JENNY SCHEINMAN

Recommendations

Info

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 24 March 2013 | THE NEW YORK CITY JAZZ RECORD 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) by Kurt Gottschalk 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 Ahead of the Curve First Two Mutable Music Releases In our New All-Digital Format! Thomas Buckner, J.D. Parran, Mari Kimura, & Earl Howard: Particle Ensemble Richard Teitelbaum: Solo Live With our two newest releases, Mutable Music begins a new era. Mutable Music has decided to respond to the changing marketplace for recorded media, and is switching to an all-digital format. All new titles, including downloadable artwork and liner notes, will be offered in both high definition and mp3 formats. On our new website you will be able to hear sound samples of all our titles, read artist bios and reviews, and find out about performances. Upcoming releases include new music by ROSCOE MITCHELL, the REVOLUTIONARY ENSEMBLE live, and the trio of THOMAS BUCKNER, JOELLE LEANDRE, & NICOLE MICHELL! www.mutablemusic.com mutablemusic 109 West 27th Street, 8th Floor New York, NY 10001 Ph: 212-627-0990 Fax: 212-627-5504 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
Page 1 and 2: March 2013 | No. 131 CLAUDIA ACUÑA
Page 3 and 4: 4 6 7 9 10 11 12 14 38 45 47 New Yo
Page 5 and 6: Tom Greenland, Midnight Son Music H
Page 7: © Jack Vartoogian/FrontRowPhotos A
Page 10 and 11: ENCORE Valerie Capers by Brad Farbe
Page 12 and 13: LABEL SPOTLIGHT Libra Records by Ke
Page 14 and 15: CD REVIEWS Capricorn Climber Kris D
Page 16 and 17: GLOBE UNITY: NORWAY Memnon: Sound P
Page 18: New Blues Aki Takase (Enja/Yellowbi
Page 21 and 22: Play the music of Benny Carter Coun
Page 23: Music is Emotion Ryan Keberle and C
Page 27 and 28: Sojourner Truth (1797?-1883) led a
Page 29 and 30: It would be hard to overstate the e
Page 31 and 32: Ellington Saxophone Encounters Mark
Page 33 and 34: The Sirens Chris Potter (ECM) by Je
Page 35 and 36: Numerology (Live at Jazz Standard)
Page 38 and 39: CALENDAR Friday, March 1 êPreserva
Page 40 and 41: Friday, March 8 êPaquito D’River
Page 42 and 43: Tuesday, March 19 êJoseph Bowie’
Page 44 and 45: Thursday, March 28 êClaire Daly’
Page 46 and 47: (INTERVIEW CONTINUED FROM PAGE 6) T
Page 48: presents John Williams, Guitar John

JENNY SCHEINMAN

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?