA Jazz Master 

“...Latz demonstrates an 

outstanding range of technique 

and creative musicality...” 

— Scott Yanow, 

excerpt Fig Tree liners 

“I am a fan of Fig Tree!” 

— Jana Herzen, 

President Motema Music 

www.deborahlatz.com 

SOMETHIN’ JAZZ CLUB 

Saturday, April 27 / 9pm 

Deborah Latz, vox 

Jon Davis, piano 

Ray Parker, bass 

Willard Dyson, drums 

Reservations (212) 371 7657 

Photo ©Todd Weinstein 

the blues theme of Johnny Hodges’ “The Peaches Are 

Better Down the Road”. Masters, much like Ellington, 

employs the sax section and full ensemble as a 

completely collaborative contributor to the music, with 

backgrounds and riffs rising behind soloists and 

transitions filled by vamps and shout choruses. 

Smulyan is the main soloist, his robust sound featured 

on 10 of the 12 tracks, but the other saxophonists all get 

their spots, as do pianist Bill Cunliffe, bassist Tom 

Warrington and drummer Joe La Barbera. But the 

special delight of this album is the reclamation of tunes 

not heard in decades or, indeed, a lifetime, like the 

Hodges-Ellington “Esquire Swank”, Jimmy Hamilton’s 

“Ultra Blue” and Harry Carney’s lovely ballad “We’re 

In Love Again”, done as a baritone quartet number 

with a gorgeous coda by Smulyan. 

For more information, visit caprirecords.com. Smulyan is at 

Smoke Mar. 8th-9th with Mike LeDonne and Blue Note 

Mar. 25th. See Calendar. 

Hagar’s Song 

Charles Lloyd/Jason Moran (ECM) 

by Joel Roberts 

Saxophonist Charles Lloyd, who turns 75 this month, 

has enjoyed a remarkable late-career run, helped by his 

association with much-younger pianist Jason Moran. 

Despite his own flourishing solo career, Moran has 

become a key member of Lloyd’s working quartet, 

appearing on the group’s last three releases. Moran 

wasn’t even born when Lloyd released his landmark 

1966 album Forest Flower, an innovative blend of 

postbop, free jazz and world music that made Lloyd 

one of the era’s top jazz stars and even won him a 

following among rock listeners. But the younger artist 

shares the elder’s forward-thinking outlook and 

openness to exploring music that cuts across genres. 

Their latest collaboration is a duo recording, an 

intimate and often melancholy affair that highlights 

their musical symbiosis. The album features modernist 

reworkings of jazz standards, as well as rock classics 

by Bob Dylan and the Beach Boys. Lloyd and Moran 

dig deep into Duke Ellington’s “Mood Indigo” and 

George Gershwin’s “Bess, You Is My Woman Now”, 

mining both for all their bluesy lyrical beauty. They 

also offer radical reinterpretations of Dylan’s “I Shall 

Be Released” and Brian Wilson’s “God Only Knows”, 

turning the former into a memorable slice of gospel 

jazz and the latter into a tender jazz ballad. (The rock 

excursions should come as no surprise: Lloyd played 

on several Beach Boys albums in the ‘70s and was a 

friend of Dylan and The Band.) 

The centerpiece is the five-part title suite composed 

by Lloyd and inspired by the harrowing tale of his 

great-great grandmother, a slave who was uprooted 

from her Mississippi home as a child and sold to another 

slave owner in Tennessee. With Lloyd switching from 

tenor to alto to flute, the suite starts from the blues and 

shifts to increasingly abstract and evocative 

improvisations to tell the heartbreaking story. 

Lloyd is playing as well as ever deep into his 

eighth decade - elegant, ethereal and energetic. And in 

Moran, with his powerful percussive approach and 

daunting technique, he appears to have found the 

perfect partner to keep his creative juices flowing. 

For more information, visit ecmrecords.com. Lloyd is at 

Metropolitan Museum of Art Mar. 15th. See Calendar. 

Wait, who? 

Ran Blake 

John Medeski 

Frank London 

Dominique Eade 

Mat Maneri 

Sarah Jarosz 

Marty Ehrlich 

and many more. 

What? 

Fabulous musicians + boundary-smashing music. 

In other words, Contemporary Improvisation. 

Why? 

New England Conservatory celebrates 40 years of CI. 

When? 

Four dierent appearances March 17-23. 

Where? 

Cornelia Street Café, Symphony Space, Barbès. 

Want more info? Go to necmusic.edu/ci40 


Let Go 

Jerry Granelli Trio (Plunge) 

by Ken Waxman 

Now 72 and after almost 60 years as a professional, 

drummer, Jerry Granelli has conveyed a perfect gem of 

a trio to express his ideas. He, Danny Oore on soprano, 

tenor, baritone saxophones and bassist/cellist Simon 

Fisk move confidently through nine instant 

compositions, a couple that also feature the ethereal 

Scots-Gaelic vocalizing of Mary Jane Lamond. 

While pretty, Lamond’s lyric delicacy is secondary 

to the overall program. Most of Let Go demonstrates 

how many sonic colors can be produced by three 

musicians with judicious doubling or tripling. Granelli, 

whose experience goes back to Vince Guaraldi’s ‘60s 

piano trio, is a jazz man first and foremost, a truism 

easily proven by “Bones”, the funky, yet unhurried 

opener. 

From then on the group investigates many forms 

of improvisation, sticking pretty close to the tonal. 

Especially remarkable is Oore’s technical skill on his 

three horns, plus his ability, prominent on a tune like 

“A Woman Who Wants To Waltz”, to stretch out the 

emotional underpinning of a solo without ever 

breaking the line. He can snort and squeak with the 

best on baritone while on soprano his muted tone 


complements Lamond’s low-key singing on “Solaria”, 

which is also notable for a scene-setting cello intro and 

drum patterning that seems half Carnatic-styled and 

half Krupa-swing. Fisk’s skills extend to melding 

folksy riffs with Granelli’s simple ruffs on “Letter To 

Bjork” or providing a double-stopping continuum on 

tracks such as “Leaving” and “A Chinese Saloon”. 

That last piece also highlights the drummer’s 

invention. Among unison double bass thumps and 

baritone sax snorts, he showcases clanging Orientalstyled 

gongs, plus press rolls and a hefty but not 

lumbering swing beat. Granelli’s adopted hometown 

of Halifax has apparently helped him to extend his 

skills and given him two fine helpmates with which to 

create provocative sounds. 

For more information, visit thejerrygranellitrio.bandcamp.com. 

Granelli is at ShapeShifter Lab Mar. 10th. See Calendar. 

Pieces 

Hashem Assadullahi (OA2) 

by Elliott Simon 

Guitarist Justin Morell’s raga-informed intro on CD 

opener “Prized Possession” entreats the listener to get 

on board this somewhat disjointed but compositionally 

intricate session from saxophonist Hashem Assadullahi. 

Trumpeter Ron Miles’ luxuriant tone melds with 

Morell’s spaciousness before Assadullahi leads the 

sextet into various collectively inspired realms. Aptly 

named Pieces, things evolve and devolve into songs 

about lots of different subjects, using the mundane “A 

Bag of Oranges”, the weird “Fingersticks” and the 

mysterious “Dark Tower” to highlight and integrate a 

smorgasbord of styles. 

Despite all this, Assadullahi rarely loses track of 

his own eclectic brand of swing. This is largely due to 

bassist Tyler Abbott and drummer Ryan Biesack, who 

usually succeed in holding things together. Miles 

brings his gorgeous voice and elegance to many of 

these pieces but the welcome surprise is pianist James 

Milney, who beautifully segues between rhythm and 

frontline roles. He is integral and his treatment of the 

pensively delicate melody on “Harbinger” is superb. 

Where things drift a bit are the middles of the longer 

cuts. “Dark Tower” has a great melody and feel and 

would be a super tune if it lost some of its meandering 

quality. Likewise, “The Straight Man” is a vehicle that 

gets lost a bit after a brilliant start. 

Assadullahi is of a new generation of jazz 

musicians who have the compositional understanding, 

technique and improvisational skill to create complex 

works with beautiful melodies while at the same 

time drawing on a multitude of styles. He uses pop, 

swing, straightahead, classical, free and other genres 

as construction pieces. The trick is not to lose sight of 

one aspect of the music at the expense of another or 

throw something in for the sake of itself. That is very 

tough to do and with Pieces Assadullahi largely 

succeeds. 

For more information, visit originarts.com. This group is at 

Korzo Mar. 19th. See Calendar. 

Grace Kelly 

“Live At Scullers” 

CD release tour 

stops at 

DIZZY’S CLUB COCA COLA 

MARCH 

5th and 6th 

7:30PM AND 

9:30PM 

Jazz At Lincoln Center 

Broadway and 60th 

www.gracekellymusic.com

The Sirens 

Chris Potter (ECM) 

by Jeff Stockton 

Even after more than 15 solo dates, as well as making 

significant contributions to the bands of Dave Holland 

and Paul Motian, Chris Potter’s ECM debut, The Sirens, 

feels like a milestone achievement. Inspired by a 

reading of Homer’s Odyssey (apparent mainly due to 

the song titles), Potter has assembled a crack band 

including pianist Craig Taborn (himself making a name 

on ECM), bassist Larry Grenadier, drummer Eric 

Harland and the ace-in-the-hole, pianist David Virelles, 

pitching in with prepared piano, celeste and 

harmonium. The two keyboards interweave 

instinctively on “Wayfarer”, the celeste twinkles 

against Harland’s cymbal taps on “Nausikaa” and 

Taborn and Virelles are handed the CD’s ultra-quiet, 

mid-air suspended coda “The Shades”. While the band 

distinguishes itself with top-drawer technical facility 

and simpatico interaction, the leader shines through 

with powerful, aggressive, abundant soloing on the 

opening “Wine Dark Sea”, the spiraling tenor arpeggios 

of “Stranger at the Gate” and the profound solemnity 

of the bass clarinet intro to the title track. In Taborn’s 

accompaniment, Grenadier’s bowing and Potter’s 

switch to tenor, the cut recalls nothing less than the 

conclusion to A Love Supreme, as if Eric Dolphy had 

written the preface. 

“The Sirens” served as the apex among high points 

during a set at the Village Vanguard last month, with 

Potter and his band playing well over an hour in front 

of a packed house. Potter is no stranger to the 

Vanguard, having previously recorded two live albums 

at the club, and he and his band were relaxed and 

adventurous. The playing wasn’t free, but it was on its 

verge, the solos cutting against the grain of the 

compositions to create an internal tension within the 

group that was built and then released. Commencing, 

as on the CD, with “Wine Dark Sea”, the band segued 

into a West African folk tune with Potter on flute and 

Ethan Iverson (subbing for Taborn) standing to pluck 

the innards of the piano before the leader switched 

back to tenor, Iverson concentrated on the bass notes 

and Grenadier plinked near the bridge of his bass. The 

rhythmic repetition became hypnotic. From there on it 

was one continuous performance, Potter moving from 

soprano to tenor to bass clarinet and back to tenor. 

Potter’s tunes have an innate ability to let his band 

stretch out and the transitions were as seamless as they 

were inventive. By the time Potter launched into an 

extended solo outro, informed heavily by the blues, to 

close the show, it was as if he was just getting started. 

For more information, visit ecmrecords.com 

Plays Don Friedman 

Don Friedman 

(Edition Longplay) 

Alone Together 

Hank Jones/Don Friedman 

(Edition Longplay) 

by Ken Dryden 

The demise of the LP was forecast soon after the dawn 

of the CD. Instead, it has clung to life as growing 

numbers of discerning listeners find more warmth in 

record grooves. Edition Longplay is a new label 

established to pair audiophile recordings on heavyduty 

180-gram pressings and fine art commissioned 

for each album, with releases limited to just 500 copies. 

A veteran pianist whose career dates back to the 

‘50s, Don Friedman’s Plays Don Friedman is a rare 

opportunity for him to focus on his originals, with the 

performances coming from his solo piano set at the 

2011 JazzBaltica Festival. “34 West 54th Street” has a 

bustling postbop flavor, contrasting with the deliberate, 

semi-classical feeling of “Friday Morning”. Friedman 

sets up the listener for a ballad as he begins “Waltz For 

Marilyn”, but the piece quickly turns into a lively 

vehicle with inevitable comparisons to Bill Evans due 

to its logical, intricate voicings. Another staple in 

Friedman’s repertoire is “Almost Everything”, a thinly 

disguised, yet brilliant reworking of the changes to the 

standard “All the Things You Are”. His elegant tribute 

“Chopinesque” is a masterful blend of virtuoso 

playing, lyricism and swinging jazz. Friedman wraps 

his solo set by segueing directly into an introspective 

interpretation of Monk’s “‘Round Midnight”, which 

takes it far from the usual path. 

Alone Together documents a fine set of solo and 

duo piano at the 2008 JazzBaltica Festival. The late 

Hank Jones is featured as a soloist for the first three 

numbers, including an elegant, reflective title track 

and striding, buoyant “The Very Thought of You”. The 

gem of his solo segment is a gorgeous rendition of 

“Oh! What a Beautiful Morning”, blending 

impressionism with Jones’ unmistakable bop touch. 

Friedman joins him on a second piano for the remainder 

of the performance; the two musicians are of like mind, 

anticipating where his partner is headed and providing 

the perfect accompaniment. The duo starts with “Have 

You Met Miss Jones?”, which proves to be a terrific 

musical conversation. “Body and Soul” is one of the 

most beloved jazz standards and the duo’s moving 

performance doesn’t need a vocalist to convey its 

message. “My Funny Valentine” is a frequently played 

standard, yet Jones and Friedman find something new 

to say with a softly spoken yet lush treatment that 

retains the essence of this timeless ballad. Bop fans will 

be delighted with their hard-charging take of 

“Confirmation”. Bassist Martin Wind and drummer 

Matt Wilson join the pianists as they wrap the set with 

“Moose the Mooche”, a Charlie Parker favorite that 

showcases each of the players in turn. 

For more information, visit editionlongplay.com. Friedman 

is at Smalls Mar. 9th and Jazz at Kitano Mar. 29th-30th. 

See Calendar. 

new album 

The other strangers 

alternative folk - jazz 

orioxy.net 

orioxy.net 

Yael Miller - vocals 

Julie Campiche - harp 

Manu Hagmann - double bass 

Roland Merlinc - drums 

« This Israeli-Swiss quartet (...) where 

madness is never excluded, takes pleasure 

in shoving us quickly from the comfort of 

their pop-rock universe to capsize to other 

more adventurous regions. In a word, fascinating. 

» 

Denis Desassis 

citizenjazz.com 

« A beauty that dees convention. 

A beauty that almost disturbs. » 

Jacques Prouvost 

jazzques.skynetblogs.be 

UTR 4400 

Unit Records 


Celebration 

Arild Andersen/Scottish National Jazz Orchestra 

Directed by Tommy Smith (ECM) 


ECM is a label that deserves to celebrate itself. For 

over 40 years, the company has, with a diversity of 

artists, created recordings with a unity of vision. 

Bassist Arild Andersen has been associated with ECM 

almost since its inception, a player whose concept and 

sound reflect both the human voice and then something 

deeper, like breathing itself. Saxophonist Tommy 

Smith, who has been part of Andersen’s trio, is himself 

a musician of powerful insight. He and Andersen are a 

perfect match and the tune here that best defines that 

collaboration is Andersen’s “Independency, Part 4”. 

The arrangement by Michael Gibbs is, at once, sparse 

and densely textured, with floating free passages, 

lively dance-like sections and ample space for 

Andersen and Smith. 

A lovely segment of this October 2010 concert is 

ECM star Trygve Seim’s “Ulrika’s Dance”. In the 

composer’s new arrangement, the piece becomes 

complex, with great counterpoint for the Scottish 

National Jazz Orchestra (of which Smith is Artistic 

Director) and knockout themes, blending to feel both 

spontaneous and carefully choreographed. 

Flushing Town Hall 

RANDY SANDKE 

HOMAGE TO LOUIS ARMSTRONG 

+ BIX BEIDERBECKE 

SAt, MAr 9, 8 PM 

$15/$10 Members and Students with ID 

Randy Sandke performs a homage 

to these greats who called Queens 

their home. Join us for a post-show 

Q & A and Birthday Cake in honor 

of Bix, who was born 

March 10, 1903. 

ORDER TICKETS TODAY! 

(718) 463-7700 x222 flushingtownhall.org 

Flushing town Hall, 137-35 Northern Blvd., Flushing, NY 11354 

Supported by National Endowment for the Arts; New York State Council on the Arts, a State Agency; New York 

City Department of Cultural Affairs; Bloomberg Philanthropies; New York Community Bank Foundation and Macy’s. 


The recording abounds with surprises. Smith 

wails in free-ish fashion on Christian Jacob’s 

arrangement of Dave Holland’s “May Dance”. Smith 

himself has arranged “Molde Canticle Part 1” by 

another ECM mainstay, saxophonist Jan Garbarek. The 

theme of Chick Corea’s “Crystal Silence” emerges out 

of a delicately shimmering arrangement by pianist 

Makoto Ozone, who worked with Smith in Gary 

Burton’s group. 

And finally, there’s one of the more celebrated 

tunes in the ECM catalogue: Keith Jarrett’s “My Song”, 

with the melody carried by Andersen. Pianist Steve 

Hamilton sweetly supports the bass and it’s an 

emotional but different reading. The arrangement is by 

pianist Geoff Keezer and, like all of the work here, 

opens a window onto these classic ECM compositions. 

For more information, visit ecmrecords.com. Andersen is at 

Birdland Mar. 26th. See Calendar. 

Tusk 

Sean Moran Small Elephant Band (NCM East) 

by Wilbur MacKenzie 

Though perhaps best known for his work in The Four 

Bags, guitarist Sean Moran is profoundly diverse in his 

output, as his latest release demonstrates. With Moran 

Chia’s Dance Party 

LATIN JAzz 

New York Faces 

Presented in Partnership with Terraza 7 Cafe 

SAt, MAr 23, 6 PM 

$20/$15 Members and Students with ID 

3 ensembles, 1 dance floor; featuring 

Puerto rican bassist Ricardo Rodriquez’s 

Quintet; revolutionary Cuban 

Accordionist Victor Prieto who embraces 

jazz, tango, classical & Celtic roots; and 

Chia’s Dance Party’s infectious, danceable 

grooves of Colombian music & original 

tunes. refreshments on sale. 

on nylon string guitar, Four Bags cohort Mike McGinnis 

on clarinets, Chris Dingman on vibraphone, Reuben 

Radding on bass and Harris Eisenstadt on drums, the 

Small Elephant Band invites a major expansion of the 

compositional and orchestrational ideas Moran 

contributes to The Four Bags. 

On the opening “Elliptical”, things start off with 

some subtle guitar statements before making room for 

more ensemble members and breaking into a march 

feel. “Circle One, Two” and “Monkeytown” both 

emphasize the jazz aspects of this multifaceted 

ensemble, favoring proper instrumental solos while, in 

contrast, “Moon Reflected” offers a well-constructed 

array of shimmering textures. 

Moran’s ability to conjure both subtlety and 

intensity from the nylon string guitar lends this album 

a profound sense of drama. The haunting feel that 

populates the majority of this record perfectly frames 

Moran’s sound, but at the same time so do more intense 

passages, like “Year of the Snake”, which calls to mind 

the mid ‘60s Miles Davis Quintet. 

Counterpoint between guitar, vibes, clarinet and 

bass crops up throughout the album, but most notably 

on “Dream of the Water”, characterized by amazing 

interactions between Radding and McGinnis. “The 

Camel” opens with some colorful unaccompanied 

guitar, then settles into some slightly Middle-Easternflavored 

ensemble passages, finally led off into the 

distance by McGinnis’ clarinet. This ethereal ending is 

carried through for the final track, “To the Edge of the 

World”, where suspended harmonies are punctuated 

by Eisenstadt’s subtle percussion scrapes and clicks 

and Radding’s unaccompanied arco solo. 

For more information, visit ncmeast.com. This group is at 

Barbès Mar. 31st. See Calendar.

Numerology (Live at Jazz Standard) 

David Gilmore (Evolutionary Music) 

by Terrell Holmes 

David Gilmore’s Numerology is pure energy from start 

to finish. This live set, recorded over two nights at Jazz 

Standard, is absolutely relentless. Joining the peerless 

guitarist are singer Claudia Acuña, alto saxophonist 

Miguel Zenón, pianist Luis Perdomo, bassist Christian 

McBride, drummer Jeff “Tain” Watts and Mino Cinelu 

on percussion. With a seasoned and talented band like 

this, amazing music is no surprise. 

The seven numerically themed tunes are divided 

into two movements, each movement a suite with 

seamless transitions between songs. Things unfold 

slowly on the mysterious “Zero to Three: Expansion”, 

with incantory vocals, languid alto and whispered 

percussion. The tempo picks up as alto and Watts’ 

signature thunderous drumming kicks up the tempo 

on “Four: Formation”, where Perdomo and Gilmore 

mirror each other flawlessly. The former plays 

wonderfully off the cyclonic theme of “Five: Change”, 

to which Gilmore adds his patented quicksilver riffs. 

The percussion-driven and blistering “Six: Balance” 

ends the first movement. Zenón blows this tune away, 

Watts and Gilmore matching him with equal fury. 

Although the album’s second movement isn’t 

quite as overwhelming as the first, the music loses 

very little of its intensity. Gilmore’s soft, contemplative 

playing on “Seven: Rest” is enhanced by more of 

Acuña’s vocalizing. The title is deceptive since a slight 

downshift in tempo doesn’t necessarily imply rest, as 

McBride’s excellent solo proves. “Eight: Manifestation” 

is brief, but powerful, like a stick of dynamite, and a 

perfect lead-in to the album’s closer, the incendiary 

“Nine: Dispersion”. Gilmore and the band play as if 

under the spell of demonic possession, particularly 

Perdomo, whose solo exemplifies the dynamism, 

creativity and passion of the entire band. 

Gilmore has been a first-call guitarist for years 

and Numerology might well be his finest hour. The band 

is on point throughout and not a single note is wasted. 

This album is an absolute pleasure and at last year’s 

end undoubtedly sat atop many “Best Of” lists. 

For more information, visit evolutionarymusic.com. 

Gilmore is at ShapeShifter Lab Mar. 18th. See Calendar. 

Tone Åse / omas Strønen 

Voxpheria 

“an incredible 

piece of work.” 

- Milk Factory (UK) 

“A beautiful and 

inventive achievement.” 

- All About Jazz (US) 

“could only have been made in 2012.” 

“could only have been made in 2012.” 

- Jazzwise (UK) 

Out now on 

GIGAFON! www.gigafon.no 

Eponymous 

Paul Giallorenzo 3 

(Not Two) 

by Clifford Allen 

Everything For Somebody 

Aram Shelton 

(Singlespeed Music) 

It’s interesting to think that today’s semi-veterans of 

the Chicago scene(s) were young upstarts not all that 

long ago. Bolstered by the environment around such 

esteemed musicians as reedman Ken Vandermark, 

players like percussionist Tim Daisy, pianist/electronic 

musician Paul Giallorenzo and saxophonist Keefe 

Jackson have been coming into their own over the past 

decade. Daisy has been active in Chicago since the mid 

‘90s and joined the Vandermark 5 in 2001 (he was the 

group’s last drummer). In the past 15 years he has 

grown tremendously not only as an instrumentalist 

(for this writer, his solo on the Bridge 61 rendition of 

“Various Fires” was a true statement) but also as a 

composer, as his work with Vox Arcana, a trio with 

clarinetist James Falzone and cellist/guitarist Fred 

Lonberg-Holm, testifies. 

One has only to listen to the isolated delicacy of 

his cymbal work and measured earthiness next to 

bassist Ingebrigt Håker Flaten’s robust pizzicato and 

Giallorenzo’s mercurial boppish suggestions on “The 

Sun’s Always Shining”, the opening track to the 

pianist’s eponymous trio album. In terms of an 

improvising unit as well as Giallorenzo’s pianism, the 

session is a fine statement. While the pianist’s earlier 

work, represented by the ragged but convincing 

quintet disc Get In To Go Out (482 Music), seemed to 

rely on group kinetics to keep the music shored up, 

Giallorenzo is out front here and able to let his 

scumbled, behind-the-beat eddies command their own 

shape and attention. One can hear echoes of Hasaan 

Ibn Ali, Valdo Williams, Burton Greene and Dave 

Brubeck in Giallorenzo’s approach, which balances 

crisp delicacy and charged muscularity. Yet this is 

decidedly trio music, wherein Daisy’s dry swing and 

temporal futzing is a magnificent asset and his 

unaccompanied or parallel playing is logical, 

authoritative and rendered with clattering flair. 

Everything For Somebody is the latest quartet disc 

from ex-Chicago alto saxophonist/clarinetist Aram 

Shelton, now residing in the Bay Area. He’s joined by 

Daisy, tenor saxophonist Keefe Jackson and bassist 

Anton Hatwich on a program of six original 

compositions. Shelton is one of those musicians for 

whom being an ‘acolyte’ is a respectful position; this 

writer hasn’t heard too many musicians, especially of a 

younger generation, take on the compositional tack 

and improvisational daring of Roscoe Mitchell. Shelton 

does that but he runs with it and has created a highly 

personal approach rooted in well-paced repetition and 

their abstracted (but highly melodic) outgrowths. 

Jackson’s more burred and quixotic phrasing is a 

fascinating foil, taking the same germs and contorting 

them into equally personal problem/solution 

dynamics. At heart - and not least due to the 

voluminous, dry activity of Daisy’s kit and the full 

tone and precise timing of Hatwich - this is swinging 

and accessible music, far from any rote exercise. 

Shelton and company balance formal rigor with bright 

and unruly nowness and that is something their 

esteemed forbears would appreciate. 

For more information, visit nottwo.com and 

singlespeedmusic.org. Tim Daisy is at Ibeam Brooklyn Mar. 

15th-16th with James Falzone. See Calendar. 

JAZZ at KITANO 

Music • Restaurant • Bar 

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

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$10 WED./THUR + $15 Minimum/Set. 

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2 SETS 8:00 PM & 10:00 PM 

JAZZ BRUNCH EVERY SUNDAY 

TONY MIDDLETON TRIO 

11 AM - 2 PM • GREAT BUFFET - $35 

OPEN JAM SESSION MONDAY NIGHTS 

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

TUES. MARCH 5, SOLO PIANO - STEVEN FEIFKE • 8 PM - 11 PM 

PRIVATE PARTY TUES. MARCH 12 & 19 

TUES. MARCH 26 • GRACE NOTES MUSIC PRESENTS 

SHELIA JORDAN MASTER CLASS 

SPECIAL EVENT FROM 7 PM TO 10 PM 

FRI. MARCH 1 

GENE BERTONCINI/ 

MICHAEL MOORE DUO 

GENE BERTONCINI , MICHAEL MOORE 

$25 COVER + $15 MINIMUM 

SAT. MARCH 2 

PAUL MEYERS/ 

FRANK WESS QUARTET 

FRANK WESS, PAUL MEYERS 

NEAL MINER, TONY JEFFERSON 


WED. MARCH 6 

JOE ALTERMAN TRIO 

JOE ALTERMAN, JAMES CAMMACK, ALLAN MEDNARD 


THURS. MARCH 7 

CHRIS MCNULTY QUARTET 

CHRIS MCNULTY, PAUL BOLLENBACK 

UGONNA OKEGWO, TBA - DRUMS 


FRI. & SAT. MARCH 8 & 9 

LEW TABACKIN QUARTET 

LEW TABACKIN, DAVID HAZELTINE 

PETER WASHINGTON, AARON KIMMEL 


WED. MARCH 13 

LAUREL MASSE/ 

TEX ARNOLD DUO 

LAUREL MASSE, TEX ARNOLD 



LESLIE PINTCHIK TRIO 

LESLIE PINTCHIK, SCOT HARDY, MICHAEL SARIN 


FRI. MARCH 15 

ALEXIS COLE QUARTET 

ALEXIS COLE, JOHN DI MARTINO 

JAMES CAMMACK, DUANE “COOK” BROADNAX 


SAT. MARCH 16 

HELEN SUNG TRIO 

HELEN SUNG, REUBEN ROGERS, RODNEY GREEN 


WED. MARCH 20 

MARIANNE SOLIVAN QUARTET 

MARIANNE SOLIVAN, XAVIER DAVIS 

MATTHEW PARRIS, JEROME JENNINGS 



MARIA BACARDI SEPTET 

8 PM SHOW SOLD OUT 

MARIA BACARDI, DAVID OQUENDO 

PABLO VERGARA, ALEX HERNANDEZ 

VICENTE SANCHEZ, ROMAN DIAZ, ONEL MULET 


FRI. MARCH 22 

FRANK KIMBROUGH TRIO 

FRANK KIMBROUGH, JAY ANDERSON, JEFF HIRSHFIELD 


SAT. MARCH 23 

VALERIE CAPERS TRIO 

VALERIE CAPERS, JOHN ROBINSON, DOUG RICHARDSON 


WED. MARCH 27 

YOUNGJOO SONG TRIO 

YOUNGJOO SONG, YASUSHI NAKAMURA 

GREG HUTCHINSON 



MIKE CLARK & FRIENDS 

FEATURING RACHEL Z 

MIKE CLARK, RACHEL Z, MIKE ZILBER, JAMES GENUS 


FRI. & SAT. MARCH 29 & 30 

DON FRIEDMAN TRIO 

DON FRIEDMAN, GEORGE MRAZ, MATT WILSON 


RESERVATIONS - 212-885-7119 

VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork 

www.kitano.com • email: jazz@kitano.com ò 66 Park Avenue @ 38th St. 


Hell-Bent in the Pacific 

Lisa Mezzacappa/Vinny Golia/Marco Eneidi/ 

Vijay Anderson (NoBusiness) 

by Ken Waxman 

Both a reunion and a new configuration, Hell-Bent in 

the Pacific brings alto saxophonist Marco Eneidi’s 

Shattered trio with bassist Lisa Mezzacappa and 

drummer Vijay Anderson together with Vinny Golia. 

Golia’s wide-ranging gigs have frequently put 

him in contact with Mezzacappa and Anderson, two of 

the Bay area’s busiest players, so his contributions are 

inspired not alienating. Meanwhile Eneidi, a 

Californian who has been in Vienna since 2004, easily 

locks into a groove with the bassist and drummer. In 

contrast, tracks such as “Pendulum” and “Fumbling 

Fulminations” demonstrate how curving chalumeau or 

flutter-tongued vibrations from Golia’s clarinet or bass 

clarinet tease the alto saxophonist’s tart tones so that 

their output twists around each other. Mezzacappa 

anchors the nine instant compositions with graceful 

power while Anderson is precise and tasteful. 

Probably the highpoint comes on the extended 

“Catholic comstocking smut-hound”. Slapping 

cymbals and Pops Foster-style slap bass easily define 

the tune’s head and recapped finale, leaving the 

frontline plenty of space. Each takes advantage of this 

jerry costanzo cd release party 

with Tedd Firth piano, Joe Cohn guitar, 

Neal Miner bass, Jonathan Mele drums, 

Brian Pareschi trumpet, with special guest Giada Valenti 

For tickets and information call 212-206-0440 

or visit metropolitanroom.com 

34 W 22nd St. NY, NY 10010 

www.jerrycostanzo.com 


with sharp bites and tactile slurs, as Golia’s tenor 

saxophone outlines the narrative, deconstructs it with 

screeches, snorts and split tones and then revives it, 

Eneidi darting around him with multiphonic reed 

vibrations. “Everything imaginable can be Dreamed” 

is Eneidi’s feature while “Prisoner of a gaudy and 

unlivable present” is another demonstration of Golia’s 

tenor saxophone prowess. Shadowed by Mezzacappa’s 

ringing bassline, the tenor saxist’s breathy lyricism on 

the latter plus heated triple tonguing honors both Ben 

Webster and John Coltrane. Meanwhile Eneidi’s 

timbres on the former demonstrate a familiarity with 

Bird-like licks as well as so-called avant garde playing. 

Hell-Bent in the Pacific is such a high quality piece 

of work that one hopes that geography won’t prevent 

the quartet from convening again. 

For more information, visit nobusinessrecords.com. 

Mezzacappa and Anderson are at Barbès Mar. 27th and 

ShapeShifter Lab Mar. 31st. See Calendar. 

The Facts 

George Colligan (SteepleChase) 


George Colligan’s tenth recording for SteepleChase 

beautifully encapsulates what has made this pianist 

Invitation 

14 Standards 

arranged by Tedd Firth 

Join us Tues, 

April 2 at 7pm 

such a dynamic force on the jazz scene. Colligan, as the 

album title suggests, offers the real and present account 

of the state of improvised music. 

The only tune that’s not a Colligan original is the 

pop classic by Joe Jackson, “Steppin’ Out”. The pianist 

is perceptive enough to realize that the tune is already 

‘pretty jazzy’ and with a touch of swing makes it feel 

like a whole new listening experience. Alto saxophonist 

Jaleel Shaw and Colligan bounce out the theme and 

then the leader bursts forth with a propulsive solo 

packed with the élan of the original. This is followed 

by Shaw mining it for melodic, harmonic and rhythmic 

riches before the theme reemerges over the pulsing 

bass groove of Boris Kozlov and Donald Edwards’ 

powerhouse drumming. 

The enthusiasm of these four musical cohorts is in 

evidence throughout. “Blue State”, for example, is a 

simple tune with just the right kind of blowing vibe. 

Colligan opens the solo proceedings with the kind of 

no-nonsense pianism for which he is known, taking the 

appealing changes for a ride. And Shaw, who had 

never played any of this music until the session, 

displays a dexterity that has him headed towards the 

outer reaches and then working his way back in. The 

compositional skills of the leader abound: “Whadya 

Looking At?” is a curious and individual take on “Body 

And Soul” while “Missing” is a sad yet hopeful ballad, 

which Colligan says took about 10 minutes to write. 

Colligan directs his critics in the notes here to 

remember that fame is not equated with ability. A little 

false modesty, perhaps? He’s a solid, well-known 

presence in the jazz world. And as for ability, he’s got 

it and then some. 

For more information, visit steeplechase.dk. Colligan is at 

ShapeShifter Lab Mar. 27th. See Calendar. 

Ruth Wilhelmine Meyer - Helge Lien 

Memnon - sound portraits of Ibsen characters 

available at CDUniverse.com 

and retailers everywhere 

As exciting as a thriller – 

as clear as the starry sky 

Memnon is built around an equally 

simple and striking ambition: 

Keeping the music as pure as possible. 

Relying on nothing but voice and piano. 

Ruth Wilhelmine Meyer: vocal 

Helge Lien: piano 

The voice-piano synchronous alignment allows the 

archetypal Ibsen characters to arrive and spill like 

sonic ink dancing in the air, etching silky holograms of 

wanderers and those liberated from entrapment. 

-Katie Bull, The New York City Jazz Record 

www.ozellamusic.com

CALENDAR 

Friday, March 1 

êPreservation Hall Jazz Band Brooklyn Bowl 8 pm $20 

êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong 

Village Vanguard 9, 11 pm $25 

êGary Peacock, Marc Copland, Joey Baron 

Birdland 8:30, 11 pm $30-40 

êBilly Harper Quintet with Francesca Tanksley, Freddie Hendrix 

Smoke 7, 9, 10:30 pm $35 

êGene Bertoncini/Michael Moore Jazz at Kitano 8, 10 pm $25 

• Bill Evans Soulgrass with John Medeski, Jake Cinninger 

Blue Note 8, 10:30 pm $20-35 

• Ravi Coltrane Quartet with Jason Palmer, Christian McBride, Bill Stewart 

Jazz Standard 7:30, 9:30, 11:30 pm $30 

• Keystone Korner Presents: Nicholas Payton XXX with Vicente Archer, Lenny White 

Iridium 8, 10:30 pm $30 

• Warren Wolf Quartet with Aaron Goldberg, Kris Funn, Billy Williams 

Dizzy’s Club 7:30, 9:30, 11:30 pm $30 

• Aaron Kimmel Quartet Dizzy’s Club 12:45 am $20 

êMiles Ahead: The Gil Evans-Miles Davis Masterwork In Honor of Gil Evans’s Centennial: 

Manhattan School of Music Jazz Orchestra with guest Dave Liebman 

Borden Auditorium 7:30 pm $12 

• Will Vinson The Jazz Gallery 9, 10:30 pm $20 

êLady Got Chops Festival: Teri Roiger sings Abbey Lincoln with Frank Kimbrough, 

John Menegon, Steve Williams Drom 9:30 pm $15 

êBern Nix Quartet with Francois Grillot, Matt Lavelle, Reggie Sylvester; 

Blood Trio: Sabir Mateen, Michael Bisio, Whit Dickey 

Clemente Soto Velez Cultural Center 8, 9:30 pm $11-16 

êLew Soloff Knickerbocker Bar and Grill 9:45 pm $5 

• Mary Foster Conklin; Junior Mance Trio 

Metropolitan Room 7, 11:30 pm $20 

• Ray Gallon Trio with Kiyoshi Kitagawa, Peter Van Nostrand; Sherman Irby Group 

Smalls 7:30, 10:30 pm $20 

• Petros Klampanis’ Contextual with Lefteris Kordis, John Hadfield, Maria Im, 

Maria Manousaki, Ljova Zhurbin, Julia MacLaine, Mavrothi Kontanis, Hadar Noiberg 

Cornelia Street Café 9, 10:30 pm $15 

• Pedro Giraudo Sextet Barbès 8 pm $10 

• Either/Or Ensemble The Firehouse Space 8 pm $10 

êDenman Maroney/Hans Tammen Spectrum 7 pm 

• killer BOB: Dave Scanlon, Max Jaffe, Steven Lugerner, Rob Lundberg; Guerilla Toss: 

Kassie Carlson, Ian Kovac, Peter Negroponte, Simon Hanes, Arian Shafiee 

The Stone 8, 10 pm $10 

• James Shipp with Jean Rohe, Gilad Hekselman, Rogério Boccato; 

Jeremy Udden’s Plainville with Pete Rende, Eivind Opsvik, RJ Miller, Ryan Scott 

ShapeShifter Lab 8, 9:30 pm 

• Two Sides Sounding + Zentripetal: Eleanor Taylor, Mila Henry, Lynn Bechtold, 

Jennifer DeVore Ibeam Brooklyn 8:30 pm $10 

• Sean Nowell and The King-Fu Masters 

The Greene Space 7 pm $15 

• Tone Road Ramblers: Ron Coulter, John Fonville, Eric Mandat, Morgan Powell, 

Ray Sasaki, Jim Staley and guest Ariane Alexander 

Roulette 8 pm $15 

• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Pereira 

Bar Next Door 7:30, 9:30, 11:30 pm $12 

• Josh Deutsch’s Pannonia The Queens Kickshaw 9:30 pm 

• Bob Arthurs Quintet with Ted Brown, Steve LaMattina, Jon Easton, Joe Solomon; 

Aimee Allen Trio with Matt Baker; Chris McCarthy Trio with Isaac Levien, 

Russell Holzman Somethin’ Jazz Club 7, 9 , 11 pm $10 

• Tom Tallitsch Duo Tomi Jazz 9 pm $10 

• Stephanie Richards/Andrew Munsey 

Brooklyn LaunchPad 8 pm 

• Larry NewComb Quartet Cleopatra’s Needle 8 pm 

• Masami Ishikawa Trio; Dre Barnes Project 

The Garage 6, 10:30 pm 

Saturday, March 2 

êFrank Wess/Paul Meyers Quartet with Neal Miner, Tony Jefferson 

Jazz at Kitano 8, 10 pm $25 

• Jon Faddis Quartet Brooklyn Conservatory of Music 7:30, 9 pm $15-25 

• My Coma Dreams: Fred Hersch and Ensemble 

Miller Theatre 3, 8 pm $45 

êMonk in Motion - The Next Face of Jazz: Justin Brown 

Tribeca Performing Arts Center 8:30 pm $25 

êDave Liebman Quintet with Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz 


• DarkMatterHalo: Hardedge, Brandon Ross, Doug Wieselman; 

(Yet...) Another Plane: Brandon Ross, Stephanie Richards, Hardedge 

Symphony Space Leonard Nimoy Thalia 8 pm $20 

êJoe McPhee solo; Charles Gayle Trio with Larry Roland, Michael TA Thompson 

Clemente Soto Velez Cultural Center 8, 9:30 pm $11-16 

êDonald Byrd Tribute Band: James Zollar, Greg Bandy, Frank Basile, Paul Beaudry, 

Chip Crawford Honeycomb Playhouse 7 pm $10 

• William Hooker Quintet; On Ka’a Davis and The Famous Original Djuke Music Players 

with Cavassa Nickens, Welf Dorr, Peter Barr, Nick Gianni 

Nublu 9 pm 

• The Life of Alberta Hunter York College Performing Arts Center 3, 7 pm $20 

• Kenneth Whalum Ginny’s Supper Club 8, 10 pm $15 

êLuis Perdomo Quartet with Miguel Zenón, Mimi Jones, Rodney Green 

The Jazz Gallery 9, 10:30 pm $20 

• Michael Brooks’ Take Berlin; Christof Knoche’s Restless with Miles Okazaki, 

Zach Lober, Damion Reid ShapeShifter Lab 7, 9:30 pm $10 

êEarth People: André Martinez, Francois Grillot, Jason Candler, Doug Principato, 

Stephen Haynes, Chris Forbes, Karen Borca, Frederika Krier, Tomas Ulrich, 

Mark Hennen, Sabir Mateen, Elliott Levin, Brian Groder; Open Music Ensemble 

The Firehouse Space 8, 9:30 pm $10 

êAmanda Monaco Three with Sam Trapchak, Vinnie Sperrazza 

Domaine Wine Bar 8:30 pm 

• Normal Love: Amnon Freidlin, Evan Lipson, Rachael Bell, Jessica Pavone, Max Jaffe; 

In One Wind: Angelo Spagnolo, Rob Lundberg, Mallory Glaser, Max Jaffe, 

Steven Lugerner The Stone 8, 10 pm $10 

• Fernando Otero’s Romance with Nicolas Danielson, Lev Zhurbin, Adam Fisher, 

Pablo Aslan, Ivan Barenboim, Josefina Scaglione, Kristin Norderval, Dana Hanchard 

92YTribeca 9 pm $15 

• Andrea Venziani Trio with Kenny Wessel, Robert Gatto 


• Joseph Howell Quartet with Alex Brown, Danny Weller, Tyson Stubelek; 

Tuomo Uusitalo Trio with Norbert Farkas, Jay Sawyer 

Somethin’ Jazz Club 7, 9 pm $10 

• Dona Carter Quartet Cleopatra’s Needle 8 pm 



êGary Peacock, Marc Copland, Joey Baron 

Birdland 8:30, 11 pm $30-40 

êBilly Harper Quintet with Francesca Tanksley, Freddie Hendrix 

Smoke 7, 9, 10:30 pm $35 

• Bill Evans Soulgrass with John Medeski and guests 

Blue Note 8, 10:30 pm $20-35 

• Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake 




Iridium 8, 10:30 pm $30 


Dizzy’s Club 7:30, 9:30, 11:30 pm $40 

• Aaron Kimmel Quartet Dizzy’s Club 12:45 am $20 

êLew Soloff Knickerbocker Bar and Grill 9:45 pm $5 

• Lucas Pino No Net Nonet with Colin Stranahan, Glenn Zaleski, Matthew Jodrell, 

Desmond White, Alex LoRe, Rafal Sarnecki, Nick Finzer; Sherman Irby Group 

Smalls 7:30, 10:30 pm $20 

• The Black Butterflies Shrine 6 pm 

êLady Got Chops Festival: Bertha Hope Quartet 

1st Reformed Church of Jamaica Brunch 1 pm 

• Larry Newcomb Trio; Joanne Sternburg Trio; Akiko Tsuruga Trio 

The Garage 12, 6, 10:30 pm 

Sunday, March 3 

êPrez Fest - Celebrating Milt Hinton: Purchase Jazz Orchestra conducted by 

Todd Coolman with Catherine Russell, Frank Wess; Jay Leonhart; “The Judge Meets 

the Section”: Peter Dominguez, Mimi Jones, Douglas Weiss, Sue Williams, Elias Bailey; 

Ron Carter; Gerald Clayton, Rufus Reid, Rodney Green and guest; 

Rufus Reid Large Bass Choir Saint Peter’s 7:30 pm $15-25 

• Steven Lugerner Quartet with Myra Melford, Stephanie Richards, Matt Wilson; 

Cloud Becomes Your Hand: Stephen Cooper, Hunter Jack, Weston Minissali, 

Sam Sowyrda, Booker Stardrum The Stone 8, 10 pm $10 

êRyan Keberle’s Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob 

Barbès 7 pm $10 

• Jen Chapin and Rosetta Trio with Stephan Crump, Jamie Fox, Liberty Ellman and 

guest Martha Redbone ShapeShifter Lab 8 pm $15 

• Filip Novosel/Richard Boukas Cornelia Street Café 8:30 pm $10 

• Charles Owens Quartet Smalls 11 pm $20 

• Omoo: Emilie Weibel/Valentine Biollay; Rose Ellis with Daan Kleijn, Scott Colberg, 

Steve Piccatagio; Cristian Mendoza’s Lost In New York with Mike Moreno, 

Hans Glawischnig, Alex Kautz Somethin’ Jazz Club 5, 7, 9 pm $10 

êOut of Your Head: Yoni Kretzmer, Landon Knoblock, Nicolas Letman-Burtinovic, 

Matt Rousseau; Josh Sinton, Brad Henkel, Andrew Smiley 

The Backroom 9:30, 11 pm 

• Damien Olsen, Ras Moshe, Adam Dym, Stephan Keneas; Rocco John Iacovone Trio 

with Dalius Naujo, Dmitry Ishenko ABC No-Rio 7 pm $5 

• Shrine Big Band Shrine 8 pm 



• Bill Evans Soulgrass with John Medeski and guests 

Blue Note 8, 10:30 pm $20-35 

• Ravi Coltrane Quartet with David Virelles, Dezron Douglas, Johnathan Blake 

Jazz Standard 7:30, 9:30 pm $25 


Iridium 8, 10:30 pm $30 


Dizzy’s Club 7:30, 9:30 pm $30 

• David Grollman, Ryan Krause, Yoni Kretzmer, James Ilgenfritz 

Downtown Music Gallery 6 pm 

• Ben Williams Trio Saint Peter’s 5 pm 

êMin Xiao-Fen Blue Pipa Trio with Steve Salerno, Dean Johnson 

Brooklyn Public Library Central Branch 4 pm 

• Kyoko Kitamura Moving Music Ensemble with Khabu Doug Young, Andrew Drury; 

Jessica Jones Quartet with Tony Jones and guests 

Clemente Soto Velez Cultural Center 2, 3 pm $11-16 

• Jamie Reynolds 92nd Street Y Weill Art Gallery 3 pm 

• Billy Drewes/Kenny Werner NYU Ensemble 

Blue Note 12:30, 2:30 pm $29.50 

• Frank Piombo; Alix Paige with Bennett Paster Trio 


• Roz Corral Trio with Yotam Silberstein, Harvie S 

North Square Lounge 12:30, 2 pm 

• Mayu Saeki Trio; David Coss Quartet 

The Garage 11:30 am 7 pm 

Monday, March 4 

êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 

• Jason Marsalis Quartet with Austin Johnson, Will Goble, David Potter 

Dizzy’s Club 7:30, 9:30 pm $30 

• Tom Bruno Memorial Saint Peter’s 7:30 pm 

• Stephen Gauci’s Yardbird with Nick Demopoulos, Adam Lane, Jeremy Carlstedt; 

4 Women with an Ax to Grind: Tiffany Chang, Patricia Nicholson, Jean Cook, Kris Davis; 

Yuko Fujiyama Trio with Jennifer Choi, Newman Taylor Baker 

Clemente Soto Velez Cultural Center 7:30 pm $11-22 

êMatt Garrison with Jeff “Tain” Watts 

ShapeShifter Lab 8 pm $15 

• David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram 

Cornelia Street Café 8:30 pm $10 

êCharnett Moffett solo Smalls 7:30 pm $20 

êLady Got Chops Festival: Lakecia Benjamin Trio with Kim Clarke, Shirazette Tinnin 

For My Sweet Restaurant 7 pm 

• Women’s Jazz Festival: Alicia Hall Moran/Marcelle Davies Lashley 

The Schomburg Center 7 pm $25 

• Jane Irving Zinc Bar 7 pm $8 

• In The Spirit of Gil: Victor Jones/Jay Rodriguez Group 

Zinc Bar 9:30, 11 pm 1 am 

• Darkminster: Peter Hanson, Nathaniel Morgan, Brad Henkel; Géraldine Eguiluz, 

Angelica Sanchez, Michaël Attias Sycamore 8:30, 9:30 pm 

• Deanna Witkowski Trio with Marco Panascia, Scott Latsky 

Bar Next Door 8:30, 10:30 pm $12 

• Yuko Okamoto Quartet; Terry Vakirtzolgou Quartet with Tuomo Uusitalo, 

George Kostopoulos, Joao Mota Somethin’ Jazz Club 7, 9 pm $7-10 

• Howard Williams Jazz Orchestra The Garage 7 pm 

Tuesday, March 5 

• The Jazz Crusaders: Joe Sample, Wayne Henderson, Wilton Felder 

Blue Note 8, 10:30 pm $30-45 

êCedar Walton Trio with David Williams, Willie Jones III 

Birdland 8:30, 11 pm $30-40 

• Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash 


ê“Killer” Ray Appleton All-Stars with Brian Lynch, Peter Bernstein, 

Ian Hendrickson-Smith, Todd Herbert, Rick Germanson, Robert Sabin, 

Little Johnny Rivero Jazz Standard 7:30, 9:30 pm $20 

• Grace Kelly Quintet with Pete McCann, Evan Gregor, Eric Doob and guest 

Dizzy’s Club 7:30, 9:30 pm $30 

• Alphonso Horne Dizzy’s Club 11 pm $10 

êWarren Smith and the Composer’s Workshop Orchestra 

NYC Baha’i Center 8, 9:30 pm $15 

êIngrid Laubrock’s Anti-House with Kris Davis, Mary Halvorson, Sean Conly, Tom Rainey 


• Jack Jeffers and the New York Classics with Antoinette Montague 

Zinc Bar 8, 10 pm 

• Kaoru Watanabe/Kenny Endo ShapeShifter Lab 8:30 pm $12 

• Thiefs: Christophe Panzani, Guillermo E. Brown, Keith Witty 

Joe’s Pub 9:30 pm $14 

• The Chives: Max Jaffe, Steven Lugerner, Matthew Wohl; Ashley Paul 


• Spike Wilner solo; Smalls Legacy Little Big Band with Josh Evans, Theo Hill, 

Frank Lacy; Kyle Poole Smalls 7, 9:30 pm 12 am $20 

• Perez/Anita Wardell Metropolitan Room 7 pm $20 

êBria Skonberg Trio with Matt Munisteri, Sean Cronin 


• Leviticus: Michael Winograd, Daniel Blacksberg, Todd Neufeld, Tyshawn Sorey 

Stephen Wise Free Synagogue 7:30 pm $15 

• Cat Toren Band with Ryan Ferreira, Pat Reid, Nathan Ellman-Bell; Giacomo Merega with 

Noah Kaplan, Brian Drye, Mike Pride 

Korzo 9, 10:30 pm 

• Steven Feifke solo Jazz at Kitano 8 pm 

• Harvest: Andrae Murchison, Freddie Hendrix, Azemobo Audu, Sharp Radway, 

Corcoran Holt, Emanuel Harrold Somethin’ Jazz Club 7 pm $10 

• Akira Ishiguro Quartet Tomi Jazz 8 pm $10 

• The Legacy Trio with David Coss The Garage 7 pm 

• Tunk Trio: Chris Tunkel, Anders Nilsson, Curt Sydnor; Matt Snow Group 

Shrine 6, 8 pm 

MIN XIAO-FEN - DIM SUM 

Thanks to a generous grant from the Peter S. Reed Foundation 

Available from 

www.mmsies.com/clients/MinXiaoFen/Store 

www.downtownmusicgallery.com

Wednesday, March 6 

êHarold Mabern/Eric Alexander Quartet with Gerald Cannon, Joe Farnsworth 

An Beal Bocht Café 8, 9:30 pm 

êKeystone Korner Presents: Louis Hayes and the Jazz Communicators with 

Javon Jackson, Anthony Wonsey, Santi Debriano 

Iridium 8, 10:30 pm $30 

êRebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner 

Metropolitan Room 9:30 pm $30 

êInstant Strangers: Tim Berne, Mary Halvorson, Stephan Crump, Tomas Fujiwara 


• David Binney, Wayne Krantz, Nate Wood; Louis Cole/Genevieve Artadi; 

James Ilgenfritz with Anthony Coleman, Brian Chase; Kirk Knuffke/Mike Pride Duo 

ShapeShifter Lab 7, 9:30 pm $12 

êValery Ponomarev “Our Father Who Art Blakey” Big Band 

Zinc Bar 8 pm 

êMichael Dease Quintet with Anat Cohen, Adam Birnbaum, Linda Oh, Ulysses Owens Jr. 

Smoke 7, 9, 10:30 pm 

êDavid Weiss and Point of Departure with JD Allen, Matt Clohesy, Nir Felder, 

Kush Abadey Drom 9:45 pm $15 

êLage Lund Group; Roberto Gatto Group 

Smalls 9:30 pm 12 am $20 

• Joe Alterman Trio Jazz at Kitano 8, 10 pm $10 

• Juan P Carletti Trio with Tony Malaby, Christopher Hoffman 


• Andrea Parkins/Okkyung Lee; Ryan Ferreira’s Music for Images with Chris Dingman 

Seeds 8:30, 10 pm 

• Malika Zarra Quartet with Francis Jacob, Jean-Christophe Maillard, Brahim Fribgane 

Terraza 7 9:30 pm $5 

êProtestMusic: Yoni Kretzmer, Pascal Niggenkemper, Weasel Walter; Carlo Costa, 

Eli Asher, Andrew Smiley, Nathaniel Morgan; Jonathan Moritz Secret Tempo with 

Shayna Dulberger, Mike Pride Goodbye Blue Monday 9 pm 

• Angelo Spagnolo; Dave Scanlon The Stone 8, 10 pm $10 

• David Engelhard Group with Assaf Kehati, Willie Harvey, Ronen Itzik; Emily Wolf Project 

with Satish Robertson, Leah Gough-Cooper, Andrew Baird, Jason Yeager, 

Danny Weller, Matt Rousseau Somethin’ Jazz Club 7, 9 pm $7-10 

• Ayumi Ishito Trio Tomi Jazz 8 pm $10 

• Josh Lawrence Quartet The Garage 7 pm 


Blue Note 8, 10:30 pm $30-45 


Birdland 8:30, 11 pm $30-40 



ê“Killer” Ray Appleton All-Stars with Brian Lynch, Peter Bernstein, 

Ian Hendrickson-Smith, Todd Herbert, Rick Germanson, Robert Sabin, 

Little Johnny Rivero Jazz Standard 7:30, 9:30 pm $20 

• Grace Kelly Quintet with Pete McCann, Evan Gregor, Eric Doob and guest 

Dizzy’s Club 7:30, 9:30 pm $30 


• Lady Got Chops Festival: Katie Cosco/Laura Dreyer Project 

Zinc Bar 6 pm 

• Gabe Valle Shrine 6 pm 

• Barry Harris, Murray Wall, Yaya Abdul 

Saint Peter’s 1 pm $10 

Thursday, March 7 

êAntonio Sanchez’ Migration with David Binney, John Escreet, Orlando Le Fleming 


êWycliffe Gordon and Friends Present Bird and Diz with Adrian Cunningham, 

Michael Dease, Aaron Diehl, Yasushi Nakamura, Dion Parson and guests 

Dizzy’s Club 7:30, 9:30 pm $40 


• Joel Harrison 8 with Gregoire Maret, Paul Hanson, Christian Howes, Dana Leong, 

Jacob Sacks, Stephan Crump, Rudy Royston 


• New York Jazz Repertory Orchestra with guest Randy Brecker 

Iridium 8, 10 pm $25 

êJohn Yao Quintet with Jon Irabagon, Randy Ingram, Leon Boykins, Will Clark; 

Peter Brendler Quartet with Peter Evans, Rich Perry, Vinnie Sperrazza 

Cornelia Street Café 8:30, 10 pm $10 

• Chris McNulty Quartet with Paul Bollenback, Ugonna Okegwo 


• Freeway 3: Carol Liebowitz, Adam Caine, Claire de Brunner; Anders Nilsson and the 

12 Houses with Mary Cherney, Matt Lavelle, Ras Moshe, Catherine Sikora, 

Claire de Brunner, Chris Forbes, Francois Grillot 

The Firehouse Space 8 pm $10 

• Géraldine Eguiluz, Michaël Attias, Angélica Sanchez; Omar Tamez/Angelica Sanchez 

Ibeam Brooklyn 8:30 pm $10 

• Lars Horntveth, RJ Miller, Ben Gerstein, Eivind Opsvik 

Nublu 9 pm 

• Eric Doob Quartet with Matt Stevens, Alex Brown, Hans Glawischnig 


• Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am 

• Danielle Freeman and The Sebastian Sky with Zach Brock, Lefteris Kordis, 

Petros Klampanis, Tomas Fujiwara; Rob Scheps Core-tet with Greg Gisbert, 

Jamie Reynolds, Cameron Brown, Anthony Pinciotti 


• Amy Cervini’s Jazz Country with Jesse Lewis, Matt Aronoff 

55Bar 7 pm 

• Jake Saslow Trio with Joe Martin, Jochen Rueckert 


• Manhattan Vibes: Christos Rafalides, Sergio Salvatore, Mike Pope, Vince Cherico 


• Bleeding Heart: Ross Gallagher, Danny Fisher-Lochhead, Kyle Wilson, 

Danny Lubin-Laden, Craig Weinrib; Aaron Roche 


• Kale Elk: Liz Kosack/Kyungmi Lee; Shayna Dulberger solo 

Lark Café 8 pm 

• Aki Ishiguro Caffe Vivaldi 9:30 pm 

• Yuko Yamamura’s Ajarria with Goro Masayuki, Sam Jun Lee, Arei Sekiguchi, 

Ryota Kataoka; Nelson Riveros Quartet 


• Tomoko Omura Duo Tomi Jazz 9 pm $10 

• Joanna Sternberg Trio Cleopatra’s Needle 7 pm 

êChampian Fulton Band with Stephen Fulton, Hide Tanaka, Fukushi Tainaka 

The Garage 7 pm 

êRebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner, 

Steven Feifke Big Band Metropolitan Room 9:30, 11:30 pm $20-30 

êLage Lund Group Smalls 9:30 pm $20 


Blue Note 8, 10:30 pm $30-45 


Birdland 8:30, 11 pm $30-40 



• Scott Kulick Shrine 6 pm 



êPaquito D’Rivera’s “Charlie Parker with Strings” with Charles Pillow, Riza Printup, 

Alex Brown, Ben Williams, Vince Cherico 

Allen Room 7:30, 9:30 pm $55-65 

êJon Faddis Jazz Orchestra of New York with Lew Soloff, Greg Gisbert, Max Darche, 

Michael Philip Mossman, Mark Vinci, Steve Wilson, Walt Weiskopf, Ralph Lalama, 

Frank Basile, Ted Rosenthal, Todd Coolman and guests Ignacio Berroa, Jimmy Heath, 

Pedrito Martinez, Steve Turre Rose Hall 8 pm $30-120 

êLew Tabackin Quartet with David Hazeltine, Peter Washington, Aaron Kimmel 


êBlowin’ the Blues Away: Mike LeDonne Quintet with Jeremy Pelt, Gary Smulyan, 

Ira Coleman, Louis Hayes Smoke 7, 9, 10:30 pm $35 

êJohn McNeil’s Hush Money with Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza 


êWalter Smith III Quintet with Matt Stevens, Taylor Eigsti, Harish Raghavan, 

Clarence Penn The Jazz Gallery 9, 10:30 pm $20 

• Ches Smith Quartet with Mat Maneri, Jonathan Finlayson, Stephan Crump 

Greenwich House Music School 9 pm $12 

• Steve Lehman Trio Rubin Museum 7 pm $20 

• Radiance Festival 2013: Nioka Workman, Gwen Laster, Jennifer Axelson, Michi Fuji, 

Elektra Kurtis, Frederika Krier, Maryam Blacksher, Pamela Hamilton, Nicole Verdosa, 

Melissa Slocum, Riza Printup ShapeShifter Lab 8 pm $15 

• William Hooker with Mark Hennen, Larry Roland, Matt Lavelle 


• Many Arms: Nick Millevoi, Ricardo Lagomasino, Johnny DeBlase; Sam Owens, 

Greg Albert, Max Almario The Stone 8, 10 pm $10 

• Harumi Hanafusa with Knickerbocker Chamber Orchestra 

Schimmel Center for the Arts 7:30 pm $35 

êDaryl Sherman/Scott Robinson Knickerbocker Bar and Grill 9:45 pm $5 

• Mary Foster Conklin Metropolitan Room 7 pm $20 

êNed Goold; Jay Collins Group Smalls 7:30, 10:30 pm $20 

• Rick Stone Trio with Harvie S, Tom Pollard 


• Delilah Jackson Memorial Saint Peter’s 7 pm 

• Julien Hucq/Marius Duboule + 2 with Andrea Veneziani, Alex Ritz 


• Ryan Greer Group with Alex DeZenzo, Stephanie Wells, John Feliciano, 

Josh Schusterman; Kathleen Potton Band; Tunes from the 90s Quartet with 

Sean McCluskey, Milton Barreto Somethin’ Jazz Club 7, 9, 11 pm $10 

• Andrew Van Tassel Duo Tomi Jazz 9 pm $10 

• Will Terrilt Trio Cleopatra’s Needle 8 pm 

• Nick Moran Trio; Kevin Dorn and the Big 72 






Dizzy’s Club 7:30, 9:30, 11:30 pm $40 

• Alphonso Horne Dizzy’s Club 12:45 am $20 




Blue Note 8, 10:30 pm $30-45 


Birdland 8:30, 11 pm $30-40 




êHomage to Louis Armstrong & Bix Beiderbecke: Randy Sandke Group with 

John Allred, Dan Levinson, Vince Giordano, Mark Shane, Raj Jayaweera 

Flushing Town Hall 8 pm $15 

êEarl McIntyre and Tribute! with Jim Seeley, Vincent Chancey, Sam Burtis, Warren Smith, 

Tommy Campbell Brooklyn Conservatory of Music 8 pm $10-15 

• Avery Sharpe Ginny’s Supper Club 8 , 10 pm $15 

• Eddie Allen/Sarah Bernstein St Augustine’s Church 7:30 pm $20 

• Amy Cervini/Bruce Barth; Janis Seigal/Edsel Gomez 


êDavid Arner/Connie Crothers; Drunk Butterfly: Mark Whitecage, Adam Lane, Lou Grassi 


• Gilad Hekselman Trio with Joe Martin, Justin Brown 


• American Showstoppers - Jule Styne: Fred Barton Orchestra 

Schimmel Center for the Arts 7:30 pm $30-55 

• Pat Spadine’s Ashcan Orchestra with guests; Pet Bottle Ningen: Dave Miller, 

Dave Scanlon, Nonoko Yoshida The Stone 8, 10 pm $10 

• Cherry Davis Sistas’ Place 9, 10:30 pm $25 

• The Red Microphone: John Pietaro, Ras Moshe, Rocco John Iacovone, 

Nicolas Letman-Burtinovic 17 Frost Theater of the Arts 8 pm 

• Magda Giannikou’s Banda Magda Oceana Restaurant 9 pm 

• Feather on the Breath: Josh Sinton, Liz Kosack, Owen Stewart-Robertson; 

Fester: Dave Grollman/Sean Ali; Battle Trance: Travis Laplante, Jeremy Viner, 

Patrick Breiner, Matt Nelson; Mutasm: Will McEvoy, Dustin Carlson, Brad Henkel, 

Patrick Breiner, Nathaniel Morgan, Cody Brown 

Douglass Street Music Collective 8 pm $10 

• Matthew Whitaker Trio with Paul Beaudry, Nathan Webb; Nick Brust/Adam Horowitz 

Quintet with Matthew Sheens, James Quinlan, Dani Danor; James Robbins Quintet with 

Christoph Huber, Nat Janoff, Sharik Hassan, Charles Goold 

Somethin’ Jazz Club 7, 9, 11 pm $10 

• Miki Yamanaka Trio Tomi Jazz 8 pm $10 

• Kazu Trio Cleopatra’s Needle 8 pm 

êPaquito D’Rivera’s “Charlie Parker with Strings” with Charles Pillow, Riza Printup, 

Alex Brown, Ben Williams, Vince Cherico 

Allen Room 7:30, 9:30 pm $55-65 

êJon Faddis Jazz Orchestra of New York with Lew Soloff, Greg Gisbert, Max Darche, 

Michael Philip Mossman, Mark Vinci, Steve Wilson, Walt Weiskopf, Ralph Lalama, 

Frank Basile, Ted Rosenthal, Todd Coolman and guests Ignacio Berroa, Jimmy Heath, 

Pedrito Martinez Rose Hall 8 pm $30-120 

êLew Tabackin Quartet with David Hazeltine, Peter Washington, Aaron Kimmel 


êBlowin’ the Blues Away: Mike LeDonne Quintet with Jeremy Pelt, Gary Smulyan, 

Ira Coleman, Louis Hayes Smoke 7, 9, 10:30 pm $35 

êWalter Smith III Quintet with Matt Stevens, Fabian Almazan, Harish Raghavan, 

Clarence Penn The Jazz Gallery 9, 10:30 pm $20 

êDaryl Sherman/Scott Robinson Knickerbocker Bar and Grill 9:45 pm $5 

êDon Friedman Quartet; Jay Collins Group 

Smalls 7:30, 10:30 pm $20 





Dizzy’s Club 7:30, 9:30, 11:30 pm $45 

• Alphonso Horne Dizzy’s Club 12:45 am $20 

• Maria Guida with James Weidman, Marcus McLaurine, Tony Jefferson; 

Rebecca Kilgore and Harry Allen Quartet with Ehud Asherie, Joel Forbes, Kevin Kanner 



Blue Note 8, 10:30 pm $30-45 


Birdland 8:30, 11 pm $30-40 



• Glenn White Quartet Shrine 6 pm 

• Lady Got Chops Festival: Camille Gainer’s Hurricane 

Langston Hughes Library 2 pm 

• Daniela Schaechter Trio; Alex Layne Trio 

The Garage 12, 6 pm 



êJerry Granelli Trio with Briggan Krauss, J. Granelli and guest Jay Clayton; Chuck Bettis, 

Nonoko Yoshida, James Ilgenfritz; I Don’t Hear Nothin’ But The Blues: Jon Irabagon, 

Mike Pride, Mick Barr ShapeShifter Lab 8, 9:30 pm $10-15 

êKeystone Korner Presents: Louis Hayes Jazz Communicators with Javon Jackson, 

Anthony Wonsey, Santi Debriano Iridium 8, 10:30 pm $30 

• Hag: David Grollman, Brad Henkel, Sean Ali; Rapstar: Paul Wheeler, Justin Veloso, 

Arrien Zinghini The Stone 8, 10 pm $10 

• Yves Brouqui Quartet Smalls 11 pm $20 

• Sly5thave/Philip Manchaca; Bach and Forward: Hajnal Pivnick/Dorian Wallace; 

Ehud Ettun Quartet with Lihi Haruvi, Haruka Yabuno, Natti Blankett 


• Tim Barr/Cliff Ferdon; Flin van Hemmen Ensemble 

ABC No-Rio 7 pm $5 

• Florencia Gonzalez’ Candombe Pianos 7, 9 pm 

• Yuko Okamoto Shrine 8 pm 





Dizzy’s Club 7:30, 9:30 pm $40 




Blue Note 8, 10:30 pm $30-45 



• Galactic Sound Lab; Bonnie Kane/Chris Welcome 


• Marianne Solivan Quartet Saint Peter’s 5 pm 

• Yoon Sun Choi and Friends Lark Café 4 pm 

• Riza Printup Ensemble Abyssinian Baptist Church 3 pm 

• The Sojourner Truth: Avery Sharpe Sextet with Jimmy Greene, Duane Eubanks, 

Onaje Allan Gumbs, Yoron Israel, Jeri Brown 

Brooklyn Public Library Central Branch 1:30 pm 

• Hendrik Meurkens Quartet Blue Note 12:30, 2:30 pm $29.50 

• Linda Ciofalo Trio with Mark Marino, Marcus McLaurine 


• Lou Caputo Quartet; David Coss The Garage 11:30 am 7 pm 



• Amina Figarova Sextet with Bart Platteau, Ernie Hammes, Marc Mommaas, 

Jeroen Vierdag, Chris “Buckshot” Strik 

Dizzy’s Club 7:30, 9:30 pm $25 

êAdam Rudolph’s GO: Organic Orchestra 


• Women’s Jazz Festival: Toshi Reagon and Allison Miller with Tamar Kali, 

Karma Mayet Johnson, Josette Newsman Marchak, Christelle Durandy, Mimi Jones, 

Shamie Royston The Schomburg Center 7 pm $25 

êPeter Bernstein solo Smalls 7 pm $20 

• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson 

Metropolitan Room 7 pm $20 

• Danny Meyer, Ratzo Harris, Martin Urbach; Shane Endsley Trio with Matt Brewer, 

Ben Perowsky Sycamore 8:30, 9:30 pm 

• Holli Ross Trio with Dave Stryker, Dean Johnson 


• Joshua Davis Love Salad with Thana Alexa, Natalie John, Nicole Zuraitis, Ronen Itzik 

55Bar 7 pm 

• Dana Lauren Zinc Bar 7 pm $8 

• Michael Eaton Trio with Rus Wimbish, Carter Bales; Tatiana Eva-Marie/Hyuna Park 


• New York Youth Symphony Jazz Band 

The Garage 7 pm 


êEddie Daniels/Roger Kellaway Dizzy’s Club 7:30, 9:30 pm $30 

• Joe Saylor/Bryan Carter Dizzy’s Club 11 pm $10 

êAfro HORN: Sam Newsome, Abraham Burton, Aruán Ortiz, Rufus Reid, Roman Diaz, 

Francisco Mora–Catlett Jazz Standard 7:30, 9:30 pm $20 

êAfro-Cuban All Stars: Juan de Marcos González, Gliceria Abreu, Julito Padrón, 

Yaure Muñiz, Yoanny Pino, Lázaro Oviedo, José Antonio “Tony” Moreaux, 

Antonio “Pacha” Portuondo, Rolando “Niño Mentira” Salgado, Gabriel Hernández, 

Alberto Pantaleón, Evelio Galán, Emilio Suarez, José Gilito Piñera, Gliceria González, 

Laura Lydia González Blue Note 8, 10:30 pm $30-45 

• Kevin Mahogany Birdland 8:30, 11 pm $30-40 

êFabian Almazan Trio with Linda Oh, Henry Cole 


• Russ Kassoff Orchestra with Catherine Dupuis 


• Steve Lehman Trio with Matt Brewer, Damion Reid; Shakers n’ Bakers: Mary Larose, 

Miles Griffith, Jamie Saft, Allison Miller, Chris Lightcap, Jeff Lederer 


• Lainie Cooke with Peter Zak, Martin Wind, Ralph Peterson 


• Carlo De Rosa’s Cross-Fade with Mark Shim, Luis Perdomo, John Davis; 

Kaheri Quartet: Angelica Sanchez, Omar Tamez, Ratzo Harris, Satoshi Takeishi 

Korzo 10:30 pm 

• Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza 




• Craig Yaremko Trio with Matt King, Jonathon Peretz 


• Travis Reuter with Peter Evans, Miles Okazaki, Jeremy Viner, Danny Sher; 

Zach Pruitt Chamber Works The Stone 8, 10 pm $10 

• Jazzmeia Horn Zinc Bar 8, 10 pm 

• Alicia Svigals/Patrick Farrell Stephen Wise Free Synagogue 7:30 pm $15 

• Marla Sampson/Matt Baker Somethin’ Jazz Club 9 pm $12 

• Lluis Capdevila Trio Tomi Jazz 8 pm $10 

• Ruslan Khain Trio The Garage 7 pm 



• Tomoko Omura Shrine 6 pm 


• Clarence Penn Quartet with Chris Potter, Adam Rogers, Ben Street 


êLotte Anker with Tim Berne, Gerald Cleaver 

JACK 8 pm $10 

• Dayna Stephens Group Smalls 9:30 pm $20 

êJason Robinson’s Janus Quartet with Liberty Ellman, Drew Gress, Ches Smith 


• Keystone Korner Presents: Brazilian Jazz All Stars - Jazz Samba & Jobim: 

Romero Lubambo, Claudio Roditi, Duduka Da Fonseca, Helio Alves, Maucha Adnet, 

Hans Glawischnig Iridium 8, 10 pm $30 

• Laurel Masse/Tex Arnold Jazz at Kitano 8, 10 pm $10 

• Rick Germanson Band with Gerald Cannon 

Smoke 7, 9, 10:30 pm 

• Ben Wendel/Dan Tepfer Duo Rubin Museum 7 pm $20 

• Wolfgang Gil; Alan Bjorklund with David Schnug, Jeremy Viner, Pascal Niggenkemper, 

Cody Brown, Bastard The Stone 8, 10 pm $10 

• Florian Hoefner Group with Mike Ruby, Sam Anning, Peter Kronreif; Alon Nechushtan 

with John Ellis, Aidan Carroll, Damion Reid 

Cornelia Street Café 8:30, 10 pm $10 

• Alan Hampton; Caswell Sisters: Rachel and Sara Caswell, Jeremy Allen, Bryson Kern 


• Lady Got Chops Festival: Whitney Marchelle Quartet with Champian Fulton, 

Kim Clarke, Sylvia Cuenca Zinc Bar 7 pm 

• Osmany Paredes Quartet Zinc Bar 9:30, 11 pm 1 am 

• Ben Van Gelder Trio with Craig Weinrib; Arthur Kell 4tet with Loren Stillman, 

Brad Shepik, Mark Ferber Seeds 8:30, 10 pm 

• Juan Felipe Mayorga Trio with Edward Perez, Nitzan Gavrieli 


• Jane Irving/Kevin Hailey; Steve Picataggio Quintet with Mike Rodriquez, Daan Kleijn, 

Joe Alterman, Martin Wind Somethin’ Jazz Club 7, 9 pm $10 

• Marc Devine Trio The Garage 7 pm 

êEddie Daniels/Roger Kellaway Dizzy’s Club 7:30, 9:30 pm $30 












• Russ Kassoff Big Band Saint Peter’s 1 pm $10 

In Celebration of 

Women's History 

Month 

Lainie Cooke 

The Music and Lyrics of Women 

March 12, 2013 

Cornelia Street Cafe 

29 Cornelia Street, NYC 

Reservations 212 989 9319 

Cover $25 • includes one drink 

Lainie Cooke • vocals 

Peter Zak • piano 

Martin Wind • bass 

Ralph Peterson • drums 

"...Cooke still hasn't 

received either the 

visibility or the 

accolades that her vocal 

imagination deserves. 

But her passionate 

performances should 

be heard at every 

opportunity" 

—International Review of 

Music, Don Heckman 

Here's to Life and 

It's Always You 

can be purchased at 

www.lainiecooke.com, 

CDBaby and iTunes


êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street 

Dizzy’s Club 7:30, 9:30 pm $35 


êSFJazz Collective - The Music Of Chick Corea: Avishai Cohen, Miguel Zenón, 

David Sanchez, Robin Eubanks, Stefon Harris, Edward Simon, Matt Penman, 

Jeff Ballard Jazz Standard 7:30, 9:30 pm $30 

êAndrew Cyrille New School Arnhold Hall 8 pm $10 

êRenku: Michaël Attias, John Hébert, Satoshi Takeishi 


• Pedro Giraudo’s Expansions Big Band with Alejandro Aviles, Todd Bashore, 

Luke Batson, John Ellis, Carl Maraghi, Jonathan Powell, Tatum Greenblatt, Miki Hirose, 

Josh Deutsch, Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland, 

Jess Jurkovic, Eric Doob, Paulo Stagnaro 

Zinc Bar 9:30, 11 pm 12:30 am 

• Highlights In Jazz - Swing Memories: The Anderson Twins Orchestra; Warren Vaché, 

Howard Alden, Kenny Washington, Ehud Asherie, Peter Anderson, Will Anderson 

Tribeca Performing Arts Center 8 pm $37.50-40 

êEivind Opsvik’s Overseas with Tony Malaby, Jacob Sacks, Brandon Seabrook, 

Kenny Wollesen Nublu 9 pm 

• Rob Garcia’s American Songs with Scott Robinson, Tamar Korn, Nir Felder 


• Leslie Pintchik Trio with Scott Hardy, Michael Sarin 


• Danny Grissett Group; Dayna Stephens Group 

Smalls 7:30, 9:30 pm $20 

• VaVatican: Weston Minissali, Nathaniel Morgan, Owen Stewart-Robertson, 

Booker Stardrum; Eli Keszler and guests 


• Chris Forbes Trio with Hilliard Greene, Michael TA Thompson; Ras Moshe Unit with 

Ken Filiano, Anders Nilsson, John Pietaro, Andrew Drury 


• Dave Miller; PascAli: Sean Ali/Pascal Niggenkemper 


• Vadim Neselovskyi’s Agricultural Dreams 6tet with Tammy Scheffer, Tomoko Omura, 

Davy Mooney, Dan Foose, Ronen Itzik; Geoff Vidal Quintet with Tatum Greenblatt, 

Nir Felder, Aidan Carroll, Jochen Reuckert; Tom Guarna’s Speak with Oteil Burbridge, 

Danny Grissett, Obed Calvaire ShapeShifter Lab 7, 8, 9:30 pm 

• Matt Otto Trio with Danton Boller, Otis Brown III 


• Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, John Lenis, Yutaka Uchida 

Somethin’ Jazz Club 9 pm $10 

• Senri Oe Tomi Jazz 9 pm $10 

• Masami Ishikawa Organ Trio Cleopatra’s Needle 7 pm 

• George Weldon Trio The Garage 7 pm 









• Amanda Brecker Birdland 6 pm $20 




• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson; Frank Kohl Quartet with 

Tom Kohl, Steve LaSpina, Jon Doty 


• Yuki Shibata Quartet Shrine 6 pm 


êCharles Lloyd New Quartet with Jason Moran, Reuben Rogers, Eric Harland and guests 

Maria Farantouri, Sokratis Sinopoulos, Alicia Hall Moran 

Metropolitan Museum of Art Temple of Dendur 7 pm $50 

• Dave Eggar/Fred Hersch Duo Rubin Museum 7 pm $20 

• Eric Reed Quartet with Grant Stewart, Matt Clohesy, Willie Jones III 

Smoke 7, 9, 10:30 pm $35 

• Lady Got Chops Festival: Musi-Arti-Copia Flash Mob with Mem Nahadr, 

Meg Montgomery, Andrea Brachfeld, Sheryl Renee, Nikita White, Claudia Hayden, 

Lisette Santiago, Bertha Hope, Kim Clarke 

Zeb’s 8 pm 

êJames Falzone’s Klang with Jason Adasiewicz, Jason Roebke, Tim Daisy 


• Mike Rodriguez Quartet with John Ellis, Kiyoshi Kitagawa, Rodney Green 


êGabriel Alegría Afro-Peruvian Sextet with Freddy “Huevito” Lobatón, Hugo Alcazar, 

Shirazette Tinnin, Yuri Juarez, John Benitez 

Drom 9:30 pm $30 

• WORKS: Michel Gentile, Daniel Kelly, Rob Garcia 

Brooklyn Conservatory of Music 8 pm $15 

êNels Cline/Greg Saunier; The InBetweens: Mike Gamble, Noah Jarrett, Conor Elmes 


• Bobby Avey Group with Chris Speed, Thomson Kneeland, Jordan Perlson 


• Alexis Cole Quartet with John di Martino, James Cammack, Dwayne “Cook” Broadnax 


• Ken Peplowski Group Smalls 10:30 pm $20 

êDaryl Sherman, Will and Peter Anderson 

Knickerbocker Bar and Grill 9:45 pm $5 

• Rogério Boccato Quarteto University Settlement 7:30 pm 

• Valerie Kuehne; Kouno Youji The Stone 8, 10 pm $10 

• Sean Nowell and The King-Fu Masters 

The Bitter End 7 pm $10 

• Joe Giglio Trio with Ratzo Harris, Eric Peters 


• Redrocks: Matteo Ramon Arevalos/Chiara Zenzani 


• Les Grant 5 with John Chin, John Ellis, Matt Pavolka, Dan Rieser; Reine Sophie with 

David Cordeiro; Daniel Weiss Group with Chris Laybourne, Eitan Kenner, Yoni Marianer, 

Brad Koegel Somethin’ Jazz Club 7, 9, 11 pm $10 

• Roos Plaatsman Trio Tomi Jazz 9 pm $10 

• Seth Myers Trio Cleopatra’s Needle 8 pm 

• Fukushi Tainaka Trio; Hot House The Garage 6, 10:30 pm 


Dizzy’s Club 7:30, 9:30, 11:30 pm $35 

• Joe Saylor/Bryan Carter Dizzy’s Club 12:45 am $20 



Jeff Ballard Jazz Standard 7:30, 9:30, 11:30 pm $35 












• Janet Planet with Tom Theabo, Dan Loomis, Ross Pederson; Kay Matsukawa 



êChristian McBride Big Band with Freddie Hendrix, Frank Greene, Nabate Isles, 

Brandon Lee, Michael Dease, James Burton, Douglas Purviance, Carl Maraghi, 

Todd Bashore, Loren Schoenberg, Ron Blake, Xavier Davis, Ulysses Owens, Jr., 

Melissa Walker 92nd Street Y 8 pm $40 

• Dr. John and The Lower 911; Allen Toussaint 

Town Hall 8 pm $45-55 

êFreddy Cole Quartet with Randy Napoleon, Elias Bailey, Curtis Boyd 

Brooklyn Center for the Performing Arts 8 pm $36 

êHelen Sung Trio Jazz at Kitano 8, 10 pm $25 

êLady Got Chops Festival: Kali. Z. Fasteau, JD Parran, Ron McBee 

Brecht Forum 8 pm $15 

êLady Got Chops Festival: Mal Waldron Tribute: Mala Waldron Trio with Mimi Jones, 

Sylvia Cuenca Sistas’ Place 9, 10:30 pm $25 

êTony Malaby Reading Band with Ralph Alessi, Drew Gress, Billy Drummond 


êJoseph C. Phillips, Jr.’s Numinous and Imani Uzuri 

Merkin Concert Hall 7:30 pm $25 

• Freddie Bryant Trio with Peter Bernstein, Cafe 


• Adam Lane’s Blue Spirit Band with Roy Campbell, Avram Fefer; Omar Tamez, 

Angelica Sanchez, Ratzo Harris, Lou Grassi 


• John Zorn Improv Night The Stone 8, 10 pm $25 

• Nir Felder The Jazz Gallery 9, 10:30 pm $20 

• Donald Vega Trio Oceana Restaurant 9 pm 

• Tribute to Dinah Washington: Lillie Bryant-Howard with Joe Vincent Tranchina, 

Christopher Dean Sullivan, Bobby Sanabria 

Afrikan Poetry Theatre 8, 9:15 pm $20 

• Sophia Rei; Alsarah Apollo Music Café 9 pm $20 

• Maria Jacobs with Ed Leonard, Paul Beaudry, Will Terrill 


• Christian Finger Band with Jon Gordon, Vadim Neselovskyi, Adam Armstrong; 

Takeshi Asai New York Trio with Daniel Ori, Rob Garcia; James Robbins Quintet with 

Christoph Huber, Nat Janoff, Sharik Hassan, Charles Goold 


• Kuni Mikami Trio Cleopatra’s Needle 8 pm 

• Eric Reed Quartet with Grant Stewart, Matt Clohesy, Willie Jones III 

Smoke 7, 9, 10:30 pm $35 

êJames Falzone’s Klang with Jason Adasiewicz, Jason Roebke, Tim Daisy 


• John di Martino Group; Ken Peplowski Group 

Smalls 7:30, 10:30 pm $20 

êDaryl Sherman, Will and Peter Anderson 

Knickerbocker Bar and Grill 9:45 pm $5 


Dizzy’s Club 7:30, 9:30, 11:30 pm $45 

• Joe Saylor/Bryan Carter Dizzy’s Club 12:45 am $20 



Jeff Ballard Jazz Standard 7:30, 9:30, 11:30 pm $35 














êLittle Orchestra Society with Min Xiao-Fen 

Avery Fisher Hall 11 am 1 pm 

• Larry Newcomb Trio; Mark Marino Trio; Jason Prover Sneak Thievery Orchestra 



• Keystone Korner Presents: Horacio “El Negro” Hernandez Italuba Quartet 


êNEC Contemporary Improvisation 40th: Tanya Kalmanovitch, Anthony Coleman, 

Ted Reichman Cornelia Street Café 8:30 pm $10 

• Vortex: Shoko Nagai/Satoshi Takeishi; The Restrictor: Adam Dym, Damien Olsen, 

Kevin Rozza, Anthony Delio The Firehouse Space 8, 9 pm $10 

• Grant Stewart Quartet Smalls 11 pm $20 

• Sheryl Bailey 4 with Jim Ridl, Gary Wang, Joe Strasser 

Fat Cat 9 pm 

• Casimir Liberski Trio with Louis de Mieulle, Jeff Witherell; Luce Trio: Jon De Lucia, 

Ryan Ferreira, Chris Tordini ShapeShifter Lab 8, 9:30 pm $10 

• Kind Of Orange: Mitch Guido, Jacob Gelber, Wes Troeger, Orange Julius; 

Alex Clough Group with Nora Ritchie, Daniel Foose, John Hubbell; Terry Vakirtzolgou/ 

Tuomo Uusitalo Somethin’ Jazz Club 5, 7, 9 pm $10 

• Emanuel Cremer solo; Trismegistus: Joe Moffett, Ben Gerstein, Sean Ali, Devin Gray 


• Out of Your Head: Ben Syversen, Travis Reuter, Mara Rosenbloom, Devin Gray; 

Matt Plummer, Liz Kosack, David Grollman 

The Backroom 9:30, 11 pm 


Dizzy’s Club 7:30, 9:30 pm $35 



Jeff Ballard Jazz Standard 7:30, 9:30 pm $30 








• Emanuel Cremer solo; Tasos Stamou 


• Ras Moshe/Shayna Dulberger Duo; Music Now Expanded Unit: Ras Moshe, 

Tor Yochai Snyder, John Pietaro, Dafna Naphtali, Chris Forbes, Steve Cohn, 

Max Johnson, Nicolas Letman-Burtinovic, Shayna Dulberger, Mike Noordzy, 

Gil Selinger, Matt Lavelle Brecht Forum 6 pm $11 

• Zaccai Curtis Quartet Saint Peter’s 5 pm 

• Juilliard Jazz Brunch Blue Note 12:30, 2:30 pm $29.50 

• Michelle Walker Trio with Ron Affif, Michael O’Brien 


• Joonsam Lee Trio; David Coss Quartet 



êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 

• John Williams/John Etheridge Zankel Hall 7:30 pm $75-85 

• Acoustic Alchemy Blue Note 8, 10:30 pm $15-25 

• New York Youth Symphony Jazz Classic with guest Brian Lynch 

Dizzy’s Club 7:30, 9:30 pm $25 

• Matt Garrison/David Gilmore; Adam Larson Quintet with Nils Weinhold, 

Robert Langslet, Harish Raghavan, Jason Burger 


êJacob Garchik solo; Two of Anything: JP Schlegelmilch, Jeremy Viner, Eivind Opsvik, 

Jason Nazary Sycamore 8:30, 9:30 pm 

• Foolish Hearts Duo: Peter Eldridge/Matt Aronoff 


• Jill McCarron Trio Smalls 7:30 pm $20 

• Women’s Jazz Festival: Spelman Jazz Ensemble 


• Nancy Harms Zinc Bar 7 pm $8 

• Andrew Swift Quartet with Matthew Garrison 


• Howard Williams Jazz Orchestra The Garage 7 pm 

LESLIE PINTCHIK TRIO 

Thursday, March 14th 8:00 PM & 10:00 PM 

The Kitano Hotel 

66 Park Ave @ 38th St. NYC 

(212) 885-7119 for reservations 

“...enormous gifts as a composer, arranger and pianist.” 

All Music Guide 

Leslie Pintchik - piano 

Scott Hardy - bass 

MIchael Sarin - drums 

DVD/CD Combo 

LESLIE PINTCHIK QUARTET 

LIVE IN CONCERT 

available now at Amazon.com 

www.lesliepintchik.com 



êJoseph Bowie’s Big Band Funk ShapeShifter Lab 8 pm 

• Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Justin Faulkner 


• Tierney Sutton Band Birdland 8:30, 11 pm $30-40 

êLuis Bonilla’s Trombonilla! with Ivan Renta, Bruce Barth, Andy McKee, John Riley 

Dizzy’s Club 7:30, 9:30 pm $35 

• Sammy Bronowski Dizzy’s Club 11 pm $10 

êJohnathan Blake Eleventh Hour Band with Jaleel Shaw, Mark Turner, Ben Street 


• Robben Ford Blue Note 8, 10:30 pm $20-30 

• Mike Longo NY State of the Art Jazz Ensemble with Dee Daniels 


• Jeremy Manasia Trio; Steve Einerson Trio 




• Jed Levy Trio with Thomson Kneeland, Alvester Garnett 


• Aural Dystopia: Louise DE Jensen, Brandon Seabrook, Tom Blancarte, Kevin Shea; 

Matt Nelson JACK 8 pm $10 

• James Carney Trio with Chris Lightcap, Ted Poor; Hashem Assadullahi Band with 

Alan Ferber, Leonard Thompson, Tyler Abbott, Matt Wilson 

Korzo 9, 10:30 pm 

• Akiko Pavolka and House of Illusion with Matt Renzi, Nate Radley, Matt Pavolka, 

Bill Campbell Barbès 7 pm $10 

• Matt Herskowitz Drom 7:15 pm $20 

• Benjamin Scheuer; Peter Lerman Cornelia Street Café 8:30, 10 pm $10 

• Jean Rohe Band Rockwood Music Hall 9:30 pm 

• New York Jazz Academy; Dorian Wallace Big Band with Cam Collins, Lynn Ligammari, 

Tim McDonald, Zach Mayer, Frank London, Wayne Tucker, Alphonso Horne, 

John Raymond, Andy Hunter, Frank Niemeyer, Joe McDonough, Frank Cohen, 

Tim Basom, Dmitri Kolesnik, Mike Campenni, Madison Cano 


• Stafford Hunter Quartet The Garage 7 pm 

• Jacob Deaton Trio; Uncharted Territory 



êToday’s Jewish Music: From NEC to the Downtown Scene: Frank London, 

Hankus Netsky, Greg Wall, Lily Henley, Marty Ehrlich, Matt Darriau, Anthony Coleman 

Symphony Space Leonard Nimoy Thalia 7 pm $22 

êSidney Bechet Society: Jim Cullum Jazz Band with Alan Vaché, Mike Pittsley, 

John Sheridan, Hal Smith Symphony Space Peter Jay Sharp Theatre 7:15 pm $35 

êKeystone Korner Presents: George Cables Songbook with Victor Lewis 

Iridium 8, 10:30 pm $30 

• Donny McCaslin Group; Noah Preminger Quartet with Glenn Zaleski, Matt Pavolka, 

Colin Stranahan Smalls 9:30 pm 12 am $20 

êEllery Eskelin/Devin Grey Barbès 8 pm $10 

• Sonic Overload: Peter Evans, Jim Altieri, Dan Peck, Jeff Snyder, Tom Blancarte, 

Sam Pluta; Daria Binkowski The Stone 8, 10 pm $10 

• Cynthia Holiday Quintet Smoke 7, 9, 10:30 pm 

• Marianne Solivan Quartet with Xavier Davis, Matthew Parris 


• The Checkout Live: Todd Sickafoose’s Tiny Resistors; Stephan Crump’s Rosetta Trio 

with Liberty Ellman, Jamie Fox 92YTribeca 8 pm $12 

• Camila Meza Quartet Jazz Standard 7:30, 9:30 pm $20 

CD LAUNCH 

TRUMPETS 

MONTCLAIR, NJ 

MAR. 22ND 

Lou Caputo & Chris White 

Interface 

A collaboration of two longtime friends 

with Don Stein (piano) 

Payton Crossley (drums) 

Warren Smith (vibraphone) 

Leopoldo Fleming (percussion) 

CDs available at CDbaby, 

Amazon And Itunes 

Previous album: 

Lou Caputo “Not So Big Band” 

Loucaputo.com; CaputoJazz@Twitter 


• Edward Perez Trio Terraza 7 9:30 pm $5 

• Ananda Gari Quartet with Tim Berne, Rez Abbasi, Michael Formanek 


• Matt Holman’s Diversion Ensemble with Michael McGinnis, Nate Radley, 

Christopher Hoffman, Ziv Ravitz Cornelia Street Café 8:30 pm $10 

êEmilie Weibel solo; Amanda and the Michaels: Amanda Monaco, Michael Bates, 

Michael Pride Seeds 8:30, 10 pm 

• Lady Got Chops Festival: Frederkia Krier/Dana Hanchard 

Zinc Bar 7 pm 

• Freddie Bryant and Kaleidoscope with Yosvany Terry, Patrice Blanchard, Willard Dyson 

Zinc Bar 9, 10:30 pm 12 am 

• Simona De Rosa Trio with Marco Di Gennaro 


• Ayumi Ishito Trio Tomi Jazz 8 pm $10 

• John Chin Trio The Garage 7 pm 




êLuis Bonilla’s Trombonilla! with Ivan Renta, Bruce Barth, Andy McKee, John Riley 

Dizzy’s Club 7:30, 9:30 pm $35 


• Robben Ford Blue Note 8, 10:30 pm $20-30 

• Hajime Yoshida Shrine 6 pm 

• Eugene Marlow Heritage Ensemble Saint Peter’s 1 pm $10 


êStanley Clarke/George Duke Band Blue Note 8, 10:30 pm $30-45 

êMichael Carvin Experience with Anthony Wonsey, Jansen Cinco, Keith Loftis 

Dizzy’s Club 7:30, 9:30 pm $35 


êChris Speed Trio with Chris Tordini, Dave King 


• Oz Noy, Bill Lee, Dave Weckl Iridium 8, 10 pm $35 

• Contemporary Improvisation Festival: Anthony Coleman, Ashley Paul, Matt Darriau, 

Frank London, Cuddle Magic, Mat Maneri, Andrew Hock, Judith Berkson 


êHenry Butler solo Jazz Standard 7:30, 9:30 pm $25 

• Maria Bacardi Septet with David Oquendo, Alex Hernandez, Vicente Sanchez, 

Roman Diaz, Onel Mulet Jazz at Kitano 8, 10 pm $10 

• Tony Moreno Trio with Angelica Sanchez 

55Bar 7 pm 

• Jason Yeager Trio with guest Noah Preminger 


• Jacam Manricks Trio with Des White, Ross Pederson 


• Adam Schatz, Dave LeBleu, Eivind Opsvik 

Nublu 9 pm 

• Glenn Zaleski Quintet with Matt Jodrell, Lucas Pino, Desmond White, Cory Cox 


• Send Out Signals meets Jack Desalvo with Ras Moshe, Matt Lavelle, 

Thomas Zlabinger; Catherine Sikora Ensemble with Ross Hammond, Michael Lytle, 

Ken Filiano The Firehouse Space 8, 9:30 pm $10 

• Kenny Warren’s All the King’s Horses with Jake Henry, Rick Parker, Matt Plummer, 

Ben Stapp, Kate Pittman; Ben Gerstein, Gian Luigi Diana, Mike Pride 


• Jonathan Saraga Quintet with Michael Eaton, Peter Park, Jeff Dingler, Gusten Rudolph; 

Rob Reich Somethin’ Jazz Club 7, 9 pm $10 

• Justin Lees Trio Cleopatra’s Needle 7 pm 

• Rick Stone Trio The Garage 7 pm 

• Donny McCaslin Group Smalls 9:30 pm $20 



êLouis Hayes Quintet Birdland 6 pm $20 


• Tim Chernikoff Band Shrine 6 pm 


êA Tribute to Paul Motian: Bill Frisell, Joe Lovano, Andrew Cyrille, Ben Monder, 

Ravi Coltrane, Ben Street, Billy Drewes, Jerome Harris, Billy Hart, Chris Cheek, 

Ed Schuller, Geri Allen, Marilyn Crispell, Gary Peacock, Bill McHenry, Greg Osby, 

Tim Berne, Ethan Iverson, Jakob Bro, Joey Baron, Larry Grenadier, Mark Turner, 

Petra Haden, Steve Cardenas, Masabumi Kikuchi, Tony Malaby 

Symphony Space Peter Jay Sharp Theatre 7 pm $45 

• Min Xiao-Fen, Max Pollack, Jin Hi Kim 

Museum of Chinese in America 8 pm $15 

êHarold Mabern 77th Birthday Celebration with John Webber, Joe Farnsworth 

Smoke 7, 9, 10:30 pm $35 

• Madeleine Peyroux Allen Room 7:30, 9:30 pm $55-65 

êFrank Kimbrough Trio with Jay Anderson, Jeff Hirshfield 


êCory Weeds Group with Ian Hendrickson Smith, Spike Wilner, Sean Cronin, 

Brian Floody; Ralph Peterson Group 

Smalls 7:30, 10:30 pm $20 

êO’Farrill Brothers Band: Adam O’Farrill, Livio Almeida, Gabe Schnider, 

Adam Kromelow, Raviv Markovitz, Zack O’Farrill 


• Larry Corban Trio with Harvie S, Steve Williams 


• Sara Serpa with André Matos, Jacob Sacks, Eivind Opsvik, Tommy Crane 


• Pat Carroll Quartet with Glenn Zaleski, Joe Sanders, Colin Stranahan; 

John Raymond Quartet with Shai Maestro, Joe Martin, Austin Walker 


• Peter and Will Anderson Quintet with Ehud Asherie, Mike Karn, Phil Stewart 

Church of the Intercession 7 pm $20 

• Alan Blackman Quintet with Max Murray, Frank Russo, Donny McCaslin, 

Rogério Boccato Ibeam Brooklyn 8:30 pm $10 

• Willie Mae Perry Zeb’s 7 pm 

• Nicole Lund Band with Paul Olsen, Alex Vargas; Somethin’ Vocal with Matt Baker Trio; 

Elevations: George Heid III, Benny Benack III, Michael Stephenson, Brett Williams, 

Anton DeFade Somethin’ Jazz Club 7, 9, 11 pm $10 

• Jacob Deaton Duo Tomi Jazz 9 pm $10 

• Fukushi Tainaka Trio Cleopatra’s Needle 8 pm 

• Joel Perry Trio; Kevin Dorn and the Big 72 



• Dara Tucker Blue Note 12:30 am $10 


and guest Sonny Fortune Dizzy’s Club 7:30, 9:30, 11:30 pm $35 

• Sammy Bronowski Dizzy’s Club 12:45 am $20 

êHenry Butler solo Jazz Standard 7:30, 9:30, 11:30 pm $30 

• Oz Noy, Bill Lee, Dave Weckl Iridium 8, 10 pm $35 




• Blues for Smoke: Lonnie Holley; Cooper-Moore 

Whitney Museum 6 pm


êJenny Scheinman Trio with Bill Frisell, Brian Blade 

Zankel Hall 9 pm $40-50 

êValerie Capers Trio with John Robinson, Doug Richardson 


êCI at 40: Hankus Netsky, Greta DiGiorgio McAndrew, Ran Blake, Dominique Eade, 

The Claudia Quintet, Christine Correa, Sarah Jarosz, John Medeski, Anthony Coleman, 

Eden MacAdam-Somer Symphony Space Peter Jay Sharp Theatre 7:30 pm $28-38 

• Ask Your Mama - 12 Moods for Jazz: Jessye Norman; Black Thought; Nnenna Freelon; 

?uestlove; Ask Your Mama Apollo Theater 8 pm $35-125 

êMichael Formanek’s Cheating Heart with Tim Berne, Peter Formanek, Jacob Sacks, 

Jim Black Cornelia Street Café 9, 10:30 pm $15 

• Charenee Wade Sistas’ Place 9, 10:30 pm $25 

• Joe Sanders The Jazz Gallery 9, 10:30 pm $20 

êMax Johnson Trio with Kirk Knuffke, Ziv Ravitz; Aaron Shragge, Daniel Carter, 

Alexi David Ibeam Brooklyn 8:30 pm $10 

• Jacob Deaton Trio with Michael Feinberg, Dana Hawkins; Michael Webster’s 

Momentus with Ingrid Jensen, Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig 

ShapeShifter Lab 7:30, 8:30 pm 

êNate Wooley Quintet Omega with Josh Sinton, Matt Moran, Eivind Opsvik, 

Harris Eisenstadt; Will Mason Sextet; Rafiq Bhatia Trio 

The Backroom 10 pm $10 

• Rory Stuart Trio with Aidan Carroll, Colin Stranahan 


• Kristine Mills with Bruce Edwards, Scott Ritchie, Jacob Melchior 


• Vadim Neselovskyi’s Agricultural Dreams 6tet 

Caffe Vivaldi 9 pm 

• Emiko Mizoguchi/Derek Hood Zeb’s 8 pm 

• Charles Sibirsky; Tuomo Uusitalo/Olli Hirvonen; Brett Sandler Trio with 

Peter Longofono, Adam Pin Somethin’ Jazz Club 7, 9, 11 pm $10 

• Marisa Dargahi Quintet Tomi Jazz 8 pm $10 

• Satchamo Mannan Quartet Cleopatra’s Needle 8 pm 

• Danny Jonokuchi Sextet; Florencia Gonzalez Candombe Project 


êHarold Mabern 77th Birthday Celebration with John Webber, Joe Farnsworth 

Smoke 7, 9, 10:30 pm $35 

• Madeleine Peyroux Allen Room 7:30, 9:30 pm $55-65 

êPete Malinverni Trio with Lee Hudson, Jason Brown; Ralph Peterson Group 

Smalls 7:30, 10:30 pm $20 



and guest Sonny Fortune Dizzy’s Club 7:30, 9:30, 11:30 pm $45 

• Sammy Bronowski Dizzy’s Club 12:45 am $20 

êHenry Butler Trio Jazz Standard 7:30, 9:30, 11:30 pm $30 

• Oz Noy, Anthony Jackson, Dave Weckl 





• Latin Jazz - New York Faces: Ricardo Rodriquez Quintet; Victor Prieto; 

Chia’s Dance Party Flushing Town Hall 6 pm $20 

• Marsha Heydt Quartet; Ben Benack Quartet; Virginia Mayhew Quartet 



êIva Bittová solo Le Poisson Rouge 7:30 pm $20 

• Nick Finzer Sextet; Lucas Pino No Net Nonet 


• Curtis Macdonald Quartet with Bobby Avey, Chris Tordini, Tommy Crane; 

Ideal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Chad Taylor; 

Jasmine Lovell-Smith’s Towering Poppies with Russell Moore, Cat Toren, Pat Reid, 

Kate Pittman Douglass Street Music Collective 8 pm $10 

• Broc Hempel, Sam Trapchak, Christian Coleman with guest Rich Perry 

Dominie’s Astoria 9 pm 

• Falkner Evans Quintet with Marc Mommaas, Ron Horton, Belden Bullock, Matt Wilson; 

Alex Norris Smalls 4:30, 11 pm $20 

• Jesse Stacken, Peter Van Huffel, Nate Wooley, Tom Rainey; Secret Architecture: 

Fraser Campbell, Wade Ridenhour, Julian Smith, Zach Mangan 

Caffe Vivaldi 8, 9:30 pm $10 

• Lee Feldman and his Problems with Byron Isaacs, Bill Dobrow; Ali Carter 




and guest Sonny Fortune Dizzy’s Club 7:30, 9:30 pm $35 

êHenry Butler Trio Jazz Standard 7:30, 9:30 pm $25 

• Oz Noy, Anthony Jackson, Dave Weckl 




• Ross Hammond/Catherine Sikora; Anne Rhodes/Kyoko Kitamura 


• Amy Cervini/Heather Bambrick 55Bar 6 pm 

• Chanda Rule Band Saint Peter’s 5 pm 

• Anita Wardell Perez Jazz 3 pm $20 

• Lenore Raphael Trio with Jack Wilkins, Kelly Friesen 

Blue Note 12:30, 2:30 pm $29.50 

Gunhild Seim & 

Time Jungle with Marilyn 

Crispell 

Elephant Wings 

“An exceptional highlight 

of European jazz in 2012” -Jazznytt 

“Elephant Wings is another excellent set 

of compositions...” -allaboutjazz.com 

Available at 

Downtown Music Gallery 

Jazz Record Center 

J&R Music World 

Amazon.com 

CDUniverse.com 

gunhildseim.com 

• Roz Corral Trio with Freddie Bryant, Edward Perez 


• Iris Ornig Quartet; David Coss Quartet 



êMike Stern with The Les Paul Trio Iridium 8, 10 pm $35 


ê3rd Annual James Moody Scholarship Benefit Concert: Andres Boiarsky, 

Sharel Cassity, Bill Charlap, Cyrus Chestnut, Anat Cohen, Todd Coolman, 

Paquito D’Rivera, Greg Gisbert, John Lee, Adam Nussbaum, Gregory Porter, 

Renee Rosnes, Yotam Silberstein, Gary Smulyan, Steve Turre, Diego Urcola 

Blue Note 8, 10:30 pm $35-100 

• Florida State University Jazz Ensemble 

Dizzy’s Club 7:30, 9:30 pm $25 

êAdam Rudolph’s GO: Organic Orchestra 


• Vital Vox Festival: Philip Hamilton; Sabrina Lastman; Unearthish: Sarah Bernstein/ 

Satoshi Takeishi Roulette 8 pm $15 

• Women’s Jazz Festival: Lizz Wright/Nikky Finney 


êPaul Flaherty/Steve Swell; Don Dietrich/Jim Sauter 

JACK 8 pm $10 

êLuis Perdomo solo Smalls 7:30 pm $20 

• Empyrean Atlas; All The Kings Horses: Jake Henry, Kenny Warren, Rick Parker, 

Jeremy Thal, Ben Stapp, Kate Pittman 

Sycamore 8:30, 9:30 pm 

• Dorian Devin Trio with Lou Rainone, Tom Hubbard 


• Ashley Gonzalez; Tine Bruhn/Johnny O’Neal 

Zinc Bar 7, 9 pm 

• New York Jazz Academy; Tomoko Omura Quintet with Will Graefe, Glenn Zaleski, 

Thomas Morgan, Colin Stranahan Somethin’ Jazz Club 7, 9 pm $10 

• Tomoko Omura Quintet Tomi Jazz 8 pm $10 

• Cecilia Coleman Big Band The Garage 7 pm 


êLions Trio: Arild Andersen, Yelena Eckemoff, Billy Hart 

Birdland 8:30, 11 pm $30-40 

êTom Harrell’s Colors of a Dream with Jaleel Shaw, Wayne Escoffery, 

Esperanza Spalding, Ugonna Okegwo, Johnathan Blake 


• Kyle Eastwood Group with Alex Norris, Jason Rigby, Rick Germanson, Joe Strasser; 

Larry Coryell Group with Murali Coryell, Victor Bailey, Kenwood Dennard 

Blue Note 8, 10:30 pm $20-30 

• Terri Lyne Carrington’s Money Jungle with Tia Fuller, Nir Felder, Gerald Clayton, 

James Genus Dizzy’s Club 7:30, 9:30 pm $30 

êMelissa Aldana Dizzy’s Club 11 pm $10 

• Kendrick Scott Oracle with John Ellis, Mike Moreno, Taylor Eigsti, Joe Sanders 


• Warren Chiasson George Shearing Tribute 


• Kenny Werner ShapeShifter Lab 8 pm 

êKris Davis/Ingrid Laubrock Korzo 9 pm 

• Chelsea Baratz Birthday Bash with Maurice Brown, Willerm Delisfort, Ben Williams, 

Joe Blaxx Grissett Zinc Bar 8, 10 pm 

• Shelia Jordan Master Class Jazz at Kitano 7 pm 

êNate Wooley/Ben Vida Duo JACK 8 pm $10 



• Steve Bloom Trio with Danton Boller, Jeremy Carlstedt 


• Vital Vox Festival: Lisa Karrer/David Simons; Sasha Bogdanowitsch with 

Loom Ensemble; Pamela Z Roulette 8 pm $15 

• Sean Nowell and The King-Fu Masters meet the NY Gypsy All-Stars 

Drom 9:30 pm 

• Metis 9: Han-Earl Park, Josh Sinton, Catherine Sikora 

The Backroom 8:30 pm 

• Joshua Kwassman Group with Gilad Hekselman 

Rockwood Music Hall 7 pm $15 

• Scott Sharon Septet with Bruce Harris, Jeremy Weldon, Mark Sullivan, Nial Djuliarso, 

Paul Gill, Aaron Kimmel; Matt Panayides Group with Rich Perry, Bob Sabin, Jeff Davis 


• Lluis Capdevila Trio Tomi Jazz 8 pm $10 

• Nobuki Takamen Trio The Garage 7 pm 


êClaudia Acuña Harlem Stage Gatehouse 7:30 pm 

êBarry Harris solo Weill Recital Hall 8 pm $35 

êKeystone Korner Presents: Bucky Pizzarelli All-Stars 

Iridium 8, 10:30 pm $30 

• Orrin Evans Birthday Bash with JD Walters 

Zinc Bar 9, 10:30 pm 12 am 

• YoungJoo Song Trio with Yasushi Nakamura, John Davis 


• George Colligan Band; Sean Wayland Band 

ShapeShifter Lab 8 pm 

êAnat Fort Trio with Gary Wang, Yaaki Levy 


• José James; Taylor McFerrin Music Hall of Williamsburg 9 pm $25 

• Jesse Stacken, Peter Van Huffel, Flin Van Hemmen; Peter Van Huffel, Michael Bates, 

Jeff Davis Ibeam Brooklyn 8:30, 10 pm $10 

• Gilad Hekselman Group; David Bryant Trio 

Smalls 9:30 pm 12 am $20 

• Pedro Giraudo Sextet Terraza 7 9:30 pm $5 

• Aki Yashiro and Trio with guest Helen Merrill 

Birdland 7, 9:30 pm $30-40 

• Dee Daniels Quintet with TK Blue, Carlton Holmes, Paul Beaudry, Alvester Garnett 

Smoke 7, 9, 10:30 pm 

• Ted Brinkley’s Sour Note Seven with Evan Francis, Rob Sudduth, Rob Ewing, 

Graham Connah, John Finkbeiner, Lisa Mezzacappa, Vijay Anderson 


• Matt Renzi Trio with Dave Ambrosio, Russ Meissner; Todd Neufeld, Rema Hasumi, 

Dan Weiss Seeds 8:30, 10 pm 

• David Shively; Jonathan Hepfer The Stone 8, 10 pm $10 

• Big Machine: Aaron Burnett, Andy Berman, Carlos Homs, Nick Jozwiak, 

Tyshawn Sorey Somethin’ Jazz Club 7 pm $10 

• Kyoko Oyobe Trio The Garage 7 pm 






Blue Note 8, 10:30 pm $20-30 

• Terri Lyne Carrington’s Money Jungle with Tia Fuller, Nir Felder, Gerald Clayton, 

James Genus Dizzy’s Club 7:30, 9:30 pm $30 


• Kendrick Scott Oracle with John Ellis, Mike Moreno, Taylor Eigsti, Joe Sanders 




êClaire Daly’s Baritone Monk with Steve Hudson, Maryann McSweeney, Peter Grant 

Birdland 6 pm $20 

êTomasz Stanko New Quartet with David Virelles, Thomas Morgan, Gerald Cleaver 

Birdland 8:30, 11 pm $30-40 

êBen Wolfe Quintet with JD Allen, Orrin Evans, Donald Edwards and guest 

Nicholas Payton Dizzy’s Club 7:30, 9:30 pm $35 


• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston 

and guest Aoife O’Donovan Jazz Standard 7:30, 9:30 pm $25 

• Mike Clark and Friends with Rachael Z, Mike Zilber, James Genus 


êNouveau Stride: Lorraine Feather/Stephanie Trick; Zach Resnick Quintet 

Metropolitan Room 9:30, 11:30 pm $20 

• Harlem Lives!: Manhattan School of Music Afro-Cuban Jazz Orchestra directed by 

Bobby Sanabria Borden Auditorium 7:30 pm $12 

• Sanda Weigl with Gael Rouilhac, Jake Shulman-Ment, Pablo Aslan, Nick Anderson; 

JP Schlegelmilch Cornelia Street Café 8:30, 10 pm $10 

• Larry Ham/Woody Witt Duo Smalls 7:30 pm $20 

• Sharel Cassity Trio with Dezron Douglas, EJ Strickland 


• Eivind Opsvik’s Overseas with Jacob Sacks, Brandon Seabrook, Kenny Wollesen 

Nublu 9 pm 

• Matt Lavelle and the 12 Houses with Chris Forbes, Ryan Sawyer, Francois Grillot, 

Laura Ortman, Gil Selinger, Anders Nilsson, Mary Cherney, Charles Waters, 

Claire de Brunner, Ras Moshe, Catherine Sikora, Tim Stocker 


• Lisa Mezzacappa/Fay Victor Trio with John Finkbeiner 

55Bar 7 pm 

• Matt Renzi Trio with Dave Ambrosio, Russ Meissner 


• Rebecca Martin Rockwood Music Hall 7 pm $15 

• Miho Hazama m_unit with Cam Collins, Ryoji Ihara, Andrew Gutauskas, 

Matthew Jodrell, Bert Hill, Sara Caswell, Olivia De Prato, Lois Martin, Meaghan Burke, 

James Shipp, Sam Harris, Sam Anning, Jake Goldbas and guest Steve Wilson 


• Vadim Neselovskyi Caffe Vivaldi 9:30 pm 

• Nicolas Letman-Burtinovic/Cheryl Pyle; Jonathan Goldberger 


• Chiemi Nakai Latin Jazz Trio with Luques Curtis, Mauricio Herrera; Allegra Levy; 

New York Bakery Connection: Antonello Parisi, Joseph Han, Luiz Ebert and guest 


• Steve Elmer Trio Cleopatra’s Needle 7 pm 

• Carl Bartlett Jr. The Garage 7 pm 






Blue Note 8, 10:30 pm $20-30 


êFrank Wess Quintet Smoke 7, 9, 10:30 pm $35 

êDon Friedman Trio with George Mraz, Matt Wilson 


êIgBo Duet: Joseph Bowie/Adam Rudolph; Defunkt!: Joseph Bowie, Kim Clarke, 

Alex Harding, Tobias Ralph, Adam Klipple 


êJeff Davis Trio and Friends with Russ Lossing, Eivind Opsvik, Oscar Noriega, 

Kirk Knuffke Cornelia Street Café 9, 10:30 pm $15 

• Miles Okazaki Quartet with Ben Wendel, Hans Glawischnig, Dan Weiss 


• Marcus Strickland Quartet Smalls 10:30 pm $20 

• Jack Wilkins Trio with Andy McKee, Mike Clark 


• Nicky Parrott Knickerbocker Bar and Grill 9:45 pm $5 

• Benny Benack Band with Adam Larson, Armand Hirsch, Emmet Cohen, 

Raviv Markovitz, Jimmy Macbride Metropolitan Room 9:30 pm $20 

• Kristin Norderval, Kevin Norton, Katherine Liberovskaya 

Experimental Intermedia 9 pm 

• Paula Jaakkola; Samantha Carlson Jazz’tet with Joe Alterman, Nathaniel Schroeder; 

Justin Purtill and Trio with Dan Blake, Haggai Cohen Milo, Lee Fish 


• Sam Kulok Trio Tomi Jazz 9 pm $10 

• Joonsam Lee Trio Cleopatra’s Needle 8 pm 

• Rob Edwards Quartet; Joey Morant Trio 



Birdland 8:30, 11 pm $30-40 


Nicholas Payton Dizzy’s Club 7:30, 9:30, 11:30 pm $35 

êMelissa Aldana Dizzy’s Club 12:45 am $20 

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston 

and guest Aoife O’Donovan Jazz Standard 7:30, 9:30, 11:30 pm $30 

• Eugene Marlow Heritage Ensemble Nuyorican Poets Café 7:30 pm $15 






Blue Note 8, 10:30 pm $20-30 

• Kendra Shank Quartet with Frank Kimbrough, Dean Johnson, Tony Moreno 

55Bar 6 pm 


êPapo Vazquez BAMCafé 9 pm 

êKris Davis Cornelia Street Café 9, 10:30 pm $15 

• David Arner, Pauline Oliveros, Doug Van Nort and FILTER 


• Underground Horns; Brown Rice Family 

92YTribeca 9 pm $12 

• Lil Phillips Sistas’ Place 9, 10:30 pm $25 

• De Akokán: Pavel Urkiza, Ricardo Pons, Yunior Terry, Tony Rosa 


êJerome Sabbagh Trio with Joe Martin, Billy Drummond 


• Chardavoine Quintet Metropolitan Room 11:30 pm $20 

• Freeman Runs the Voodoo Down: David Freeman, Mike Noordzy, Mike Tichy, 

Hayes Greenfield and guests Branded Saloon 9 pm 

• Ryan Hayden’s Exploring Silver Quintet with Paul Nedzela, Bruce Harris, 

Rick Germanson, Yasushi Nakamura 

Oceana Restaurant 9 pm 

• New Jazz Messengers: Liam Werner, Coleman Hughes, Ryan Park-Chan, Jacob Gelber, 

Wes Troeger, Orange Julius; Fredrick Levore; Ervin Dhimo Trio with Steve Hunt, 

Vancil Cooper Somethin’ Jazz Club 5, 7, 9 pm $10 

• Renaud Penant Trio Cleopatra’s Needle 8 pm 

êFrank Wess Quintet Smoke 7, 9, 10:30 pm $35 

êDon Friedman Trio with George Mraz, Matt Wilson 


êIgBo Duet: Joseph Bowie/Adam Rudolph; Moving Pictures Octet: Adam Rudolph, 

Joseph Bowie, Graham Haynes, Ralph Jones, James Hurt, Kenny Wessel, 

Jerome Harris, Matt Kilmer ShapeShifter Lab 8, 9:30 pm $12 

• Peter and Williams Anderson Octet; Marcus Strickland Quartet 

Smalls 7:30, 10:30 pm $20 

• Nicky Parrott Knickerbocker Bar and Grill 9:45 pm $5 



Birdland 8:30, 11 pm $30-40 


Nicholas Payton Dizzy’s Club 7:30, 9:30, 11:30 pm $45 

êMelissa Aldana Dizzy’s Club 12:45 am $20 

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston and 

guest Aoife O’Donovan Jazz Standard 7:30, 9:30, 11:30 pm $30 






Blue Note 8, 10:30 pm $20-30 

• Manu Koch and Filtron M with Panagiotis Andreou, Mauricio Zottarelli, 

Sebastian Nickoll Blue Note 12:30 am $10 

• Dave Kain Group; Champian Fulton Trio; Virginia Mayhew Quartet 



êSean Moran Small Elephant Band with Mike McGinnis, Chris Dingman, 

Reuben Radding, Harris Eisenstadt 


êDarius Jones’ Man’ish Boy Trio with Cooper-Moore, Jason Nazary; Lisa Mezzacappa’s 

Bait & Switch with Matt Nelson, John Finkbeiner, Vijay Anderson 

ShapeShifter Lab 8, 9 pm $12 

• Rachel Brotman Quartet with Yago Vazuez, Zach Lane, Anthony Taddeo; 

Maria Neckham Cornelia Street Café 8:30, 10 pm $10 

• Jorge Sylvester Ace Collective with Nora McCarthy, Waldron “Mahdi” Ricks, 

Pablo Vergara, Donald Nicks, Kenny Grohowski 

Arlene’s Grocery 7 pm $10 

• Broc Hempel, Sam Trapchak, Christian Coleman with guest Greg Ward 

Dominie’s Astoria 9 pm 

• Mike Rood Trio with Rick Rosato, Rogério Boccato 

Bar Next Door 8, 10 pm $12 

• Timaeus: Douglas Bradford, Zack Lober, Cody Brown; Secret Architecture: 

Fraser Campbell, Wade Ridenhour, Julian Smith, Zach Mangan 

Caffe Vivaldi 7, 9 pm $10 

• Alejandro T. Acierto; Billy Stein/Michael Moss 


• Roots and Fruits Of Jazz: Boris Kurganov, Alexander Ratmansky, Dmitri Kolesnik, 

Joe Goretti, Cafe Somethin’ Jazz Club 9 pm $10 

• Ben Wolfe Quintet with JD Allen, Orrin Evans, Donald Edwards and guest 

Nicholas Payton Dizzy’s Club 7:30, 9:30 pm $35 

• Dave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston and 

guest Aoife O’Donovan Jazz Standard 7:30, 9:30 pm $25 






Blue Note 8, 10:30 pm $20-30 

• Cheryl Pyle/Nicolas Letman-Burtinovic; Jake Henry/Sean Ali 


• Ike Sturm Ensemble Saint Peter’s 5 pm 

• Amy Cervini’s Jazz Kids! 55Bar 2 pm $5 

• Takuya Kuroda Sextet with Corey King, Jamaal Sawyer, Takeshi Ohbayashi, 

Rashaan Carter, Adam Jackson Blue Note 12:30, 2:30 pm $29.50 

• Roz Corral Trio with Gilad Hekselman, Boris Kozlov 


Nora McCarthy 

Voice Music Words 

Classic●Contemporary●Free Jazz●Poetry 

www.noramccarthy.com 

●New CD Available @CD Baby 

In The Language of Dreams 

“In The Language of Dreams is an explosion of 

imagination, a dazzling display of music and words, as 

well as philosophy.” Florence Wetzel 2012 

www.asmalldreaminred.com 

Nora McCarthy - Nu Jazz Projects 

Teaching/Workshops 

www.thezenofsinging.com 

Free Consultation 

Private Lessons/Ensemble Work 

@McARTMusic 

REGULAR ENGAGEMENTS 

MONDAYS 

• Tom Abbott Big Bang Big Band Swing 46 8:30 pm 

• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am 

• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 

• Bryan Beninghove’s Hangmen ZirZamin 9:30 pm 

• Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm 

• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm 

• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm 

• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm 

• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) 

• Joel Forrester solo Brandy Library 8 pm 

• George Gee Swing Orchestra Gospel Uptown 8 pm 

• Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) 

• Grove Street Stompers Arthur’s Tavern 7 pm 

• JFA Jazz Jam Local 802 7 pm 

• Jam Session Cleopatra’s Needle 8 pm 

• Les Paul Trio with guests Iridium 8, 10 pm $35 

• Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm 

• Stan Rubin All-Stars Charley O’s 8:30 pm 

• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 

• Diego Voglino Jam Session The Village Lantern 9:30 pm 

• Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) 

TUESDAYS 

• Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) 

• Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI) 

• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm 

• Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) 

• George Gee Swing Orchestra Swing 46 8:30 pm 

• Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) 

• Art Hirahara Trio Arturo’s 8 pm 

• Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm 

• Sandy Jordan and Larry Luger Trio Notaro 8 pm 

• Mike LeDonne Quartet; Mike DiRubbo B3-3 Smoke 7, 9, 10:30, 11:30 pm 

• Metro Room Jazz Jam with guests Metropolitan Room 11:30 pm $10 

• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm 

• Annie Ross The Metropolitan Room 9:30 pm $25 

• Jam Session Cleopatra’s Needle 8 pm 

• Slavic Soul Party Barbès 9 pm $10 

• Diego Voglino Jam Session The Fifth Estate 10 pm 

WEDNESDAYS 

• Joe Alterman Caffe Vivaldi 9:30 pm 

• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm 

• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm 

• Brianna Thomas Quartet Smoke 11:30 pm 

• Walter Fischbacher Trio Water Street Restaurant 8 pm 

• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm 

• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm 

• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 

• Guillaume Laurent Trio Bar Tabac 7 pm 

• Jake K. Leckie Trio Kif Bistro 8 pm 

• Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) 

• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm 

• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) 

• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm 

• Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) 

• Alex Obert’s Hollow Bones Via Della Pace 10 pm 

• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 

• Saul Rubin Vocalist Series Zeb’s 8 pm $10 

• Stan Rubin Orchestra Swing 46 8:30 pm 

• David Schnug Papa’s Gino’s Restaurant 8:30 pm 

• Alex Terrier Trio Antibes Bistro 7:30 pm 

• Justin Wert/Corcoran Holt Benoit 7 pm 

• Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm 

• Bill Wurtzel Duo Velour Lounge 6:30 pm 

THURSDAYS 

• Jason Campbell Trio Perk’s 8 pm 

• Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) 

• Eric DiVito The Flatiron Room 8 pm 

• Gregory Generet Smoke 7, 9, 10:30 pm 

• Jazz Open Mic Perk’s 8 pm 

• Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm 

• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) 

FRIDAYS 

• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm 

• Deep Pedestrian Sintir 8 pm 

• Charles Downs’ Centipede The Complete Music Studio 7 pm 

• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm 

• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 

• Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm 

• Tommy Igoe Birdland Big Band Birdland 5 pm $25 

• Kengo Nakamura Trio Club A Steakhouse 11 pm 

• Brian Newman Quartet Duane Park 10:30 pm 

• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) 

• Richard Russo Quartet Capital Grille 6:30 pm 

• Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) 

• Bill Saxton and Friends Bill’s Place 9, 11 pm $15 

• UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) 

• Rakiem Walker Project Shrine 6 pm 

SATURDAYS 

• Cyrille Aimee The Cupping Room 8:30 pm 

• Avalon Jazz Quartet Matisse 8 pm 

• Candy Shop Boys Duane Park 8, 10:30 pm 

• Jesse Elder/Greg RuggieroRothmann’s 6 pm 

• Joel Forrester solo Indian Road Café 11 am 

• Guillaume Laurent/Luke Franco Casaville 1 pm 

• Johnny O’Neal Smoke 11:45 pm 

• Frank Owens Open Mic Zeb’s 1 pm 

• Skye Jazz Trio Jack 8:30 pm 

• Michelle Walker/Nick Russo Anyway Café 9 pm 

• Bill Wurtzel Duo Henry’s 12 pm 

SUNDAYS 

• Avalon Jazz Quartet The Lambs Club 11 am 

• Birdland Jazz Party Birdland 6 pm $25 

• Marc Devine Trio TGIFriday’s 6 pm 

• JaRon Eames/Emme Kemp Eats 6 pm 

• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm 

• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm 

• Sean Fitzpatrick and Friends Ra Café 1 pm 

• Joel Forrester solo Grace Gospel Church 11 am 

• Nancy Goudinaki’s Trio Kellari Taverna 12 pm 

• Enrico Granafei solo Sora Lella 7 pm 

• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm 

• Annette St. John; Allan Harris; Roxy Coss Smoke 11:30 am, 7, 11:30 pm 

• Bob Kindred Group Café Loup 12:30 pm 

• Nate Lucas All Stars Ginny’s Supper Club 7 pm 

• Alexander McCabe Trio CJ Cullens Tavern 5 pm 

• Junior Mance Trio Café Loup 6:30 pm 

• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 

• Lu Reid Jam Session Shrine 4 pm 

• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm 

• Rose Rutledge Trio Ardesia Wine Bar 6:30 pm 

• Gabrielle Stravelli Trio The Village Trattoria 12:30 pm 

• Cidinho Teixeira Zinc Bar 10, 11:30 1 am 

• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm 

• Brian Woodruff Jam Blackbird’s 9 pm

CLUB DIRECTORY 

• 1st Reformed Church of Jamaica 159-29 90th Avenue 

Subway: J, Z to 75th Street 

• 17 Frost Theater of the Arts 17 Frost Street (646-389-2017) 

Subway: L to Bedford Avenue www.17frost.com 

• 55Bar 55 Christopher Street (212-929-9883) 

Subway: 1 to Christopher Street www.55bar.com 

• 92nd Street Y Weill Art Gallery Lexington Avenue at 92nd Street 

(212-415-5500) Subway: 6 to 96th Street www.92y.org 

• 92YTribeca 200 Hudson Street 

(212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org 

• ABC No-Rio 156 Rivington Street (212-254-3697) 

Subway: J,M,Z to Delancey Street www.abcnorio.org 

• Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street 

(212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org 

• Afrikan Poetry Theatre 176-03 Jamaica Avenue, Queens 

(718-523-3312) Subway: F to 179th Street 

• Allen Room Broadway at 60th Street, 5th floor (212-258-9800) 

Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org 

• American Folk Art Museum 45 W 53rd Street (212-265-1040) 

Subway: E to 53rd Street www.folkartmuseum.org 

• An Beal Bocht Café 445 W. 238th Street Subway: 1 to 238th Street 

www.anbealbochtcafe.com 

• Antibes Bistro 112 Suffolk Street (212-533-6088) 

Subway: J, Z to Essex Street www.antibesbistro.com 

• Anyway Café 34 E. 2nd Street (212-533-3412) 

Subway: F to Second Avenue 

• Apollo Theater & Music Café 253 W. 125th Street (212-531-5305) 

Subway: A, B, C, D, 2, 3 to 125th Street www.apollotheater.org 

• Ardesia Wine Bar 510 W. 52nd Street 

(212-247-9191) Subway: C to 50th Street www.ardesia-ny.com 

• Arlene’s Grocery 95 Stanton Street 

(212-358-1633) Subway: F, V to Second Avenue 

• Arthur’s Tavern 57 Grove Street (212-675-6879) 

Subway: 1 to Christopher Street www.arthurstavernnyc.com 

• Arturo’s 106 W. Houston Street (at Thompson Street) 

(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street 

• Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue 

• Avery Fisher Hall (at Lincoln Center) 1941 Broadway at 65th Street 

(212-875-5030) Subway: 1 to 66th Street www.lincolncenter.org 

• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn 

(718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 

to Atlantic Avenue www.bam.org 

• Bflat 277 Church Street (between Franklin and White Streets) 

Subway: 1, 2 to Franklin Streets 

• The Backroom 627 5th Avenue (718-768-0131) 

Subway: D, N, R to Prospect Avenue www.freddysbar.com 

• Bar Next Door 129 MacDougal Street (212-529-5945) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com 

• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) 

Subway: F to 7th Avenue www.barbesbrooklyn.com 

• Benoit 60 W. 55th Street 

Subway: F to 57th Street, N, Q, R,W to 57th Street 

• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) 

(212-281-0777) Subway: 2, 3 to 125th Street 

• Birdland 315 W. 44th Street (212-581-3080) 

Subway: A, C, E, to 42nd Street www.birdlandjazz.com 

• Blackbird’s 41-19 30th Avenue (718-943-6898) 

Subway: R to Steinway Street www.blackbirdsbar.com 

• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com 

• Borden Auditorium Broadway and 122nd Street 

(212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu 

• Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and 

Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com 

• Brandy Library 25 N. Moore Street 

(212-226-5545) Subway: 1 to Franklin Street 

• Brecht Forum 451 W. Street (212-242-4201) 

Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org 

• Brooklyn Bowl 61 Wythe Avenue 

(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com 

• Brooklyn Center for the Performing Arts 2900 Campus Road 

Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.com 

• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn 

Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org 

• Brooklyn LaunchPad 721 Franklin Avenue 

(718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org 

• Brooklyn Public Library Central Branch 

Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue 

• CJ Cullens Tavern 4340 White Plains Road, Bronx 

Subway: 2 to Nereid Avenue/238th Street 

• Café Carlyle 35 E. 76th Street (212-744-1600) 

Subway: 6 to 77th Street www.thecarlyle.com 

• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues 

(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com 

• Caffe Vivaldi 32 Jones Street 

Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com 

• Capital Grille 120 Broadway 

(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com 

• Casaville 633 Second Avenue 

(212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com 

• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace 

(212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com 

• Charley O’s 1611 Broadway at 49th Street (212-246-1960) 

Subway: N, R, W to 49th Street 

• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) 

Subway: C to Clinton-Washington Avenues www.bistrolola.com 

• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) 

Subway: C to Lafayette Avenue www.chezoskar.com 

• Church of the Intercession 550 W. 155th Street 

(212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org 

• Clemente Soto Velez Cultural Center 107 Suffolk Street 

Subway: F, J, M, Z to Delancey Street www.csvcenter.com 

• Cleopatra’s Needle 2485 Broadway (212-769-6969) 

Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com 

• Club A Steakhouse 240 E. 58th Street (212-618-4190) 

Subway: 4, 5, 6 to 59th Street www.clubasteak.com 

• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue 

• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn 

(718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com 

• Cornelia Street Café 29 Cornelia Street (212-989-9319) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com 

• The Counting Room 44 Berry Street (718-599-1860) 

Subway: L to Bedford Avenue www.thecountingroombk.com 

• Creole 2167 3rd Avenue at 118th Street 

(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com 

• The Cupping Room 359 West Broadway between Broome and Grand Street 

(212-925-2898) Subway: A, C, E to Canal Street 

• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) 

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org 

• Domaine Wine Bar 50-04 Vernon Boulevard 

(718-784-2350) Subway: 7 to Vernon Boulevard-Jackson Avenue 

www.domainewinebar.com 

• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue 

• Douglass Street Music Collective 295 Douglass Street 

Subway: R to Union Street www.295douglass.org 

• Downtown Music Gallery 13 Monroe Street (212-473-0043) 

Subway: F to East Broadway www.downtownmusicgallery.com 

• Drom 85 Avenue A (212-777-1157) 

Subway: F to Second Avenue www.dromnyc.com 

• Duane Park 157 Duane Street (212-732-5555) 

Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com 

• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) 

Subway: C, E to Spring Street www.earinn.com 

• Eats Restaurant 1055 Lexington Avenue 

(212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com 

• Experimental Intermedia 224 Centre Street at Grand, Third Floor 

(212-431-5127) Subway: 6 to Canal Street 

www.experimentalintermedia.org 

• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) 

Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org 

• The Fifth Estate 506 5th Avenue, Brooklyn 

(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com 

• The Firehouse Space 246 Frost Street 

Subway: L to Graham Avenue www.thefirehousespace.org 

• The Flatiron Room 37 West 26th Street 

(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com 

• Flushing Town Hall 137-35 Northern Boulevard 

(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org 

• For My Sweet Restaurant 1103 Fulton Street at Claver Place 

(718-857-1427) Subway: C to Franklin Avenue 

• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn 

(718-625-9339) Subway: G to Fulton Street 

• The Garage 99 Seventh Avenue South (212-645-0600) 

Subway: 1 to Christopher Street www.garagerest.com 

• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard 

(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com 

• Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) 

Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com 

• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard 

(212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com 

• Grace Gospel Church 589 E. 164th Street 

(718-328-0166) Subway: 2, 5 to Prospect Avenue 

• The Greene Space 44 Charlton Street 

(646-829-4400) Subway: 1 to Houston Street www.thegreenespace.org 

• Greenwich House Music School 46 Barrow Street 

(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org 

• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street 

(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org 

• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street 

• Honeycomb Playhouse 735a Saint Nicholas Avenue 

(917-328-9342) Subway: A, B, C, D to 145th Street 

• Ibeam Brooklyn 168 7th Street between Second and Third Avenues 

Subway: F to 4th Avenue www.ibeambrooklyn.com 

• Indian Road Café 600 W. 218th Street @ Indian Road 

(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com 

• Iridium 1650 Broadway at 51st Street (212-582-2121) 

Subway: 1,2 to 50th Street www.theiridium.com 

• JACK 505 Waverly Avenue 

(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org 

• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street 

• Jazz 966 966 Fulton Street 

(718-638-6910) Subway: C to Clinton Street www.jazz966.com 

• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) 

Subway: 4, 5, 6 to Grand Central www.kitano.com 

• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) 

Subway: N, R to 28th Street www.jazzgallery.org 

• Jazz Museum in Harlem 104 E.126th Street (212-348-8300) 

Subway: 6 to 125th Street www.jazzmuseuminharlem.org 

• Jazz Standard 116 E. 27th between Park and Lexington Avenue 

(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net 

• Joe G’s 244 W. 56th Street (212-765-3160) 

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle 

• Joe’s Pub 425 Lafayette Street (212-539-8770) 

Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com 

• Juilliard School Peter Jay Sharp Theater 155 W. 65th Street 

(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu 

• Kellari Taverna 19 W. 44th Street (212-221-0144) 

Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us 

• Knickerbocker Bar & Grill 33 University Place (212-228-8490) 

Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com 

• Korzo 667 5th Avenue, Brooklyn (718-285-9425) 

Subway: R to Prospect Avenue www.korzorestaurant.com 

• The Lambs Club 132 W. 44th Street 

212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com 

• Langston Hughes Library 100-01 Northern Boulevard, Queens 

Subway: 7 to 103rd Street 

• Lark Café 1007 Church Avenue, Brooklyn 

(718-469-0140) Subway: Q to Beverly Road www.larkcafe.com 

• Le Poisson Rouge 158 Bleecker Street (212-228-4854) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com 

• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues 

(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org 

• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) 

Subway: 1 to 145th Street www.londelsrestaurant.com 

• L’ybane 709 8th Avenue (212-582-2012) 

Subway: A, C, E to 42nd Street-Port Authority www.lybane.com 

• McDonald’s 160 Broadway between Maiden Lane and Liberty Street 

(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com 

• Matisse 924 Second Avenue 

(212-546-9300) Subway: 6 to 51st Street www.matissenyc.com 

• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam 

(212-501-3330) Subway: 1 to 66th Street-Lincoln Center 

www.kaufman-center.org 

• Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street 

(212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org 

• Metropolitan Room 34 W. 22nd Street (212-206-0440) 

Subway: N, R to 23rd Street www.metropolitanroom.com 

• Miller Theatre 2960 Broadway and 116th Street 

(212-854-7799) Subway: 1 to 116th Street-Columbia University 

www.millertheater.com 

• Museum Of Chinese In America 215 Centre Street 

(212-619-4785) Subway: J, N, Q, Z, 6 to Canal Street www.mocanyc.org 

• Music Hall of Williamsburg 66 North 6th Street 

(718-486-5400) Subway: L to Bedford Avenue 

www.musichallofwilliamsburg.com 

• NYC Baha’i Center 53 E. 11th Street (212-222-5159) 

Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org 

• New School Arnhold Hall 55 West 13th Street 

(212-229-5600) Subway: F, V to 14th Street www.newschool.edu 

• Nino’s Tuscany 117 W. 58th Street (212-757-8630) 

Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com 

• North Square Lounge 103 Waverly Place (212-254-1200) 

Subway: A, B, C, E, F to West 4th Street www.northsquareny.com 

• Notaro Second Avenue between 34th & 35th Streets (212-686-3400) 

Subway: 6 to 33rd Street 

• Nublu 62 Avenue C between 4th and 5th Streets 

(212-979-9925) Subway: F, M to Second Avenue www.nublu.net 

• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C 

(212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org 

• Oceana Restaurant 120 W. 49th Street (212-759-5941) 

Subway: B, D, F, M to 47-50 Streets - Rockefeller Center 

www.oceanarestaurant.com 

• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 

160th Streets (212-781-6595) Subway: C to 155th Street 

www.parlorentertainment.com 

• Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway 

• Pianos 158 Ludlow Street Subway: F, V to Second Avenue 

• The Players Club 16 Gramercy Park South 

(212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org 

• The Plaza Hotel Rose Club Fifth Avenue at Central Park South 

(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com 

• The Queens Kickshaw 40-17 Broadway (718-777-0913) 

Subway: E, M, R to Steinway Street www.queenskickshaw.com 

• Rockwood Music Hall 196 Allen Street (212-477-4155) 

Subway: F, M to Second Avenue www.rockwoodmusichall.com 

• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) 

Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org 

• Roulette 509 Atlantic Avenue 

(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org 

• Rubin Museum 150 W. 17th Street (212-620-5000) 

Subway: A, C, E to 14th Street www.rmanyc.org 

• St Augustine’s Church 290 Henry Street 

(212-673-5300) Subway: F to East Broadway www.staugnyc.org 

• Saint Peter’s Church 619 Lexington Avenue at 54th Street 

(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org 

• San Martin Restaurant 143 E. 49 Street between Lexington and Park 

Avenues (212-832-0888) Subway: 6 to 51st Street 

• Sapphire NYC 333 E. 60th Street (212-421-3600) 

Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com 

• Schimmel Center for the Arts 3 Spruce Street 

(212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street www.pace.edu 

• The Schomburg Center 515 Macolm X Boulevard 

(212-491-2200) Subway: 2, 3 to 135th Street 

www.nypl.org/research/sc/sc.html 

• Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza 

www.seedsbrooklyn.org 

• ShapeShifter Lab 18 Whitwell Place 

(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com 

• Showman’s 375 W. 125th Street at Morningside) (212-864-8941) 

Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com 

• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) 

Subway: B, 2, 3 to 135th Street www.shrinenyc.com 

• Sintir 424 E. 9th Street between Avenue A and First Avenue 

(212-477-4333) Subway: 6 to Astor Place 

• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn 

(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org 

• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) 

Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com 

• Smoke 2751 Broadway between 105th and 106th Streets 

(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com 

• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street 

• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) 

Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street 

www.somethinjazz.com/ny 

• Sora Lella 300 Spring Street (212-366-4749) 

Subway: C, E to Spring Street www.soralellanyc.com 

• Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue 

• Stephen Wise Free Synagogue 30 W. 68th Street 

(212-877-4050) Subway: 1 to 66th Street www.swfs.org 

• The Stone Avenue C and 2nd Street 

Subway: F to Second Avenue www.thestonenyc.com 

• Swing 46 349 W. 46th Street (646-322-4051) 

Subway: A, C, E to 42nd Street www.swing46.com 

• Sycamore 1118 Cortelyou Road (347-240-5850) 

Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com 

• Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre 

2537 Broadway at 95th Street (212-864-5400) 

Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org 

• Tea Lounge 837 Union Street, Brooklyn (718-789-2762) 

Subway: N, R to Union Street www.tealoungeNY.com 

• Terraza 7 40-19 Gleane Street (718-803-9602) 

Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com 

• Tomi Jazz 239 E. 53rd Street 

(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com 

• Town Hall 123 W. 43rd Street (212-997-1003) 

Subway: 1, 2, 3, 7 to 42nd Street-Times Square www.the-townhall-nyc.org 

• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) 

Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org 

• University of the Streets 130 E. 7th Street 

(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org 

• University Settlement 184 Eldridge Street (212-674-9120) 

Subway: F, M to Second Avenue www.universitysettlement.org 

• Velour Lounge 297 10th Avenue 

(212-279-9707) Subway: C, E to 23rd Street www.velournyc.com 

• Via Della Pace 48 E. 7th Street and Second Avenue 

(212-253-5803) Subway: 6 to Astor Place 

• The Village Lantern 167 Bleecker Street 

(212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street 

• The Village Trattoria 135 W. 3rd Street (212-598-0011) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com 

• Village Vanguard 178 Seventh Avenue South at 11th Street 

(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com 

• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens 

(718-721-3010) Subway: N to Ditmars Blvd-Astoria 

• Walker’s 16 North Moore Street (212-941-0142) 

Subway: A, C, E to Canal Street 

• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) 

Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com 

• Water Street Restaurant 66 Water Street (718-625-9352) 

Subway: F to York Street, A, C to High Street 

• Weill Recital Hall at Carnegie Hall 154 W. 57th Street at Seventh Avenue 

(212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org 

• Whitney Museum 1845 Madison Avenue at 75th Street 

(800-944-8639) Subway: 6 to 77th Street www.whitney.org 

• Williamsburg Music Center 367 Bedford Avenue 

(718-384-1654) Subway: L to Bedford Avenue 

• York College Performing Arts Center 94-20 Guy R. Brewer Blvd., Queens 

Subway: E to Jamaica Center www.york.cuny.edu 

• Zankel Hall 881 Seventh Avenue at 57th Street 

(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org 

• Zeb’s 223 W. 28th Street 

212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com 

• Zinc Bar 82 W. 3rd Street (212-477-8337) 

Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com 

• ZirZamin 90 West Houston Street 

(646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street 

www.zirzaminnyc.com 


(INTERVIEW CONTINUED FROM PAGE 6) 

TNYCJR: Then, in 2004, with Arturo O’Farrill and his 

Afro Latin Jazz Orchestra, you turned out a very 

different type of Latin jazz album. Can you talk a bit 

about what led up to this collaboration? 

CA: Arturo and I had the experience to work together 

when he and the orchestra were part of Lincoln Center. 

With that experience there were a lot of people 

[involved in the recording] Una Noche Inolvidable, 

which was a tribute to some of the greatest Spanish 

singers. 

Through that Arturo and I talked about 

collaborating. The [producer] wanted an approach that 

was very, very Latin, trying to do a crossover record. 

So I agreed to collaborate because I love Arturo and his 

music. We’re very good friends and I was open to 

trying something different, in collaboration with other 

people and in other styles of music. It was a very 

interesting experience to have a coach and sing some 

of the songs on that album, that I maybe never would 

have chosen personally. 

TNYCJR: In 2008 you recorded an almost all-Spanish 

album, En Este Momento for Marsalis Music, produced 

by Branford Marsalis. What was that like? 

CA: I was honored to be called by Joey Calderazzo, 

who is Branford’s piano player. He was doing an album 

and wanted me to collaborate with him on writing a 

couple of songs and singing. Branford was producing 

and through that Branford approached me to see if I’d 

be interested to be on his label. It was a dream come 

true and an honor to have met him, to be approached 

by him to be the first vocalist and first female on his 


label and also to have the chance to work as closely as 

I did with him and learn so much. 

TNYCJR: Your recordings over the years have become 

more personal in their expression. Would you agree? 

CA: Yes. It comes with the territory and the confidence 

you get on your own, [when] you’re more comfortable 

in your own skin. At the beginning I was very shy at 

the possibility of showing my compositions. I wanted 

to show my perspective about the tradition of jazz and 

bring in my roots. And that’s why I chose to sing 

standards, a lot of them with a slight introduction to 

the rhythm parts of traditional music from more of 

South America - not necessarily salsa or Brazilian 

music. I’m influenced by that, but that’s not the 

tradition where I come from. 

TNYCJR: You became a parent not too long ago. How 

has this affected your career? 

CA: I was very blessed to have [my son, Daniel] now, 

when I already have a career built. I don’t know if I 

would have felt the same way if I would have had him 

12-13 years ago, because the body of work I’ve done 

until now has allowed me to take this time and not be 

so anxious. But I don’t want to forget that I’m a 

performer, an artist, a woman, that I need to write 

songs. I have reached out to women musicians who are 

mothers and they give me advice because I’m new and 

there’s no book. We have a very unusual career. So 

with that advice I’ve been pretty much taking him 

everywhere and making him part of this life. v 

For more information, visit claudiaacuna.com. Acuña is at 

Harlem Stage Gatehouse Mar. 27th. See Calendar. 


• Claudia Acuña - Wind from the South (Verve, 1999) 

• Claudia Acuña - Rhythm of Life (Verve, 2001) 

• Claudia Acuña - Luna (MAXJAZZ, 2003) 

• Afro-Latin Jazz Orchestra (with Arturo O’Farrill) - 

Una Noche Inolvidable (An Unforgettable Night) 

(Palmetto, 2004) 

• Arturo O’Farrill/Claudia Acuña - In These Shoes 

(ZoHo Music, 2007) 

• Claudia Acuña - En Este Momento 

(Marsalis Music, 2008) 

(LABEL CONTINUED FROM PAGE 12) 

While Fujii and Tamura do record for other 

imprints, so far Libra’s only CD under someone else’s 

leadership is 2004’s Yamabuki by Japanese vocalist Koh. 

“She is so amazing, that I wanted to introduce her from 

Libra,” the pianist says. Fujii also played on the session 

and composed some of the material (along with 

accordion player Ted Reichman). However Koh’s CD 

remains an anomaly. “Sometimes we get emails from 

musicians we don’t know asking if Libra can put out 

their CDs,” Fujii states. “But we don’t have enough 

time and money for that. However if in the future we 

find someone we would like to record like Koh we’ll 

do so.” 

But they may be too busy. Already planned for 

Libra’s 2013 schedule are new solo discs by both Fujii 

and Tamura, another KAZE CD plus a new recording 

by Fujii’s New York Orchestra, which will be the 

group’s fourth outing. v 

For more information, visit librarecords.com 

Sandy Sasso’s latest release “Hands On” 

Always swinging, 

Always eclectic, 

Always Sasso 

Available at www.cdbaby.com 

or www.sandysasso.com

CHARLES BELL - The pianist was an obscure 

figure in ‘60s jazz but did release four albums 

between 1960-64, including a pair on Atlantic 

and Columbia Records by his Contemporary 

Jazz Quartet, and was commissioned to write 

a jazz concerto performed by the Pittsburgh 

Symphony in 1963. Later he moved from 

Pittsburgh to New York to teach music. 

Drummer Poogie Bell is his son. Bell died 

Dec. 4th at 79. 

BRIAN BROWN - A stalwart on the 

Australian jazz scene going back to the ‘50s, 

primarily in Melbourne, Brown played 

soprano and tenor saxophones, flutes, 

synthesizers, panpipes and a leather bowhorn. 

He released a number of albums as a leader 

during the ‘70s-90s, then tripled his 

discography over the last decade after retiring 

from the Victorian College of the Arts. Brown 

died Jan. 27th at 79. 

RAHN BURTON - A regular performer at the 

Upper West Side club Cleopatra’s Needle, the 

pianist had a fateful meeting as a young man 

in Columbus, Ohio, hearing saxophonist 

Roland Kirk for the first time. Burton would 

go on to play with Kirk during the ‘50s, again 

for several years during the ‘60s and through 

the ‘70s, appearing on albums like The Inflated 

March 1 

†Glenn Miller 1904-44 

†Teddy Powell 1906-1993 

†Benny Powell 1930-2010 

Gene Perla b.1940 

Ralph Towner b.1940 

Vinny Golia b.1946 

Norman Connors b.1947 

Elliott Sharp b.1951 

March 2 

†Eddie “Lockjaw” Davis 

1921-86 

†Doug Watkins 1934-62 

Buell Neidlinger b.1936 

Bob Neloms b.1942 

Wolfgang Muthspiel b.1965 

March 3 

†Barney Bigard 1906-80 

†Cliff Smalls 1918-2008 

†Jimmy Garrison 1934-76 

Luis Gasca b.1940 

March 4 

Don Rendell b.1926 

†Cy Touff 1927-2003 

†Barney Wilen 1937-96 

David Darling b.1941 

Jan Garbarek b.1947 

Kermit Driscoll b.1956 

Albert Pinton b.1962 

Dana Leong b.1980 

March 5 

†Gene Rodgers 1910-87 

†Bill Pemberton 1918-84 

†Dave Burns 1924-2009 

†Lou Levy 1928-2001 

†Wilbur Little 1928-87 

†Pee Wee Moore 1928-2009 

David Fiuczynski b.1964 

Vol. 2 

Julius Watkins Sextet (Blue Note) 

March 20th, 1955 

This was French horn player Julius 

Watkins’ second album as a leader 

after an August 1954 debut (and 

second and final session for Blue 

Note). Rejoining Watkins from that 

first session are obscure guitarist 

Perry Lopez and bassist Oscar 

Pettiford, with Hank Mobley 

replacing Frank Foster on tenor, Duke 

Jordan for George Butcher on piano 

and Art Blakey in the drum chair 

instead of Kenny Clarke. Watkins 

wrote three of the five tunes, the 

others a tune by Bennie Harris and an 

early version of Jordan’s “Jordu”. 

March 6 

†Red Callender 1916-92 

†Howard McGhee 1918-87 

†Wes Montgomery 1925-68 

†Ronnie Boykins 1935-80 

Charles Tolliver b.1940 

Peter Brötzmann b.1941 

†Robin Kenyatta 1942-2004 

Flora Purim b.1942 

Dom Minasi b.1943 

Ayelet Rose Gottlieb b.1979 

March 7 

Alexander von Schlippenbach 

b.1938 

Herb Bushler b.1939 

March 8 

†George Mitchell 1899-1972 

Dick Hyman b.1927 

George Coleman b.1935 

†Gabor Szabo 1936-82 

†James Williams 1951-2004 

Biggi Vinkeloe b.1956 

Anat Fort b.1970 

March 9 

Ornette Coleman b.1930 

Keely Smith b.1932 

Kali Z. Fasteau b.1947 

Zakir Hussain b.1951 

†Thomas Chapin 1957-1998 

Erica von Kleist b.1982 

March 10 

†Bix Beiderbecke 1903-31 

†Pete Clarke 1911-75 

†Don Abney 1923-2000 

Louis Moholo b.1940 

Mino Cinelu b.1957 

Bill Gerhardt b.1962 

Ofer Assaf b.1976 

Tear and Volunteered Slavery. Burton also 

collaborated with other saxophonists, such as 

George Adams, Charlie Rouse and Archie 

Shepp. He released one album as a leader in 

1992 and died Jan. 25th at 79. 

JACK DIÉVAL - The pianist’s nickname was 

the Debussy of Jazz. In addition to his own 

trio, quartet and Jazz Aux Champs-Elysées 

All-Stars, he was a member of the Quintette 

Du Hot Club De France in the mid ‘40s and 

hosted radio and television programs during 

the ‘50s-60s. Diéval died Oct. 31st at 91. 

STANLEY GREIG - His father was a 

drummer and piano tuner and the younger 

Greig would go on to play both during a 

more-than-50-year career in London, working 

with Ken Colyer, Humphrey Lyttelton (during 

the ‘50s and again in the ‘80s-90s) and Acker 

Bilk. He formed the London Jazz Big Band in 

1975 and later mostly helmed his own trio. 

Greig died Nov. 18th at 82. 

GEORGE GRUNTZ - Possibly the most 

famous musician to come out Switzerland, 

after some fascinating early recordings - jazz 

interpretations of Baroque music; a 

collaboration with Tunisian musicians; an 

avant garde trio with himself on organ - the 

March 11 

†Miff Mole 1898-1961 

†Mercer Ellington 1919-96 

Ike Carpenter b.1920 

†Billy Mitchell 1926-2001 

†Leroy Jenkins 1932-2007 

Vince Giordano b.1952 

Judy Niemack b.1954 

March 12 

Sir Charles Thompson b.1918 

†Hugh Lawson 1935-97 

Ned Goold b.1959 

Peter Knight b.1965 

Vinson Valega b.1965 

March 13 

†Dick Katz 1924-2009 

Roy Haynes b.1926 

†Blue Mitchell 1930-79 

Michael Jefry Stevens b.1951 

Akira Tana b.1952 

Terence Blanchard b.1962 

Shoko Nagai b.1971 

March 14 

†Joe Mooney 1911-75 

†Les Brown 1912-2001 

†Sonny Cohn 1925-2006 

Mark Murphy b.1932 

†Shirley Scott 1934-2002 

Dred Scott b.1964 

March 15 

†Jimmy McPartland 1907-91 

†Spencer Clark 1908-1998 

†Harry James 1916-83 

Bob Wilber b.1928 

Charles Lloyd b.1938 

Marty Sheller b.1940 

Joachim Kühn b.1944 

Anne Mette Iversen b.1972 

Legends Live 

Cannonball Adderley (Jazzhaus) 


Saxist Cannonball Adderley first 

worked with his brother, cornetist 

Nat, on their shared 1955 debut under 

Kenny Clarke. Pianist Joe Zawinul 

became a fixture in their band starting 

in 1961. By 1966, bassist Victor Gaskin 

and drummer Roy McCurdy 

completed the quintet that appears on 

this newly issued 1969 concert 

recording from Stuttgart, Germany. 

Nat Adderley and Joe Zawinul’s 

compositions make up most of the 

program, the remainder filled out by 

Leonard Bernstein, Roebuck Staples 

and Dizzy Gillespie. 

IN MEMORIAM 

BIRTHDAYS 

March 16 

†Ruby Braff 1927-2003 

†Tommy Flanagan 1930-2001 

Keith Rowe b.1940 

John Lindberg b.1959 

Woody Witt b.1969 

March 17 

Paul Horn b.1930 

†Grover Mitchell 1930-2003 

Karel Velebny b.1931 

Jessica Williams b.1948 

Abraham Burton b.1971 

Daniel Levin b.1974 

March 18 

†Al Hall 1915-88 

†Sam Donahue 1918-74 

Bill Frisell b.1951 

Joe Locke b.1959 

March 19 

†Curley Russell 1917-86 

†Lennie Tristano 1919-78 

Bill Henderson b.1930 

Mike Longo b.1939 

David Schnitter b.1948 

Chris Brubeck b.1952 

Michele Rosewoman b.1953 

Eliane Elias b.1960 

March 20 

Marian McPartland b.1920 

Sonny Russo b.1929 

Harold Mabern b.1936 

Jon Christensen b.1943 

March 21 

†Hank D’Amico 1915-65 

Mike Westbrook b.1936 

Herbert Joos b.1940 

Amina Claudine Myers b.1942 

ON THIS DAY 

by Andrey Henkin 

Flight 

Howard Riley (Turtle-FMR) 


Among the most interesting, though 

somewhat lost to history, entries in 

mid-period British jazz were the trio 

works of pianist Howard Riley. With 

bassist Barry Guy (and a revolving 

cast of drummers), the group released 

six albums between 1967’s impossibleto-find 

Discussions to the 1974-75 

release Overground. This session, on 

the short-lived Turtle imprint (briefly 

reissued in the ‘90s on FMR), includes 

Tony Oxley on drums for the sidelong 

tune “Motion” and the four 

tunes of the B-side, including the title 

track. 

pianist/composer/arranger focused his 

energies on his Concert Big Band, which 

performed and recorded regularly starting in 

the ‘70s and featured luminaries of both the 

European and American jazz scenes, as well 

as guests like Elvin Jones. For 22 years, Gruntz 

was the Artistic Director of the Berlin Jazz 

Festival (where he often appeared) and was a 

regular recipient of commissions from various 

large ensembles. Gruntz died Jan. 10th at 80. 

LAWRENCE D. “BUTCH” MORRIS - The 

cornetist coined the term “Conduction”, a 

directed system for ensemble improvisation, 

which he applied to groups as diverse as jazz 

big bands, ethnic string orchestras and 

choruses of poets. Brother of bassist Wilbur 

Morris, he worked early on as a sideman with 

David Murray (whose Big Band Morris would 

later direct), Frank Lowe and later Billy Bang, 

before devoting himself fully to his nowoften-imitated 

method, working with 

numerous ensembles throughout the world 

(many documented on a series released by 

New World Records) and, more locally and 

recently, Nublu and The Stone. Morris died 

Jan. 29th at 65. 

CLAUDE NOBS - It was at age 31 that the 

Montreux, Switzerland native organized the 

March 22 

†Fred Anderson 1929-2010 

John Houston b.1933 

†Masahiko Togashi 1940-2007 

George Benson b.1943 

March 23 

†Johnny Guarnieri 1917-85 

Dave Frishberg b.1933 

Dave Pike b.1938 

Masabumi Kikuchi b.1940 

Gerry Hemingway b.1950 

Stefon Harris b.1973 

March 24 

†King Pleasure 1922-81 

Dave MacKay b.1932 

Kalaparusha Maurice McIntyre 

b.1936 

Steve Kuhn b.1938 

Paul McCandless b.1947 

Steve LaSpina b.1954 

Renee Rosnes b.1962 

Dave Douglas b.1963 

Joe Fiedler b.1965 

March 25 

Cecil Taylor b.1929 

†Paul Motian 1931-2011 

†Larry Gales 1936-95 

†Lonnie Hillyer 1940-85 

Makoto Ozone b.1961 

March 26 

Abe Bolar b.1908 

†Flip Phillips 1915-2001 

†Andy Hamilton 1918-2012 

†Brew Moore 1924-73 

†James Moody 1925-2010 

Maurice Simon b.1929 

Lew Tabackin b.1940 

Hiromi b.1979 

On The Korner 

Zoot Sims (Pablo) 


The inspiration for the sax-playing 

Muppet, Zoot Sims began his career 

with Woody Herman’s Orchestra in 

1947 at the age of 22. Hundreds of 

sessions later, Sims worked up to the 

end of his life, dying in 1985 at the age 

of 59. This live set from San Francisco’s 

Keystone Korner was among his last 

recordings, Sims appearing with 

drummer Shelly Manne’s trio of the 

period with pianist Frank Collett and 

bassist Monty Budwig. The seventune 

program is all standards, music 

Sims had played for his whole career 

in his inimitable swinging style. 

first Montreux Jazz Festival, which has 

continued to this day, though “diversifying” 

away from jazz, and resulted in live albums 

by Bobby Hutcherson, Don Pullen, Dizzy 

Gillespie, McCoy Tyner, Miles Davis and Sun 

Ra, among others. Nobs also worked for the 

European division of Warner, Elektra and 

Atlantic Records starting in the ‘70s. Nobs 

died Jan. 10th at 76 after a skiing accident. 

ROSS TAGGART - The Canadian pianist 

was a regular on the Vancouver scene, 

working with Hugh Fraser, Cory Weeds and 

many other local groups, in addition to 

performing and recording with his own. But 

Taggart’s career was an international one and 

he worked with a number of American 

musicians, such as Charles McPherson, both 

in Canada and the States, since the ‘90s. 

Taggart died Jan. 9th at 45. 

FRODE THINGNÆS - The Norwegian 

trombonist may not have been as 

internationally known as the countrymen 

with whom he came up in the early ‘60s (such 

as collaborators like Terje Rypdal) but 

Thingnæs went on to a solid career leading 

various big bands and orchestras throughout 

Norway and becoming a prolific composer. 

Thingnæs died Nov. 15th at 72. 

March 27 

†Pee Wee Russell 1906-69 

†Ben Webster 1909-73 

†Sarah Vaughan 1924-90 

†Harold Ashby 1925-2003 

†Bill Barron 1927-89 

†Burt Collins 1931-2007 

Stacey Kent b.1968 

March 28 

†Paul Whiteman 1890-1967 

†Herb Hall 1907-96 

†Thad Jones 1923-86 

Bill Anthony b.1930 

†Tete Montoliu 1933-97 

Barry Miles b.1947 

Donald Brown b.1954 

Orrin Evans b.1975 

Jen Shyu b.1978 

March 29 

†George Chisholm 1915-97 

†Pearl Bailey 1918-90 

Allen Botschinsky b.1940 

†Michael Brecker 1949-2007 

March 30 

†Ted Heath 1900-69 

Lanny Morgan b.1934 

Karl Berger b.1935 

Marilyn Crispell b.1947 

Dave Stryker b.1957 

Frank Gratkowski b.1963 

Dan Peck b.1983 

March 31 

†Santo “Mr. Tailgate” Pecora 

1902-84 

†Red Norvo 1908-99 

†Freddie Green 1911-87 

†Jimmy Vass 1937-2006 

Christian Scott b.1983 

MARIAN MCPARTLAND 


Last November, the pianist 

stepped down as host of Piano 

Jazz, ending a run of 33 years, 5 

months and 6 days at the helm 

of NPR’s longest running jazz 

program. Prior to her role as a 

broadcaster/interviewer/ 

duet partner on the airwaves, 

the British-born Margaret 

Marian Turner (McPartland 

came from her husband, 

cornetist Jimmy) began her 

musical career entertaining 

troops during World War II. 

After moving to the States, she 

established a trio, which 

became the house band at 

New York City’s The Hickory 

House from 1952-60. In the 

mid ‘60s, she had a radio 

program on W-BAI, which led 

to her later work on NPR. The 

grand dame of jazz made it 

official in 2010, when she was 

appointed Officer of the Order 

of the British Empire -AH 

Detroit’s Jazz Piano Legacy Vol. 1 

Marcus Belgrave (DJM) 


The Motor City has produced quite a 

number of legendary jazz pianists 

over the decades, starting with Hank 

Jones. It’s no slouch with other 

instruments as well - trumpeter 

Marcus Belgrave, for example (though 

he was born in Pennsylvania). He 

appears here with a triumvirate of 

Detroit pianists from different eras - 

Tommy Flanagan, Geri Allen and 

Gary Schunk - recorded live at the 

Kerrytown Concert House some 50 

miles west of Detroit in Ann Arbor. 

Belgrave’s tune “All My Love” was a 

commissioned tribute to Detroit. 


presents 

John Williams, Guitar 

John Etheridge, 

Guitar 

Monday, March 18 at 7:30 PM | Zankel 

Legendary classical guitarist John Williams 

and jazz-fusion guitarist John Etheridge 

perform an eclectic mix of music for duo 

guitar from numerous musical genres. 

Jenny Scheinman Trio 

featuring Bill Frisell and Brian Blade 

Saturday, March 23 at 9 PM | Zankel 

SongS With and Without WordS 

This concert and The Shape of Jazz series are made possible by The Joyce and George Wein Foundation in memory of Joyce Wein. 

Presented by Carnegie Hall in partnership with Absolutely Live Entertainment LLC. 

carnegiehall.org | 212-247-7800 

Box Office at 57th and Seventh 

Photos: Etheridge by Eamonn McAbe, Jenny Scheinman Trio by John Rogers. 

Artists, programs, and dates subject to change. © 2013 CHC. 

Proud Season Sponsor 

Jenny Scheinman Trio 

John Williams John Etheridge

JENNY SCHEINMAN

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